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Acknowledgments

Acknowledgments

As with any film project, many people's contributions added to this book. Thanks to Ron and Kathlyn Lindeboom for urging me to write it in the first place and for introducing me to the fabulous folks at New Riders. The Creative Cow has been my virtual home since my work with Final Cut Pro began and will continue to be the place you'll find me hanging.

Thanks to the folks at Pearson and New Riders: Jeff Schultz for his encouragement, Kate Small for her gentle persistence, Lisa Thibault for her super editorial ideas and general support—you are the best. Linda Bump for her professional attitude and support. All the folks at New Riders have been simply the best to work with.

I must acknowledge the tips and tricks from my technical editor Philip Hodgetts, whose support and input have been wonderful. Paul Vachier, my other technical editor, supplied invaluable input. I had the best pair of technical editors in the business, and their contributions cannot be minimized. Philip, a true Final Cut Pro guru and teacher, and Paul, a very talented professional, both contributed many things that made the book better. Thanks, fellas.

Without the contributions of the director and producer of “The Midnight Sun,” there would also have been a lesser effort for this book. Thanks for your talent and wonderful working relationship, Larry and Colleen McLaughlin. Their efforts three years ago really had a lot to do with this book indirectly and made writing the book a joy.

A million thanks to Chad Roark at Videografx in Denver for his wonderful design and talent, which are evident in the production company logo used at the end of the film. A big thank you to Jon and Heath Firestone at Firestone Studios, whose special-effects work created for the film and this book were just right. Thanks to Randy Hanson at Fanfare in Denver. Randy kept all the audio on a backup system so we could repurpose it for this book, and his professional attitude (and wonderful mixing talents) created the audio track originally for the movie.

I'd also like to thank all the teachers, staff, and students at the Colorado Film and Video Instructional Studios for their support during this effort. I appreciate Frederic Lahey's encouragement in particular, when I was experiencing “When will I ever get this done?” syndrome. Thanks to all the students who gave me very valuable insight into how to approach this topic in general.

This book wouldn't exist without Apple Computer and the folks who have supported this effort. Thanks to Erin McKay Skitt and the rest of the Final Cut Pro team, whose efforts with the software have brought it to a whole new level with Final Cut Pro 4. Thanks to Patty Montesion's encouragement and the good folks who run the discussion group there for FCP, allowing me to learn how to teach, giving me insight into how readers learn. Thank you, one and all.

Thanks to my mother, Nina Christy, and to my late father, Jack Hofmann, for encouraging me throughout my life and preparing me to succeed in this crazy business.

Thanks to my children, Jesse and Taylor, for putting up with Dad in general. My daughter Taylor's gentle reminders to finish the book, and my son Jesse's general support, have served me very well. I love you two very much.

Most importantly, I must acknowledge my best friend, wife, and soul mate, Julie Hofmann. Without her love, support, and encouragement, I would never have been able to write this book. I've dedicated this book to her.

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