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The wonderful part about this book is that it provides you with the key measures you need to use in seeing whether or not your advertising is/has worked. When clients want to justify their budgets, agencies can now help them do this by translating the results of their creative work into hard numbers.
For anyone serious about knowing how to create great advertising, this is a must read.
graduate level advertising courses for over 20 years. I have never found a book that brought so much insight to the advertising issues associated with effective selling. I highly recommend this book to all.
Backed by years of tracking TV commercials down under, Max Sutherland has first-hand knowledge of what qualities make an ad work and what others make no or a negative difference in the ad's effectiveness.
The book commences with an introduction to advertsing's facts of life and a clarification of what is substantial and what is not in the public's perception of the industry.
It ends with a couple of interesting chapters that introduce the reader to the basic concepts of ad-effectiveness research. All in all, a good and solid book.
It does, however, use brand examples throughout that are known only to Australian readers and primarily discusses broadcast advertising.
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I started with the last of three tutorials and worked backward through the book, because the News Program Opener tutorial looked the most intriguing. I learned more about 3DS MAX after that one tutorial then I had by reading the documentation or from any of the other three 3DS MAX books I own. I saw someone else mention that there were some small mistakes and missed "figure" numbers on the screenshots here and there, but this did not detract from completing the tutorials in the slightest. Two extra seconds of thought got me passed these minor editing oversights very easily, and they were very minor in comparison to most computer textbooks.
It was beyond refreshing to witness and practice along with a professional at work from beginning to end: from importing your vectors from Illustrator, to cleaning up the splines, to extruding, modelling each piece, assembling, naming conventions, creating materials, shortcuts, to animating, adding a soundtrack, right down to post-production and final render. I absolutely can not stand books where Step 1 is "Import our half-finished Design #643.2 from our accompanying CD-ROM". Not the case with this book. You are stepped through the process, end to end. When you are done with each tutorial, you have a finished work of media art THAT YOU CREATED and a head full of usable, retainable 3DS MAX knowledge that can be carried into any job or hobby.
Excellent job, John. You have gained a new fan. I will purchase your other books, regardless of topic. :D
Thank you.
In his latest "3ds max 4 Media Animation" book, award winning animator John P. Chismar demonstrates once again that not only is he extremely skilled in the use of 3D Studio MAX, he is also a superb communicator and teacher, and is able to transfer effectively his knowledge to others.
There are several features that move his book to the front of the pack and make it one that most MAX users will truly enjoy. To begin, the projects are fun, and that's important when you're learning new techniques. When you reach the end of a section, the results of your efforts should demonstrate not only what it is hoped you've just learned, but also verify the professional skills of your instructor. In every chapter, it's obvious that the author has paid a great deal of attention to the small details that make the reader's life easier. Step-by-step instructions are meticulously designed, and complimented by an abundant collection of screen shots that ease you through procedures that otherwise would appear extremely complicated.....allowing you to focus on learning and creating, rather than wasting time trying to guess what is required to complete each step. Repeating a procedure several times during the course of a project is an effective technique for 'painless' learning, and more useful than simply studying a manual, and the author utilizes this approach to great advantage. While this would appear to be a logical idea in any book of tutorials, the author has mastered this art better than most. This is not a book for theorists, but one for those who wish to expand their practical knowledge. In addition, maps, sound files, and everything related to the project, except MAX and the will to learn, are provided on the CD that accompanies the book, so the reader can focus entirely on the tutorials and not spend time creating maps and audio files.
After a number of years of working with 3D Studio MAX, I feel reasonably comfortable with the program and can usually generate what I require. Why then would I be interested in purchasing another book of tutorials? The answers to that question are simple. First, I don't work in media animation, but it's something we see everyday and most MAX enthusiasts I know are always eager to expand their horizons and learn new or different things. The author takes the reader into his world, and, after only a few hours of working on one of his projects, one begins to appreciate what a fascinating world it is. Second, if one works somewhat independently most of the time, it's often easy to acquire sloppy habits such as moving the mouse to a menu instead of right clicking or not using an appropriate key stroke. I'll admit that I'm guilty of this sometimes. Working through one of John's books helps me improve my efficiency, and rediscover better ways to approach a project. Often there are several paths one can follow to accomplish the same goal in MAX, and because the program has so many features that improve and evolve on an ongoing basis, constant diligence is required to remain efficient. Most MAX users will probably agree that they would benefit from a little 'tune-up' once in awhile. One painless way to achieve this goal, improve upon or sharpen your techniques or refine the way you work, have fun and learn something new is to follow the carefully laid out and well designed instructions in "3d studio max 4 Media Animation".
I've mentioned some of the things that, in my opinion, are beneficial for the intermediate to advanced user, but is this book for the absolute beginner? The answer is yes and no. The author's instructions are extremely clear and well written and probably most MAX users could follow them successfully, but still, it would probably be to one's advantage to at least have had some basic experience with the program before attempting some of the more complex projects. I expect that the user who will benefit most from the book will probably be at the intermediate level, but there really is something in it for everyone who owns MAX.
One small warning.....the book was written for MAX 4.0 and everything works well if you have installed versions 4.0, 4.01 or 4.02. However, if you've already upgraded to MAX 4.2. you may run into a few problems when attempting a video post rendering. In fact, I reverted back to MAX 4.02 when I couldn't get the Funhouse scene (Project #1) to render in video post without crashing. The bug, present in version 4.2 but not in previous versions, appears related to the use of VP glow and rendering while using a background image in the Environment slot. Remove the image, and all functions normally. But it must be stressed again that this is a little MAX problem, and not one that should be attributed to the author.
The first book in the series was excellent but, as New Riders reported, this one is even better. It is seldom one can recommend a book without hesitation, but this is one of those times. Buy it, enjoy it, learn, polish your skills, and have fun. I've discovered several good books (and some not so good) related to 3D Studio MAX over the years, but the books written by John P. Chismar, and also Jon Bell's f/x series, remain at the top of my list of favorites.
........................................Frank E. Lancaster
If you buy used make sure the disk is included.
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The words are definitely geared toward high-school vocabulary and the SAT (as the book cover suggests) so I found myself already knowing about 75% of the words (e.g. gloat, legacy, phobia, vocation, ajar, aftermath).
I'm hoping the sequel to this book will have more advanced words, however, it never hurts to reinforce what words you *think* you already know.
The words used in this resource emphasize focus on attaining a better score on the verbal section of the SAT I. I have come across most of the 300 words in this book on sample SAT Is. I would recommend this title to those who would like to effectively increase their vocabulary in a short amount of time, especially to those with weak vocabularies.
A sample word used in this book is "ubiquitous". The verbal mnemonic is "as big as us". The visual mnemonic is a cartoon that features two extremely heavyset people who claim: When you're "as big as us" you feel "ubiquitous". (Ubiquitous, by the way, refers to the quality of being everywhere at once.)
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We learn of Perkins's patient relationship with the frustrating Thomas Wolfe, a mammoth talent and physical specimen who could not contain his own enthusiasm. Berg suggests that, as Perkins discovered, Wolfe wasn't writing "books," he was writing one book, which would have encompassed thousands of pages if he had not died early -- a profound insight into the heart and soul of a dynamic author.
We learn much of Papa Hemingway as well, including some insights into the macho author's home life. Elements of Hemingway's unpublished fiction suggest that the bullfighting fan, fisherman, and big game hunter might have enjoyed switching gender roles in bed with one of his wives.
Fitzgerald comes off as one who excelled in being pathetic, a man who suffered desperately with his wife, Zelda, alcohol, and simply living large. Berg gives us a tender portrait of Perkins's greatest find.
As with all excellent biographies, Max Perkins: Editor of Genius examines only what made Perkins who he was: the editor of the twentieth century. Perkins preferred to sit on the sidelines, championing his authors. Often, he sits on the sidelines in this book as well, but this only makes sense: he was famous for his work with his more famous authors. It wasn't Max, it was his interaction with these great authors that made him all great.
As some reviewers have pointed out, Max would have enjoyed thsi book.
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TREVOR
This book has many interesting features, from radio sets connected by string, to "radar blips" on a screen in a cockpit, little planes "flying" through the sky, to a steering wheel that changes the view out windscreen as you "come in for a landing--and that isn't even half of the activities in the book.
The problem is that it requires a high degree of fine motor skill to operate many of the activities. The "radar blips" were difficult for me to spin, for example, and the steering wheel kept getting stuck until mommy tore it in one of her many attempts to "Fix it!" under pressure. My son also removed all of the little "flying airplanes" in less than a week of play.
Don't get me wrong--my son still LOVES this book, despite the fact that it is now falling apart! He has a blast using the things that still work, and explaining to me how the things that are broken used to work.
I would recommend waiting until a child is at least four before buying this book for them unless they are very careful players or there will be parental help all the time it is in use.
And, I would like to add that the girls in my son's playgroup loved this book as well--it is DEFINITELY not just for boys!
If you are swamped with his list of available titles, this is a great place to start. You will be able to decide what book to read next after spending time with The Gift for All People.
It's best to read a few stories either in the morning as part of a devotional or at night before going to sleep. The stories will help you examine you're own life and grow closer to Christ.