ourth edition, the focus is shifted even further toward digital technologies. This is not because film is dead—it isn’t yet, though its future is increasingly limited. Equipment manufacturers are no longer making film cameras, and theaters are steadily converting to digital. Nevertheless, some of the largest and smallest productions are still being done with film. This book is written from the point of view that media makers will reach for whatever tools suit them best to record, edit, and display their work. Their toolset can include digital and film technologies in any number of configurations