While some art buffs may find it hard to believe that anything new could be said about the unquestionably great and unquestionably over-publicized Pablo Picasso, this Museum of Modern Art catalogue actually manages to re-invigorate the discussion of an artist whom some might say the MOMA (having held four colossal exhibitions on Picasso within 15 years) should stop shoving down the public's throat. While the paintings are, for the most part, quite familiar to Picasso enthusiasts (with some delicious exceptions), the catalogue contains several excellent essays which approach the works of art from a personal, rather than art-historical perspective. Picasso's relationships with his various women, and the effect each wife/mistress had on his vision of reality, are thoughtfully and, for the most part, intelligently explored, despite some occasional descents into blatant "National Enquirer"-type celebrity gossip on the part of these supposedly "scientific" critics. Fortunately, Picasso's art stands above the possibly-too intimate concerns of the authors (a careful perusal of the gossip-filled footnotes will amuse you for hours). Page after page of excellent reproductions stun, startle, amuse and amaze the beholder through their sheer perversity. Nearly 30 years after Picasso's death, his art still shocks and challenges the public. My personal favorites are the paintings of the sad and sensual Dora Maar, which are unmatched anywhere in Picasso's oeuvre for sheer, brutal power. Their distortions haunt the mind, although the joyous and often semi-pornographic pictures of the teenage mistress, Marie-Therese, possess an equal charge. This book is a definite must in any art library.

Like many new editors, I came to Final Cut Pro with no NLE experience nor any knowledge of video whatsoever. In fact when I started, just over two years ago, there was not a single book on FCP. Since that time there have been a number of excellent books published about FCP. I have bought and read all of them.

During the past two years I have learned the terminology used with FCP video. But my knowledge is FCP-centeric. I had little understanding of video, it's relationship to film or it's history.

Last week I discovered "Nonlinear/4" written by Michael Rubin. I can best describe this book as a complete reference guide to all things video. But its actually more.

Each element covered in this book is in it's own section. Each section is brief, concise and clearly written. Very simple (read: clever) analogies are employed to help the reader gain understanding. While there is technical information, the book is not overly technical. There is a great deal of art, illustrations and photos. This art furthers the learning experience and is one reason that the book works so well, the art really illustrates the
lessons being taught.

The history of film and video runs throughout the book. This history is essential to understanding how and why video is what it is today.

I learned a great deal from this book and now have a better understanding of why things are the way they are. Our modern day NLE Digital video is the result of a long legacy, going all the way back to the early days of film. This book is a great reference guide as well with a full index at the back.

I am really glad that I came across Nonlinear/4. I truly have a better understanding of what's going on with Video and how it works. This knowledge will certainly help me with FCP.

--ken

As a working (nonlinear) editor, and as an editing teacher, I can't recommend this book highly enough. Six years ago I made the switch from film to computer, with Michael Rubin's book as my constant companion. Rubin writes with a keen intelligence and an implied sympathy for both the professional editor and the student trying to make sense of the complex and rapidly-changing world of post production.

Because he IS an editor, Rubin is the only technical writer I know who is able to prioritize exactly what you need to know and to tell you why you need to know it. Like any good editor, he has the ability to think macro- and microscopically at once. His post-production flowcharts, history of nonlinear, and overview of systems and distribution are unsurpassed in the field. The down-and-dirty details of digital video- subjects like timecode, telecine and 3:2 pulldown, and compression algorithms- are clearly demystified. These are sections to which I still refer! This book is always in my cutting room as a reference, and when I teach I borrow examples from the book and urge my students to purchase their own copy.

This book contains another unique feature, which is an intellectual and practical interest in editing theory. Rubin has worked not only as an editor, but also in research and development at several companies during the dawn of nonlinear technology. Thus, he is able to pose and answer the most fundamental questions: Why do we need nonlinear technology? And how can that technology serve our creative needs? What might we see in the future?

This is a book that will be helpful for anyone who is already editing at any level, or for anyone just learning about the craft. Straightforward, well-organized, and filled with humor and wisdom, this is quite simply my favorite book about the technical side of editing.

I've read a number of books on the subject, and this is by far the best. Its clarity and concision put most of the others (such as the disorganized Ohanian books) to shame.

Caroline Alexander brings a wealth of information into this "last of heroic Antarctic adventures". What sets this book apart from the several others written on this subject is the broad scope of details provided. Each of the 28 characters are individually described in the beginning although for the most part the majority have a collective role in the success of the expedition. Yes success, as in 28 start, 28 survive. It really is hard to go wrong with such a great story. By focusing on the ship's cat Caroline comes dangerously close. The collection of the thoughts from members diaries brings the gravity of their situation to a level the reader can feel and fear. The book itself is beautifully printed, the numerous photographs hit the highlights the trip and are captioned in detail. Where Alfred Lansing's book ends on a romanticized high note, Caroline Alexander goes on to detail the fates of the mates after the expedition. Needless to say such a journey is the high water mark for displaying character in the most oppressive of situations. My advice is to buy it for your coffee table, for it is a beautiful book, but read Alfred Lansing's' Endurance accompanied by the Nov. 1998 National Geographic article (by Ms. Alexander) which includes the Frank Hurley photographs.

In the quest to cross the Antartic Continent in 1914, brave-hearted soul Captain Ernest Shackleton and his twenty-seven man crew set sail on a perilous, nearly deadly journey. Less than 100 miles from their destination the "Endurance" became hopelessly trapped in an ice floe; slowing breaking apart. Their ordeal of living on this drifting berg for months, only to be stranded on a solid piece of land later for nearly two years is mind-boggling.

The personal accounts of the crew members daily treacherous turmoils, coupled with an undefeatable and inspired leader (Shackleford) is devastating. Photographer Frank Hurley supplied some of the most breathtaking and dynamic pictures of the saga of the trip, one can only become overwhelmed with the enormity of the dilema. It is simply too real and too heartbreaking.

This beautfully crafted "coffee table" book is one of many released regarding the extraordinary plight of this team against nature. Although author Caroline Alexander borrows heavily from previous accounts and repeats some of the adventures from her earlier "Mrs. Chippy's Last Expediton", "Endurance" is the classic adventure tale of the last Century.

A wonderful coolaboration of writer/photographer, this makes a great gift. A 'beyond Hollywood' story that many have never heard, much less seen in this manner makes it extraordinary!

As a serious Endurance student I say bravo! Ms. Alexander has brought a fresh perspective to one of the greatest survival stories of all time. The previously unpublished Hurley photographs are fabulous. She also took the time to give far more detailed explantions behind the photos than would most writers.

The details from the time the Endurance sank through the arrival of the James Caird at South Georgia are vivid, putting to use the very personal feelings and perspectives from the crew members. She also does an excellent job in "fleshing out" the men's personalities, along with their quirks and rivalries. She uses quotes from some of the "less important" members as other writers have not.

I found the short excerpts of the men's lives after the journey until their deaths absolutely fascinating. This part, along with the previous descriptions and photos added to my feeling that these were real men and not just some caricatures from an anecdotal story left over from someone's fading memory.

This book will eventually replace Lansing's Endurance as the most popular source of this great story.

It took me a while to find a good book to get started with digital video, after I bought myself a Mini DV camcorder. What I was looking for was sound advice on how to shoot as well as about basic post production techniques, the stuff you do after shooting, editing, how and where to store and organize your footage, and most important, to end up with a finished product--a nice to watch video to show to the public.

Something else I was looking for was a book that is "lightweight" and that keeps things simple. There is plenty of time to get more fancy, but for starters I wanted to get a small video project done and have it on a Video CD, DVD or a VHS cassette.

This book shows exactly that! You'll learn the basics of digital video. The main idea is to get a little (manageable) project done in a clean and orderly way.

I consider the author a highly competent and experienced teacher when it comes to the subject of digital video. If you are in the same situation as I was (having a FireWire and DV capable Macintosh computer and a Mini DV camcorder, plus having not too much time to learn the essential basic techniques of digital video shooting and editing with all the necessary bells and whistles) then this definitely is the book to buy. In fact it is the best and most practical book to read first. Start simple, then attack the more sophisticated stuff. A must have book!

My first impression was: "Oh, c'mon, I know this all already!",
but after reading further I realized that this is exactly what
a person who is a true beginner needs. And I discovered
plenty of information that I did not know, and which is
truly useful.
This book is excellent: you read it, and get just enough
information to make a good home video that will not annoy
the people you show it to and will not embarass yourself.
I always like when a manual not only explains you what to do,
but also tells what not to do, and then goes one step further
to explain why is it bad to do it wrong way. This book is
like that - it helps you establish good habits in filmmaking
from the beginning.
Highly recommended for every newbie.

I wish I had. I spent way too much time and money on stuff I can't use, shooting too much tape and not getting the important, simple basic shots that make for easy editing. The advice in this book is so practical, so straightforward. He tells you how to get up and running, making smart videos of just about any event, activity, or slice of life. The chapter on logging tapes is worth the price of the book alone. Buy this book.

I remember when I first read this book back in 1984. My mother worked at the Tirad publishing company so I got an advance copy of the book, :) Michael gives tips for how to survive (and thus get higher scores) in a variety of popular games at the time. He also has tips on how to dress, arcade etiquitte, general-purpose playing tips, arcades to check out (sadly, most defunct now), etc. The illustrations and photos are humorous, and the book never get self-centered.

If you get a chance to pick this up used somewhere, do so! It's a great piece of 80's memorabillia, especially for the vidiots out there, :)

I enjoyed the setup of the book. It was very funny and had a lot of pictures and illustrating. As well as ways not to get hurt at arcades and a history of video games. The tips that the book gave were how to survive, not to win at a game, because in classics, you can't win, but you can survive.

It's understandable and forgivable when the first or even second-edition of a technical book has some errors. However, when a book has reached its third edition, one should expect a relatively error-free and comprehensive reference. This book is an insult to the scientific method and to the tenets of decent technical writing. Considering only the part of this text that would be covered in a first course in continuum mechanics, even a cursory inspection reveals major theory errors as well as lazy typesetting, grammar, and editing issues that simply aren't acceptable for books in this price range. For instance...

* The index is only five pages long! It's missing absolutely essential entries like: coordinates, e-delta identity, invariants, gradient, velocity, velocity gradient, Stoke's theorem, and thermodynamics. The index is also missing several other terms (such as pseudo stress vector) that students would need to look up because they appear in the exercises.

* The reference list is anemic -- a rich and well-developed field like continuum mechanics deserves more than just 19 supplemental resources. Omission of Mase and Mase is unfortunate because those authors have greatly contributed to continuum mechanics texts for beginners.

Naturally, any introductory book on a complicated topic will, at times, provide the reader with some key equations without providing a proof. However, whenever a proof is omitted, the reader should AT LEAST be told where the proof can be found. For example, this textbook cites the conditions of compatibility for finite deformation without stating any reference book or journal article where the advanced reader (who, by this point, has learned to doubt the typesetting skills of these authors) can go to double check the equations.

* Discussion of the physical meanings of various strain measures is inexcusably fouled up. In the paragraph above eq 3.24.4, the cross-reference to eq. 3.25.2 should instead point to 3.24.2. Two equations below eq 3.26.8, the denominator is missing a factor of 2 and wrongly uses S instead of s). One equation above eq 3.26.9a, there should NOT be a 1 in the first term on the right hand side. Incidentally, the fact that these authors give equation numbers only for the equations that THEY themselves cross-reference is frustrating. OTHER PEOPLE might want to point to equations in this book -- having to say "the equation two lines below the authors' numbered equation" is awkward.

* In the section on transformation laws, eq. iii should NOT have a prime on b.

* The solution to exercise 7.8 (b) is missing a factor of 3 (probably other solutions are wrong too).

* The authors understanding of rotation and their proof of the polar decomposition theorem are seriously flawed. Their formula for the rotation expressed in terms of an angle and axis (in exercise 2B29) is wrong - it doesn't even give R=I when the rotation angle is zero. They claim in numerous locations (e.g., end of section 2B10) that improper orthogonal tensors are reflections (this is a common error - any proper rotation followed by a reflection will be an improper orthogonal tensor that is NOT a reflection). The authors clearly do not understand that symmetry and positive definiteness are requirements that must be IMPOSED in the polar decomposition - neither property is a consequence. They don't explain that a symmetric positive definite tensor has an INFINITE number of square roots, of which eight are symmetric, and only one is also positive definite. They prove that R is orthogonal, but fail to prove the theorem's assertion that it is PROPER orthogonal. Earlier in the text, the authors state that they will use the notation U for any deformation gradient that is symmetric; subsequent text clearly shows that they are presuming that a symmetric deformation gradient a stretch, which is false. To be a stretch, U must be additionally positive definite (a deformation gradient diagonal with components 1, -1, -1 is symmetric, but certainly not a stretch, and this example has negative eigenvalues, invalidating the authors claim immediately following their eq 3.20.2c)

* At the beginning of section 2B18, the authors state that a real symmetric tensor has "at least" three real eigenvalues. At least?? Are there more? They should have said "exactly three" (for a 3D space, of course).

* In the section on the rate of deformation tensor, the authors fail to prove that this tensor is not really a true rate. Here is a fact that lots of people know, but don't really understand and certainly don't know how to prove. Modern books in continuum mechanics need to discuss it.

* The authors present conservation of mass in the kinematics section, which is not correct. Kinematics is the mathematics of motion. Conservation of mass is a physical principle of Newtonian physics.

* Above eq 5.3.2: Cross reference to Problem 5.1 should be to Problem 5.2

* Eq. 3.28.6: Authors fail to give the proper name of this important relationship (Nanson's relation).

* Exercise 2B40: uses the word "principle" where "principal" is needed.

* After Eq. 3.30.7: Subject verb agreement ("The components... is called)"

* In example 3.1.2: Straightforward is ONE word, not two.

* Exercise 4.12: period and comma in a row ("For any stress state T., we define...")

* Eq 4.10.8a: Misplaced tilde in typesetting, and indistinguishable tilde in subsequent text. Same problem preceding eq 3.4.3.

* Eq 4.10.6b: "jm" needs to be a SUBSCRIPT.

* Exercise 3.31: typesetting is so juvenile that the authors used a superscripted lower case "o" to denote degrees instead of using the professional choice: the degree symbol. Professional typesetting conventions (e.g., italics for variables) are inconsistently enforced throughout this book.

* Exercises 2D4 and 2D5: missing plurals on "coordinates"

* Example 2B3.1: "Given that" should be replaced by "Given"

Granted, the comments in the above list transition from egregious errors to minor oversights, but the scientific community should DEMAND technical and editing perfection from a book on a classic subject that is in its third edition. Either that, or the purchase price should be set at a value that is consistent with this book's sloppy execution.

Note: this review covers ISBN 0750628944 paperback version.

This is the best text that I have found for introducing continnuum mechanics and tensor notation to students. I have used this text in both Continuum Mechanics and Elasticity courses. Very clear explanations and examples to make the student proficient in conntinuum mechanics. I would love to see it expanded to include metric tensors and Christoffel symbols.

I have used this book in Dr. Lai's into to elasticity class at Columbia University. It is chock full of well written text and many example problems that are worth looking at! I finally understand what eigenvalues and eigenvectors are good for!

Nothing but the best from the king of highbrow, techno babble. If you really want to foray into the world of nonlinear editing stay away from this book. Read mine...my name is Dwight Camerron and you'll find my book by May 1998, Nonlinear Editing is 'da Bomb.

I was very fortunate to stumble onto this book in its earliest incarnations, back when Hollywood was just beginning its massive shift away from decades of traditional ways of doing film & video post-production. At the time, I'd realized that Nonlinear was the next big thing, but welcomed some expert help in riding that paradigm shift to a very different way of working.

Yet in a technical subject that might have been daunting to explain, Rubin comes across as a very down-to-earth and unpretentious friend who knows precisely what he's talking about, but is secure enough in that knowledge (having started out working for George Lucas in the dawn of the modern nonlinear era) that he doesn't have to resort to a bunch of techno-babble to get his wisdom across.

He covers all the essentials of film/video post-production, both traditional and nonlinear; puts it in a valuable perspective with forty years of video editing history (anyone remember the CMX 600?); and wraps it up with an essay on "horizontal" vs. "vertical" nonlinearity that makes the future of the technology entirely clear as well. And the big paradigm shift? It's as plain as "the folded paper method", p.183-193 (itself worth the price of admission). As he states, the book is about Fundamentals -- those that are universal and constant no matter how many vendors rise & fall, and regardless of how many software patches they spew out in the process.

I guess you could say that Michael Rubin has been my "mentor". Many other pros working in the field today would probably say the same thing.

Mr.Camerron's comments speak well for his book. Interested parties should investigate all points of view, even those which appear... less than worthwhile. Nonlinear 3 continues to be adopted at film schools and corporate video groups in larger and larger numbers. Seek as much information as you can find.

Developing Urban Entertainment Centres is a great resource for developers, retailers, consultants, academics, and consumers. Featuring lots of colour photographs with case studies, this book borders on being a coffee table book.

UECs are tough to define, and the authors devote over 30 pages in trying to define it. By the end though, I still do not have a clear concise definition of UECs.

In addition, it does not have a perspective in arguing for or against UECs. I was looking for the authors' arguments why cities or communities should encourage or discourage UECs.

Lastly, since retail trends change every ten years or so, the authors do not mention what will be the likely format when UECs are no longer the latest trends. Predicting the future is tough, but the authors should at least help me point to a particular direction.

Overall, this is the only comprehensive book on this topic so far, and it is quite enjoyable to read.

I was asked to read this book by the Prostate Cancer Charity in UK and on first sight my heart sank. Full of dry medical information - how wrong I was! My husband had a radical prostatectomy in 1997 and has recovered well but I still found encouraging material - especially about managing impotence. The book covers all aspects of prostate cancer - from diagnosis to living with the results of treatment. It deals with the medical terms and emotional effects of each stage in a down to earth manner. I also really valued the fact that it was written to me - the woman. It made me feel understood in a way that much of literature doesn't as it all male orientated. Enjoy reading it as you approach stage by stage and keep dipping into for knowledgeable reassurrance. My one regret was that all the helpful contact numbers and addresses were all American.

This book creates more problems for the student that it is supposed to resolve.

Okay in FCP your faced with with a very intricate and complex program, so you expect the information given to be accurate and helpful?

Yes so did I. Examples abound of inaccuracies:

- Pg 16 "Loading in the Video Files" from the DVD, "Locate the folder labeled 'Rubins's tutorial Files'" You can't because it doesn't exist, but expect to waste some time trying to find it!!

- Editing/Insert Page 65 "..stop just after Chris finishes his line with the word no" He never says "no", but that cost me about two hours of looking through the DVD, previous clips and the script, because the book can't be wrong you keep looking!

- "Review.." Page 83 "compare your edits to mine" His "edit is in the tutorial folder", it's not!!! That doesn't exist, it is in the FCP Project Files v3.0 another waste of time searching. But wait there's more!! Click on the file and get messages that the files went off line, the media is off line, they are not there, so you can't get them to make the comparison. Nor can you get him by e-mail to find out what is wrong.

Bad enough huh! No I'm afraid not, page 83 "we'll be using it, [the missing file], as the starting place for the next chapter" So that kind of rules out any lingering chance of DVD/book/student interactivity in the rest of the book!!!!

Considering that the book is supposed to be for beginners, who generally follow instructions word for word and step by step, until familiarity allows them the opportunity to experiment. This book because of it's constant inaccuracies and presumptions retards ones development and delays the familiarity factor. All the way up until page 83 of the 270 page book, when it stops being interactive and goes back on the shelf. Wonder what was in last two thirds of the book?

Good luck if you get it!!1

I wanted to work with Final Cut Pro but found all the highly touted books STILL TO DIFFICULT to start out with. My experience was nothing more than being able to work with a simple package like iMovie. I was SAVED by this terrific book. As a teacher myself, I know you have to learn hands-on in a methodical manner; you don't need to learn the "whole ball of wax" the first time around (like other books somewhat force you to do). Michael Rubin knows this and has crafted the perfect book for those ready to take the next step. DON'T HESITATE TO BUY THIS BOOK IF YOU ARE READY FOR THE NEXT STEP! The included DVD gives you all the source material to work and practice with! BRILLIANT!!!

This book will teach you about editing--real editing--and not just how to move shots around with software. It doesn't take too much computer power to edit a project, whether its theatrical movie or your home videos. People have done it in Hollywood for 100 years with basically a razor blade and tape. I use Final Cut Pro to cut everything I ever need to cut. After 20 years of developing and using computers for "nonlinear" editing, I finally have software that is easy and suitably powerful. In many ways it is an easier tool than most "beginning level" consumer products.
My very simple methods are results-oriented. I do not want to turn everyone into a professional filmmaker, but I do want people to see how powerful and simple video literacy can be. Remember: this book will make you a fine editor and teach you the basics of FCP, but it is not a comprehensive book about FCP. There is a lot in there that I think is confusing for people starting out. This is a book about how to edit video using FCP, not how to use FCP to do everything ever. In just a few chapters, with the tutorials on the DVD, you'll be cutting any material you could have ever wanted to cut, like a pro (if that is your goal), or just as a comfortable, competant editor (ready to move to more encyclopedia-like volumes of information when you're hungry for it). This book is fun and direct. I look forward to your feedback.