Acknowledgments

First and foremost, I'd like to thank my business partner, Shirley Craig, for supporting our ongoing training programs at our company, Weynand Training International, while I was busy writing.

To those who provided the exceptional footage for this book, you have my deepest gratitude. A huge thank you to Barry Clark and Scott Garen for letting me use the actual media files from their dramatic film, A Thousand Roads, and to Elizabeth Duggal at the Smithsonian's National Museum of the American Indian for supporting their decision. Their footage brings extraordinary beauty to the exercises in this book. Thank you as well to Michael Bryant and Perry Karidis for the use of their daring and adventurous motocross documentary footage, and last but certainly not least, many thanks to the All Hours band Gilly Leads, Dean Moore, Nick Burns, and Amit LeRon for their hard work at The Viper Room during the shooting of the music video; their manager, Jodi Chall; Al Cafaro of Hybrid Recordings; and Lauren Haber at BMG for allowing me to use an excerpt from "Box Office Stud" for the multicam lesson.

A big debt of gratitude goes to my excellent editorial team, headed by Nancy Peterson of Alchemy Editing; to Nathan Haggard for his technical editing; Mary Plummer and Adam Green for their Apple-wise input; Darren Meiss for copyediting; and Brendan Boykin and Steve Kanter for the quality control.

At Apple, thanks to Patty Montesion for her generous enthusiasm and for creating the Apple Pro Training Series, and to Kirk Paulsen, Brian Meaney, Paul Saccone, and Erin Skitt for their support in all things Final Cut Pro. Thanks to the Peachpit team who guided this book along its way: Nancy Ruenzel, Serena Herr, Kristin Kalning, Laurie Stewart, Maureen Forys, and Eric Geoffroy.

To Claudio Miranda for the book cover image; Karen Jossel at Lucky Dog Graphic Design for her graphics; Roger Mabon at G-Technology, Inc., for the use of a G-RAID drive, which performed flawlessly; Ted Shilowitz and Gerard Tassone at AJA for the use of the Io board; Manny Gaudierat at Sony for the use of the PDW-1 deck to capture XDCAM optical disk material; and Andrew Robbins of Megatrax.

Finally, it's always valuable to have other eyes looking over my shoulder. Thanks to Christian Dangaard, Jeff Morse, David Heimann, and especially Susan Merzbach for their work and feedback on the sequences.