This text is aimed at the beginner handling grip equipment for the first time. It covers the equipment used daily in the making of films, TV shows and commercials, and explains why one piece of equipment may be chosen over another in a given situation.

While the technology of filmmaking has changed dramatically over the last 20 years, the basics of effective studio gripping are the same-a thorough knowledge of equipment, safety, and tools remains the foundation for success. A heavily illustrated reference and learning tool, Uva's Basic Grip Book provides grounding in basic grip equipment, techniques, and safety issues. It distills the most beginner-friendly information offered in Uva's original Grip Book into a handy reference and guide prepared especially for the beginning professional. Updated with the latest studio grip equipment, the book also offers a complete list of personal grip tools that every grip should have, more than 100 tricks of the trade, and a review test designed to affirm new knowledge. Uva's Basic Grip Book also offers safety tips for gripping, detailed descriptions of positions within the grip department, and advice designed to help land that first job and get established in this very competitive industry. A fully updated and expanded glossary completes the book. Uva's Basic Grip Book covers beginners' most frequently asked questions and helps them to acquire basic skills. It also looks at the different positions within the grip department and offers helpful advice in getting that first job. Like its predecessor, Uva's Basic Grip Book is filled throughout with Tricks of the Trade, as well as tips on common practice and safety. An improved and expanded glossary completes the book.

Readers of Mike Uva's GRIP BOOK who are interested in more detailed information on the work of the grip department will welcome his new rigging manual, clearly detailing all the ways to mount cameras and lights both on a set as well as on location. The book covers the latest truss systems, rigging equipment and portable stages, as well as lifts, boom arms and camera mounts for every type of moving vehicle. The book is not limited to equipment specifications, however; Uva offers tips and tricks throughout in order to make the process of setting up and shooting safer and more efficient. Grips often need to invent makeshift solutions in a short time, and Uva shares many such devices developed over his years in the film and TV industry. This book will help grips and key grips move on to the bigger feature projects and commercials that require this equipment. It will also be useful for directors of photography and producers in pre-planning the required equipment for specific shots.

Uva's Guide To Cranes, Dollies, and Remote Heads is a comprehensive guide to all the latest equipment-what it is, how to use it and where to find it. This new book is designed to provide the more experienced professional with a streamlined reference to the equipment without the how-to information beginners require. Like the Grip Book 2E, it lists standards and features of all the different types of equipment covered, and with the recent explosion of new equipment introduced into the film industry this reference is invaluable! As a reference guide, Uva's Guide To Cranes, Dollies and remote heads provides must-have information for a larger group of film professionals. Producers, directors, and DPs, and others responsible for securing equipment for a project will consider this an indispensable tool that will become an industry standard.

Comprehensive. Detailed. Practical. Set Lighting Technician's Handbook, Fourth Edition, is a friendly, hands-on manual covering the day-to-day practices, equipment, and tricks of the trade essential to anyone doing motion picture lighting, including the lamp operator, rigging crew, gaffer, best boy, or director of photography. This handbook offers a wealth of practical technical information, useful techniques, as well as aesthetic discussions. The Set Lighting Technician's Handbook focuses on what is important when working on-set: trouble-shooting, teamwork, set protocol, and safety. It describes tricks and techniques for operating a vast array of lighting equipment including LEDs, xenons, camera synchronous strobes, black lights, underwater units, lighting effects units, and many others. Since its first edition, this handy on-set reference continues to be widely adopted as a training and reference manual by union training programs as well as top university film production programs. New to the fourth edition: * Detailed information on LED technology and gear * Harmonized with union safety and training procedures * All the latest and greatest DMX gadgets, including remote control systems * Many new and useful lights and how to use them and troubleshoot them. * New additions to the arsenal of electrical distribution equipment that make our sets safer and easier to power. * More rigging tricks and techniques. * the same friendly, easy to read style that has made this book so popular.

A riveting firsthand account of one man’s mission to investigate and document some of the most astonishing phenomena of our time—children who speak of past life memory and reincarnation. All across the globe, small children spontaneously speak of previous lives, beg to be taken “home,” pine for mothers and husbands and mistresses from another life, and know things that there seems to be no normal way for them to know. From the moment these children can talk, they speak of people and events from the past—not vague stories of centuries ago, but details of specific, identifiable individuals who may have died just months, weeks, or even hours before the birth of the child in question. For thirty-seven years, Dr. Ian Stevenson has traveled the world from Lebanon to suburban Virginia investigating and documenting more than two thousand of these past life memory cases. Now, his essentially unknown work is being brought to the mainstream by Tom Shroder, the first journalist to have the privilege of accompanying Dr. Stevenson in his fieldwork. Shroder follows Stevenson into the lives of children and families touched by this phenomenon, changing from skeptic to believer as he comes face-to-face with concrete evidence he cannot discount in this spellbinding and true story.

Excel as an Assistant Cameraman (AC) in today’s evolving film industry with this updated classic. Learn what to do—and what NOT to do—during production and get the job done right the first time. The Camera Assistant’s Manual, Sixth Edition covers the basics of cinematography and provides you with the multi-skill set needed to maintain and transport a camera, troubleshoot common problems on location, prepare for job interviews, and work with the latest film and video technologies. Illustrations, checklists, and tables accompany each chapter and highlight the daily workflow of an AC. This new edition has been updated to include: A fresh chapter on the entry level camera positions of Camera Trainee/Production Assistant Coverage of emerging iPhone apps that are used by filmmakers and ACs on set An updated companion website offering online tutorials, clips, and techniques that ACs can easily access while on location (www.cameraassistantmanual.com) All new sample reports and forms including AC time cards, resumé templates, a digital camera report, and a non-prep disclaimer Instruction and custom forms to help freelance filmmakers keep track of daily expenses for tax purposes The Camera Assistant’s Manual, Sixth Edition is an AC's bible for success and a must-have for anyone looking to prosper in this highly technical and ever-changing profession.

Elizabeth Barnes argues compellingly that disability is primarily a social phenomenon—a way of being a minority, a way of facing social oppression, but not a way of being inherently or intrinsically worse off. This is how disability is understood in the Disability Rights and Disability Pride movements; but there is a massive disconnect with the way disability is typically viewed within analytic philosophy. The idea that disability is not inherently bad or sub-optimal is one that many philosophers treat with open skepticism, and sometimes even with scorn. The goal of this book is to articulate and defend a version of the view of disability that is common in the Disability Rights movement. Elizabeth Barnes argues that to be physically disabled is not to have a defective body, but simply to have a minority body.

The Army of Northern Virginia's chaotic dispersal began even before Lee and Grant met at Appomattox Court House. As the Confederates had pushed west at a relentless pace for nearly a week, thousands of wounded and exhausted men fell out of the ranks. When word spread that Lee planned to surrender, most remaining troops stacked their arms and accepted paroles allowing them to return home, even as they lamented the loss of their country and cause. But others broke south and west, hoping to continue the fight. Fearing a guerrilla war, Grant extended the generous Appomattox terms to every rebel who would surrender himself. Provost marshals fanned out across Virginia and beyond, seeking nearly 18,000 of Lee's men who had yet to surrender. But the shock of Lincoln's assassination led Northern authorities to see threats of new rebellion in every rail depot and harbor where Confederates gathered for transport, even among those already paroled. While Federal troops struggled to keep order and sustain a fragile peace, their newly surrendered adversaries seethed with anger and confusion at the sight of Union troops occupying their towns and former slaves celebrating freedom. In this dramatic new history of the weeks and months after Appomattox, Caroline E. Janney reveals that Lee's surrender was less an ending than the start of an interregnum marked by military and political uncertainty, legal and logistical confusion, and continued outbursts of violence. Janney takes readers from the deliberations of government and military authorities to the ground-level experiences of common soldiers. Ultimately, what unfolds is the messy birth narrative of the Lost Cause, laying the groundwork for the defiant resilience of rebellion in the years that followed.

Offers a thrilling account of the first stage of the Peloponnesian War, also known as the Ten Years' War, between the city-states of Athens and Sparta, detailing the pitched battles by land and sea, sieges, sacks, raids and deeds of cruelty—along with courageous acts of mercy, charity and resistance.