Rating: 
Summary: excerpt from Bob Turner's review in "The Cut"
Review: This review was excerpted from PriMedia's e-newsletter "Bob Turner's 'The Cut.'" A Video Systems Publication and was written by Bob Turner. Ellipses indicate edits from his original text.This book and companion CD is the best book I have ever read on the subject and this goes back a ways! ... As to being a bit intimidated, this book helped me understand why I felt that way. ... Almost 100 pages into the book I was still learning about tools available, the alternative monitoring available and how each works. As a "senior" editor who lived through the linear days where one eye was always on the WFM/VS, I thought I knew these devices fairly well, but "Chapter 5: Using Scopes as Creative Tools" taught me quite a bit. ... I truly appreciated the CD-ROM. In addition to the graphics files/tutorial images, the disk also included software tools and plug-ins from companies such as 3-Prong, Boris FX, Digital Film Tools, Discreet, Synthetic Aperture, and Tektronix. There were also full-length interviews with renowned experts. These and the comments made in the book were very useful. ...
Once I made it through the first half of the book (I needed to re-read it a few times), the tutorial segment was superb! I can truly say I have a far greater understanding of color tonality, and feel far less intimidation when confronted with the need to access the color correction/grading tools and do a bit of tweaking. One very nice aspect to the book is the way several different manufacturers' toolsets were used and several different manufacturer's waveform displays were illustrated. This is a book for the experienced editor, and a basic understanding of the technology and editing process is assumed by the writers. I am going to close with a quote -- the very first words in the introduction:
"As technology brings more and more innovations into the edit suite, editors are expected to perform a much broader section of postproduction tasks, including audio sweetening, compositing, graphics, compression and 3D animation -- not to mention editing. Now you can add to this list the daunting responsibility of color correction. Not simply making an image brighter or darker or "legal", but manipulating the picture with a vast palette of tools that have only recently become available on the desktop." If you agree with this viewpoint, this book is a MUST READ! I emphatically state that it is worth the effort.
Rating:
Summary: excerpt from Bob Turner's review in "The Cut"
Review: This review was excerpted from PriMedia's e-newsletter "Bob Turner's 'The Cut.'" A Video Systems Publication and was written by Bob Turner. Ellipses indicate edits from his original text. This book and companion CD is the best book I have ever read on the subject and this goes back a ways! ... As to being a bit intimidated, this book helped me understand why I felt that way. ... Almost 100 pages into the book I was still learning about tools available, the alternative monitoring available and how each works. As a "senior" editor who lived through the linear days where one eye was always on the WFM/VS, I thought I knew these devices fairly well, but "Chapter 5: Using Scopes as Creative Tools" taught me quite a bit. ... I truly appreciated the CD-ROM. In addition to the graphics files/tutorial images, the disk also included software tools and plug-ins from companies such as 3-Prong, Boris FX, Digital Film Tools, Discreet, Synthetic Aperture, and Tektronix. There were also full-length interviews with renowned experts. These and the comments made in the book were very useful. ...
Once I made it through the first half of the book (I needed to re-read it a few times), the tutorial segment was superb! I can truly say I have a far greater understanding of color tonality, and feel far less intimidation when confronted with the need to access the color correction/grading tools and do a bit of tweaking. One very nice aspect to the book is the way several different manufacturers' toolsets were used and several different manufacturer's waveform displays were illustrated. This is a book for the experienced editor, and a basic understanding of the technology and editing process is assumed by the writers. I am going to close with a quote -- the very first words in the introduction:
"As technology brings more and more innovations into the edit suite, editors are expected to perform a much broader section of postproduction tasks, including audio sweetening, compositing, graphics, compression and 3D animation -- not to mention editing. Now you can add to this list the daunting responsibility of color correction. Not simply making an image brighter or darker or "legal", but manipulating the picture with a vast palette of tools that have only recently become available on the desktop." If you agree with this viewpoint, this book is a MUST READ! I emphatically state that it is worth the effort.
Rating: 
Summary: A deficient but useful book
Review: Unfortunately, this is the best book I have found on the subject. The section on vector scopes and wave forms helped me understand those tools for the first time. That alone made the book worth the purchase price for me. Unfortunately, the rest of the book was not as good. The introduction to color theory was superficial at best, and was not tied into the rest of the book as one would expect. The examples of color corrections were somewhat interesting, but would have been more useful if they included more guidance about why each step was taken. I also found the frequent errors in spelling and grammar rather distracting. The book needed better editing. But even with its deficiencies, I found it worth the price -- if only because I couldn't find anything better on the subject.
Rating: 
Summary: Very Basic Information
Review: Web has much much better information than this book. The author has tried to tell everything WITHOUT TELLING ANYTHING. Don't get impressed by the good ratings/nice printing. Borrow the book from library...have a look and then think of buying.
Rating:
Summary: A book many editors have been waiting for
Review: With the proliferation of nonlinear editing systems with increasingly sophisticated capabilities (which go far beyond "editing" these days), editors are being expected more and more frequently to be jacks-of-all-trades. In many cases the editor becomes the effects artist, the audio editor, the music editor, and the colorist. This book, written by two well-known NLE experts, presents the complex topic of color correction in extremely lucid, understandable terms. This is the reference we've been waiting for -- the one many of us WISH was included in the documentation included with the NLE's that have these capabilities, but wasn't. A copy should be on the shelf next to EVERY editing system that has color correction built into it.
| 
