Digital Video Books

Enough good things have been said about the Guide and they're all true. Having said that, the technical chapters on the book may seem to you (at least they seemed to me) as a conversation between two experts on the matter. In all fairness, the book is tagged as an Intermediate, Advance one and the author does advise early on the first chapters that the book assumes the reader has some background knowledge. Well, I don't consider myself as a beginner and I have more than some background knowledge (including After Effects) and I had (and still have) a hard time understanding some topics. You see, when I buy a book (specially a book that's advertised as having all the info I need), I expect the book to open my eyes and my mind and provide me with enough information so that I can be on my way. I don't like it when I have to supplement my reading with lots of other resources to understand what the author is saying. Also, books that refer to a certain software sometimes recommend that you be able to run that software in order to gain a better understanding of the topic; this one does this. However, most books with this characteristic can be read and understood without the software. Not this one. The way I see it, this book costs around $1030.00 if you don't have the After Effects. You need it to be able to grasp about 50% of the book's information.

Also, if you're looking to understand workflow, image optimization and effective editing techniques but action is not really your cup of tea, meaning that you are driven mostly towards making visual stories without the action element, you'll feel that you're using about $15.00 of the $30.00 price tag of the book. Topics like special effects, color correction and onlining are covered with a subtle assumption that your film is about action (I guess that's the reason for the title).

In general, the book's benefits outweigh its flaws. I would say that if I go into a set of an independent movie or if I meet the director of a short film being made and I see this book among his resouces, I would think that the guy knows what he's doing. I suggest suplementing the book with the DV Rebel's Cafe (forun) and other entry level books on DV and HD workflow.

Do you have Adobe After Effects? If not, I wouldn't purchase this unless you are just an armchair filmmaker because this book's techniques are based on that program. I wish I had Adobe After Effects and this book would be useful, not just entertaining.

I have been studying film since I was a little nerdy kid, writing down the names and titles from the credits of every Happy Harmonies or Merry Melodies cartoon I watched, but in all that time (yes, a lot of time) I have never encountered a more fundamental and essential guide to just picking yourself and your idea up and making a movie, from start to finish. If you have tried in the past and gotten overwhelmed or bogged down in the mire of details involved in making a film on your own, then this book will help you out bigtime.

I have to admit, I am not into action movies, but the principles in the DV Rebel Guide are not really action-movie specific, and what's more, the truth is that if you are making a movie for audiences, it had better keep moving, which is essentially what an action movie is about. You will have literal explosions and bullet holes in your movie, or you will have artistic-symbolic explosions and bullet holes in your movie, but either way, you will have them.

The important reasons to own and read this book, if listed concisely, would be about as long as the book itself. Why? Because everything in the book is *essential information* for making your movie--especially if you're not rich (and maybe nerdy enough to not have a long list of people to call in favors from).

Do you hate wading through 500 page tomes that painstakingly sidetrack on a zillion different flavors of what you might or might not need to know about several aspects of whatever? The best book on C programming is only a half inch thick, and the best book on getting out there and actually making your idea into a film (digitally), with or without a budget, is The DV Rebel's Guide. And that's because you will be able to read it cover to cover without ever falling asleep, and you will know just what to do when you are done. From the amazingly insightful concept of the "resource list" to a nutshell run-through of the daunting field of color correction, as applied in the very accessible software, After Effects, this book will give you the answers you need long before you might have given up in frustration reading another book (or pile of books).

Great book for the beginner & advanced pro. Gives you many suggestions on how to get the shot finished with out spending a lot of money. Many movie clips included on the DVD for examples in support of the text. But what I found is that this book is just fun to read. There is a no holds bared, if you want to make a movie then just do it, "I hate green screen" attitude that encourages everyone they CAN make movies. There is technical stuff on setting up shots & After Effect is the only post software used, but you can skip over or breeze by these on your first read because you'll be using this book as a primer as you make movies of all kinds..."just do it!".

Somebody's got to be honest here -- the movie that Stu made with all of his techniques is simply godawful on nearly every level. In fact, his emphasis on "rebel" technique might very well have you redirecting your creativity in all the wrong ways. Films are about good STORIES.

That being said, for the discerning reader, there is an enormous amount of useful information in this book and it will really get you technically up to speed fast. For that the "guide" really does deserve five stars. But what we have here is also a recipe book for making the most cliche-ridden Hollywood imitations, which is the furthest thing that movies need right now. I believe you should be using your first work to explore your understanding of filmaking principles with relative minimalism.

This is one of the best technical book about the craft of Film & Video I've ever read.
Buy it!!

If you are serious about filmmaking, this is a must read.

great book if you plan on going into the film industry. i would recommend this book.

The Filmmaker's Handbook is exquisitely detailed in it's delivery of filmmaking knowledge and know-how. It cover's everything from film to video and from the film industry to the television industry, delivering updated information that will prepare even the most amateur videographer for the professional industry. However, it would be a good idea to start with some basics before tackling this book because it IS quite detailed and technical in it's delivery. Overall though, it is an excellent resource! Bravo!!!

I bought this book few months back in order to study the film making process. The book has details for practically everything and best for beginners as well as professionals. however since the version dates 5 years old so I'd suggest anybody interested in learning the aspects to consider this book as a base and then also subscribe to a magazine as you'll have a know how of latest stuff happening in the movie making technology. something like movie maker magazine. anyway the book still deserve 5 stars for its content.

This is a required text book, and is used in many colleges. It is a great book and it is so good to read that studying is not a chore

I read this book in three days really, I couldn't put it down. The book is the best around for every detail in trying to prepare a documentary. It describes how, why, when, and what types of equipment to use for your projects in a professional way. It also tells you how you can save money and get help from around you to fund your documentary. This book explains how to be no, low, or high budget and still produce a professional result. I can say that I now have a down and dirty attitude from reading from a guerilla style way of shooting films. "GET THE BOOK NOW"

This book is outstanding as far as the logistics of shooting a documentary goes. It's simple and yet very insightful and covers every aspect of production from nuts to bolts.RRP

This might be the best "quick start" guide you're likely to find on any subject.

Anthony Artis' knows video and he knows how to teach. More important, he knows how to get even a rank beginner out into the field and started shooting video. Artis' writing is sharp, clear, direct and street-wise with a touch of warmth and humor. Reading "Shut Up and Shoot" is like a long conversation with a smart friend who knows all about how to shoot video.

If you're already an experienced shooter, read this book anyway. Artis will make you a better shooter than you are now.

This is the book that I was looking for, for a long time on how to do a Documentary. I like the step-by-step process that he takes you through.
I also like the section on equipment recommendations.
I highly recommend it.

I bought this guide for my 14 year old son who made his first documentary 'One Light' without any experience or knowledge at 13. He wants a bit more professional production this time in a small budget and after spending a lot of time looking for a reasonable Film making camps for teens we resorted to self learning for him and came across this guide and I am very happy about it.

He has learnt quite a bit from it. I think it is a great beginer's reference guide and covers almost all aspects of DIY project.It is simple enough for him to read and incorporate the pointers for his next production plan.


This guide could be supplemented with another book that covers developing story and plot in more depth.

Gurmeet

This is a treasure-trove of fantastic (and often quite grotesque!) drawings, paintings, digital artworks, and more from the creative people that made the "Pirates" movies. It's a hefty book and makes for a great conversation piece on the coffee table.

If you are a fan of the Pirates Movies this is a must have book! The art work in this book is amazing how they show them bringing the characters from conception art work to the big screen. Some truly amazing pictures in this book very vivid like you walked into the film. Love the Book and would highly recommend it.

This is a fantastic book! I can't say enough about how well this book was put together. It's oversided quite like the "Book of Codes" from the movie with splendid artwork throughout. Needless to say I am quite pleased. If you enjoy great production artwork this volume is for you.

This Product/ Purchase was very satisfactory. The book came on time as specified at the time of purchase. The descriptions at the time of purchase made the decision to buy this item very easy, as it assured me that this was what I was looking for. There were not only detailed descriptions of what was inside the book, there was also examples of some of the images inside the book, giving a preview of what to expect. The only suggestion/ concern I had with this purchase was that the packaging could have protected the book more than it did, as when it arrived there were a few slight mishaps when the book encountered the sides of the box on a rough delivery. Other than that I am happy with the purchase.

I bought this book, "The Art of Pirates of the Caribbean" for myself for Christmas, to add to my ever growing "Pirates of the Caribbean" collection. It's the perfect coffee table book; big, bold and loaded with beautiful photos of artistry and magic, and this book shows us "how" the magic was brewed to create what we know now as "The Pirates of the Caribbean Trilogy". Being an artist myself I can really appreciate the creative genius and the blood, sweat, and tears that this collective collaboration represents. Tons of work went into not only each character's development, but also that of the props, locations, etc., and you can see it all just by turning the book's pages. "The Art of Pirates of the Caribbean" book is magnificent addition to my collection and a proud representation of the hard work and talent of those who contributed to the movies...Bravo!

This is a good book, that covers a lot of info. It also holds up as a book, and not just a how-to. All the info in this book is good info, but it is better suited for large markets. Don't expect to be able to read this book and be able run a business right of the gates, but at the same time this will help get you on the right track. Get this book, it is a good look into how someone got into the business and was able to make it work for a long time.

A great book that gives you the important information you need to run your own production company! I don't know of another title that actually tells you how to get the work that will support your financial needs. After all, you have to have work coming in the door or else...

I am an instructor at advanced multimedia classes at a Business School close to Copenhagen, Denmark. I've been around for a while and have been working with 3D, animation, database programing and webdesign and I have also read parts of this book with great excitement and can't wait to finish it. This is a book that has been a demand for on the Danish market for several years...and now it is here. Wonderful. I particularly like the very direct and bold way it describes how the future entrepreneurs should behave on the market in order to survive. Conclusion: the absolute BEST step-by-step book ever written on the topic and a must for anyone going into the media business.

As a reader just finishing the final pages of 'Desktop Video Studio Bible', I must say I totally enjoyed it. This is an excellent guideline to starting and maintaining a business. I'll keep this as a reference for years.

My wife and I have recently started a media production business on the side as presently we both work for a large computer company. I have been in the engineering related field for over 20 years. We got started in this media business at home doing simple home movies and transferring video tape. Slowly the word spread at work and among friends and before too long we saw a nucleus for a potential business. This spring we presented a surprise 40th birthday video produced by our company at a party hosting about 80 people. It was a great success and was a rush and now we are hooked. Maybe this was a peripheral effect of the "Really Big Thing"? Read this book to find out about the "Really Big Thing".

Even though I have over 16 years experience in the video industry, this book has given me the tools, advice and motivation that I'll need to finally realize my dream of owning my own media creation business.

Not only is the book extremely informative, it has a very readable and enjoyable writing style that made me feel as if the author were speaking directly to me. If you have even the slightest interest in getting involved in digital video production and/or web production, you need this book!

Technology affects art and the many changes in computer animation and effects means that the art world faces both new challenges and new innovations in 3D modeling. Surprisingly, Peter Ratner explains, the changes mean less technical challenges for artists with more ability to focus on creating art rather than deciphering computer systems - and the second edition of his Mastering 3D Animation is just the place to begin. Ratner is a professor of the topic at James Madison University - and the founder and head of the first computer animation program in Virginia, so his background lends particularly well to discussions. His paintings and computer graphics have received exhibition and acclaim - also a plus for artists seeking more than just a programmer's technical tips.

I thoroughly enjoyed this book, from its technical standpoint of working between the program and the supporting 3D theory/thought process that Mr. Ratner provides.

Finding that balance of an artist and technologist from where to launch one's vision and future visions of creativity starts with good knowledge. Ratner gives many facets of where to see this vision and tutorials to follow through with your own creative projects.

I commonly work with many high-end graphics programs, Lightwave 7.0 being my newest program on my plate. Peter Ratner's 3d book getting me from a begining user from just reading the index to a 3D artist ready to start the new facets of my own portfolio. Mastering 3D Animation helped quite a bit everything from the Modeling and subdivides to the theory/progress.

Joseph Arthur
Information Architects, Principal

Peter J. Ratner's second authoring effort, Mastering 3D Animation, is a 333-page softcover text that is a comprehensive, detailed and practical tutorial guide addressing nearly every aspect and segment of the 3D graphics genre. The book's 14 chapters-and accompanying follow-along CD for PC and Mac-speak to modeling (beginning and advanced), animation, special effects, lighting, surfacing techniques, facial animation, elements of action, figure movements and composition and cinematography. It's an exceptionally capable complement to Ratner's first book, 3-D Human Modeling and Animation. (Ratner currently is updating the latter text with a wholesale rewrite.)

Make no mistake: This is no cursory guide to constructing simple geometry, slapping on some stock textures, animating basic movements along spline paths and rendering to AVI while you're sipping on a latte, watching the Discovery Channel. A full-time professor in the 3D Computer Animation department of James Madison University and the program's founder, Ratner relies on the broad and substantial digital and conventional art experience that has rewarded him with artistic entries in more than 80 national and international juried exhibitions. Ratner is well-versed in most aspects of 3D art creation, choreography and cinematography. The results of his industry experience are a splendid collection of detailed and refined insights and experiences assimilated into a thorough tutorial guide. I have no doubt-as many experts agree-that Mastering 3D Animation is equipped to serve as a collegiate-level textbook for 3D computer animation curricula.

Spanning the many processes related to generating 3D digital art, Ratner illustrates his critical techniques with 658 black-and-white line drawings and grayscale screen captures. The images vary from basic and sketchy but illustrative black-only perspectives, steps and graphs to grayscale representations depicting character renderings, particle systems, height fields, geometric displacements, facial close-ups, rendered environments and more. Of particular interest to those having cinematography or traditional art backgrounds are the commentary, instructions and grayscale reproductions of painted and sketched art dating back multiple centuries.

Those attending to a more technical emphasis and interest are accommodated in every respect, however-minus superficial references to hardware specifications. Early on, Ratner clarifies his intentions in composing this text: "[The book's] purpose is not to create button pushers who can boast about megahertz, abundant RAM, big monitors and software with all kinds of bells and whistles. It is hoped that aspiring 3D artists will learn some valuable lessons from the great art geniuses that have preceded them." (Foreward/vii) Yes, Ratner does wane philosophical, at times, but his contemplative tendencies bring a refreshing and purist perspective to a field frequently inundated by overly technical meanderings and functionally pointless rambling. Thus, Ratner blends an in-depth artistic and technical knowledge with a practicality and philosophy altogether forming a well-rounded perspective-one catering to persons of various inclinations and backgrounds.

The companion CD contains 200-plus 3D models in a variety of formats: LightWave 3D's .lwo and .lws; Wavefront's .obj; Maya's .ml and the generic .dxf. Tutorial project files are archived in QuickTime (.mov) and JPEG (.jpg) formats, and Ratner also includes a Photoshop brush file (.abr) for creating "grime" textures.

As for the text's informational composition, chapters one and two explore the basics of 3D modeling-polygonal and spline-based (NURBS). Chapter 3 addresses basic 3D animation, while the fourth delves further into animation by considering the role of deformation tools: skeletons ("bones"); kinematics; lattice flexors, etc. In Chapter 5, Ratner explains special effects, including the use of spheres, particles, collision detection, voxels, fragments, displacement mapping and more. Part II of the text, Advanced 3D Modeling, begins with commentary about the human head's structure and composition, including muscles and bone. Ratner explains both the NURBS- and polygon- based methods for modeling the head. Special attention is allotted to features, such as the eyes, eyelids, eye sockets and ears. There's no lack of detail, here, and NURBS fans will experience a rare sensation-a feeling of belongingness.

The next two chapters, six and seven, are devoted to modeling the human figure. The latter stresses finishing-hair, eyelashes and clothing. Chapters 9 and 10 comprise Part III: Preparing for Animation. Lighting is the focus of Chapter 9, and Chapter 10-another that may appeal particularly to conventional artists-deals with surfacing techniques. The author goes beyond the typical texture map types-cylindrical, planar, spherical, cubic, etc.-and the use of photos to address alternative surfacing methods, such as transparency (alpha) and displacement maps. In short, Ratner extends well beyond the conventional surfacing methods most highly publicized, deeply exploring what might be categorized more aptly as upper-echelon trade tips than as common genre knowledge: creating sophisticated bump maps; using grayscale gradients in displacement; and more.

Part IV of the book, Character Animation Fundamentals, includes chapters 11-14: Expressing Emotion with Facial Animation (11); The Elements of Action (12); Movements of the Figure (13); Composition and Cinematography (14). Once again, the author uses an expansive knowledge of choreography and anatomy to help quantify how human emotions are exhibited: body posturing; eye wideness; lip contour; eyebrow position; even directional muscular pull. Each of these considerations can be projected in a 3D figure, and Ratner shows the reader how. "A muscle is composed of a bundle of fibers that work in mutual association to perform common duties," Ratner writes on Page 248. "... It is this combination of movements that results in the complicated harmony of the facial muscles."

The Elements of Action chapter confronts those issues pertinent to a convincing human portrayal by a mere collection of polygons or surfaced curved lines: timing; sound syncing; weight and recoil ("squash and stretch"); walk cycles and more. Chapter 13 addresses concerns complementary to those in the previous one, including body mass motion, pace and impact, equilibrium, action lines, rhythm and still more. The final score of this harmonized tutorial prose pursues line composition, spatial arrangement, blocking (proxy geometry) and all manner of photographic issues and techniques. The reader will learn practical cinematography terminology-camera techniques and movements, transitions, more-and the fundamental tenets of motion depiction utilized by artists centuries earlier.

Mastering 3D Animation is a wonderful book, full of useful information that you will refer to again and again. It covers many complicated issues in an easy-to-understand way so that beginners and advanced users alike can grasp the information. Definately a title that will remain in your library for years to come.

Although a nice book that goes into depth in areas that other modeling books haven't, the generalized, not-to-mention-one-specific-application approach the author has taken left me, a beginner, bewildered and drooling. Also, I think some of what isn't explained in detail was not explained purposely as it was difficult to put into words and considered common sense, which seems to be the case with several tutorials and books that I've read on modeling. I want to know things like: Once I have my splines slapped down in a front perspective, how do I push and pull them properly from other perspectives so they'll take shape, or When defining detail with polygons, how many should I tesselate, how can I manipulate them to look like a gradual bump for a muscle and not a sharp cornered cliff? To sum it up, the book was written for the more experienced and those who are very well aquainted with their software packages-I was expecting step-by-step modeling for newbies.

Not soemthing I would read cover to cover, but the individual "Hacks" that I have read are pretty good. I have lots of books along this line and this is one of the bet. I put it up there with Stu's "DV Rebels Guide" which is also incredible. If you like the Rebel guide, you will probably like this as well. Lots of good stuff. Enjoy!

Great book with great content I recommend it to anyone who want to take there film making a step forward and is to busy or lazy to download the information from the internet becaue it is all there. Spread around of course but you will find every piece of information even most of the pictures used in this book so. If you have time and dedication you can save yourself the money by looking it up on the internet.

This book covers many aspects of video. Labeling tapes, making excel spreadsheets for saving information, time code on tapes, how to achieve certain effects, lighting, and green screen effects just name a few. The book is general to most all video software and is a very usefull tool I'm glad I purchased. Don't let the term "HACKS' fool you it 's only refering to tips or tricks.

I found the book to be very practical and have the
kind of "nuts-and-bolts" pointers that I like. You
don't have to read it cover to cover (I didn't) but
can pick it up and go to the points that interest you
or where you are currently in need of help. It refers
to various "commerical products" that the author has
used to get the job done. I found this helpful. With so
many competing products to chose from it's nice to
hear, "If you get product X you'll be able to do Z,"
rather than buying and hoping (or not buying and
wondering). Kuddos to the author.

I learned so much from this book. In fact, I've already implemented several of the ideas and have had great results. If you're semi-professional (video has been added to your responsibilities but you have no experience with this medium) BUY THIS BOOK.

Who would have thought of parchment paper and clothes pins to diffuse light and create a softer, more natural light over the subject? That's just one of the great tips I've already started using.

I've bought several digital video books while trying to learn this medium, and this has been by far the most useful.

I am an in-house attorney for a film production company. This book is a great resource to point you in the right direction in many respects: reminders of what terms various contracts/agreements should contain, the different types of agreements common to the film industry, copyright information ... just to name a few items. Money well spent for a very focused look at legal aspects to the film industry.

This book helps anyone who wants to do or is doing anything in entertainment be on top of their game. I carry this book with me, along with my bible (that says a lot about the book right there!) I read it every chance I get and learn so much more as a Writer/Producer, about the legalities and expectations of each member of a production team. This book is necessary for a business minded person. Crowell educates the readers in the basics of entertainment law, however he does not use language that only an attorney or judge can comprehend. He breaks concepts down in bite size pieces. I have gained a better understanding of what needs to happen in pre, pro. and post production of a film and will make sure that the many areas in film making get the attention and documentation that it needs because of this book.

This book is so useful, I don't know where to begin. It's well-structured, well-researched, and I don't know where I'd be without it. The author has so much useful information, and puts it in a way a filmmaker, who doesn't speak legalese, can understand. This book gets a very high recommendation from me for sure.

Having the hindsight of producing several movies, I wish I had read this book much earlier. ANY filmmaker would benefit from reading this book as early in their career as possible and then keeping it on their shelf as an invaluable reference tool to return to again and again.

This review is specifically directed to aspiring professional screenwriters: GET THIS BOOK.

(Note I did not say "buy" this book, since, if you truly are an aspiring professional screenwriter, you're probably sucking your own body lint for food and live under a bush overlooking the Santa Monica pier.)

Yes, do whatever you have to do. Beg, borrow, steal...pawn...get this book. You've already read your Sun Tzu:

"If you know the enemy and know yourself, your victory will not stand in doubt."

Hollywood was built on exploiting talent, and specifically exploiting writers. It's time we (YOU!) writers start preparing for the business side of things because gosh knows the other guys are plenty prepared already. Reading this book will make you realize three things.

1. Actually getting your great little/big screenplay made will be incredibly complicated, even if you're just selling it to someone who already knows what they're doing.

2. There are ways to make your script more attractive for producers/distributers and more lucrative for you.

3. Thom Crowell is an informative and entertaining scribe.

I had a friend of mine in negotiations with a major studio executive. True story. Wrote a little script called "Balls, No Balls II." Guy tried to get my buddy to sign a contract without an NDA. My buddy stood up, whipped out his Pocket Lawyer and KA-BLAW! Smacked that suit right in the mouth! "You want my high concept? I WILL be signing that NDA!"

Hmmm, actually this never happened. But at least I know what an NDA is now. Do you? Oh, you don't? GET THIS BOOK!

And yes, AMAZON, you do offer a very reasonable price. I suppose buying it isn't out of the question.

There was a time when artists bread and butter work was painting true to life pictures: portraits, battle scenes, ships, landscapes. With the advent of photography, art changed to other forms, some of which bore no recognizable appearance of anything known to anyone but the artist.

With the advent of digital photography and the necessary software to manipulate images, digital artists began to move in the way of the painters. Their digital images are formed by the manipulation of multiple images, of changes that can be made down to the bit level if desired.

This book explores digital art. While as of yet this is not well received by the conventional art community, it is a sign of coming times. Specifically in this book the same three specific images have been given to seventeen artists to use to illustrate what they might create. The procedures they followed to create new images coming from these three seed images are documented. The results are wildly different between the resulting pictures.

This is the forefront of digital art.

Joseph Nalven and JD Jarvis' Going Digital: The Practice And Vision Of Digital Artists is written by a cultural anthropologist who developed photography as a tool for working on ethnographic research, and an author who has long worked in TV production and graphic design: the two together offer a survey of the digital process as it applies to creating the art, from photos to finished products. 17 artists were asked to take three seed photos and use the images creatively in their own works of digital art: Going Digital takes these 17 efforts and blends them with discussions and examples of digital art from around the world, considering common challenges, presenting step-by-step processes from digital pioneer efforts, and creating a solid set of practical examples. A must for any aspiring digital artist.

Anything written about the practice of digital art today is doomed to be obsolete shortly. Very little is likely to survive even as being "quaint" in the way of Bill Gates's famous comment that 640 bytes were enough for anyone.
Since we have digital artists in the thousands, however, all eager to learn more technique, to make the most of all that's available, to see what each other is doing, we need resource material to serve them. "Going Digital" does this admirably in an original way. Seventeen artists each take the same three given photographic images and use up-to-the-minute tools to mold their own creations. The results are startlingly different. Most important, each artist has recorded his or her creative process in a sort of running diary, illustrated with dozens of images used or discarded en route to the final one.
The technology will more than likely change drastically as artists and computer scientists continue to interact. What will remain exciting and inspiring in Joe Nalven and JD Jarvis's book is the implicit discussions among editors and contributors about the meaning of art, the value of art, the place of artists, what changes and what abides. Both the many fine prints and the thoughtful questions raised fit into the history and practice of art, as always fascinating every one of us. Every question has more than one answer; rarely are these answers just yes and no. Although the discussion is implicit, the reader knows that he is in the hands of experienced teachers. The authors leave no doubt that their book goes past "now".
You'll want this book on your shelf or in your hand always. I wish that Amazon would let me give it a sixth star.

There is little that I can add to the previous excellent, detailed reviews. But I did want to add my two cents worth:

I received my "Going Digital" from Amazon a few days ago and read it cover to cover in two sittings - loved it! I especially enjoyed the participant's musings on the three seed photos. It was interesting that most all of them liked the image of the figure.

The resulting prints could not have been more different - a very interesting intellectual/artistic exercise indeed. It is a "must have" book for all digital artists - and will undoubtedly be a classic text book on the subject.

(...)

I find that having to create something with images not of your own choosing forces
you to stretch the limits - to step outside of your comfort zone. I have produced images that I NEVER would have done otherwise.

I have been working digitally less than two years, most of that time I have been in
an internet group with weekly challenges. I credit the "seed image" restriction with helping me grow and find my own voice in this digital world.

When I switched to digital everything was so new and unfamiliar. I have not been able to get into a comfortable rut with the ever-changing challenges. They have pushed me in directions I never would have chosen for myself- and that's a good thing!

When I finished the book I looked for a website that had the images available - I was dying to try my hand at it!

Buy the book, then try out the concept of "seed images" for yourself. It is a fantastic learning experience.

Oh wait... while I am here. Harald Johnson's other book "Mastering Digital Printing" (second edition) is another "must have" if you are serious about your digital art.

Carol
(...)

This book is a treasure trove of ideas for aspiring digital artists. Digital art has come of age, and Nalvin and Jarvis offer a comprehensive overview of the revolution that is transpiring before our very eyes. The book features an international group of digital artists working their magic on three simple images, while explaining their techniques and exposing their creative thought process at every step along the way. For the reader, each chapter provides a compelling intimate journey through the creative mind of a digital artist. My favorite was Greg Klamt, whose creativity is boundless. For me, this is digital art its at its very best. As Jarvis has stated in his digital manifesto, in the digital art world ".high cost will no longer signify superior work. Galleries and critics alike will soon have to realize that creativity, vision, diversity and craftsmanship have returned as the benchmarks of "value". Bravo!

This book will be a very helpful tool for anyone using the new image-editing software to improve drawings and paintings. There are a number of examples that show what today's software will allow an artist to do. It gave me new ideas to try as I experimented with software, my scanner and digital camera. This book would be great for anyone who is looking for some great ideas and new approaches to art!

As a novice artist and computer user, I found this book so important and useful. It is a one of a kind book, extremely innovative and ties together both the art world and todays technology. Not only is it timely for today but will be important for the future. Bravo!!

This book was extremely helpful. It provides clear instruction and beautiful examples of how many different artists have used computer software to explore innumerable possibilities for a painting in a short period of time. Pollard and Little have presented the material in an easy to read style. It gets right to the point. An excellent tool for any artist.

This book encouraged me to buy Photoshop Elements and get started learning this powerful and complex software (I have used Microsoft's Picture It! and a watered-down version of Phtoshop before, the latter for several years). This book coveres several types of media. A number of different artists put together paintings using the software to aid in explorations of graphic ideas and planning. Basically, it is an introduction to using Photoshop (or, "...Elements") or other image editing program that demonstates the advantages, and some of the ways, a computer can be used by artists. It's chief value lies in getting you excited about expanding your tools and shows you how a computer can enhance your creativity, making it easier and quicker to explore the possibilites.

As an artist taking a Photoshop class, i was hopelessly lost in a deluge of material. This book sorts through the material and focuses only on what is necessary for an artist. Great way to take the pain out of thumbnails and value studies!