Terence Lapin has done a wonderful job in the translation of this, the original Mosin-Nagant manual as issued to Soviet troops in the WW2 and early post-war era. Lapin has tried to translate the text as faithfully as possible, and sometimes it is interesting to note the kind of language that greeted the young Red soldier as he learned about how to keep his Mosin-Nagant rifle in working order. (For instance, "Removal of the M44 bayonet, even when fully stripped, is FORBIDDEN!")

In addition to information regarding the parts of the rifle, disassembly and proper functioning, there are parts devoted to proper sighting, tips on proper shooting, cleaning, and troubleshooting. It is a thorough guide that allows someone who may have initially been entirely unfamiliar to the weapon get to know it inside and out. Of course, being a military manual, that is precisely what it was intended to do. But even a veteran collector already familiar with the Mosin-Nagant rifle will find tips and information new to him in this book.

Although Lapin is not the author, merely the translator, I felt he did a great job and deserves the five star rating.

As video has become more availble to everyone, the greatest problem with the end product is the "look."

DVD's, DV cameras have made it possible for almost anyone to make a video. But to make it look GOOD color correction is critical. To fix miscolored pictures (when you forget to white balance or if you just plain aren't the best shooter in the world) is all done with color correction.

This book explains and through direct examples, shows how to actually fix video that is under exposed, doesn't match from shot to shot and is misbalanced.

And it's done in such a way that it's understandable. It's now on my shelf as a reference. The book covers all the major editing software that has color correction in it, ALONG with color theory and reading video scopes so it's possible to understand what's wrong with your video and make it broadcast safe.

Simple question? Do you want your video to look as good as possible? Simple answer: this book.

This review was excerpted from PriMedia's e-newsletter "Bob Turner's 'The Cut.'" A Video Systems Publication and was written by Bob Turner. Ellipses indicate edits from his original text.

This book and companion CD is the best book I have ever read on the subject and this goes back a ways! ...

As to being a bit intimidated, this book helped me understand why I felt that way. ...

Almost 100 pages into the book I was still learning about tools available, the alternative monitoring available and how each works. As a "senior" editor who lived through the linear days where one eye was always on the WFM/VS, I thought I knew these devices fairly well, but "Chapter 5: Using Scopes as Creative Tools" taught me quite a bit. ...

I truly appreciated the CD-ROM. In addition to the graphics files/tutorial images, the disk also included software tools and plug-ins from companies such as 3-Prong, Boris FX, Digital Film Tools, Discreet, Synthetic Aperture, and Tektronix. There were also full-length interviews with renowned experts. These and the comments made in the book were very useful. ...

Once I made it through the first half of the book (I needed to re-read it a few times), the tutorial segment was superb! I can truly say I have a far greater understanding of color tonality, and feel far less intimidation when confronted with the need to access the color correction/grading tools and do a bit of tweaking.

One very nice aspect to the book is the way several different manufacturers' toolsets were used and several different manufacturer's waveform displays were illustrated.

This is a book for the experienced editor, and a basic understanding of the technology and editing process is assumed by the writers.

I am going to close with a quote -- the very first words in the introduction:

"As technology brings more and more innovations into the edit suite, editors are expected to perform a much broader section of postproduction tasks, including audio sweetening, compositing, graphics, compression and 3D animation -- not to mention editing. Now you can add to this list the daunting responsibility of color correction. Not simply making an image brighter or darker or "legal", but manipulating the picture with a vast palette of tools that have only recently become available on the desktop."

If you agree with this viewpoint, this book is a MUST READ! I emphatically state that it is worth the effort.

With the proliferation of nonlinear editing systems with increasingly sophisticated capabilities (which go far beyond "editing" these days), editors are being expected more and more frequently to be jacks-of-all-trades. In many cases the editor becomes the effects artist, the audio editor, the music editor, and the colorist. This book, written by two well-known NLE experts, presents the complex topic of color correction in extremely lucid, understandable terms. This is the reference we've been waiting for -- the one many of us WISH was included in the documentation included with the NLE's that have these capabilities, but wasn't. A copy should be on the shelf next to EVERY editing system that has color correction built into it.

Good God the sex was great, and I learn a few new positions my self, but I can truly say that it wasn't all about the sex. Learning about yourself; and what you want out of a relationship is somenting that every person should strive for. I admired the way the two women came up with the list. They knew what the wanted and they went after it. Mr. Kai, if only there were more men like yourself, willing to take the time to get to know the intelligence of a woman's mind; then relationships could stand the test of time. My husband and I read the book, and now we talk alot more about things we just put to the side. Thanks to More Than Enough we are learning about ourselves and what want in our relationship. This book has did more for me than you can ever dream of. Thank you, Vee Denise Kai, Naleighna and Kevin Kai I pray the Lord that you are able to touch many more people through your book

This book is everything the title says it is and then some! The story starts off simple enough, but hold on ... it gets much better. As I continued to read, I came to believe there's a little bit of Lori and Diane in all women, but most women are not honest or courageous enough to admit it. These women took their thoughts and dreams about "the perfect relationship" and made it a reality. When I finished reading I begin to seriously think about what I REALLY wanted and expected in a relationship. Once you start reading, you won't want to stop. And when you're done, you will definitely want more!

This is my second Naleighna Kai book, and it has left me thinking about M-E! There's personal lessons to learn in her books and in "More Than Enough" Lori and Diane show us how speaking and setting actions in motion gets you what you want.

Raymond "Ray" resides in New York where he's raising his 6 year old daughter Janesse. Her grandparents are trying to sue Ray for custody because they think it's Ray's fault their daughter is dead. Shawna, Ray's live-in girlfriend, believes Ray is wrapped around her little finger, but she learns a very valuable lesson about love and appreciation.

Two women, best of friends, will do anything for each other's peace of mind. Lori tells Diane that she wants a man, Diane looks at her and says "Oh is that all?" Together in their Chicago home they comprise a list of 100 eligible men. Their plan is to pick the best one to give them love. They narrow it down to three potentials; Raymond K. Hearne is one of them and he is determined to be the only one.

Lori met Ray online playing spades at MSN Zone. They took their chat out of the card room and into a chat room. Lori took Ray to a very unexpected orgasm during a phone call; this foreplay became a habit for them. Each enjoyed the others company and hearing their voices. That's how Ray got on the list.

A month later Ray met Diane and he was given suggested reading material by authors Octavia Butler and Sesvalah. They found out that he enjoyed the books as much as they did. After Diane and Lori compared the pros and cons of their previous relationships, they knew what they wanted in this one. They started a list of requirements for the three potentials.

This story is about a different kind of relationship: two women for one man, which in my eyes is "More Than Enough." It's very interesting how they involve the children, and how it can be a reality for only a select few. If you want to know how Shawna learns about love and appreciation and to understand how Ray, Lori and Diane's story ends you must read this book. You'll be surprised.

Reviewed by Missy

Eddie Murphy made his debut in this Walter Hill film, and he is really the star here, even though Nick Nolte gets top billing. Nolte does a fine job, but his part is not as showy, and one's eyes are not drawn to him as much as Murphy, at his best in the country-western bar scene.

You probably know the story, but I'll summarize it here by saying that this is simply a buddy movie with an antagonistic twist. Murphy is the con, in for three years with six months left. Nolte is the cop on a search for James Remar, who stole a lot of money with Murphy long ago.

The story is set up as a mystery, with the pair questioning several possible connections, but the story doesn't really matter. The main attraction is the relationship between Murphy and Nolte and the slow growth towards friendship.

One complaint is that since this was filmed in 1982, they had a different idea of gritty police drama than today. The police department's atmosphere is incredibly tame compared to shows like NYPD Blue. Nolte does his best, chain-smoking and nipping from a flask (I read once you could tell an '80's movie by how much they smoked), but he still doesn't come across as jaded as any scene with Andy Sipowicz.

It's still fun and good entertainment, especially if you are looking for a film with an American Indian character that dresses like a '50's relic.

Falling into the same genre as 'Beverly Hills Cop', 1982's '48 HRS.' takes the good-cop, bad-crook scene and transforms it to fit Eddie Murphy's talents on a different scale. Instead of chasing high-profile criminals as 'Detective Axel Foley', Murphy portrays a loud-mouth convict teamed up with a hardass detective Jack Cates. Nick Nolte's roll as this chain smoking, trash-talking, loveable sleezbag sort of shadows performances by John Wayne and Clint Eastwood...only in a new age. The low-flash scene is set in California, where Cates (Nolte) loses a battle with two escape conns along with his gun...leaving two more plain-clothed officers dead. The thing I think you need to remember when watching these movies is that the lead cops never dressed in uniform, and you'll see more covertable classic 70s' cars than marked squad cars. Otherwise, Nolte is the perfect grunge policeman who teams up with Reggie Hammond (Murphy) to catch a ruthless killer who Murphy once sided with. From the moment Nolte takes Murphy out of jail for 48 hours, you can sense the racial heat and explosive attitudes of the two. This proved to make for a perfect comedy, as Nolte and Murphy race to kill the killers without killing eachother. Murphy has a classic scene in a highly exaggerated country western bar, where the confederate flag is on every wall and "yee-haw!" is a common thing to hear. Murphy raises the roof of the bar in a hilarious scene that could only work with this guy. 'Another 48 HRS' 10 years later was a predicted mistake, instead I think the director should've considered remaking the original scene and plot, but using the flash and movie effects not available in 1982. Maybe put a better suit on Nolte or give'em a hotter car...dont use women you would rather see with their clothes ON than off, and make the fight sequences and assaults more realistic. '48 HRS.' still never stops working though, you give a great idea to talented actors and you can make tons of mistakes while still having a great movie. '48 HRS' also features plugs from Annette O'Toole (Law and Order), Sonny Landham ('Lock-Up', 'Predator') and what-ever-happened-to Tara King ('The Avengers'). Dont wait for this movie to be on tv, if you dont hear all the language it doesnt work. Get this movie on DVD while its' still available...but just dont expect to find as great a movie in the sequal.

In order to appreciate this film fully, you hafta turn yourself back in time to 1982, an' try an' remember the political an' social mindset of the day. Then imagine watching '48 HRS.' an unabashed an' raucous cop thriller that breaks the very foundation of political correctness. Now how does that make you feel? If you say, sick to your stomach, then maybe you needa loosen your jock strap an' try it again. E'ybody knows the plot, the hard-drinkin', chain-smokin' San Francisco cop Jack Cates, played by Nick Nolte (who looks almost TOO comfortable in the role of a wasted, burn-out), is lookin' to put two recent prison escapees an' vicious cop killers away after he tried an' failed to apprehend them. In going over the case he comes across several members of their old gang an' decides to go talk to one'a the incarcerated ones. Here's where Eddie Murphy comes in. Reggie Hammond is the smooth an' dapper, fast-talking convict who convinces Cates to get him out of jail an' on the street to help him solve this case. Cates reluctantly does so, an' from there is' jus' the two of them together goin' from place to place, crook to crook, bar to bar, lead to lead, tryin' to keep from killing each other in the process. Cates is a rough-edged, semi-bigot with an apparent vendetta toward these crooks (though apparently jus' for stealing his gun), Reggie is the charming, jive-talking criminal, with a more obvious vendetta toward the crooks (they dropped the dime on him, got him locked up, an' are now tryin' to steal a half a million dollars of his hard-earned, er, um, hard-stolen cash). Both are on the same mission, but with two TOTALLY different personalities an' when they mix it up, oh, is' gunpowder. E'ybody talks about the scene with Murphy in the country-western bar playin' cop ("Alright listen up. I don't like white people. An' I HATE rednecks. You people're rednecks. That means I'm enjoyin' this s---.") an' although it is funny, my favorite scene comes right after they question the two ladies who were s'posedly in cahoots with the killers, when Nolte an' Murphy finally drop the trash-talkin' an' jus' have a drunken brawl in the street only to be broken up by two cops on the beat.

This is the original buddy cop flick. With two guys who're ironically ANYTHING but buddies. Depending on the way you've come up watching movies, this one will either be a wonderfully offensive cop thriller, or a horribly offensive cop thriller. Of course, no matter how you look at it, '48 HRS.' will forever be a hallmark, because it was one'a the first movies of its kind: a rough-edged, blatant politically-incorrect film centering on characters that are so sleazy at times you hafta force yourself to like them, an' revolving around racial stereotypes an' sexist banter thas' thrown around like it's nothing, not to mention some brutal violence. Now it'd be much harder to overlook all the coldness if it wasn't for the charm an' appeal of Eddie Murphy, in his film debut. He is the main reason to watch the flick, although Nolte's character also provides the perfect counterbalance. Directed by Walter Hill, '48 HRS.' set a new standard for the way action flicks were to be played for the rest of the 1980s. With laughs, wit, chemistry, an' a not-so-serious attitude set against a very serious backdrop.