Product Description

Customer Reviews (8)

great book!!!
Very helpful book. ordered it a few years ago on amazon and I still refer back to it.
Overall, it's VERY VERY helpful.

Awesome Condition
When I bought this used book the detailed description of this book said acceptable, and the price $1.25. Let me just say I was more than satisfied when I received this book. I was expecting an okay book, but it was in excellent condition, and the price amazing! I wouldn't have even known it was a used book. It even arrived earlier than expected. I highly recommend this seller. Thanks a million.

An academic view on film
In Film: An Introduction William H. Phillips of the University of Wisconsin gives a very comprehensive and enormously broad view on the art of filmmaking. Every aspect imaginable of film is addressed, although most of the time in a very introductory manner. This book is clearly mostly intended to an audience of future film critics, then to aspiring filmmakers. Nevertheless it succeeds very well in its main purpose of giving an introduction to film.

Acceptable
I bought this book for a film course at school.Contains many helpful images demonstrating film technique and cinematography.I do feel, however, that better books on the subject exist which can compare and relate classic films to modern.

Fantastic book. Blown away.
This is an older edition of one of the greatest film books ever written. This book is massive and helpful. Gives insight to hundreds of different film concepts, acknowledges countless incredible films, and jump starts your brain's creative and analytical film knowledge. Great buy!

-Dr. Kenneth ... Read more

Product Description
While Pixar Animation Studios was creating beloved feature-length films such as Monsters Inc.Ratatouilleand WALLïEit was simultaneously testing animation and storytelling techniques in dozens of memorable short films. Andre and Wally B proved that computer animation was possible; Tin Toy laid the groundwork for what would become Toy Story; and Mike's New Car exposed Pixar's finely tuned funny bone. In The Art of Pixar Short Filmsanimation expert and short film devotee Amid Amidi shines a spotlight on these and many more memorable vignettes from the Pixar archive. Essays andinterviews illuminate more than 250 full-color pastelspencil sketchesstoryboardsand final rendered frames that were the foundation of Pixar's creative process. ... Read more

Customer Reviews (7)

Great Process!
This is one of those books revealing the creative process! If you own the DVD of the Pixar shorts, look at the sections for each video before viewing. It's a real treat!

Very Creative -
I'm fascinated by computers and animation, thus reading "The Art of Pixar Short Films." The material describes the early days at Pixar when they were learning the art of/how to regarding computer animation. Very difficult, even impossible, at first, but so much better than the early Disney days. Sometimes years of work were required for the short films - mostly to develop the new computer techniques. Fortunately, the group of pioneers at Pixar were given that freedom by first George Lucas and then Steve Jobs. Computerized animation is no child's play, and the results are so good that with a decent plot they also appeal to adults.

My only reservation about this book is that it doesn't go deeply enough into the details of how the automation works, nor provide samples before and after the techniques. I guess that's material for another book.

Art of Pixar is truely Art...
This book has a great combination of finished art and sketches. It also has a nice lead in to what it takes to be a strong animation company in this tough competitive industry.I love the book and think it is a must have for any Pixar fan, Artist, and general animation junkie alike... Buy it you wont regret it.Z

A must have!
Tjis book is a real "must have" book, for all Pixar fans... and all people who like "behind the scene" books.
It contains great and numerous illustrations and texts.
What else to add? "When the history of next Pixar shorts (after "Lifted")will be published?!?" perhaps? Hehe!

The Story of Pixar, Told Through Its Short Films
Pixar started as a short film studio. While now the most successful modern animated feature-film studio, its roots were in the shorts, and they have continued to produce shorts, many of them pioneering new techniques that were later used in one of the full length movies. The Art of Pixar Short Films provides a concise, yet comprehensive, history of Pixar and then launches into hundreds of pictures, sketches, computer art, and storyboards for 13 shorts. Beginning with The Adventures of Andre and Wally B. from 1984 and going through Mater and the Ghostlight from 2006, the book presents the many different styles used by Pixar, its artists and directors. There are rough sketches presented next to the final stills, showing how the initial vision was translated into computer art.

While not as wonderful as seeing the films themselves, The Art of Pixar Short Films is a great addition to an animation fan's collection.
... Read more

Product Description

Customer Reviews (4)

43 Ways to Finance Your Feature Film
Concise, to the point and very interesting.I knew quite a bit of it, but the author pulls no punches and gives great suggestions and warnings.

Worth the price of admission.

Every Independent Filmmaker should have this book!
I've gone through this book from cover to cover and find it invaluable. Mr. Cones is very thorough in has coverage and assessment of the different ways to finance a film. He explains securities, as well as non-securities financing on a level that is appealing to both the beginner, as well as established film makers. In addition, he explains the popular business structures and how they can benefit your film. Most important, Mr. Cones writes with ethical candor. He tells you about some of the schemes that go on in Hollywood and gives you advice on what to avoid. Do yourself a favor, go out and buy this book!

Esentially Just What It Says.
This is basically just a list of ways to finance a film.Each method is listed with advantages and disadvantages, most of which you could easily discern for yourself. If you are looking for something that reveals some insider secret to financing your film, this is not it.Does give some informative terminology, but nothing you couldn't find in any number of other books.If you are new to the business, I recommend something a little more in depth, even producer production notes will be more helpful.If you're a pro, this will give you no new insight.

A resource for producers new and old
How helpful this book is depends on how "green" you are about the film industry.Those with little to no knowledge about film production will find the book resourceful, informative and very"to-the-point" about the different types of financing available. The advantage/disadvantage sections are especially concise--it's alwaysgood to see both sides when it comes to deals potentially worth millions. The "further reading" sections at the end of chapter are alsohandy, if you want to do extra research on your own.

For those who areexperienced film producers (or even those who have finished rigorous filmproducing and/or entertainment business academic programs, such as myself),the information may repeat many things you already know.Many of thestrategies in this book I've learned about in producing classes and filmfinancing seminars--and I'm just starting my career.So I'm sure that someseasoned producers may think this book is reinventing the wheel. However, Idid think that the sections dealing with the different securities andcorporation options were very informative as far as how they impact yourtax status, the difference between active and passive investors, how yourautonomy as a filmmaker/producer may be affected, etc.It breaks down alot of tax legalese into layman's terms.

Overall, I recommend thebook--as a primer for new producers and students, and as a great referenceguide to those with experience. ... Read more

Amazon.com Review
Book Description
Director J.J. Abrams’ new vision of the greatest space adventure of all time, Star Trek features a young, new crew venturing boldly where no man has gone before, as it tells the story of how the brash Starfleet cadet James T. Kirk first meets a Vulcan named Spock, and earns the Captain’s chair of the Starship Enterprise. The film quickly became a critical and commercial smash hit worldwide, as audiences — confirmed Trekkers and newcomers alike — thrilled to a state-of-the-art action epic which both respected the legacy of Gene Roddenberry’s archetypal modern myth and forged ahead into an exciting future of its own.

Star Trek: The Art of the Film is a lavishly illustrated celebration of that new vision, tracing the evolution of the movie’s look through a stunning array of previously unseen pre-production paintings, concept sketches, costume and set designs, unit photography and final frames.

Written by New York Times-bestselling author Mark Cotta Vaz in close co-operation with the film’s production team, and including a Foreword by J.J. Abrams, this is the essential companion to the film.

Look Inside Star Trek: The Art of the Film

Click on thumbnails for larger images

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... Read more

Customer Reviews (17)

Trek: Art of the Film Rocks
I purchased the Star Trek: Art of the Film when I had spotted the $19.77 price tag. I had been interested in the book, but preferred not to pay the original price tag.

This retrospective book is quite possibly the prettiest Art of Trek book I've ever checked out.

Concept art, renderings, digital photos/set photos, creatures, the characters, the ships are all explored and shown in the book. I particularly liked the glimpse at the USS Kelvin with the bridge photos, crew uniforms, and renderings of the vessel.

I'd recommend the book to either a Trek fan or a science fiction art fan.

Star Trek (XI): The Art of the Film - Shows How Good The Film Could Have Looked
This book shows the chosen as well as the rejected designs for the 2009 Trek film (11th in the series).
Had the film utilized some of the discarded designs the film would have looked more like it belonged in the Trek universe.
Excellent book.

Just like being there.
Having been fortunate enough to have been part of the production, I am happy to say that this is as close to the behind the scenes experience as actually being there. The production quality of this tie-in book is top notch with many comments from the director, actors and designers. It is great to be able to share all the love and hard work of the cast and crew in this wonderful book. I highly recommend it. Enjoy!

Great Start, but Need More!
Like others have already mentioned, this book is a great concept and executed well, except that it is very thin on included material.

Each different category of artwork that is explored (sketches of the Enterprise, uniforms, aliens, sets, etc.) are only given one or two pages of space at the most. I for one would have greatly enjoyed seeing the evolution process of getting from the original Enterprise to the new Enterprise explored in much more detail rather than the few random sketches we are given. Why were some of the decisions that were made made? All the different sketches/paintings of different aliens were fine, but most of those were not actually seen in the movie. It's good to see the concepts but again, why were some in the movie, but others weren't?

Don't get me wrong, I liked the book and do not regret purchasing it, but I would have loved to have seen a lot more meat to it, even if it meant at a higher price.

Skinny On Material
Enjoyed the book, but it comes up awfully short on the subject matter. The design for the Enterprise, for example, could have been far more in-depth considering how iconic it is. Just would have liked to have seen more, higher price would have been worth it. ... Read more

Product Description
This text looks at film from part to whole--from the shot and the cut to the cultural, political, and economic contexts in which films are made. "Teaching Film is about getting control of the image and handing that control over to students," argues author Robert Kolker, and that's just what he does in his teaching and writing about film, including in this outstanding textbook and DVD-ROM package.

The new edition includes more detailed discussion of the shot, composition, editing, and genre; a thorough discussion of the technical and aesthetic changes resulting from film's digital transformation; and a revised discussion of the cultural context of film. The companion interactive DVD-ROM includes segments from classic and contemporary films, with explanatory text, stills, and animations illustrating key film elements and strategies. ... Read more

Customer Reviews (2)

Totally Satisfied
I received this book a lot sooner than I expected, which was perfect because it was for a class that was starting very soon after I ordered it.I received the book in what I think is much better quality than the seller posted.I was 100% satisfied and highly recommend this seller to everyone.

Great resource for teaching
I bought this book along with a few others and it has truely helped me develop a curriuclum for my high school Art of Film class. The DVD examples help to visually understand the concepts and I enjoyed it for my own knowledge as well. ... Read more

Product Description
Rise in public interest fuelled by TV shows such as Most Haunted, about to broadcast its 9th series and Afterlife, averaging 6 million viewers.

This is the only book of its kind showing the paranormal caught on camera.

Contains intriguing images investigated by the Society for Psychical Research.

Ghost Caught on Film presents an extraordinary collection of strange and unexplained photographs that offer the exciting possibility of ghosts and paranormal activity captured on film. The book features early photographs from the Society for Psychical Research of psychics and mediums producing ectoplasm, ghost pictures and other paranormal phenomena as well as celebrated modern images such as the Hampton Court ghost. Each picture is accompanied by a description of its circumstances and the steps taken by Willin, the Society for Psychical Research and the Royal Photographic Society to establish that there is no `normal' explanation for the phenomena. The incredible photographs will stimulate the interest of everyone who sees them. Whether you are a complete sceptic or a semi-believer, you can't help but be drawn into the mystery. ... Read more

Customer Reviews (9)

An Interesting Look at Paranormal Pictures
Ghosts Caught on film is a little book, but it is a nice little book. The book features pictures that may or may not be paranormal and also discusses the background of the pictures. It draws no conclusions, allowing the reader to draw their own conclusions.

This isn't a big long read - but it is a nice quick book that can spark discussion. It allows you to decide what it is that you believe. Are the pictures ghosts, or are they something else entirely?

Ghosts Caught on Film
I was shopping at a local bookstore and my eye was caught by this book. I thumbed thru various pages and I couldn't put it down, so I purchased it right away. I'm not paranormal expert but I give everything a chance. The book is beautifully designed, it could fit perfectly on a coffee table. I enjoy how you see the picture and the author disects each picture, some do look fake but some look real. There is at least a hundred or more in this book. There is not much left out of this book, everything is explained and it's up to you to deicide wheter it's real or fake. I highly recommend this book if you enjoy books on paranormal activity.

Interesting and Objective
Ghosts Caught on Film is a very cool book.The photos are all interesting to see, and the text is concise and objective, sometimes looking at the weaknesses of a paranormal claim, sometimes admitting that there might be something to it.Anyone who loves the paranormal should look through this book.

entertaining..good photos and lets you decice for yourself
this book was really entertaining and had some really good pictures and stories. what i like best about it is that it really lets you decide and judge for yourself without pushing you one way or the other, it just gives you the photo and facts.its a really cool book and i have been a big ghost believer for many years and read countless books my whole life on the subject.i keep it on my coffee table because its that cool and every time someone comes over they gravitate towards it.everyone who has looked at it has really liked it and its definitly a great conversation starter :) long story short i reccomend it and think that if you are interested in the paranormal its a great book to have.

Impressive
I own this book and I found it quite interesting. There was alot of work put into it. I liked it. ... Read more

Product Description
The Technique of Film & Video Editing provides a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Analyses of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor. This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice.This new edition has been updated to include the latest advances in digital video and nonlinear editing and explores the new trend of documentary as mainstream entertainment, using films such as "Farenheit 9/11" and "The Fog of War" as examples.

* Learn how to strengthen your story and engage your audience through the editing process
* Examples, analysis, and film stills from great movies
* Includes a new chapter on the impact of documentaries ... Read more

Customer Reviews (3)

Strong on Theory
This book provides an excellent overview of the history of editing - from its origins to where we are now. It also includes a substantial cross-section of specific genres: action, comedy, documentary, etc. It's true, as other reviews have pointed out, that the examples tend to be biased toward older films. I didn't have a problem with this for the most part. Many of these films are excellent and it makes for the perfect excuse for a rainy Sunday Netflix fest.

Dancyger's book is also strong on the theory of editing. I didn't agree with all his propositions, but they certainly got me thinking about my own editing projects and the editing technique of films I admire. Where the book falls a bit short is the practical side. I wasn't expecting a manual, but the book could use a few more real life examples and practical techniques - especially in the documentary chapters.

One last thing: this isn't a book to be read on its own. I gained the most from Dancyger's examples when I watched the films he refers to. If you don't borrow, buy or rent the movies and watch the referenced films you'll miss out on a major component.

M. Sean Kaminsky, Author, Naked Lens: Video Blogging & Video Journaling to Reclaim the YOU in YouTube

Dry as A Bone
The Technique of Film and Video doesn't really know what it wants to be.

It over emphasis on editing history and early theory would simply overwhelm first time editing students and outright bore those familiar with the craft.

As a film student, I know the importance of film editing, but this entry fails to generate any interest for the technique and the practical implications for film editing.

It's been said not to judge a book by its cover, and this one is no different. A screen capture of "Brokeback Mountain" does nothing to offset the heavy emphasis on film pre-1960.

Just my two cents.

Not Great
I had to buy this for a film editing class.I'm only about 2 chapters in so far, but I'm thoroughly disappointed.Dancyger seems to prefer directing techniques over editing techniques, and definitely theory over practice.The first two chapters are reiterating the basics of film history with many techniques used in the classics by Melies, Porter, and Eisenstein.I've learned so much about film history and SO LITTLE about editing technique I am definitely disappointed and unenthusiastic about reading more. ... Read more

Product Description
This definitive handbook explains how a script is transformed into a motion picture or television program. Readers will learn the methodology and craft of the script supervisor, who ensures that the continuity of a film, its logical progression, is coherent.



The book teaches all vital script supervising functions, including how to:
.prepare, or "break down" a script for shooting
.maintaining screen direction and progression
.matching scenes and shots for editing
.cuing actors
.recording good takes and prints
preparing time and log sheets for editing

This revision of an industry classic has been updated to reflect changes in the film industry in recent years, including the use of electronic media in the script supervisor's tasks. While it is written for the novice script writer, it can serve as a valuable resource for directors, film editors, scriptwriters and cinematographers.
... Read more

Customer Reviews (11)

this book rocks itza mothaf
so good better than sex love pat miller love to stick my quill in her ink well.

Couldn't be happier
Great book to start learning the craft from.It would help to include some of the modern technological advances, such as programs to do all the paperwork / script work on the computer.But other than that, fantastic.

P. Miller and Script Supervising
This book is theBIBLE of the Script Supervisors book to purchase.If you are looking for a Internet class to take on Script Supervising you can use this book in the class!Internet classes are available at Riverside Community College and also Saddleback College for those interested in learning Script Supervising taught on your own home PC or laptop and classes run 8 or 16 weeks depending on what semester you sign up.Great class!!!!!Highly recommended.

New to Script/Continuity Supervising
I'm new to Script supervising and I've learned a wealth of information. I highly recommend this book.

Necessary resource, if unglamorous treatment
Miller's book provides the necessary foundational data one will need before getting into script supervising. Her writing doesn't exactly scintillate with humor like some of the new "guerilla filmmaking" books out there today -- she tends to write like a 1950s schoolteacher, precise and methodical -- but in an admittedly esoteric specialization of the industry where there are only a few books on the topic available, you really don't have a lot of options and you'll need this book. It's NOT sufficient for giving one the complete training needed to actually work as a script supervisor, however. Whoever wrote that you can learn what you need to know "on set" is just asking for trouble -- it's like thinking you can read a book on piloting an airplane and just get behind the yoke and learn "what you need to know" in the air. On a "real" film set (not some zero-budget digicam or student project that no one will ever see) mistakes are EXPENSIVE. Mistakes by a poorly trained s.s. can cost thousands of dollars (not including the cost of therapy when the director and editor go bonkers trying to cut the film from the scripty's notes.) Trying to learn on a "real" set could make it the first and the last real movie set you'll ever work on. I value Miller's book but it must be combined with a good course of study with a real-life teacher who can answer your questions. A course that includes on-the-job training and followup and information on how to research and obtain real jobs doing script supervising is critical -- obviously no book can contain all this. I found Jim Kelly Durgin's course to be helpful in this regard, and there may be others out there too if you look for them. BTW, I don't feel that the 3rd edition of the Miller book is substantially different or better than the 2nd, so if you need to save some money, you'll do just fine with the2nd edition. I agree that she is old-fashioned (she doesn't deal _at all_ with the new continuity software on the market, a huge omission) but, again, there aren't that many books about this subject readily available. ... Read more

Product Description
Part technological history of the emergent new media in the late nineteenth century, past theoretical discussion of the responses to these media - including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators - Gramphone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, and the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. ... Read more

Product Description
This is the real Hammer story: Wayne Kinsey presents an oral history detailing the fascinating biographies of Hammer's key players, many telling their stories for the first time in all new interviews specially commissioned for this book. This is their fascinating story. From the lowly tea boy to the most vociferous producer, each made their own unique contributions to a group of films that have since achieved cult status around the world. We will learn about their trade and their achievements but above all see their valued place in the Hammer puzzle that became the envy of the British film industry.The key to Hammer's success were these talented individuals. A group of unsung heroes and experts in their fields, they came together by chance to form a well oiled machine producing lavish looking features at miniscule budgets. For some, their work at Hammer would be the stepping stone to bigger things (even Oscars!); all moving on to make major contributions to international film and television.Crammed with 1000 blood rare behind the scenes photos, read this and you'll see why Hammer's films achieved a standard that other rival companies could only dream of. Written by the highly acclaimed Hammer expert Wayne Kinsey, this book goes where no book on Hammer has ever gone before, and provides an understanding of life at this famous studio that is more accurate than any previously published accounts! ... Read more

Product Description

Customer Reviews (5)

Fade to Black -- Nothing But Night
This is an impressive book of film criticism by a scholar who is knowledgeable and enthusiastic, but most importantly capable of writing in accessible prose that does not require a semester long course in film studies to understand. Foster Hirsch's book has withstood the test of time and it remains relevant almost three decades after its initial publication.

There are a minimum number of minor errors in the text, (usually simple transpositions of the names of cast and crew members), but it must be remembered that Professor Hirsch completed his original manuscript before films were widely available on videotape for home viewing. Hirsch actually had to seek out hundreds of film titles to view in a screening room and write his impressions from memory afterwards. I especially appreciated Hirsch's editorial decision to include ample material on the novelists and short story writers who provided much of the literature that gave rise to the film noir cycle.

The latest edition of the book includes an afterword added by the author which revisits older topics, examines film titles omitted from the original book and delves into the rise of the "Neo-noir" genre of filmmaking.

I highly recommend this book for any film noir enthusiast. I had the good fortune to meet Foster Hirsch at a recently concluded film festival where he spoke and I had the opportunity to converse with him. Reading the high quality essays contained in this book is the next best thing.

One of the 1st Film Noir Books. Still a Solid Introduction.
First published in 1981, "The Dark Side of the Screen" was among the first books in English on the subject of film noir. Author Foster Hirsch revisits that time before film noir was a fashionable subject in his introduction to this 2001 edition. More than 2 decades after its publication, "The Dark Side of the Screen" is still a solid introduction to film noir history, although it lacks discussion of the neo-noir films that have been made since its publication and has not been influenced by more recent theories. If you are new to classic film noir, this book is not a bad place to start. It is very readable, discusses or mentions over 100 films, and the large format (8.5"x11") allows for over 180 black-and-white photographs. "The Dark Side of the Screen" contains basic information on the film noir movement that you are likely to find in any good introductory text, so it's not intended for those already well-versed in the subject.

In eight chapters, Hirsch follows the film noir movement through its classic period, 1941 to the late 1950s, until its self-conscious revival in the 1970s. "The Dark Side of the Screen" starts out with an overview of typical noir themes and summary of the style's evolution, then takes a step back in time to film noir's sources, obvious and alleged, in American hard-boiled crime literature, German Expressionist art, and Italian Neo-Realist cinema. Hirsch summarizes noir's narrative and visual style before discussing key directors, mainly German émigrés and Americans, and many of the important names among film noir actors, with analysis of the typical film noir acting style. The book concludes with a useful, though occasionally forced, attempt to categorize film noir's basic narrative patterns and central figures and a brief discussion of neo-noir.

Like all historians and theorists, Foster Hirsch has opinions. His assertion that film noir is a "genre" and his presumption that its low-key lighting is "borrowed directly" or "clearly indebted" to German Expressionism become increasingly controversial as time passes. I mention this so that film noir aficionados know where he's coming from and to caution tyros that many ideas about film noir are controversial, so take everything with a grain of salt until you've formed your own opinions. But there is no reason not to start forming them with "The Dark Side of the Screen", which provides a nice overview of the classic film noir movement and lots of good film recommendations.

Dark Side of the Screen is shining light!
Hirsch's brilliant analysis of the antecedents, key period and legacy of noir remains perhaps the finest single work on the subject. Not as funny or entertaining as Eddie Muller's 'Dark City', but a major work that pre-dates many inferior later studies. Especially notable is Hirsch's use of stills, his choice of key scenes (e.g. Panic in the Streets, the Phenix City Story, Scarlet Street) skilfully differentiates between studio shot film noirs and pseudo-documentary/location filmed noirs.

Highly recommended for serious lovers of the genre (not room enough here to debate whether film noir is a genre or not!) and ranks, for me, alongside Paul Schrader's legendary 'Notes on Film Noir' essay (1972) as the single most important piece of work on the subject.

The Best Introduction to Film Noir
This book is the best of several I have read recently on film noir. It strikes the right balance between being thorough and accessible; not nearly as dry and academic as some others.One of the main elements of noir isits distinctive visual style, and this book has dozens of excellentphotographic stills, which enable the reader to understand the style in a way that text descriptions could never duplicate. The author does anexcellent job of placing noir in its historical context, without assumingthe reader has prior knowledge of German Expressionism, hard-boiled fictionor any other influence. The book ends with a list of 120 or so classicnoirs; this alone is worth the price of the book.I have seenapproximatelyone-half of the movies on his list and every single one hasbeen excellent. For anyone interested in gazing into "The CrazyMirror," this is the place to start.

This book contains an excellent account of noir stylistics
I found this book to be a concise and relevant exploration of the history, style and themes of film noir. It was immensely helpful as a research source for an essay I did on noir styles and themes. With clearexplanations and pictorial examples it bestowed upon me a clear and preciseunderstanding of the genre. ... Read more

Product Description
Producing and Directing the Short Film and Video is the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations.

* Unique approach to filmmaking which looks at the process from the director's and producer's point of view--each chapter is subdivided into sections covering the producer's and director's POV
* Features case studies from award-winning short films that will inspire you to make your own
* A companion website contains useful forms, information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations

... Read more

Customer Reviews (22)

AWESOME!!!
I ordered this used book on a Sunday, it was mailed that Monday and I received it Wednesday. The book is used, but in EXCELLENT shape. It looks, feels and smells BRAND NEW. Love love love this company and I will order from them again, definitely!!

Yvette B.

Exhaustive overview of the entire process
I've read many books on creating short films and directing.

This book is more about the theory and a higher level understanding of the "how to"... and I love it.

I got so many ideas from reading this book, things that never quite clicked before that now do.

I've spent some time helping local businesses create commercials for their company, and after reading this book and learning some of the more advanced techniques, it's going to change how I approach things.

The part about having everything have a "mini story" is just so enlightening that it changes how I approach everything.

I'm still slowly working away at a script for an animation, and it's books like these that cause me to never complete it (you just get so many ideas and ways to improve things).

This is the kind of book that you'll read and gain some tip or insight that'll change how you approach something.

I recommend picking up this book if you're new to producing films and directing.You'll get a great sense of what is required, tips and tricks on things to implement, and be well on your way to producing impressive digital shorts.

This isn't the only book you'll ever need, but it is one HECK of a start.Especially if you're learning this in your spare time (like me), and piecing together things as you go along.This book is a real eye opener, and can't recommend it enough for budding film makers.

(Both those who wish to produce live action films or digital shorts).

A textbook reference rather than a home video editor's guide
Before I begin, let me admit that I mistook this title to be one of the many how-tos on home video production. This is anything but.

It is not an understatement to say this is as complete a treatment of the art of movie making as I have ever encountered and is geared towards the serious student of professional film making. Unfortunately, I'm at most a dabbler in the art.

Fortunately for me, I'm an avid fan of cinema, and so this book did give me a deeper glimpse into what goes on behind the scenes of movie-making - a lot deeper than what the "Making Of" snippets that I'd find on movie discs.

For instance, in the chapter that covers the actor, you learn how stand-ins work to help you practice your camera movements, the importance of keeping your actor comfortable, and how to help guide your actor to perform (tight shots require less performance, and guiding an actor's eye line), and how apple boxes can be used to make an actor seem taller. In addition, you see how the assistant director creates "mini-stories" for the background characters in a scene (such as a crowded bar) so as to create a natural looking scene within which the primary and secondary characters perform. What's cool is that I didn't realize that the extras in such scenes are simply required to mime their actions (such as laugh without making a sound). The actual sound is added back in during post production.

As you can tell, there's a wealth of information in this book - but make no mistake - it's neither a coffee table book, nor is it a casual read. It feels and reads (and even weighs) like a textbook, and would be brilliant when used in a course.

Happy Reading!
~Damodar

Fine textbook for serious filmmaking and videography students
In addition to looking inside Producing and Directing the Short Film and Video via Amazon's "look inside this book" feature, you can look at quite a bit more of the 3rd edition at Google books.

The authors are Associate Professors at NYU's Tisch School of the Arts, and their book is an excellent textbook for introducing informal DIY and formal in-school students to the complexities of producing and directing short films and videos. (The 3rd, 2006 edition of PDSFV is the sole required textbook for a course in film production taught by Terry Linehan for the Film Studies department of the University of North Carolina-Wilmington.)

The textbook is comprehensive as a glance at the table of contents indicates, and it is a book to be used for serious ongoing study and reference - to compliment actual work on a project (enter "the School of Hard Knocks" and "efficio cognosio," "learn by doing," as the authors emphasize in the preface to the 4th edition) - rather than for a cover-to-cover word-for-word read through (which isn't to say that someone with more focus, discipline, energy and ability to quickly absorb large quantities of information than I couldn't do that with benefit).

The book is about 8 1/2 x 11 and lays open flat. It does not include a DVD but does give readers access to a companion website (where one must register with a user name and password and enter a passcode from the book) that includes links to several short videos as well as their scripts (in doc. format).

Another excellent book from Focal Press for the serious student of filmmaking and/or videography.

Extordinary Guidance. A must have! -- if you're going to make a real film
This book should have been a required text book for school (in any film production course)! I really could have used this when we shot our student short film ($15,000 budget) on Super 16 film; the whole experience itself was a great learning experience, but if I had this book for support, I would have felt more comfortable on what I needed to do and to expect from other crew members.

This book breaks down everything in detail from start to finish; getting the idea, budget (has humor about catering of not just offering pizza because it would end up being a "pizza film" and definitely have salad -- very true! need to keep the crew happy), getting crew members, what each crew member specifically needs to do, figuring out the whole production and style of the film, the audio, workflow, etc. It's organized and it has samples, templates, some black and white pictures, and many great advices/quotes.

The book may be a little too overwhelming to a total beginner -- there is a lot of information -- but if filmmaking is your passion, you'll love it. For me, it is currently the Bible of how to make films.

It's imperative to have good teamwork and communication in filmmaking; even if you're not going to be the director/producer, it's very beneficial to know what every department does.

It's definitely a must have for students planning on making a film. It's more guidance than my professors ever really explained in my years of taking film classes (sad, but true).

I don't know if this was a mistake, but I was a little confused here:
on page XIX, it says "(see Figure 1.1 for producer's responsibilities)" but I don't see any other 1.1 figure besides on page 4 of "two hungry diners, from The Lunch Date."

... Read more

Product Description

As almost (or, truly, virtually) every aspect of making and viewing movies is replaced by digital technologies, even the notion of "watching a film" is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media competing for an audience, what will happen to cinema--and to cinema studies? In the first of two books exploring this question, D. N. Rodowick considers the fate of film and its role in the aesthetics and culture of moviemaking and viewing in the twenty-first century.

Here Rodowick proposes and examines three different critical responses to the disappearance of film in relation to other time-based media, and to the study of contemporary visual culture. Film, he suggests, occupies a special place in the genealogy of the arts of the virtual: while film disappears, cinema persists--at least in the narrative forms imagined by Hollywood since 1915. Rodowick also observes that most so-called "new media" are fashioned upon a cinematic metaphor. His book helps us see how digital technologies are serving, like television and video before them, to perpetuate the cinematic as the mature audiovisual culture of the twentieth century--and, at the same time, how they are preparing the emergence of a new audiovisual culture whose broad outlines we are only just beginning to distinguish.

Product Description

Customer Reviews (4)

So Far, the best book I've read on raising money for Films!
If you are interested in raising money for films, I highly urge you to go out and buy this book, seasoned veteran or rookie will learn new tricks and strategies.It's loaded with information and written in an intelligent, concise manner.I am treating this book like my bible and reading it, highlighting it, taking it everywhere.My plan is to read the book until it's memorized.:)

BUY THIS BOOK! IF YOU WANT TO RAISE MONEY FOR FILM!!!

By the way, I also got ideas on how to raise money for other projects, with the info in here.

Thank you Adam P. Davies!

Not Much Meat, Lots of Bone
I really wanted this to have some new updated sources of information, but the book is just hundreds of pages of the same stuff found elsewhere.There are anecdotes and "stories" that somehow are supposed to be examples of how film budgets work, but instead come across as boring and sometimes irrelevant.A good portion of the book deals with territories and information about their respective film commissions, etc. which is okay, but again you can find that somewhere else... I mean who cares about how to sell a film to Fiji Islands?

If you're looking for some really solid budget finance books, you should start with Film & Video Budgets (4th Edition) by Deke Simon, or Film Budgeting by Ralph S. Singleton.These books constitute far superior data regarding budgets.

misleading title
If you're looking for a book that helps you to produce a micro-budget independent film, this one is for you. The book explains how to cut corners, keep costs low, so that prospective money people will be attracted to your project. However, accept for government agencies or foundations, which oftentimes support documentaries, no other sources of funding are available here. If you're trying to find funds for a low-budget, feature-length film, you won't find the answers here. You're still on your own. Suggestions range from tapping your cards to hitting up family and friends. But there are some tips on inexpensive ways tomake it seem like a Hollywood movie.

A bible on the topic
The new global edition of The Film Finance Handbook: How to Fund Your Film is a bible on the topic. Set out in straightforward language the book is an extensive guide for those new to the industry and seasoned professionals alike. For the filmmaker starting out, the book not only guides you - using simple analogies and a dash of humour - through the complex world of film finance, it also considers the important but often overlooked practical areas of research, networking, pitching and negotiating. For the experienced producer it contains a wealth of up-to-date and timesaving information, most notably an exhaustive section devoted to international incentives and an equally extensive global funding directory. The book also includes a very timely chapter on the impact of the Internet on the film industry and explores the financial possibilities offered by this so-called `Seventh Major'. I have not been able to find a book on film finance as comprehensive as this. ... Read more

Product Description
This practical, hands-on guide addresses the problems and difficult choices that professional compositors face on a daily basis. You are presented with tips, techniques, and solutions for dealing with badly shot elements, color artifacts, mismatched lighting and other commonly faced compositing obstacles. Practical, in-depth lessons are featured for bluescreen matte extraction, despill operations, compositing operations, as well as color-corrections.

The book is presented entirely in an application-agnostic manner, allowing you to apply lessons learned to your compositing regardless of the software application you are using. The DVD contains before and after examples as well as exercise files for you to refine your own techniques on.

* Provides you with professionally-tried tricks, tips, and solutions to the complicated and difficult compositing issues that you face
* New to this edition is a section on stereo compositing for 3D movies, a brand new chapter on CGI Compositing, 7 new QuickTime movies on the DVD, and more
* DVD is packed with instructive before and after examples as well as excercise files that allow you to refine your own technique

Customer Reviews (4)

A Comprehensive and Thorough Look At Special Effects Editing.DIGITAL COMPOSITING FOR FILM AND VIDEO, 3rd Ed: A Critical Revie
* What is Digital Compositing, anyway?
** A Look at the Third Edition.
*** Highlights.
**** Conclusion.

* In short, "Digital Compositing," is from author Steve Wright's standpoint, "to take images from a variety of different sources and combine them in such a way that they appear to have been shot at the same time, under the same lighting conditions with the same camera."

Although the book, in scope, pertains to the subject of mixing and editing of various footages, the weight of this book is squarely focused on the color correction aspect of digital and film footage in Special Effects editing.

** The 3rd Ed. is a 500-page "Classroom-In-A-Book."The book is both in theory and in practice and is accompanied by a 4 GB DVD-ROM with movie, jpg and film scan files (.dpx). It is stated that this book is for intermediate to advance (or experienced) students, but I'd venture to say that this book is solely for geared for those seeking to enter into to this highly specialized aspect of film editing or to those who want a more advanced text to draw upon, because it will take some time to absorb the high quality and specialized layout of this thesis.This book is, by no means, a joke.There is an education to be obtained from within these pages.

***
Ch. 1Introduction.Stereo- / Multi-pass CGI-/ 3D Compositing.Photoshop/ Flowgraphs.
Ch. 2Pullin Mattes.Luma-Key/ Chroma-Key/ Bump.Extracting/Scaling/Refining & Leveling.
Ch. 3Refining Mattes.The Monitor/ Garbage and Filtering.
Ch. 4Despill.The Despill Operation/ Artifacts/ Algorithms. Refining and Unspill Operations.
Ch. 5The Composite.The Processed Foreground Method.The Add-Mix Composite.
Ch. 6CGI Compositing.Pre-/Unpremultiply.Multi-pass CGI/ HDR/ 3D/ Matchmoving.
Ch. 7Blend Operations.Image Blending Operations.
Ch. 8Color-Corrections.The Color of Nature/ Visible Light/ Behavior of Light/ Light Direction.
Ch. 9Camera Effects.Matching The Focus/ Depth of Field/ Lens Flare/ Veiling & Grain.
Ch. 10Animation.Geometric Transformation/ Motion Tracking/ Warps & Morphs.
Ch. 11Gamma.The Effects of Gamma Changes on Images. The 3 Gammas of a Display system.
Ch. 12Video.NTSC vs. PAL/ Types of video/ HD video/ Telecine/ Working with video in film.
Ch. 13Film.The Film Process.Film Scanners/ Film Recorders.
Ch. 14Log vs. Linear.Dynamic Range/ Film Data/ Digitizing Film/ Bit Depth/ Banding.
Ch. 15Log Images.Converting/ Matte Paintings/ CGI

**** This is a book is for a specialized field in the film/ television industry.It is impossible not to be so well-versed after going through this book.Again, it is not for novices or the layperson.IF you're in any way desirous of working with or in the special effects department of any film or video project--THIS BOOK IS A MUST OWN!You will get the information to make you, theoretically, prepared for this magical career.

This book deserves no less than 5-stars.

(FYI, I find it helpful with the DVD-ROM provided here and all manuals that have an accompanying disc to make two (2) copies.Put the original with all of your original OS-installation & software discs, put one in a container with your back-up copies of the original and place the second copy in the plastic sleeve in back of the book. I discovered (by accident) that the process of carrying and packing and lifting one of these sets often ends up warping the disc, if not cracking it, thereby rendering the practice exams useless.The copied disc is essentially an insurance policy when you're not at home but want to be able to do the exercise(s) at your destination.)

An extremely useful primer for students and professional alike in compositing techniques for film production
"Digital Compositing for Film and Video" presents a concise and well rounded overview of the many issues, technologies and creative concerns involved in the combining of film elements, that may not have been filmed together, into believable motion pictures and television sequences.

The problems of combining foreground action, artificial (rear projected, blue screened, green screened, or matted) backgrounds, special effects and other elements into a single, believable motion picture illusion has become vastly easier with the power of digital technology. But the essential problems faced by even the earliest film makers, of reconciling the different and inherent contrast and color qualities of the elements, different light patterns and refractions, light quality and lens perspective issues, these age old problems of cinema are still with us.

How many films have you seen where some slightly off, or way off, aspect of foreground action and a supposed background ruined the flow of action, breaking the spell that the film makers were hoping to cast over the audience? In each case the skill, or the hardships, off the compositors were critical to you "buying" or rejecting the scene. A large amount of what makes these problems either better or worse is the skill and forethought of the teams and artists charged with producing or procuring the different elements to be combined. Money plays a not inconsiderable part in what the compositor is given to work with. Directors and producers can be either the compositors friends or diabolical foes.

"Digital Compositing for Film and Video" moves through all the major topics and techniques involved in this specialized field of cinema and television production, and touches on both the traditional old school technologies of film and the modern day digital tools and techniques that have revolutionized the process of compositing. "Digital Compositing for Film and Video" is an extremely useful primer for students and professional alike in the use of compositing techniques for film production. RECOMMENDED.

The "Compositors Bible" gets even better
As before with previous editions of the book, Digital Compositing for Film and Video 3rd Edition is an indispensable resource for us professionally. I find myself using the book over and over again for reference when working on projects. The 3rd edition keeps current by covering the latest multi-pass CGI compositing techniques, as well as 3D compositing. It even covers the latest hot ticket item stereoscopic compositing and 2D to 3D stereo conversion. At our studio this is the book that we make anyone who wants to learn or better their compositing skills read. It remains the best resource for both beginning and seasoned compositors alike. While the book is software agnostic, users of any nodal compositing system should be easily able to follow along. I have tested the workflows myself in both Nuke and Shake.

One stop shop for Compositing know-how
One of the best aspects of Mr. Wrights new 3rd edition is how perfectly up to date it is. Now, this is truly fantastic for beginners, but it is actually crucial for already experienced professionals who need to catch up with the latest trends in this line of work. It contains the latest areas of development in digital compositing; that being 3D, stereo and CGI compositing. It even has a new 3D section devoted to helping 2D compositors learn key concepts and terminology essential to working in 3D.Before this book came out this information could only be obtained by experiencing production in a visual effects studio or by reading industry related white papers. And the best part of it all is that it is presented, as everything else in this book, in perfectly clear terms and with exceptional examples. Thanks not only to the quality of the text but also to the inclusion of a DVD with tons of great audiovisual material.

Take away any pre-conceptions you might have about software preferences. The information contained in this book applies to every compositing package in the market today; that being either NUKE, Shake, Digital Fusion or After Effects.

I find it perfectly adequate to be writing this review as I am finishing working as a digital compositor on another Hollywood block buster. Where this book, just as his previous edition older brother, are standing proud right next to me; knowing that they saved me more than once by providing me the info and tools necessary to conquer yet another challenging shot.
... Read more

Product Description

Written by the insider who headed sales for Lucasfilm across distribution markets and managed the release of Star Wars Episode III, this is the first book to show how all related media distribution markets, including television, video and online, work together and independently to finance and maximize profits on productions. It demystifies how an idea moves from concept to profits and how distribution quietly dominates an industry otherwise grounded in high profile elements (production, marketing, creative, finance, law).

Customer Reviews (21)

A user's manual for the world of distribution
Like a strong distributor, this book covers a large territory. Taking the "from concept" literally, it branches beyond distribution into development, financing, accounting, and marketing. But the heart of the book remains media distribution, and the bulk of the chapters break it down traditionally according to outlet: theatrical, home video, television and ancillary (merchandising, video games, airlines, etc.).

This book itself is remarkably difficult to put into a distribution category. There is a great deal of material in here that independent filmmakers and producers need not concern themselves with, except out of curiosity about how things are done by conventional studios, who can avail themselves of much greater resources. Those working in distribution in the big media companies, on the other hand, will probably already be familiar with much of this, and might desire both more technical information and more outside-the-box speculation about where the business is headed. Film students would do well to tackle overviews of the industry that do a bit more hand-holding such as The Filmmaker's Handbook or are designed as textbooks, such as Entertainment Industry Economics, although there is an encyclopedic quality to this book that makes it work better as a reference than a cover-to-cover experience.I definitely think that industry observers, such as business reporters and market analysts, would find the whole of this book beneficial.

Brief flashes of personality aside, THE BUSINESS OF MEDIA DISTRIBUTION is flat and journalistic. It is well-researched and clearly comes from someone with a deep practical knowledge of the world. But because it lacks a strong point of view on the subject, I can't recommend it for casual readers. If you have a deep interest in the subject, you probably already have your own point of view, and I recommend you bring it along.

Good work
Neat book. I'm finishing my master in Communication and Broadcasting working on a dissertation about non linear television and I found Mr Ulin's chapters about television distribution and video on demand updated and insightful.

Ulin gives us the business
Chock full of info up to date as of 2010, about the business that everyone wants to be a part of if they only knew how.Read The Business of Media Distribution: Monetizing Film, TV and Video Content in an Online World to gain insight without being bored or scared off on the way.I've shared this with many of the government producers with whom I work, and even thought they're not into the business as a money making endeavor, it's helpful nevertheless.This won't take the place of personal experience, but it teaches us from the experience of a seasoned professional who certainly can write.

An important book for anyone in the entertainment business or interested in it -- but read it soon before the business changes
Jeff Ulin has been involved with some of the biggest entertainment giants in the business, from Disney (he created one of our family's favorite shows, "Higglytown Heroes") and Lucasfilm to Universal and Paramount, so a lot of what is in this book comes first-hand.

What makes this book important -- but one that must be read soon -- is that he tackles a moving target: how media content gets to the public. While some of it might seem like the "ABC's" to those specifically who do all the tasks covered in the book, there are so many such tasks surely no one has a firm grasp on all of it. This is a handy tome to keep in the shelf.

Ulin covers a lot of ground and there's always plenty of room for elaboration, so he offers a website with supplemental material. What information that is included is considerable and long-ranging, yet as easy to understand as possible. He also traces the developments of distribution cycles, such as the home video industry, since some readers may have not been around when it all started a few decades ago.

No book can predict where the industry is going to go with regards to downloads and media formats, and this one does not make the mistake of trying. It instead offers the most data it can -- with specific examples -- so that one can be positioned to be ready for the next developments as they come.

Timely Book That Helps the Reader Navigate the 21st Century Media Landscape
As a media producer AND a web designer, I have to constantly navigate the ever-changing landscape of the online media world and its affects on media production to stay ahead of the game and keep my clients happy. Whether it you need to understand the legal side and the ramifications of new media opportunities on your existing and legacy productions or future projects, or you are looking to expand your current horizons and branch out into new arenas, The Business of Media Distribution is a thorough and comprehensive resource for all aspects of distributing media content and making a profit.

>>>>>>><<<<<<<

A Guide to my Book Rating System:

1 star = The wood pulp would have been better utilized as toilet paper.
2 stars = Don't bother, clean your bathroom instead.
3 stars = Wasn't a waste of time, but it was time wasted.
4 stars = Good book, but not life altering.
5 stars = This book changed my world in at least some small way. ... Read more

Product Description
Filmmaking is entering a new era. You don't need big bucks or big studio support to make great movies. Computers have made it possible to make great films with very little money. Mini-DV filmmaking is the new punk rock, the new folk music, the new medium in which anyone can tell his story. $30 Film School is an alternative to spending four years and a hundred-thousand dollars to learn the filmmaking trade. This book is a map for D.I.Y. (do-it-yourself ) art-specifically filmmaking. Guerrilla, no-budget, drive-by filmmaking, to be exact. This new edition has been completely updated to cover advancements in video and audio editing, with many new tips and tricks on shooting, producing, and distribution. The second edition also includes a companion DVD. ... Read more

Customer Reviews (58)

It works
When I first purchased this book I admit to being skeptical. I was completely new to film or video making. I just wanted a book that would give me a few basics, and then I figured I would go from there with other books, schools, etc. I felt like this book promised too much. However, two years later and I am still quite pleased with this book. I have made videos that I have actually been able to sell, and am currently working on my first documentary film. This book, and one quick, 4-day crash film class in NYC is all the training I have had. That said, I make a lot of mistakes, but this book helps me get beyond them. It is as inspirational as it is technical. I guess that is my first area of praise for $30 Film School: it got me off my rear end and helped prompt me to actually DO SOMETHING about my dreams of making movies. It gives both inspiration and great tips about how to get started for very little financial investment. Not all of us can afford an expensive four year film degree. So this book got me started; gave me motivation and inspiration.

The other part of this book that has been extremely helpful is in the area of fund raising for documentaries. This is why I titled my review "it works." I have been able to obtain the nonprofit sponsorship as detailed in this book and that sponsorship helps when trying to then secure funding. Dean's advice and expertise really works!

Another thing to mention is that not only does this book provide some great motivation, it keeps you going, too. It warns about the obstacles one will face, and encourages the reader to dig deep and find a creative solution, and details how Dean made it through some of his obstacles. These obstacles can be technical or equipment or financially related, or they can be naysayers... people-related. In my limited experience, I find the naysayers, or the people-related problems, much more common. And sometimes, on certain days, when the book you began with warns of these roadblocks, it is a little easier to take heart and just make something work.

And because I have a hard time writing any review without saying at least something constructive or negative, I will add this as a possible negative: this book mentions not worrying with the permits to film locations. Now, I understand where Dean is coming from in that to make an indie film you can't get caught up in the pricey permits many cities charge. However, I have found that if I contact the city and explain to them my situation, they usually waive the fee. Legally, it is important to get location releases signed (this is different than permits), and speaking of releases, Dean does a great job an explaining the importance of appearance, music, and photographer release forms, and provides excellent examples in the book, yet no sample location release forms.

I can not yet really comment on how this book will work out for the promotional and distribution phases of film making, because quite simply I have not yet made it there myself. However, if those areas work out as well as the other phases, I expect it to go quite well.

Overall, I give this book, $30 Film School by Michael W. Dean, the highest possible rating here on Amazon and personally recommend it. It will help you get started, for sure, and should provide a wealth of information, tips, tricks and technical how-to through out your project.

The only book you need.
A friend and I back in 2002 decided we wanted to get into the movie making business, not to become the next Hollywood Millionaire, but because we liked movies. We don't have any money, but we do have a passion. This book shows you everything you need to know on how to do what you love with little to no money. This book has become my Bible, I don't leave home without it. We have since entered some film making contests and are having a great time making films. If you want to be a millionaire and make mega block buster hits, best of luck to you, if you want to make films... YOUR FILMS.... the way you want and how you want that you can be proud of for years to come, BUY THIS BOOK!!!!!!!!

Great book
For anyone that wants to make an indi film and doesnt have the money of a huge studio, this book has great tips and tricks and is extreamly informative.

I spent even $20 for this?Why?
I admit that I didn't read down to the 1 star reviewers before buying this book and maybe you won't either.Had I read their reviews, I may never have bought this piece of junk and you might not either.I think the people who gave it higher reviews are either the author's friends or the truly naive.If you are looking for the slacker's guide to film making this is the book for you.And about that CD.There are a couple of items that you can get elsewhere and lots of pictures of his girlfriend (I guess) and a collection of lame slacker videos.Your money is better spent on gaffer's tape.

Don't waste your money!
If you don't have any experience as a filmmaker, you might conclude that this is a very good book. If you have made a few films, you're probably going to rate this as "one star" although I'd rate it "zero" stars due to the fact that he's giving aspiring filmmakers some very bad advise.

I was amazed at how little helpful information was actually contained in a book that is 465 pages long. Dean, who has only produced two documentaries for nonprofit organizations, seems to think he's an accomplished filmmaker.

If you want to produce documentaries for nonprofit organizations, there is some helpful information on the legal aspects of how to do this. This consists of about three pages of useful information... so I figure I paid ten dollars per page... Too bad I have no desire to shoot documentaries.

Much of his technical information is simply false. At one point he tells his readers that digital video provides a much clearer image than film, and that the audience doesn't like the image to look so real. What??? Then he goes on to advise using a really cheap digital camcorder to make the video look more like film. Some of this is really laughable.

When it comes to the subject of fund raising, he doesn't have a clue how to do this, unless you're doing a documentary for a nonprofit group, so he advises us to walk up to people on the street and ask them for a hundred dollars. Really??? I wonder how many times I could do that before getting arrested?

And all of this babble about the advantages of guerilla shooting? I've got some news for you; most legitimate distributors require that you provide a "Chain of Title" which includes, among other things, talent releases, proof of Copyright, and yes, location agreements giving you permission to film on someone's property.

I generally find that if I ask a small business for permission to shoot on their property, they are usually very happy for the free publicity that they will get by having their business in a feature film. Some may say no, but ask and you shall receive. Dean clearly doesn't have enough experience to understand this or to understand the serious legal repercussions, both civil and criminal, that guerilla shoots can bring. It's BAD advise and you can get into a lot of trouble. Get permission, and get it in writing. It's really not that hard to do.

In addition to being clueless on the subject of film making in general, he rambles on and on about his political and socioeconomic viewpoints which is very annoying as he's just as clueless and hypocritical on those subjects as he is on film making. Dean insists that making money is somehow "wrong", but I wonder how much money he's made on this worthless book?

At one point, he goes so far as to say that if you wear anything other than a white tee shirt, blue jeans and tennis shoes, that you are not a true artist and you are just a poser; you're not in it for "the art of it." Again, he is too inexperienced to know that most filmmakers and crew members wear all black clothing as it is non-reflective and this makes it possible for you to work very close to what you are shooting without affecting the lighting and, in some situations, makes it possible for you to work in the background without being seen.

I guess he needs to tell Rodriguez and Tarantino that they are just "posers" and not real artists as they don't know how to dress properly.

The fact of the matter is, it DOES take money to make films, and there's not anything wrong with making money. Producing and making money creates jobs and helps the economy. If I shoot a film, and it makes a profit, that means I can shoot more films, hire more cast and crew, and grow my production company. Win, win, win. Try explaining that to Dean. This guy is a hack.

Don't waste your money or your time reading this silly book.

... Read more

Product Description
The Paranormal Caught on Film is a mysterious and mesmerizing collection of photographs depicting ghosts and other extraordinary phenomena from around the world. Believers will marvel at the range of unexplained activity captured on camera and sceptics will not be able to resist debating the provenance of these enigmatic images. The book covers everything from the unfathomable to the downright spooky--mediums and spiritualists producing bizarre phenomena, eery lights, fogs and auras, astonishing appearances, levitating children and flying objects. Each compelling picture is accompanied by illuminating commentary from ghost expert and psychical investigator, Dr Melvyn Willin. ... Read more

Customer Reviews (5)

Light Spirit Reference
Found this book to be a good mini reference for what is happening on the other side. Choice of fonts take away from the knowledge portions that help describe what the viewer is seeing in the book. The book can be used to give someone a "heads-up" on unexplained events.

Suitably creepy!
I bought this for my 9-year-old son, who's really interested in ghosts and the paranormal. This book is full of suitably creepy and intriguing images, and gives him a lot to think about. He loves it and can pore over it for hours!

Awesome book if you like looking at paranormal photos
A lot of the photos in this book are from ghoststudy's website & soem are from other sites on the web, but I prefer looking at photos on paper. There are stories to go along with the photos, it's not a "picture book".I recommend it if you're into ghost photography or if you just like the paranormal.

Interesting and Objective
Paranormal Caught on Film is a very cool book. The photos are all interesting to see, and the text is concise and objective, sometimes looking at the weaknesses of a paranormal claim, sometimes admitting that there might be something to it. Anyone who loves the paranormal should look through this book.

I think I would have preferred more content...
I follow my local library's new books in circulation via an RSS feed.So when the book The Paranormal Caught On Film by Dr. Melvyn Willin showed up, I though it might be a fun few hours of reading.In reality, it wasn't much more than about 90 minutes of pictures and commentary that in the end didn't do much more me one way or the other.

The book is 141 pages of pictures and commentary on photographs that purport to show paranormal activity or beings.They are classed into the categories of Ghostly Figures, Strange Lights & Apparitions, Simulacra, The Unexplained - Poltergeists & Other Phenomena, and Back From The Dead.The layout of the book is small, usually with a picture on one page and the commentary on the opposing side.To Willin's credit, he doesn't attempt to defend each and every picture as authentic.In fact, he usually states the case for both sides of the argument of "staged" or "real".It's even more surprising given that he's a paranormal researcher, and you'd expect some bias towards one end of the spectrum.The pictures range from old turn of the century shots to camera phone clicks that ended up showing more than the phone owner originally saw.Based on what type of picture it is, Willin is realistic as to what normal events could have happened to create the image.Some are very explainable, while others are much less so.

While the pictures were interesting, ultimately the book didn't do much for me.I'm more than willing to be open to the existence of "paranormal" phenomenon, so it's not as if I disagreed with the writer.I think it was more along the lines of the book being small, and the writer never really coming down on one side or the other on many of the images.In the end, I felt like I was looking at someone's personal photo album with a few comments thrown in.For a library read, it was good.But if I had paid money to purchase the book, I think I would have been very disappointed.
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Product Description
Combining a student-friendly approach with in-depth coverage, this book gives an enthusiastic and thoroughly contemporary examination of all the key elements of film studies. It: offers practical guidance on essay-writing, including analysis of sample essays; covers hot topics and new trends, from digital film to YouTube; and, is packed with new examples in visual and text format. This brief, jargon-free introduction to film appreciation and analysis helps students develop a critical awareness of cinema without overwhelming them. Including new features, updated examples and greater attention to growing trends, the new edition provides deeper coverage of key theory, concepts and terminology for all film students. ... Read more

Customer Reviews (6)

Great!
The product came relatively quickly. However, it was not new as advertised. Despite the slight damage on the cover, I was, overall, satisfied with my purchase.

Succinct text on film theory
Succinct and well-written, this book will serve well as a textbook for a film studies class or as a casual read for the film buff wantint to know more about the art.

shows depths to many film classics
The author's analysis of many film classics can give you an appreciation of the subtleties perhaps overlooked in a cursory viewing. His narrative is largely jargon-free, being aimed at a wide audience. While an experienced film viewer might not agree with all of his remarks, overall, the analysis seems quite reasonable and cogent.

Another reviewer criticised the author's use of "we" as being egotistical. That indicates a misunderstanding on the reviewer's part. The first person plural is conventionally used in many non-fiction texts. In part, to deliberately include and involve the reader. It is commonly preferred to "I", because it is the latter which is seen as more personal.

A One Man Show
Having studied Bernard F. Dick's "Anatomy of Film" for my Intro to Film class, I have to feel sorry for anyone who actually takes a film class taught by Prof. Dick. I can't recall the last time I read a book as hubristic, least of all an academic text. "AOF" is nothing more than the subject seen than one man's eyes: one man who thinks himself the infallible master of film. The book contains a mass of unfounded judgments such as "in every narrative worth studying, whether it's a work of fiction or a work of film, there is a subtext". There is an obvious condescension to the audience, words wasted to explain terms like "moving camera". Furthermore, constant use of the pronoun "we" implies that the readers inherently agree with Prof. Dick's bombastic views and gross generalizations. Too much reliance on the "classics" and big names fail under logical scrutiny and keep Dick from making any well-founded and original arugments. Overall, this text lacks any redeeming quality. It is poorly written, too basic and generalized, grossly omissive, and serves no purpose save to bolster Prof. Dick's massive ego. Avoid at all costs.

comprehensive coverage of the basics
The strength of this book is that it covers all main bases of film criticism except for film history, which does, however, enjoy a few passing references. Besides the usual chapters on the basic elements of film--the shot, scene, mise-en-scene, lighting, sound, and etc.--there are also chapters on film genres, film subtext, directors, film and literature, film theory, and a chapter of sample analyses of important films. There is an appendix with a couple of sample student essays, but there isn't really any writing instruction. That's left up to your class instructor. About half the size (same thickness, however) of most film introductions, with some but not a lot of black and white photos, this is convenient to read in bed or wherever. The organization seems rather weak in some respects: after a rather scattered introductory chapter, there is a chapter on graphics (credits and subtitles) and sound, which doesn't seem like a very logical start for a film textbook. After that, things fall into place. The field of film textbooks is quite crowded, and there are many other books that give more in-depth coverage of various aspects, but if you want a book that covers all the basics, this does the job. ... Read more

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Customer Reviews (3)

An Enjoyable, Insightful Look at American Comedy Films!
Saul Austerlitz's ANOTHER FINE MESS is one of the best and freshest histories of American film comedy I have read in a long time. In a wide-ranging guide spanning from Charlie Chaplin to Judd Apatow, Austerlitz takes the reader on a magical mystery tour of funny-men and women who have made us laugh over the decades.

While Austerlitz certainly touches upon most of the 'usual (comedic) suspects' such as Chaplin, Harold Lloyd, the Marx Brothers, W. C. Fields, Cary Grant, Jerry Lewis, Woody Allen, Bill Murray, etc., what I found most intriguing and enlightening was his coverage of people I don't usually associate with comedy: Katherine Hepburn, Dustin Hoffman, etc. (I'd also put Ben Stiller in that category since I've never found him funny but that's just me). In each case, Austerlitz examines and critiques each person's career development in a critical yet affectionate manner. Sad to say, that development often translated into decline as witness the careers not only of Chaplin and Keaton but Steve Martin and Eddie Murphy.

If the chapters on all the leading lights were intriguing, the final chapter - 'Short Entries' - was positively mindblowing. Austerlitz weaves through almost 120 lesser lights in mini-career bios generally running a page to a page-and-a-half. OK, so you'd expect to see Abbott & Costello, Fatty Arbuckle, John Belushi, Frank Capra, Jim Carrey, Blake Edwards, Judy Holliday, Bob Hope, Lemmon & Matthau, Mike Myers, Carl Reiner, Hal Roach, Neil Simon, The Three Stooges, Robin Williams and Zucker/Abrahams/Zucker but...Humphrey Bogart...Alfred Hitchcock...Quentin Tarantino...John Wayne!?! Yet Austerlitz fearlessly bashes away for each. You may not agree with him once he's done but you have to give him credit for thinking outside the comedic box.

Short and sweet: if you're a fan of film comedies, you owe it to yourself to pick up a copy of ANOTHER FINE MESS. It will entertain you, sadden you, educate you and challenge you. And all for only $24.95; such a deal! Highly recommended.

Spectacular!
I had so much fun reading this book?It made me feel like I was watching all my favorite movies all over again, but even better.Usually, explaining why a joke is funny is extremely un-funny, but Saul Austerlitz takes the best moments of comic film history and makes them even funnier by putting them in context.I laughed as I was being told why I was laughing.The writing is superb.Very intelligent but not condescending.And the author treats all comedy as serious art, be it old stars that we don't see much nowadays but critics love to discuss amongst themselves, or modern-day low-brow comedy like Scary Movie and it's offshoots.I felt validated in the fact that a movie doesn't have to be "important" to be important.I'm hoping for a sequel, if only I could read it again!

From a fan of history/non-fiction - 4.5 stars
Thoughtful exploration of an often overlooked - yet clearly formative and distinctly American - aspect of our culture.Also made me feel more versed in the culture of an earlier era which I knew little about; enjoyed reading about Buster Keaton and WC Fields, for example.Division of chapters makes it easy to pick up.Good subway reading.Good stuff.4.5 stars. ... Read more