Book Description
Go beyond the mechanics of Final Cut Express HD 3.5--learn how to edit with it! More than a button-pushing manual--this workshop give you firsthand experience with the art and technique of editing. You develop a working knowledge of this powerful editing application with eleven tutorials that cover each and every essential, including:
* setting up your system and understanding the interface
* getting your material into FCE and organizing it
* slicing, dicing, and organizing clips
* editing to build and trim a sequence of shots
* adding transitions
* using sound to refine your edit
* titling with FCE and Photoshop
* animating images to create engaging scenes
* adding special effects filters
* compositing to enhance your projects
* outputting your material
The companion DVD contains a video introduction to FCE that is especially designed for iMovie users. It compares and contrasts the two applications to ease the transition. The DVD-ROM portion contains project media, demo software, and free plug-ins for your use.
* Cover all of the essential editing processes from system set-up to outputting your material
* Eleven tutorial lessons give you firsthand experience with the art and technique of editing
* The companion DVD contains project files and a training video especially for iMovie users
Customer Reviews:
Excellent book.......2007-06-08
The book is VERY helpful and easy to read. Tom is also very active on the Apple boards so it's actual very easy to find the author of the book should you have a question not covered in the book.
The One To Get You Started.......2007-05-07
After collecting five or more books, manuals, and videos, this is the one that got me into seriously using FCE!
Tom Wolsky Nails It!!!.......2007-03-14
I have been using FCE 3.5 since it came out and thought I knew something about the software. After reading not even 100 pages I learned that more to learn was very possible. His presentation is straight forward and easy to understand. I wondered what took so long for a book on FCE 3.5 would come out and am glad this one did. FCE3.5 is a powerful software and this book helps you get the most out of that power.
Book Description
'Tom helps you make the leap from iMovie to Final Cut Express, and teaches you the art of editing along the way.' —
Jim Heid, contributing editor, Macworld 'Let's face it, you can only learn to edit by editing. What sets this book apa
This practical book gives you firsthand experience with the art and technique of editing. It guides you to a working knowledge of this powerful editing application with 11 tutorials that cover every essential aspect.
Customer Reviews:
Good review but very poor editing.......2006-02-06
I'm posting this review after making it through the first 4 chapters, as I think that this is usually the point of no return when you decide if you can stick with a software book or toss it on the pile of good intentions. The reading can be a bit tedious at times since the author mentions many items at the start that you will get to "later." Part of this stems from the fact that FCE is a very complex program with a million functions so I can understand the difficulty of trying to reduce the complexity.
However, be forewarned that the book is lacking a good glossary and the author throws in jargon in many spots without a thorough explanation. A good example is in a tip box in the third chapter that describes the different ways to break up your video. Just as the author is describing how to cut video, he throws in a blurb about using a ripple delete without telling the reader what this is. Ironically, the term is in bold text, leading one to think that it could be a good glossary entry or should be listed in the index in the back when unfortunately neither is the case. Be ready to Google a lot of terms as you work through this book and hit the Apple discussion boards. My other critical point at this stage in the book is that several steps are re-hased too often as if the author assumes you have closed down windows between lessons and are starting over again.
Lastly, whoever was lead editor on this book needs a thorough lashing, as there are many silly mistakes (e.g. pointing out a feature on the far left of a screen when it is in fact on the far right) that should have been caught before this book went to press.
Not worth it.......2005-12-09
I bought this book on the basis of the positive reviews, and boy, do I regret it. This was very little help and is written in a schizophrenic, haphazard form that is maddening. Example: right after he has you load up the first lesson, he goes off on long explanations of functions that he then says will be used in later chapters, not that one. Then he gets back to the lesson - supposedly - and goes off explaining other controls. Finally, the chapter ends and YOU'VE NEVER EVEN USED THE LESSON! He tells you to close it up and start importing your own material.
And, as stated before, there are many typos, or worse, errors like telling you to use the button on the right when he really means to say left, so it's confusing and frustrating. I used to tutor English at university level and if this had come across my desk I would have considered it a rough draft. Even from a pure logic standpoint, it's a jumble. If you're a beginner to Final Cut Express, stay away from this one!
Editing with Final Cut Express.......2005-10-02
After making a few home movies with iMovie, I decided I wanted to have more options for transitions, compositing, and titling. Final Cut Express has been a great upgrade from iMovie. The controls were quite daunting at first, so I purchased a training DVD that didn't work well for me. I then purchased Final Cut Express For Dummies and that was great for learning the basics. Wanting to do more I ordered the FCE 2 Editing Workshop. Tom Wolsky does a fine job of explaining all the nuances of this great program. It's nice when the authors and experts explain things in a way that assumes you know little of terminology and compression and all the computer skills that they have. I've already used many of the techniques to improve my movies. When I upgrade to Final Cut Pro, I will be buying his book for that program as well.
Save your money.......2005-09-11
Except for the little chat (on the DVD included) about how FCE differs from iMovie, there is not much quality in this book. The video footage included is awful. There are many typos, and the index is VERY poor. (Look up "Sequence.") This book was so bad, I purchased another title -- "Final Cut Expess Solutions" by Jason and David Teague to learn FCE. It's a much better book. I wish someone like Wolsky and/or the Teagues would make a good video about using FCE -- similar to the tutorial that came with my copy of FCE.
Great book gets you started, plus a wonderful author to help you out of tough spots.......2005-09-03
Not only is this one of the best titles on the market for getting you into the nitty gritty of Final Cut Express, it is written by a man who is clearly devoted to teaching the product. Just today I was on Apple's help forum trying to solve a problem that I couldn't find the answer for in his or any of the other books I have. It turned out the solution was simple, but it was such a nice surprise that Tom Wolsky himself (author of this book) was the one to respond!! Looking through Apple's and other web based forums on video editing I found that he devotes quite a bit of time to selflessly helping out people with questions that range from the simple (mine) to the very complex and particular solutions. Combine this with the online expertise from Wolsky and many others who are incredibly helpful, and you are off to an excellent start editing!
Book Description
"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University
The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences.
Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.
Customer Reviews:
A classic of its kind from a great musician........1998-04-14
A must read for classical pianists, both amateur and professional. Brendel's writing is often quite funny, always sincere, and often enlightening on subjects as diverse as the worth of Lizst, making recordings, and his understanding of Beethoven's compositional procedures. And best of all, the reader gets a glimpse into how one of the great musical minds of our time works. While not a difficult read and always interesting and enjoyable, the book does require knowledge of the standard literature for the piano to be fully appreciated.
Average customer rating:
|
Music and Musical Thought in Early India (Chicago Studies in Ethnomusicology)
Lewis Rowell
Manufacturer: University Of Chicago Press
ProductGroup: Book
Binding: Hardcover
 General
| Music
| Entertainment
| Subjects
| Books
History & Criticism
| Music
| Entertainment
| Subjects
| Books
Folk & Traditional
| Musical Genres
| Music
| Entertainment
| Subjects
| Books
Instruction & Study
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
Theory
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
India
| Asia
| History
| Subjects
| Books
| Ancient
Look Inside Entertainment Books
| Trip
| Specialty Stores
| Books
Look Inside History Books
| Trip
| Specialty Stores
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
ASIN: 0226730328 |
Book Description
Offering a broad perspective of the philosophy, theory, and aesthetics of early Indian music and musical ideology, this study makes a unique contribution to our knowledge of the ancient foundations of India's musical culture. Lewis Rowell reconstructs the tunings, scales, modes, rhythms, gestures, formal patterns, and genres of Indian music from Vedic times to the thirteenth century, presenting not so much a history as a thematic analysis and interpretation of India's magnificent musical heritage.
In Indian culture, music forms an integral part of a broad framework of ideas that includes philosophy, cosmology, religion, literature, and science. Rowell works with the known theoretical treatises and the oral tradition in an effort to place the technical details of musical practice in their full cultural context. Many quotations from the original Sanskrit appear here in English translation for the first time, and the necessary technical information is presented in terms accessible to the nonspecialist. These features, combined with Rowell's glossary of Sanskrit terms and extensive bibliography, make Music and Musical Thought in Early India an excellent introduction for the general reader and an indispensable reference for ethnomusicologists, historical musicologists, music theorists, and Indologists.
Book Description
While the worship wars continue to rage in the church, many do not realize that conflict over church music goes back to the earliest Christians as they sought to live out the "new song" of their faith. In A New Song for an Old World Calvin Stapert challenges Christians to learn from the wisdom of the early church as they seek to explore appropriate music today.
Stapert draws parallels between the pagan cultures of the second and third centuries and our own multicultural realities, enabling readers to comprehend the musical ideas of early Christian thinkers, from Clement and Tertullian to John Chrysostom and Augustine. Stapert's expert treatment of the attitudes of the early church toward psalms, hymns, and spiritual songs is ideal for scholars of early Christianity, church musicians, and all Christians looking to add an ancient yet relevant perspective to their worship today.
Customer Reviews:
New Insights Into an Old Controversy.......2007-02-21
Calvin Stapert's book is a must-read for every church musician and for anyone interested in the roots of Christian culture. Not only does it offer a survey of key early Christian teaching on music, it includes descriptions of the pagan, Greek and Roman cultic practices confronting the church in its first four centuries, a period of explosive growth in the face of intense persecution. Stapert has an eye for intriguing detail. If you have ever wondered what really went on at a Roman banquet, whether Nero did indeed fiddle as Rome burned, or why Tertullian objected to women dyeing their hair, you will find the answers here (and at the same time find out how such details pertain to the book's main subject). Stapert provides an abundance of well-chosen primary source material, which with the help of his flowing lucid commentary forms an easily-followed narrative thread.
Stapert's respect for his sources and his readers shines through. Any who might wish for support from early Christian writers for a musical practice sensitive to that of secular mass contemporary culture will be disappointed, as the Church Fathers were univocal on this point. Yet Stapert takes a careful look at various cultic practices of the time in order to clarify and delimit exactly what conditions the Fathers were addressing in their directives. These conditions do not always neatly line up with those of our present day. So readers looking to support a blanket condemnation of contemporary praise and worship music will not find the right ammunition from these writers either.
The take-home message of this book is a provocative challenge based not on negatives, but on the new purpose and meaning of music found by the first generations of Christians, brilliantly articulated by Ambrose and Augustine, yet over the centuries, badly obscured. Stapert proposes a convincing root cause of our current failure of vision, which I leave purchasers of the book to discover.
New Song for an Old World sheds light, not heat, on the regrettably contentious issue of music in worship. In addition, it will earn its keep as a bookshelf reference: Stapert has included an extensive bibliography and a series of helpful appendices, including a map and a timeline.
Book Description
A set of stand-alone essays written by the cream of rock music's commentators—among them Rob Johnstone, Clinton Heylin, Legs McNeill, Greil Marcus, Kris Needs, Judy Nylon, Alan Clayson, and Nigel Williamson—this work could well be the final word on the symbol of 1970 punk they once called "Rotten." Love him or hate him, 30 years after the release of the Sex Pistols' first record, John Lydon—the man who was the focal point of the British punk movement—is impossible to ignore when discussing the history of rock. Was the Sex Pistols' album Never Mind the Bollocks the one true masterpiece of punk's first wave? How did the Pistols influence American punk? How does Lydon's post-Pistols work in PIL compare in influence and artistry? Contributors delve into these questions and more in this fitting tribute to an underdog who went on to become an antihero to millions.
Book Description
Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing.
Music as Thought traces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first.
Music as Thought is a fascinating reinterpretation of the causes and effects of a revolution in listening.
Customer Reviews:
A master teacher shares his thoughts.......2007-07-04
Douglas Hill is one of my mentors--a great player, a master teacher, a kind person, and a strong analytical mind. He is a terrific diagnostician and a healer of horn problems, and I have grown by both his example and his teaching. In this book, he shares his thoughts about several different subjects relating to playing the horn, and gives the possibility of moving through those nasty "stuck" places in one's technique. Unfortunately, the student who borrowed my copy has not returned it (and I can't remember who has it), so I am ordering another.
Book Description
This is the first intellectual biography of the French composer and theorist Jean-Philippe Rameau. Rameau synthesised the vocabulary and grammar of musical practice into a concise scientific system, earning himself the popular title of ‘Newton of the Arts’. Ranging widely over the musical and intellectual thought of the eighteenth century, Thomas Christensen is able to orient Rameau’s accomplishments in the light of speculative and practical considerations of music theory as well as many of the scientific ideas current in the French Enlightenment. He shows how Rameau incorporates ideas ranging from neoplatonic thought and Cartesian mechanistic metaphysics to Locke’s empirical psychology and Newtonian experimental science. Additional primary documents help clarify Rameau’s fascinating and stormy relationship with the Encyclopedists, Diderot, Rousseau and d’Alembert.
Books:
- Flash Studio Secrets
- Forbidden Animation: Censored Cartoons and Blacklisted Animators in America
- Framed: Interrogating Disability in the Media
- From Star Wars to Indiana Jones: The Best of the Lucasfilm Archives
- Gary Cooper Off Camera
- Gay Fandom and Crossover Stardom: James Dean, Mel Gibson, and Keanu Reeves
- Godard on Godard: Critical Writings by Jean-Luc Godard (Da Capo Paperback)
- Harrison Ford (Bios)
- Heartbreak and Vine
- High Contrast: Race and Gender in Contemporary Hollywood Films
Books Index
Books Home
Recommended Books
- Understanding Sonet/Sdh and Atm: Communications Networks for the Next Millennium
- SOG: The Secret Wars of America's Commandos in Vietnam
- How to Plan and Execute Strategy
- Eight Steps to Seven Figures: The Investment Strategies of Everyday Millionaires and How You Can Bec
- Managing Enterprise Content: A Unified Content Strategy
- Shame on It All: A Novel
- Organizational Teamwork in High-Speed Management
- Multiple Streams of Income: How to Generate a Lifetime of Unlimited Wealth! Second Edition
- Learning in Chaos: Improving Human Performance in Today's Fast-Changing, Volatile Organizations
- Working with Animals, 2nd: The UK, Europe and Worldwide
Apple Pro Training Series: Final Cut Express HD (Apple Pro Training)
50 Fast Final Cut Express Techniques
Final Cut Express HD for Mac OS X (Visual QuickStart Guide)
Apple Final Cut Express HD 3.5 (Mac)
Producing and Directing the Short Film and Video, Third Edition
