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Acknowledgments

Acknowledgments

There is no way for me to have a camera sucking up video from my immediate world without the trust and cooperation of my friends and family (many of whom grace these pages). Having me around often means being unwittingly dragged into my video obsessions. My deepest thanks to all my neighbors around Westcliff in Santa Cruz who have supported this new project, in particular, Hilary and the Bryant clan (Chris and Dave) whose passion for video provided ample opportunity for my unrequested advice. Also, thanks to Steve Katz and family (Gina, Anthony, and Nathan) for their good nature and DV generosity. And of course, Lisa, Kim, Laura, Nick (1 and 2), Reed, Patty, Molly, Sean, Robert, Tess, Julia, Ian, Olivia, Jay, Lindsay, Ruby, Joni, Anita, and all our friends who have listened to this book develop, posed for photos, and sat through hours of my videos, with nary a gripe. You all rock.

A quick hug and kiss to the Rubin family: my parents (Mel and Lorna), Gabrielle, Jacques, Joshua, Danny, Louise, Maida, Asa, Judy, Jerry, Jeff, and all the cousins.

The book owes its roots to the magnum opus of my career, Nonlinear, the first textbook on digital editing of film. The many people who supported and contributed to Nonlinear supported this book as well, particularly Ron Diamond, Ken Yas, Dean Godshall, and Gary Midgal. Special thanks to Adam Wilt—the consummate DV expert—for his advice and input. And always, to Mary Sauer and Steve Arnold, who brought me into “the business” in the first place, and set the stage for my seminal experiences at Lucasfilm.

I'd like to thank Nick DeMartino and my friends at the American Film Institute who encouraged me to develop this course, and have long supported my interest in education and my evangelical passion for this medium.

This book is also the product of new friendships and relationships. Thank you Lisa Brenneis, for my introduction to Peachpit; it has been an exciting experience. I thank Marjorie Baer for our conceptual correspondences, which really made this book take form. Also, I have terrifically enjoyed my (both contentious and collaborative) work with Becky Morgan and Kate McKinley, my editors and sometime coaches. This book represents a positive synergy with Peachpit, and I look forward to many more.

Finally, there is the true source and inspiration for this book—Jennifer and Jonah, whose lives are so much a part of my own that any work of mine necessitates their profound tolerance and unwavering support. I know, Jen, I know: At the end of the day, all this technology isn't really worth squat.

This book was shot on location in Santa Cruz, San Francisco, Gainesville, and St. Augustine. Any similarity to actual people and events is purely coincidental, except the parts about me, which are mostly true.

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