This reissued third edition of A User’s Guide to View Camera introduces photographers to large-format cameras, covering their use with both film and digital capture. Readers will learn the anatomy of cameras with a separately adjustable back or front, the proper techniques for using view cameras, and how to take care of large-format cameras—all through straightforward and practical instruction and abundant visual examples. This latest edition features: • Practical approaches to mastering lenses, shutters, accessories, and the ever-important maintenance of your view camera • Tips for both simple operation and advanced control of the camera, including film holders, bellows, and tripods, and film handling and development • A section on digital equipment, offering updates on the nearly 200-year-long history of the view camera

Want to know how to get a job designing UI for films or games? Not sure how to get started? We've got the answers to these and many more questions in our beginner's guide to launching a career in FUI. Jono gathers the most prolific artists in the industry to help answer some of the most common questions such as: What does the FUI process look like? What tools do FUI designers use? How do you get a job designing FUI? How do I get started? If you've ever considered designing user interfaces for film or games, then this guide is for you. This is a guide to help people needing advice on how to get started in FUI and how to break into the industry. This is not a coffee table book full of pretty pictures or step-by-step tutorials. It is a book filled with tips and insights collected from industry professionals. ALSO INCLUDES 'Approaching an interface' checklist 'Assessing an interface' checklist Pro tips from our contributing artists CONTRIBUTING ARTISTS Alan Torres (Captain America: Civil War, Avengers: Age of Ultron, Furious 7, Guardians of the Galaxy) Ash Thorp (Ghost in the Shell, Call of Duty: Infinite Warfare, 007: Spectre, Total Recall, Prometheus, Robocop) Chris Kieffer (Westworld, Passengers, Interstellar, G.I. Joe: Retaliation, Deep Water Horizon)) Corey Brammell (TMNT: Out of the Shadows, Ant-Man, 5th Wave, Transformers: Age of Extinction) Davison Carvalho (Star Wars: The Force Awakens, Doctor Strange, Captain America: Civil War, Mortal Kombat X) Gemma Kingsley (Black Mirror, The Conjuring 2, London Has Fallen) Jayse Hansen (Spider-Man Homecoming, Guardians 2, Star Wars: The Force Awakens, The Avengers 1&2, Iron Man 3) Jérémie Benhamou (Call of Duty: Advanced Warfare, Dead Space 2&3, Assassins Creed: Unity, Rainbow Six: Siege) John LePore (Batman V Superman: Dawn of Justice, Captain America: Civil War, Iron Man 2, The Avengers) Jorge Almeida (Minority Report, Star Trek Into Darkness, The Dark Knight Rises, Microsoft Future Vision 2015) Ryan Rafferty Phelan (Avengers Age of Ultron, Mission Impossible V, Agent 47, Guardians of the Galaxy)

A User's Guide to Copyright, Seventh Edition is long established as one of the key texts in the field. Renowned for its practical, user-friendly and authoritative approach and for its practical application to the main copyright using industries, the book is considered essential reading for legal practitioners, copyright law students and - crucially - for those working in the copyright using industries. Extensively cross-referenced to cases, legislation and leading texts and articles, this book clearly and effectively illustrates and explains the scope and relevance of copyright law in the new digital information era. Legislation and case law includes: WIPO Treaties; Number of EU Directives; Enterprise and regulatory Reform Act 2013; Football Association Premier League case (CJEU (C-403/08)); Infopaq (C-302/10); Public Relations Consultants Association v The Newspaper Licensing Agency (C-360/13); ITV v TVCatchup (C-607/11); Da Vinci Code case – Baigent v Random House; Fisher v Brooker 2009 UKHL 41 – the Whiter Shade of Pale case.

A User's Guide to Copyright is intended as a guide and a reference work on all aspects of copyright, including ownership, transmission, and licensing. This book also deals with the more straightforward copyright problems that arise and explores copyright law as it applies to certain organizations, businesses, and people for whom copyright plays an important part in their daily life, from publishers and printers to libraries, schools, music industry, film industry, television and radio stations, computer software and firmware, and character merchandising. This book is comprised of 29 chapters divided into two sections and begins with an overview of copyright law, paying particular attention to the basic rules of copyright, statutes and statutory instruments, and Copyright Act 1956. The reader is then introduced to copyright works encompassing literature, drama, music, and the arts as well as sound recordings, cinematograph films, and television and radio broadcasts. The following chapters discuss the concept of originality, breach of confidence, and publication in relation to copyright. Infringement of copyright is also considered, along with exceptions and defenses to copyright actions; the law on industrial designs; and the uses of copyright in fields such as publishing, music, libraries, performing arts, and architecture. This monograph is designed to assist people whose work involves them in day-to-day dealings with copyright.

Published in 1983, this book considers how films are used in secondary school as teaching aids in English and Film courses. Based on a dissertation presented to Temple University, the book tackles three main questions: firstly, it explores the ways that film is used be secondary school English teachers as an adjunct to instruction. Secondly it surveys the number and types of courses offered in film study and filmmaking in specific secondary schools. Thirdly it compares and contrasts the extent and degree of teaching about film as an artistic medium of communication.

Capitalizes on the ripeness of the German case for interdisciplinary investigation

This text on optics for graduate students explains how to determine material properties and parameters for inaccessible substrates and unknown films as well as how to measure extremely thin films. Its 14 case studies illustrate concepts and reinforce applications of ellipsometry — particularly in relation to the semiconductor industry and to studies involving corrosion and oxide growth. A User's Guide to Ellipsometry will enable readers to move beyond limited turn-key applications of ellipsometers. In addition to its comprehensive discussions of the measurement of film thickness and optical constants in film, it also considers the trajectories of the ellipsometric parameters Del and Psi and how changes in materials affect parameters. This volume also addresses the use of polysilicon, a material commonly employed in the microelectronics industry, and the effects of substrate roughness. Three appendices provide helpful references.

Recent radical changes in timecode technology, location shooting and post-production working practices have been brought about by the fragmentation of the television programme making industry and by a dramatic increase in affordable digital transmission and editing equipment and systems. With the expansion of non-traditional television service producers (cable, satellite and video-on-demand) almost anything hoes as far as shooting and editing formats are concerned. Timecode: A User's Guide is an indispensable reference for anyone needing to get to grips with the many aspects of timecode, whether in-house or on location. Taking into account these changes this book has now been brought completely up to date to include: * timecode and DVD, LTC & VITC in HANC packets in the serial digital TV interfaces * timecode in IEEE1395 (Firewire) * timecode and digital video cassettes * new recording formats of DVD, DV mini cassettes and D6 are included * 4:3 scanning for wide-screen films - standards updated * new material to cover new working practices * new appendices to cover the global LF time data transmissions and time data embedded in BBC transmissions Advice is also given on avoiding and remedying faults and errors.

The first version of this book, Packaging Materials and Containers was published in 1967 and was revised extensively ten years later under the title The Packaging Media. Some thirty or so authors were involved in producing the initial texts for these books, and I must acknowledge their material, much of which is still valid. It is now thirteen years since The Packaging Media-high time to take stock and incorporate the considerable advances in materials, forms, techniques and machinery that have taken place. In 1977, wherever possible, we asked the original authors to carry out the revisions, but retirements and job changes have now eliminated over twenty of the original authors. We have therefore appointed an Editorial Board to advise on this more extensive revision, and I wish to thank them for their detailed and helpful assistance: Dr C. J. Mackson and Professor Y. Dagel for general comments and guidance on the overall plan and, in particular, the Introduction (chapter 1); Graham Gordon and Harri Mostyn for assistance with much of Part D on Distribution Packages, and Dennis Hine and Susan Selke for their work in respect of paperboard and plastics retail packaging, respectively. A major contribution was made by the seventh member of the Editorial Board, David Osborne, who advised in the area of glass.