It may take a village to raise a child, but it takes a global village to write a book. Without a group of loyal associates, it’s a waste of time and effort. I’ll do my best to mention everyone and hope I didn’t leave anyone out. Steven Hullfish, my friend, colleague, and fellow nonlinear enthusiast, has a literary touch that can be seen throughout the book. Without his kind assistance and focused perspective, I doubt that I could have finished the work in a readable manner. Alan Stewart and Mark Newman, A.C.E. have been very generous with their time, suggesting alterations and correcting some of my math. Deborah Cravey, former English professor at Clemson, helped me put this work into English, which is my native language, but not always apparently so. Nick Edgar gave me a perspective from an assistant editor’s point of view, particularly with the conforming chapter. Don Nelsen taught me most of what I know about color space over a span of several years and made sure that I didn’t make a fool out of myself to those who make their living studying the science of color. Patrick Krass assisted me in shooting, capturing and preparing some of the photographs and figures in this book. The folks at Film Camp™ deserve a medal for letting me run willy-nilly around the place shooting pictures and taking screenshots. Bruce Sturgill verified information to me about one of his many areas of expertise, the Media 100.
I’d also like to thank the following people for the advancement of knowledge regarding films and film systems. Their research and hard work have made a big difference in my own understanding of films, 24p, HDTV and how it is integrated with digital systems: Michael Schwartz at Sony Advanced Imaging, and Norman Hollyn for a great book about assisting (see bibliography).
Thanks to Barry Silver, Josette Hernandez, and the indefatiguable Robert Mathieu at Trakker Technologies, and the good people at Focal Point Software, for their kind assistance in teaching me the details about their products.
A special thanks to my friends Janet Strauss and Angela Edwards (for using their lovely images) and David Davidson at Camera Obscura (for using his lovely script).
Thanks to the people at Focal Press for walking me through this first book with ease: Marie Lee, Lilly Roberts, Kevin Sullivan, and the rest of the Focal yokels.
I’d also like to thank my family for letting me use the kitchen table for several months in the wee hours to finish this work. One final thank you goes to whoever created the autosave function on Microsoft Word.
And now, about trademarks and their use in this book. Avid, Media Composer, Xpress, FilmScribe, AutoSync, EDL Manager, OMFI, OMF, and Avid Log Exchange are all registered trademarks of Avid Technology, Inc. Trakker, Film Trakker, Telecine Log Converter, Sound Trakker, SyncLock, and Slingshot are registered trademarks of Trakker Technologies Inc. FilmLogic is a registered trademark of Focal Point Software, Inc. Final Cut Pro, Quicktime, and Macintosh are registered trademarks of Apple Computer Inc. Film Camp is a registered trademark of Digital Media Education Center. Aaton and Aatonbase are registered trademarks of the Aaton Corporation. Cineon, Keykode, Eastman, and Kodak are registered trademarks of the Eastman Kodak Corporation. Excalibur is a trademark of Filmlab Systems. FilmLook is a registered trademark of FilmLook, Inc. CineLook is a registered trademark of Digi-Effects, Inc. Steenbeck is a registered trademark of the Steenbeck Corporation. Moviola is a registered trademark of Moviola, Inc. Cinetrim is a registered trademark of Cinetrim, Inc. Orb is a trademark of Castlewood, Inc. Zip and Jaz are trademarks of Iomega Corporation, Inc. Spirit, DataCine, Spectre and Virtual DataCine are trademark of Phillips Video, Inc. Millenium Machine is a trademark of Innovation ITK.