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Rating: 
Summary: A disapoitment for the didital videographer
Review: I found the audience for this book to be elusive. It appears to be aimed at those currently working in major film industry centers on one hand and then at the enthusiast with a digital camcorder on the other. Someone currently working in film-in whatever capacity-probably knows considerably more than is presented in this book. The enthusiast with a camcorder will learn a little, but much of the material assumes a level of knowledge that he may not have. My background is in sound, both production and video post, and running a recording studio the 70s. I then migrated into computers. About five years ago I started getting back into multimedia via web audio and video. I have some clients who want to produce movies using 24p for distribution via film and was hoping to get a view of current industry practice. This book only lightly touches on current technical practice and is incomplete in this area. I have shot some 24p and almost all of my experieence with cvamera work is digital. The information on digital technology is incomplete and in some cases inaccurate and the information on originating on video and finishing on film is trivial. While a few of the interviews are good, most just occupy space and a few are fatuous. Much of the material is dated-such as the interview with Larry Blake, and the references to DNLE (today there are only digital Non Linear Editors). This second edition appears to be some minor material plastered onto the first edition. The first edition was aparently from some time in the middle 90s. The bright spot of the book is an excellent description and explanation of 3:2 pulldown. Overall I found this book very disapointing.
Rating:
Summary: A disapoitment for the didital videographer
Review: I found the audience for this book to be elusive. It appears to be aimed at those currently working in major film industry centers on one hand and then at the enthusiast with a digital camcorder on the other. Someone currently working in film-in whatever capacity-probably knows considerably more than is presented in this book. The enthusiast with a camcorder will learn a little, but much of the material assumes a level of knowledge that he may not have. My background is in sound, both production and video post, and running a recording studio the 70s. I then migrated into computers. About five years ago I started getting back into multimedia via web audio and video. I have some clients who want to produce movies using 24p for distribution via film and was hoping to get a view of current industry practice. This book only lightly touches on current technical practice and is incomplete in this area. I have shot some 24p and almost all of my experieence with cvamera work is digital. The information on digital technology is incomplete and in some cases inaccurate and the information on originating on video and finishing on film is trivial. While a few of the interviews are good, most just occupy space and a few are fatuous. Much of the material is dated-such as the interview with Larry Blake, and the references to DNLE (today there are only digital Non Linear Editors). This second edition appears to be some minor material plastered onto the first edition. The first edition was aparently from some time in the middle 90s. The bright spot of the book is an excellent description and explanation of 3:2 pulldown. Overall I found this book very disapointing.
Rating: 
Summary: No Real useful information
Review: I work in digital production, and bought this book to get some background info before my interview with Sony Imageworks. Unfortunately, it is just a jumble of too general info and gee-whiz diagrams, that wouldn't be useful to anybody. Production pipelines vary from studio to studio, and are constantly changing. There are interviews with some impressive names, but most of it is this starry-eyed look at the digital future. The stupidest thing is the quote from Francis Ford Coppola "I knew it would happen all along". Give me a break! Spend your cash on some magazines like Computer Graphics world for the effects info.
Rating:
Summary: No Real useful information
Review: I work in digital production, and bought this book to get some background info before my interview with Sony Imageworks. Unfortunately, it is just a jumble of too general info and gee-whiz diagrams, that wouldn't be useful to anybody. Production pipelines vary from studio to studio, and are constantly changing. There are interviews with some impressive names, but most of it is this starry-eyed look at the digital future. The stupidest thing is the quote from Francis Ford Coppola "I knew it would happen all along". Give me a break! Spend your cash on some magazines like Computer Graphics world for the effects info.
Rating: 
Summary: The 2nd Edition of this book just arrived!
Review: The Second Edition was published April 2000 and has a considerable amount of material about 24p and transferring DV or HDTV to 35mm motion picture footage. It is also an invaluable guide at gaining some insight into the changing world of film making.
Rating:
Summary: informative, but poorly organized
Review: This book details the process of filmmaking in the digital age. Digital technology has made the creative process easier by streamlining the editing process. Digital technology allows filmmakers to command greater control over the finished product than was possible with earlier analog techniques. The authors describe the filmmaking process in detail, but this reader was disappointed by the poor writing and disorganized presentation. The transitions between the chapters and subchapters weren't always clear. Moreover, long expository passages are punctuated by flowcharts and illustrations that don't correspond to the text on the page. I found myself flipping pages back and forth to compare flowcharts with the text and vice versa. In addition, another problem are the industry insider testimonials that add little new information to the topic at hand. A typical testimonial includes a grainy, out-of-focus pictures-but who really cares what the people look like? Are their testimonials more credible with their headshot than without? The next edition should eliminate some of this unnecessary padding. The book claims to contain the latest information on digital filmmaking techniques and equipment, however the copy I read was copyrighted in 1996. This made me wonder if the book might have missed any developments in the last three years. Perhaps the authors should publish an updated version. The authors need to find a good editor and a technical writer to correct stylistic problems and organize the information into a coherent whole. Nevertheless, someone interested in the technical aspects of filmmaking could glean some useful information from this book.
Rating:
Summary: Will video replace film?
Review: This fabulous book is a must for anyone considering shooting a project on digital video or HDTV. Timely issues are addressed, such as what happens when you shoot video (approx. 30fps) and then transfer to film (24fps). One of the chapters is titled, "24p: Twenty-Four Frames, Progressively Scanned." 24p and video was a major issue at the NAB Convention (National Association of Broadcasters) last April. The book describes the new digital frontier, and also takes time to review traditional film making process. Also, rather than just deal with digital cameras and nonlinear editing, Ohanian and Phillips also take a look at digital technology uses in other areas of film such as storyboard and costume design. There is even a section on the use of Storyboard Quick and an industry viewpoint with Storyboard Quick's co-developer, Paul Clatworthy writing about the future of digital previsualization. These highlighted areas, called "Industry Viewpoints" create compelling interest throughout each chapter where industry experts such as editor Pietro Scalia (JFK-Academy Award for best editing) contribute much insight.Will film editing and other traditional film methods become obsolete is a question the book addresses. The authors point out the many innovations that editors have achieved, moving from film to digital video editing, such as the method of "cheap telecine." Here, the editor uses the conventional flatbed film editor modified to include a CCD camera. Rather than spend thousands transferring at a facility, the editor simply transfers with his flatbed and then edits on an Avid or other nonlinear system. This is so much faster than film editing.Digital Consultant Van Ling points out that "like in many fields, it (digital technology) can be easy to fall into the temptation of the technological imperative it that if the technology is out there, you should be using it or you'll be behind the times." He continues, stating that filmmakers need to focus on "weaving a good yarn." The authors stress that "adoption of a new methodology or a new technology must take into account two issues: 1) does the new way decrease the cost of getting the film into distribution, or 2) is there a different benefit, such as increased creativity?" Any filmmaker who knows how to harness the digital technology with taste and creativity so the story telling is enhanced will be the successful storyteller.The second edition looks at industry standard programs such as Movie Magic Budgeting and unveils many unique features. Digital technology has influenced today's film making from script, budget, storyboarding, and costume design programs to the way the film or digital video is shot. The Director of Photography often has his laptop near the camera with storyboards loaded. Many camera operators now wear on their belt a BE Logger which is a wireless time code reader. The logger detects camera starts and stops for automatic logging of takes. The unit display indicates camera roll, scene, take, time code start, time code out, duration of take and other factors. After a days shooting, the unit is plugged into a master logging software program where all events and attributes are easily manipulated. For instance, it can tell an Avid editor where to cue to a particular scene. Many other digital aids to production are described in the book.What might be of most interest to film makers is the aspect of shooting on digital video or HDTV and transferring the final product to 35mm motion picture film for theatrical release. The authors cover this topic thoroughly by looking at many different avenues to shoot and methods of film transfer, including interviews with lab and sound professionals. The various aspects of conversion and quality of the sound track is expertly covered. This is now a very popular way for independents to produce features for about $100,000. Most theaters don't have digital projectors yet so this section of the book will be very valuable to a producer who is contemplating digital to film as a method of production.Included in the book is a lengthy discussion of the Association of Independent Commercial Editors (ACE) in June 1999. A full transcript of the event with streaming audio is available at www.24p.com. This book should be required reading for those in the industry and will be an invaluable reference for upcoming productions.
Rating:
Summary: Will video replace film?
Review: This fabulous book is a must for anyone considering shooting a project on digital video or HDTV. Timely issues are addressed, such as what happens when you shoot video (approx. 30fps) and then transfer to film (24fps). One of the chapters is titled, "24p: Twenty-Four Frames, Progressively Scanned." 24p and video was a major issue at the NAB Convention (National Association of Broadcasters) last April. The book describes the new digital frontier, and also takes time to review traditional film making process. Also, rather than just deal with digital cameras and nonlinear editing, Ohanian and Phillips also take a look at digital technology uses in other areas of film such as storyboard and costume design. There is even a section on the use of Storyboard Quick and an industry viewpoint with Storyboard Quick's co-developer, Paul Clatworthy writing about the future of digital previsualization. These highlighted areas, called "Industry Viewpoints" create compelling interest throughout each chapter where industry experts such as editor Pietro Scalia (JFK-Academy Award for best editing) contribute much insight.Will film editing and other traditional film methods become obsolete is a question the book addresses. The authors point out the many innovations that editors have achieved, moving from film to digital video editing, such as the method of "cheap telecine." Here, the editor uses the conventional flatbed film editor modified to include a CCD camera. Rather than spend thousands transferring at a facility, the editor simply transfers with his flatbed and then edits on an Avid or other nonlinear system. This is so much faster than film editing.Digital Consultant Van Ling points out that "like in many fields, it (digital technology) can be easy to fall into the temptation of the technological imperative it that if the technology is out there, you should be using it or you'll be behind the times." He continues, stating that filmmakers need to focus on "weaving a good yarn." The authors stress that "adoption of a new methodology or a new technology must take into account two issues: 1) does the new way decrease the cost of getting the film into distribution, or 2) is there a different benefit, such as increased creativity?" Any filmmaker who knows how to harness the digital technology with taste and creativity so the story telling is enhanced will be the successful storyteller.The second edition looks at industry standard programs such as Movie Magic Budgeting and unveils many unique features. Digital technology has influenced today's film making from script, budget, storyboarding, and costume design programs to the way the film or digital video is shot. The Director of Photography often has his laptop near the camera with storyboards loaded. Many camera operators now wear on their belt a BE Logger which is a wireless time code reader. The logger detects camera starts and stops for automatic logging of takes. The unit display indicates camera roll, scene, take, time code start, time code out, duration of take and other factors. After a days shooting, the unit is plugged into a master logging software program where all events and attributes are easily manipulated. For instance, it can tell an Avid editor where to cue to a particular scene. Many other digital aids to production are described in the book.What might be of most interest to film makers is the aspect of shooting on digital video or HDTV and transferring the final product to 35mm motion picture film for theatrical release. The authors cover this topic thoroughly by looking at many different avenues to shoot and methods of film transfer, including interviews with lab and sound professionals. The various aspects of conversion and quality of the sound track is expertly covered. This is now a very popular way for independents to produce features for about $100,000. Most theaters don't have digital projectors yet so this section of the book will be very valuable to a producer who is contemplating digital to film as a method of production.Included in the book is a lengthy discussion of the Association of Independent Commercial Editors (ACE) in June 1999. A full transcript of the event with streaming audio is available at www.24p.com. This book should be required reading for those in the industry and will be an invaluable reference for upcoming productions.
Rating: 
Summary: Covers a lot of difficult technical ground
Review: While the writing sytle and the overall style of the book seems to ramble, there's actually a whole lot of very important technical information being covered in this book.
It's reassuring to me to have industry specialists writing a technical book as well as interview other working professionals. While the 1st edition might seem a little dated, the 2nd edition includes more information on 24P HD, among other things. The film information is very thorough and well-explained, and that's not usually the case! The same is true for the various audio issues to consider both in the field and in post. It's also one of the few books that provides information on the use of film timecode.
Rating:
Summary: A Commercial for Avid
Review: Written like a bad stereo manual and padded with self-serving industry interviews, this title is an in-house product of Avid Press, and is an unabashed commercial for their system. Just one chapter is devoted to HDTV, with nothing useful about how to actually shoot in this medium, and there is no coverage of DV moviemaking at all. If you plan to shoot on 35 mm and rent an expensive Avid nonlinear editing suite for all post-production, then you are the target audience for this book. If you don't have a multimillion dollar budget, and wish to shoot on DV, using the cutting-edge desktop editing systems that will soon put Avid out of business, then don't waste half a c-note on this book...
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