I would like to thank Elinor Actipis at Focal Press for being intrigued enough with my email pitch for a book on DSLR cinema to ask me for a formal proposal to get the ball rolling and her insistence to update with a second edition.

Many thanks to Michele Cronin at Focal Press for shepherding the original edition from its genesis through—if not a revelation (that's for readers to decide)—but a completion. Kudos for Lauren Mattos for carrying through with the 2nd edition. Excellent work.

Thanks to all of the manufacturers, artists, and photographers—too many to name individually—for permission to use their images in this book. Without the pics, it would have just been words, which would just not have been as exciting.

Furthermore, much appreciation for the critical eye and keen advice of Julian Grant and Dave Anselmi—my deep appreciation for their comments. This book is better than it would have been without them.

Many thanks to the reviewers who gave comments at the beginning of the process: Dave A. Anselmi, Director/Producer/Instructor (PracticalMysticProductions.com), Michael Brennan, Director of Photography; Julian Grant, Producer/Director, Assistant Professor at Columbia College-Chicago; Andrew Jones, Cinematographer; Eugenia Loli, Tech reviewer, software developer, videographer (<http://vimeo.com/eugenia/videos>); Bruce Sheridan, Chair, Film and Video Department, Columbia College Chicago; Phil South, Tutor, Bristol Old Vic Theatre School.

Hats off to Diana Copsey, Nathaniel Westenhaver, and Jessica Wolfson for the transcriptions of many interviews.

Thanks also to Peter Tvarkunas, Director of Education at Canon, who was open to the project and offered much support.

I especially want to thank the international cast of filmmakers, cinematographers, journalists, and DSLR shooters who were generous with their time for interviews: First off, Philip Bloom, whose DSLR films and blog inspired me to delve into DSLR cinematography—he is a true British gentleman; American Jared Abrams at WideOpenCamera; planetMitch at planet5D.com—I look forward to his DSLR news updates every day; Rii Schroer, a German photojournalist working in England; Brazilian director Bernardo Uzeda and cinematographer Guga Millet; British ex-pat Neal Smith at Hdi RAWworks; American filmmaker and colorist Jeremy Ian Thomas (Hdi RAWworks); Kris Cabrera for insights into special effects with the Canon 7D; American writer and director Jamin Winans; and much appreciation for Hong Kong director Po Chan and ASC member Shane Hurlbut for letting me on the set of The Last 3 Minutes, so I could see the Canon 5D Mark II in action, as well as the Elite Team members who offered tips and allowed me to get underfoot as they shot, and of course Lydia Hurlbut, who not only offered invaluable assistance with the manuscript, but made sure I was in the right location for shoots over the greater LA area.

I also wish to thank my colleagues at the School of Communication at Northern Arizona University who provided moral support during the writing of this manuscript as I held down a full teaching load. Norman Medoff offered advice and encouragement. Paul Helford and Janna Jones were always there with a smile. Mary Tolan was a friend who jumped at the chance to shoot a project with a DSLR and asked the right questions. Mark Neumann always provided moral support and was always open to faculty willing to push the envelope in the classroom. Peter Schwepker lent me his 5D over spring break before I decided to get mine—many thanks. I also want to thank my dean, Michael Stevenson, who offered encouragement when I took on the project; it was a boost of support during a hectic semester.

In addition, I thank my students who inspire me to do even better work—both in teaching and shooting—some of whom were willing to experiment with DSLR cinematography when I encouraged them to use DSLRs for their projects before there were any rule books: Shannon Sassone, Shannon Thorp, Danielle Cullum, Taylor Mahoney, and Margo McClellan.

I also want to thank my friend Beau L'Amour, who not only gave me a place to stay in LA, but offered detailed advice on audio and lenses, and got me contacts at Bandito Brothers.

Finally, special thanks to Stephanie and Morgan Petrie—who have been my family in Flagstaff. And of course to my mother, Judy Bennett, and her husband, Clay, who opened their cottage on Sebec Lake in Maine—providing a place to relax after the book was completed.