Multimedia Books

Teach Yourself Acid 3.0 is an excellent resource. Although Acid comes with a manual on PDF, everybody knows that switching between your software and Adobe Acrobat Reader is tedious and a strain on the eyes--which in turn means that you probably won't learn all about Acid's possibilities. With TYA 3.0, you can have the book open while you work with Acid (this alone vastly improves your learning curve); additionally, every chapter (or "hour") of this text has exercises and activities that you can do with the supplied CD-Rom loops. I really recommend doing the exercises--they WILL give you ideas for your own Acid projects.

While it might initially seem a little pricey, the tips, exercises, and CD-Rom make it invaluable.

This book is terrific! I just recently started experimenting with computer music using the ACID 3 programs, and this book makes an already easy to learn program even easier to understand. It is clearly written with the beginner in mind yet will take you as far up the technical ACID 3.0 learning curve as you wish. There is only one change I would make in the contents of Sam's Teach Yourself ACID 3.0 in 24 Hours, and that would be the inclusion of a comprehensive TROUBLESHOOTING section. The book is carefully written in a fashion, that if you follow the instructions to the letter, you should experience no technical problems. But as most will not have the infallibility to successfully follow the instructions without at least a few mistakes, I would wish there be a simple and quick to reference TROUBLESHOOTING section that helps you to easily go back and correct what you may have missed. But with this aside, the book is terrific. Definitely written for actual human beings. Well done.

As a Sonar user, a Sound Forge user, a Vegas Video user, I was completely amazed to discover the power hidden within Acid--whose very name unfortunately causes scornful and undeserved ridicule as with the review below.

Many see Acid as a toy, and it is anything but as anyone who digs beneath the surface will quickly discover.

Acid 3.0 is a professional tool used in professional environments to achieve professional results faster than ever before and where time is money, Acid shines.

For anyone wanting to push this tool past it's apparent limits, using it as the ultimate tool with which to bring together tracks from various sources (including Cubase) this book is essential to understanding its hidden strengths, and workarounds for inherent weaknesses found in some extreme BPM and pitch-shifting tasks. "Acid 3.0 in 24 Hours" is essential to understanding track management, bus usage, FX options, video scoring, and timing adjustments to name but a few.

Do not be fooled. Acid is a most powerful non-destructive digital audio construction tool, although its name may draw prejudice. This book is as worthy a companion and reference as exists for it.

Buy this book. Even the Acid experienced will learn from it.

i got the software and this book on friday, by monday i was making incredible music, i dont know anything about music
i am a flash developer and this works great for flash too.
i only read half of the book and it kicks ...!!!
acid pro 3 is to music what flash is to the internet. it will change everything... the book is excellent, it starts out basic and take you in fast, this book is great for the novice as well as the advanced user. also check out sound forge power book here at amazon, these two programs together and you can do anything.

This is a carefully-written explanation of a complex piece of computer technology. It takes way more hours than the title promises. But it is a wonderful introduction to the fascinating world of audio recording technology. Super Dooper!

I am currently working on a compiler that outputs SVG. 'Teach yourself SVG in 24 Hours' has enabled be to gain a good understanding of how to use some of the nice, handy features of SVG without having to spend ages geeking around on the internet looking for online tutorials!

It was a pleasent suprise to open a computing book that wasn't in too much jargon - quite a handy thing when its your first exposure to a new language. This book it written for everyone! (unless you have no interest in computers or the internet etc..)

I am a graphic artist using Adobe Illustrator and I wanted to learn more about SVG. I asked the Adobe people about this file format that is included with the newest versions of Illustrator but was unable to find out much. Finally I found this great book.

This book begins with an overview and describes the justification and process of development of SVG. In chapter 2 it jumps right in and teaches the nuts and bolts of creating images with SVG. As I am not a coder or programmer, I was amazed at the simplicity. Once a few basics had been explained I was off and running. Anyone with even the most basic computer and a simple text editor can create sophisticated graphics.

Towards the end of the book is a section on using Adobe Illustrator and in the back there is a reference section for oddball color conversion. The book also comes with the Adobe Web Collection CD that includes the viewer and tryout versions of Illustrator and Photoshop.

I'm really excited by the potential of this technology and can recommend this book to anyone who wants to develop some expertise in a hurry.

Good Luck...Tom Burns

Teach Yourself SVG in 24 Hours, I believe, is one of the best computer books I've read. I am a computer savvy with 5 years experiences in programming and network administration as well as database management. Recently I am working on a project involving SVG.

This book walked you through a series of detailed tutorials to build a dynamic weather forecast web page using SVG step by step. In each chapter, a new topic is covered in an easy-to-understand and informative manner, which makes the learning curve pretty flat. As the title suggests, this book is an introductory primer to a new technique so it is not intented to delve too deep into a specific topic. However, a good many hyperlinks to W3C's online SVG specification appear here and there for your reference if you would like to make your hands dirtier...In a nutshelll, if you would like to teach yourself SVG from the beginning, it is The book, though it may, by a large chance, take you more than 24 hours to go through it.

Web developers and designers alike should have a full acquaintance with this exciting new technology. There aren't many resources yet available, and this book will prove to be a trailblazer.

SVG (Scalable Vector Graphics) is an XML implementation utilizing a markup language similar to HTML but created specifically to render and control graphics. It is a robust mix of technologies including the DOM, CSS, Xlink, XSLT and JavaScript, and using the Adobe® SVG Viewer (a free plug-in), it supports static and dynamic graphics and WAV or MP3 audio.

Web developers should learn SVG because it is open-source and built in a simple text editor. It gives complete control of each graphic element. Web designers should use SVG because it is powerful -- graphics packages such as Adobe Illustrator, Corel Draw, Jasc Web Draw and others support SVG output. SVG also enables flash-like animation. In fact, SVG is THE open-source solution to web animation. No longer do you need expensive proprietary software to get the job done.

Anyway, this book is what you need. (That's how I learned all this.) Author Micah Laaker, while presenting the material in a comprehensive, straightforward and exciting manner, will leave an excellent reference guide on your book shelf. Buy it, read it and keep it handy.

The Art and Technique of Digital Color Correction

If you've ever tried to color correct in your NLE and have no idea of what all the adjustments mean (such as "input Black") and have been trying to teach yourself the software by just moving the knobs and looking at the results, then this book is for you. I am amazed after reading the first third of the book how much I have learned and how to use the built in scopes that come with most software. I may never become a colorist, but it sure makes my in-house projects far better. And when the day comes that I need to hire a colorist, I feel like I will be better prepared to speak the language. This will be another reference book that will be worn out from daily use.

Before you read this review you should know that I have not actually read the book in question. I'm writing the review specifically for people who are looking online for a book on color correction and don't have access to a copy in person to get a closer look.

I read the TOC for this book here on Amazon and then went to the local book store, where they happened to have a copy, because I needed to look closer before buying, so I'm passing what I learned on to you.

First, this looks like a really cool tutorial for anyone interested in a career in color correction and prepared to get the professional tools to follow that path. I also think in a few years I will be coming back to this book to learn more theory, because it looks strong there, too.

It also looks somewhat (if less) useful for those learning to color correct using either Avid or Final Cut Pro (which is, I know, the majority of practitioners).

However, if you are looking for a tool to learn how to color correct your own digital videos and you use the Adobe suite (Premiere Pro and After Effects), this author does not seem to feel that you have a fighting chance doing color correction at all, so you are out of his loop. I'm pretty sure that there are ways to color correct using these tools, though, especially with Photoshop CS3, so I, for one, am not going to go out and buy more software just yet. When I find the right book for us Adobe people I will post a review of that, too.

Meanwhile, I'm pretty sure this book will be wonderful for the rest of you (especially if you own a Mac).

I 'searched inside this book' and after reading the table of contents and the first few pages I decided to buy it. I had my reservations - not because of what I had read in the intro, but by the last few DV books I had purchased on Amazon. I am, I suppose, something in between a novice and an intermediate editor, and I edit on Sony Vegas Pro. This I have found puts me in a rather awkward category. In the past, all of the 'how to' books I've read have been far too basic or software specific.

What I really appreciated was the tone and pitch of the book. Most of the time, I find introductory books condescending - they seem to assume your inexperience equals a lack of intelligence (and corny jokes are unbelievable).

Before I read the Art and Technique of Digital Color Correction, I new more or less nothing about colour correction - my former corrections, dare I say it, were largely made using the contrast/brightness control - but this book made perfect sense to me. Steve Hullfish writes enthusiastically and encouragingly, and the book I believe would suit novices and pro's alike. The clear definitions in the margins are an excellent idea and are perhaps the key to the book's ability to transcend the novice/pro divide. If you understand the terminology move on, if you don't the explanations are right there.

Although the book does not give examples from Vegas. It explains colorist parlance in useful analogies, and offers suggestions about where to look for color correction tools in NLE's other than Avid and Apple Color. By in large, I found Vegas had most of the tools, scopes etc, and although I love Vegas, after seeing what Apple Color can provide, I do have a little 'application' envy.

One last thing... here's a small anicdote: I recently made a short film on HDV and showed a couple of people who liked it and before I new it, I was being mentored by a large post production studio. I asked them for some advice on corrections. I ended up sitting down with their senior colourists, watching the film on the big screen and talking shop with them for a couple of hours. We were talking about masks, vignettes, secondaries, colour casts, gamma and all sorts of things that, to be honest, I new nothing about until I read this book. It seems there's no substitute for experience, but because this book is full of advice from colourists with many years of experience, why not learn from your mistakes before you make them!

Glen Maw
Wellington, New Zealand

I disagree with the reviewer who said that the book claims that it's impossible to color correct with Adobe products. The MAIN readers of the first color correction book by the author were After Effects users, many of whom followed the advice of noted After Effects gurus, Trish and Chris Meyer.

American Cinematographer magazine's reviewer said this about the book: "likely to become the definitive text on the subject. Sensibly organized, lavishly illustrated and varied in perspective, it's a dense but highly readable summary of the current state of the art."

The cool thing about the book is that it is NOT platform or product specific. The author sat in on sessions with more than a dozen colorists around the country as they all graded the same images. The book walks the reader through those corrections from the viewpoint of these master colorists, instead of from the solitary viewpoint of the author. That's the value of the book. You are literally sitting in with people who have graded TV shows like "24" and "Desperate Housewives" and "LA Law" and "48 Hours" and movies like "Pirates of the Caribbean" and "Spiderman" or those beautiful NFL Films.

This is a book for anyone using any software product. It is a book that is more about "why" to do the things you need to do than about "how" to do them with a specific piece of software.

I originally wrote this review for my blog and decided to post it here since I think it'll help potential buyers decide if this book is for them. Enjoy...

First question: Is The Art and Technique of Digital Color Correction worth reading?

Answer: Yes! Absolutely.

Second question: Is it targeted at newbies or advanced users?

Yes. To both.

The first two thirds of the book "Primary Color Correction" and "Secondary Color Correction" deals with the fundamentals of our toolsets: monitoring, understanding waveform monitors and vectorscopes, balancing shots, vignettes, HSL isolations, and more. While this part of the book can be safely skipped over by more advanced users to whom all that info is second nature, Steve Hullfish does a nice job of surveying how different software apps approach the same concepts. And when a particular software package has a unique tool for achieving a particular task, he breaks it down for the reader.

The upshot: Even if you're experienced colorist on a Symphony you'll walk away with a strong understanding how other software apps work and what you might be missing (or what advantages you may have that you didn't realize). My advice, advanced users should at least skim through these parts paying particular attention when Steve takes a moment to pull a quote from the working professionals he features in the last third of the book. There are some great tips in these sections - especially on how different colorists set up multi-display scopes to help them nail black balance or tweak color values. I ended up changing some of my displays and found a few new setups that I really like.

Overall, the first two parts are not a dumbed down discussion. While Steve starts by laying down the ground-work emphasizing monitoring and external scopes (the latter being a deep discussion that permeates the entire book - which I very much appreciate), he seems to anticipate some of his readers finding material redundant and thankfully breaks out basic terminology to sidebars. Appropriately, those early chapters work through the subject matter in the same order a colorist will typically approach their problem-solving.

The final third of the book "Pro Colorists" is likely where the advanced users will want to begin. Why? That answer leads us to our third question...

Third Question: What makes this book different than other color correction books (or DVDs)?

The soul of this book is contained in the last few chapters and on its supplemental DVD. Steve sits with over a dozen accomplished, professional colorists and puts them in front of a common software color grading platform, Apple's Color (at the time called Final Touch HD), with a Tangent control surface. He gives them all the same set of footage (also provided on a DVD), presses 'record' on a DV camera and grills the colorists about the approach they are each taking to color correcting those images. The result is the author presenting up to three colorists approaching the same shot using different techniques. Or the same technique being used on different shots. Usually in the words of those colorists. It's a great education.

Even better are the transcripts Steve provides on the DVD that didn't make it into the book but he thought were informative. I've just started to read those and already I've gotten some new ideas about different approaches to common challenges.

Another thing that differentiates this book is its largely software-agnostic approach. Color, Avid Symphony, After Effects, Color Finesse, even Photoshop are all featured in the first 2 Chapters alone. Where interfaces are similar, Steve picks a software package and follows it through - pointing out where users of other apps might find things different. I suspect that if iMovie had a color correction module Steve would have a found a place to feature it.

Fourth Question: Any final thoughts?

This is clearly a book about concepts, not tools. As much as it necessarily covers the How To of working with color correction software, it's the Why Do that is emphasized.

In fact, Why Do is the whole point of the book.

Read it. Live it. Learn it.

If you are a soon-to-be-famous rock star with your own group playing just your own music, this book is going to broaden your musical horizon and give you lots of new ideas for your own bass lines. But if you want to be a serious bass player, versatile stylistically and firm in many different musical situations, this book is IT! And if you like to gain some deeper knowlegde and understanding, get Ed Friedland's "The Working Bassist's Tool Kit" as well.

This is not a typical book with bunch of licks without explenation. Here everything is explained in detail - how drums (should) work with bass in different styles. Great musical examples although it would be much better if music was split into seperate channels for bass and drums. Great book worth money.

After attending Bass at the Beach 2005, I came away knowing how important time and groove is to a bass player. My whole goal was to become a solid groove player once I came back. If you have any questions or difficulties about rhythm or keeping a strong groove than this book is the answer. I have never felt super solid about reading syncopated rhythms even though I have read numerous books and been told countless ways to try and learn them. This book has answered that problem for me. A drum machine is highly recommended as the book dissects the drum parts that should be programmed in to play each bass groove over. This is the first book that I've come across that really explains "feel" from many different angles. I could go on and on about it but the basic gist is that this book has me thinking about rhythm in a whole new way and it is helping my bass playing more than anything else that I've read. This will be my Bass Bible for years to come...Thanks Ed!

This book will give you the basic facts and insight required to build a solid groove. It provides some technical stuff, that's for sure. But the main thing is, you can develop a feeling of the groove in yourself (not your guitar only) and start to understand what it really means "to groove".

However, advanced / pro players trusting their groove may consider alternative books.

This book is one of the best books out there for the budding bassist, in my opinion. Ed Friedland, an experienced instructor and seasoned studio bassist, really lays down a solid foundation for understanding the role of the bass and how to fit in with the band.
Some definate pro's would be Ed's lively writing style and clear descriptions of the examples being played. Instead of pulling random grooves out of nowhere, he really gives solid insights on the music. And the examples are clearly first rate and give good bredth within different genres. He also gives very good ideas simply on becoming comfortable playing the instrument, which I've found is one of the biggest concerns for beginners.
The book does not go without a few cautionary bits, however. Ed Friedland highly recommends getting a drum machine to jam along with (he even writes out the drum parts). This naturally, is great advice if used, but without a drum machine (or, better yet, a real live drummer!), the book really can't be enjoyed to the same extent. So if you don't have a drum machine and have absolutely no interest in getting one ever, this book might not be the best option. Also, one should note that though this book covers many different genres, it doesn't go into real depth concerning any particular one. So, if, for example you dig motown, heavy metal, or whatever, try getting a book that focuses specifically on that style in addition to this book. Concerning just pure insight and ecclectic examples, this book rocks, but this shouldn't be the only book in your bass library if you are interested in diving deep into a specific genre.

HomePage 3.0 is an older program but it has the advantage of being cross-platform (meaning Mac and PC) on the same disk. I have made a dozen websites using it and it is a wonder to behold. Newer standards have overtaken the WWW so not all of the new functions are integrated into it.

It has a first rate tutorial on the disk which can help you to make perfectly decent small websites. However, this book is the perfect manual to go along with that tutorial. In fact I think it is essential to own this book so that you can address problems as they arise without having to bounce around between the program, the Help, and the tutorial.

As with most of the Visual Quickstart series, this one is filled with pictures so that those of us who cannot grab the meaning from the text alone can guide ourselves with the screenshots showing what the text just spoke of.

I recommend both this program and this book to my students who wish to build their own websites, even though both the book and the program are out of print.

This book was very helpful getting me up and running and doing what I wanted to do--make my website. It was also helpful in stepping me through publishing my first database on FileMaker Pro. I would reccomend it to anyone wanting to use Home Page. I should say that Home Page is a very easy to use, but powerful program. It is quite intuitive. This book just happens to make it even easier to use. I just kept it on my desk and if I hit a snag it would unsnag me.

i need to know how to make a web page for 5$ if any one can give me instructions how to make a page mail me them thanks. p.s.hoss8617@aol.com

This book was very helpful getting me up and running and doing what I wanted to do--make my website. It was also helpful in steping me through publishing my first database on FileMaker Pro. I would reccomend it to anyone wanting to use Home Page. I should say that Home Page is a very easy to use, but powerful program. It is quite intuitive. This book just happens to make it even easier to use. I just kept it on my desk and if I hit a snag it would unsnag me.

I found this book very understandable and full of explanations. It summarized much of what the help menu in Claris Homepage offered, but showed detailed diagrams and steps on how to complete the functions for most web page design. I recommend this to any beginner with Claris Homepage to use as a basis to learn the program and understand the buttons and capabilities of the total program.

Mr. Shelton's book looks beyond the technical aspects of good media production and provides thoughtful and practical guidance on how to plan, shape and organize media presentations that will surprise, charm, inform and influence audiences. His emphasis is on informational rather than narrative media. At a time when we tend to be bedazzled and distracted by the remarkable technology now within easy reach we need frequent reminding that the idea is everything and that all that follows must be designed to deliver that idea to our intended audience forcefully, memorably and persuasively. This book will show producers of documentary, sponsored and informational films and other motion-media (Mr. Shelton's term) exactly how to proceed. Particularly valuable are the many examples, format samples, check lists and illustrations he includes. The Communication Analysis Plan is the best and most complete I have seen. This book can teach and encourage informational filmmakers who of late tend to be over-shadowed by our Hollywood brothers/sisters. The fact is, however, our productions can be equally creative, well-crafted and moving if we remember that most of the work needs doing long before we pick up a camera as we ponder and analyze exactly what is to be done, for what audiences, in what way, with what result. Shelton's book will certainly help. I recommend it highly for those who want to become better and more efficient information media producers and as a text book.

Whether you're a motion media professional or a student of visual communications, this book is a "must read" for you. The author - drawing on some forty years of experience as a successful information motion-media professional - writes with clarity and authority about both the theory and practice of communicating ideas through film, video, and multi-media. Shelton argues persuasively that the main objective of all information motion media is to influence the thought and behavior of the target audience, and that all the resources - creative and technical - that a motion media specialist has at his or her disposal must be directed toward that end. But he cautions that creativity used for its own sake may result in failed communications and a waste of the client's money. Building on this theme, the author elucidates an array of time-tested principles that he strongly advocates should be applied in the design and production of effective motion media. Not to be missed is an appendix featuring some fascinating "quotable quotes" that the author has collected over the years (though perhaps some individuals might consider having been quoted a dubious honor). In sum, there is no better book available on this topic, and I recommend it without reservations.

I strongly recommend S. Martin Shelton's book to practitioners of any profession seeking to influence the actions or thoughts of others through the power of media, be it through the written word or the transmission of images. As a Foreign Service officer I should have had this book 30 years ago. Though the focus of his book is film and video, his explanation and exploration of the principles of the communication process has application in all facets of interpersonal dealings. To cite but one example, this is especially true in the field of advertising--print, video, or radio. Much too often, media fails to motivate audiences to do what the sponsor has in mind, from the prosaic act of choosing between competing brands of toothpaste to such altruistic goals as inculcating healthful life choices. Such failure, as clearly expounded by Mr. Shelton, is in large part attributable to a growing lack of understanding of the underlying tenants of the art of communications. For one, the seductive explosion of technology's rapidly expanding capabilities has led to a shift in focus from communicating a message to enthralling with pixel glitz. Incorporating Shelton's ideas garnered and developed over years of practical experience and a background rich in theoretical knowledge, will improve significantly what we see and hear in our daily lives-bringing clarity to much of the "noise" surrounding us. Kenneth Albright, US Foreign Service (Retired)

This book is the distillation and compilation of the knowledge Shelton has gained from many years of experience in tehse fields. It is well written and his comprehensive knowledge of the field is evident. He is sometimes acerbic but his advice is heartfelt and should be of great value to beginnners as well as professionals in these areas. His "FUNDAMENTAL VERITIES OF INFORMATION MOTION-MEDIA" will be of particular usefulness as it is pithy and to the point. The book could well be used as a text in a college-level course. I recommend it unreservedly.

Dr. E. V. Ruhnke, Sr., Professor Emeritus, Texas A&M University-Kingsville

Mr. Shelton's book on filmic communication is an important breakthrough in the understanding of how and why films work with audiences. For the first time in the many years I've been in the profession I've found a book that tells me how motion media works and how to make it work. With masterful insight he analyzes the very foundation of my profession-how to use film and video to motivate our audiences, how to get them involved. To anyone in our profession or to any aspiring students, Shelton's book may well be the key to your success.

Most artists can't do everything - usually they are somewhere in the middle of a chain of production responsiblities that don't include the skillsets involved with presenting a portfolio, digital or otherwise. Many points of insider knowledge are invaluable - I was on the cusp of using PowerPoint for my CD portfolio (my wife has strong skills with this) before being warned that this bussiness presentation software's would be viewed with derision by art directors, and that a high resolution version of a website format is the way to go here - this one parcel of knowledge was worth the price of the book alone, but it is far from the only lesson imparted. Highly recommended - it doesn't stray into realms of esoterica for the sake of pagecount.

This handbook is targeted at beginners in designing portfolios to submit their artwork or photos when job hunting. It is filled with information, however most is very basic and will only be a review for most readers.

If you set can aside the near 100% focus on digital media (though it is excellent for that kind of format) and not hyperventilate in feeling like you need to come up with Flash or DVDs after reading this, it offers solid points on portfolio content, whatever format you choose.

It covers what should go in, what should not go in, how much should go in, how/if to deal with process pieces, storyboarding,
thematic ties to pull a disparate portfolio together, and sage advice on basics like the kinds of written copy you want to include, such as design briefs, problem statements, and tag lines. It's my favorite book for this effort right now. My husband's, too. I have to pry it off his desk.

It's also savvy when it comes to marketing, so I think it will have a long shelf life in my library for the days when I need to market myself on other things besides landing a job, like marketing my firm.

It has some printed web site design examples which offer visual eye inspiration for printed page layout. It even has great image workflow tips, towards preserving the best image quality with the least needed resolution, that are comprehensible to the lay person as well as meaningful to someone with a high degree of digital photographic processing background.

For several months I searched for an appropriate textbook for a course that I was developing. Several days prior to the deadline for the course outline, "Designing a Digital Portfolio " was published. After reading the book, I realized this was the authoritative text for anyone in a creative field. The book asks and answers all the essential questions. It is perfect for the technological savvy multimedia programmer or for any artist with limited technology expertise. I urge anyone who is even considering developing a digital portfolio to buy this book. Without qualification, this is the most valuable book on the market

Multimedia Portfolio Instructor/Art Institute/Art Institute Online
Subject Matter Expert / Curriculum Development Multimedia Portfolio

This is one of the best books on its topic that I have ever seen. From the title, I expected to find advice on preparing images for the screen, how to put them on a CD or DVD, etc. Those things are there, but the book begins in a logical place that I wouldn't have considered. Brown's approach is truly holistic.

Check out page 23 for the first page of a three-page self assessment check list. It has you evaluate your professional strengths and weaknesses, goals and personality.

Chapter 3 asks you a bunch of questions to help you identify who your audience really is and focus on them.

The rest of the book covers various digital formats, how to organize your work, how to get images of 3D and oversized work into your portfolio, including choosing a camera and setting up for shooting.

Ms. Brown covers editing your images to remove the most common problems, such as moire, sharpening needs, bad crops, etc. And ... she devotes a section to creating written content to accompany your stunning images, telling you how to write to that audience you defined earlier.

She explains the differences between a monitor screen and a printed page. You need to know that to design the correct interface for your portfolio. She also has a full chapter devoted to marketing and copyright issues.

The entire book is scattered with quotes (in friendly green type) from experts and those who have gone before you. The quotes tell you what agencies are looking for in a portfolio, how others have found success at this, what things you can do to streamline the process, etc.

The author gave some great historiography infromation concerning various religious sects as to how pastoral care emerges from each group. The book was not to finite with detail, but it was precise and breif enough to encompass a broad perspective. The CD that comes along with the book was just as useful to use as the book itself.

The Dictionary is useful for readers across a wide spectrum, not only for pastoral carers. Contains concise and practical information. The theological import of each entry is spelled out. Each entry has a bibliography for further reading or cross reference. I found myself browsing at leisure!

Anyone who has worked in the area where psychology and religion interface will appreciate this solid, thorough and carefully edited work that is without par in the field. Grounded in the actual experience of the "theology of living documents", the articles are as much practical as theoretical and academic. Thoroughly ecumenical, this massive reference work promotes dialogue between faith and theology and clinical theory and practice. If this is the kind of subject that interests you then you need to own this book.

F.X. Charet Phd

This a comprehensive and well-written reference work with more than 1200 articles and 1346 pages. For the parish minister or pastor who needs guidance, this book should definitely be on the shelf as a mandatory reference work. For seminarians, it might be overwhelming, but would be a wonderful book to own. For more experienced religious leaders, pastoral counselors and pastoral psychotherapists, however, there is much here that can be gotten more easily and in more sophisticated form from smaller, more specialized books on theology and especially aspects of psychology/psychiatry. Still, it is an admirable piece of scholarship and one that most caregivers will want and use. (Non-religious mental health workers could also use it for working more effectively with religious populations.)

The Dictionary is useful for readers across a wide spectrum, not only for pastoral carers. Contains concise and practical information. The theological import of each entry is spelled out. Each entry has a bibliography for further reading or cross reference. I found myself browsing at leisure!

There is no other book like this. Or I should say the complete book about compositing. All you need to know and more.
I think for compositing work you only need to read two books this one and one from Ron Brinkmann. No need for anything else.

I really struggled through the first chapter, but after that is stared to make more sense. This book is very technical, and many topics like 10-bit logarithmic color are definitely complex concepts, but generally the author does an excellent job of explaining them as simply as possible.

Explanations for what is happening 'under the hood' of a lot of compositing tools are explained, as well as how to achieve them manually. Stuff like keying, despill, unsharp mask, and defocus operations. I've read the 2 other main compositing textbooks available on Amazon.com, I would say this is definitely better than "Digital Compositing In Depth", and slightly better than "The Art & Science of Digital Compositing". It's definitely the most detailed and technical of the 3 books.

I wouldn't recommend this for a beginner, it'd be more suited to someone who has composited for a few years and wants to better understand the underlying concepts of their compositing software.

I ordered two compositing books at once: this one and the classic textbook. I found that the other book was thorough but also did not cover that much more than I'd already learned online and through the manuals that came with my compositing program.

This book, however, went into a lot more specifics and I actually took one greenscreen despill recipe from the despill chapter and implemented it in the compositing program I use (Shake) and the results were fantastic. WAY better than what I had been getting with the built-in tools.

The book has a conversational tone and gives a lot of practical tips and recipes for compositing. The CD is a little light in content (basically the photos for the color plates in the book), but the book is still well worth getting if you're doing compositing. He uses a generic node notation for processing diagrams, so users of After Effects or other non-node-based compositing programs will have a tougher time.

If you consider yourself an upper intermediate level user or less, I'd recommend this book. Among many other things that it does quite well, it explains what procedural keyers like Primatte are doing and shows you how to accomplish the same kinds of processes manually. You will know what each of the many keyers in After Effects (and other compositing apps) are doing and the logic behind each. You will also learn where best to use each based on the situation at hand. It also takes you through many other areas like matte extraction, despill procedures and color correction. After reading it, you will understand scientifically what is going on under the hood of your favorite imaging and video apps. To me, this is the "Photoshop Channel Chops" of 2001. What David Biedny's legendary PCC book did for Photoshop artists a decade or so ago, this book will do for compositors today. I have seen other books handle this subject, some do it well but none as good as this one. Well-written and very easy to understand -- though there are definitely places where you will have to reread passages to understand what's being said. But if you commit to reading it with more than a cursory perusal, you'll walk away a master. Highly recommended. Five Cows.

Ron Lindeboom
creativecow.net

The author has done a great job of taking most if not all the tricks and tips and combined them into one excellent book.
Film and Video is completely explained and the reader gets a great idea why they are so completely different.
This book is an A+ must have for anyone wanting to know more about the compositing process.

The author has provided the digital image and cinema industry with a serious text on image processing. Although the stated focus is digital cinema, this book can be utilized by anyone interested in the algorithms of digital image processing. The book is aimed primarily at professionals who are already involved in the field, but it could also be easily used as a textbook on the subject. Derivations are kept to a minimum and numerous examples in MATLAB are provided to illustrate the various digital processes as well as their effects. There are two chapters in particular that are often omitted in image processing texts. One is the chapter on human visual perception which emphasizes the importance of often mentioned phenemona such as contrast sensitivity as well as less often mentioned non-linear effects and their perception. The other is the chapter on image compression which is extensive and includes spatial, transform, and wavelet domain algorithms in detail. Most interesting is the section devoted to the use of the human vision model in the compression process. Although computer vision itself is largely omitted from the book, the author did include a discussion of basic edge detection methods.

Chapter 1 introduces the readers to digital processing techniques in a brief fashion. Chapter 2 is a review of two-dimensional discrete signals and systems. If you are rusty on this subject, you will probably need an outside source to help refresh your memory. Chapter 3 describes human visual perception from a system point of view. Human vision plays a key role in the design of image and video compression and display systems, thus the chapter describes vision models in detail, in particular the model that predicts masking effects in digital imaging. Chapters four through six, though interesting, are pretty standard fare for digital image processing texts.

The discrete wavelet transform (DWT) is introduced in chapter 7. Without derivations and mathematical proofs, the computation of the DWT using subband coding is described and illustrated with examples. The chapter also explains the connection between wavelets and quadrature mirror filters and shows how to compute a wavelet function from the analysis and synthesis filters with examples. Chapter 8 is devoted to the discussion of image and video compression techniques. This rather extensive chapter describes the basic ideas used in the JPEG2000 and MPEG-2 standards.

Through chapter eight, the processes and algorithms described could be useful to anyone in the field of image processing. In chapter nine the author turns to concerns specific to digital cinema. He does this by addressing some issues behind the special requirements of digital cinema when he discusses two approaches to image compression that meet its requirements - QUALCOMM's system and a system based on the JPEG2000 compression standard. These two systems are interesting because the QUALCOMM system uses the Discrete Cosine Transform (DCT) as the compression vehicle while the latter uses the DWT for compression. The chapter is rounded out with a discussion of some of the characteristics of digital projectors.

One particular good characteristic of this book is Appendix D, which contains a variety of suggested MATLAB-based projects on the subject of digital image processing. Even if you already have several good texts on the subject of digital image processing, this one is excellent and has a unique contribution for those interested in applying image processing to the interesting field of digital cinema.

This is truly a great book, the math notations are clear and concise. A lot of good reference pointers in the book make it not only a fundamental textbook but also a good research resource. Many sample codes in Matlab are provided. For anyone working on image signal processing, it is a great resource library. The book is equally valuable to professioinals working on this subject and students (senior undergrad or first year graduate students) becoming familiar with the field.
There is only one minor limitation on what it covers on the digital video compression section. Some of the newest techniques used by the H.264 and VC1 were not mentioned here -- such as intra frame prediction, deblocking filter, as well as mathematic coding used in the entropy coding. There is a discussion on the adaptive block based DCT, which is very interesting. Although a comparison with the current adaptive variable size tracking block and Hadamard transformation would be valuable as well.
This might be a good incentive for Dr. Thyagarajan to write a 2nd edition :). In case he plans to write a new edition, maybe he can elaborate a bit more on the last chapter about what were Qualcomm's practical problems in this project and how they were resolved -- I would imagine he could have enough material to expand the last chapter easily to 40-50 pages from 15 pages.
In summary, I like this book a lot, especially the wavelet section. It is one of the best and clearst treatments of the subject I have ever seen.
I highly recommend owning this book and reading it seriously!

I am involved in embedded applications. I currently work with scientific imaging sensors and real-time processing. This book has been useful and straight forward in my line of work. The chapter on human visual perception helped me to relate with camera issues. The book explains in a systematic manner how to apply discrete wavelet transforms to imaging and how to manipulate them. Overall, the materials in the book are easy to understand and have good examples. I highly recommend this book !!!

This book provides a very practical up-to-date introduction and explanation of the concepts and state of the art behind the fast changing world of digital image processing, specifically for higher-end applications such as television and digital cinema. The author does a good job of providing easy-to-understand explanations and examples of the basics of this complicated science that allow a non-technical professional to understand the basics of how digital processing is used in video and image applications. But, he also goes further to explain the complicated mathematical principles of various image processing technologies for the benefit of the serious student. The MATLAB examples in the appendix and the suggested "for further study" exercises help provide tools and direction for readers who want to experiment with the principles in the book. Overall, this book should be very useful to the professional or student trying to understand the current industry thinking regarding digital processing and compression of images for high-end presentation applications like digital cinema at whatever depth of understanding they are needing.

The book "Digital Image Processing with Application to Digital Cinema" is an excellent treatment on digital image processing techniques. Mathematical derivations are kept to a minimum so as not to lose sight of the main principles of image processing. Yet the book can easily serve the needs of both professionals and students equally well. The chapter on human visual perception is treated very well giving all details of known visual models, which are used later in the chapter on image compression. Image enhancement is an essential ingredient in all aspects of image processing and the book aptly covers enhancement techniques in detail with numerous examples. Transform techniques in general and wavelet transform in particular are given adequate coverage that most can follow. The chapter on image compression takes up these transforms and explains clearly how to apply them in achieving quality image and video compression. The book ends with a chapter on case studies involving two state-of-the art systems for distribution of movies in digital format. I enjoyed this book very much and I highly recommend it to all professionals, both in universities and industries.