Acknowledgments


I first need to acknowledge the people who first gave me the opportunity to work with Adobe Systems year after year:

Joe Ternasky, for getting my back, lobbying for me, and getting me the second interview. Nick Schlott, for taking a chance and hiring me. Greg Gilley, for continuing to have me back, again and again and again. Marianne Deaton, for helping to ensure that everything was in order for me to keep coming back. Steve Warner, for hiring me again and again and again. Bruce Bowman, for the tradeshow work, friendship and opportunities that he helped create, and some last-minute tech-editing duties. Richard Townhill, for his trust and the opportunities he extended to me. Dave Trescot, who not only extended me opportunities, but also encouraged me to take my training and education skills a bit further and build a relationship with Total Training. His guidance has been invaluable. And where would I be had John Warnock and Chuck Geschke not been rebels themselves and created such a sound company?

So many people have been instrumental in bringing the Premiere product to life. I want to at least thank the good folks on the ninth floor in San Jose who work hard to give users a product they can rely on. Production Studio is a great leap forward, and the lead that Premiere Pro has taken should be noted. To the tech support folks in Seattle, I also thank you for being there and being on top of your game.

I again feel very privileged to have had such great support in putting this book together. Thank you to Jeffrey Warnock, who first suggested the idea and put me in touch with Peachpit. To my editor, Linda Laflamme, it's difficult to write a good book without a good editor and on the second trip, I am glad it's the same you! A very special nod of appreciation to Charles Liss who singlehandedly juggled the tech edit while releasing a product and learning to fly! He ensured that the details and jargon that I tossed around were very well-grounded in fact. To my project editor, Karen Reichstein, I appreciate that you kept the book's and reader's best interest in mind, staying on top of all the things necessary to get the book done. A late edition special thanks to Michael McCarthy who helped me update the appendices; your technical knowledge is much appreciated and admired.

I know it's like a movie credit roll, but I want to make sure these people know I appreciate their support. In no particular order: Mitch Wood, Kristan Jiles, Jason Levine, David Kuspa, Paul E. Young, Terry Ragan, Andrew Huebscher, Addison Liu, Mike Kanfer'no, Jason Woliner, Giles Baker, Mark Cokes, Brad Pillow, Mike Berry, Zachary Lam, Maryann MacGregor, Bob Currier, MT, Ganoush, Robert F., Lorbs, Al Tse, the Stratton family, Matt Toledo & family, Michelle Love-Escobar, Wally & Patty (and fam), Scott Waugh, Dana Brown, Mouse McCoy, Rich Wilson, and the D2G group, thanks for the opportunity. Rob Legato, Ron Ames and Adam Gerstel, thanks for the education. Sample Digital: Josh Kline, Cone, Matt "Shart" Reason, and Marlowe, thanks for the office space. Matt Dowling @ Blackmagic Designs, David Newman and David Taylor @ CineForm, Wes @ Automatic Duck, Tim Smith @ Canon, Dan Restuccio @ Post Magazine, Cynthia Wisehart @ Millimeter Magazine, John Gold. To the folks at Laser Pacific, Leon Silverman and Tom Vice, thanks for your support with all my tests and projects. And here's a special thanks to those I forgot to mention.

And finally, I would like to thank my family for their patience with such an enthusiastic and hyper-curious child who was allowed to explore all of the things that interested him. If not for their patience, I have no clue what my life would look like today. I have been blessed with a tight family that supported my growth and individuality even when it wasn't comfortable for them. Mom, Dad, and Jessica, thank you.

To my love and soulmate, Lilit, I am forever grateful we finally found each other.




Adobe Premiere Pro 2.0 Studio Techniques
Adobe Premiere Pro 2.0 Studio Techniques
ISBN: 0321385470
EAN: 2147483647
Year: 2006
Pages: 200

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