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This book was not a amazing choice since it did not cover the content in the test. The writers seemed to know about kid development but not Washington Unique Education Law. Any kid development book (for less money) would suffice. This book is not geared toward the Washington Educators Skills Test.
Free video on inside cover. That plus the online resources makes this an perfect study guide. The study tutorial provides info from student growth to professional responsibility. With a practice try with over 100 questions. I found this tutorial useful. I recommend buying if you are planning to take WEST-E Unique Education Test.
Then this is the book for you! It reviews the necessary concepts and includes tactics from experienced teachers - which will be useful when you actually start teaching. The book itself includes nearly 300 pages, and contains review questions scattered throughout the book, with a full length practice try at the end. You also have access to an online try which you should take as well, as the actual try is done on computer. You also have access to a Essential Try Hints video, info on how to obtain that is on the first page of the book. It also explains how the true try is scored - something you likely already is reviews general concepts such as cognitive development, disability categories, learning environments, instruction, professional responsibilities, and a lot of others. I liked having periodic questions soon after the info is presented, and especially liked the method the try questions are answered. Unlike some books I have seen that only list the correct answer, this explains why each possible respond is either correct or incorrect. I prefer this as it gives me the another source of try questions as I study with a partner - and we can ask each other questions based on the 'wrong' answer, rather than just quizzing on the right answer.I received a copy of this book from the publisher at no cost to myself. This is my voluntary review.
From what I can tell the review of necessary info seems to cover everything on the test. This book would be most appropriate for a current teacher or teaching student who wishes to specialize in Unique Education.
This is meant for those taking the Washington State Unique Education Exam. However, it provides such a comprehensive foundation that it's a excellent read for aspiring educators everywhere. Its amazing even for parents, family, friends, and community leaders to gain a deeper understanding. Every student should read certain sections of this book, as it promotes awareness that can yield a more inclusive, compassionate environment for all. Not only does it fully address educational, psychological, scientific, and medical topics; it advocates a grounded yet caring mindset that promotes a professional, accountable and mindful approach with the aim of dignity for all.
For the casual movie-goer, stars and some directors create the news. For most of us, the editor is an unknown. I suspect a lot of don't even know that there is an editor, as distinct from the director. Yet, editors are an essential part of turning films from scraps of movie or disjointed digital files into complete movies. In Editing, Justin Chang doesn't test to teach editing, he recounts the words of a number of top editors from around the world, letting them tell what they think is necessary about editing, what they test to accomplish when they obtain the everyday shoots and turn them into ere aren't any large secrets revealed. Editor after editor talks about the feel of the film, but nobody tries to quantify it in a method that a beginning editor could apply. I had thought this book would be a bit more technical, so it took me a while to obtain into it. Once I realized I was reading a various book, and simply attention to what it did rather than what I'd anticipated, I found it an enjoyable seems to me that everyone thinks they're the key to making a amazing film and editors are no different. I got a kick out of one editor describing the war he had with a director to preserve his editing choices... and then wondering why he never had a possibility to work with that director again. I was also interested (and maybe a small discouraged) to see how a lot of of these editors got their begin through family connections. It's a tough job to obtain into, expecially as producers are looking for editors with experience. As the book describes, the aprentice jobs that used to be common in the editing field have largely vanished with the deployment of digital editing tools.Lots of amazing pictures, some retrospectives on editors of the past, and descriptions of the thought processes behind some of the more interesting latest movies such as Inception, Social Network, and Green Zone.Overall, I enjoyed this book... and it's a nice conversation starter on the train.
...I mean, I enjoyed it, but I was expecting more of a how-to tutorial than a coffee table book.I picked up both the Cinematography and Editing texts in this series and was both disappointed and mildly its Cinematography companion book, this volume is a collection of interviews and profiles on true working movie editors. These volumes are definitely not primers or textbooks if that's what you're looking for, but they do provide interesting insights and a long view history of movie over the past century.I was very much enamored with the private stories featured throughout and it has definitely given me a finer appreciation to all of the true and practical work/artistry that goes into making moving be honest, I can't recommend the FilmCraft series if you're looking for a textbook, but they are inspirational reading (as opposed to practical reading) for any aspiring filmmakers.
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Movie editing is one of the most necessary arts within filmmaking. Justin Chang's "Editing" by focal press brings out the best of the best in the sphere of editing and interviews several of these oft overlooked specialists witin the industry. Their experiences on these landmark movies are very interesting and gives insights on how they solved problems. Of particular value to me was Chang's Rule of Six page 17. In this he cites the work of Munch, 'Blink of an Eye'. When should you cut? The six criteria / priorities and their weight in terms of editing:1. Emotion - 51%2. Story - 23%3. Rhythm - 10%4. Eye Trace (Audience focus and attention) - 7%5. 2 Dimensional Plane of Screen - 5%6. 3 Dimensional zone of action - 4%The weight of emotion is worth more than all of the things underneath it, r a book on film, however, I was really taken aback with the not good quality or not good choice of some of the examples. Sometimes the pictures were exceptioinally grainy, unfocused or so dark that you could barely create out anything within the frame. On Page 70 & 71, showing examples from the film "Crouching Tiger, Hidden Dragon", the four frames chosen were almost completely black. And on pages 148 & 149, fearutring the movie "Wild Grass," was exceptionally poor with the lack a lack of focus and a green tinge that went beyond the palette in the film. For that particular example, I have seen better quality pictures coming out of a circa 1960's Polaroid instant camera! I can think of no reason why a company like Focal Press in a book featuring movies would ever allow such not good quality photographs go to press on some pages while others were wonderfully crisp and fine examples of the editor's craft within stly, this is not so much a technical tutorial on a how to as it is a collection of interviews and examples of the past works of different movie editors. While it is a celebration, in an industry that is the most technical of all the visual arts, and one that is exceedingly hard to obtain into, it would have been a better book if there was perhaps a small more focused in this zone as well. It makes a amazing coffee table book, but it is not so much an educational text for movie students or specialists as much as a book geared toward general audiences with a small deeper interest in the movie industry.
I read and loved the FilmCraft: Cinematography book and expected no less from FilmCraft: Editing, and for the most part I did have fun this book, but felt it didn't quite live up to the standard of the former. Close, but not Cinematography, this book is more an in depth coffee table book than a how-to manual, and features a number of interviews and bios of prominent editors. It's non-linear so you can begin it up in the middle and begin reading without feeling as though you've missed ing the words of these editors was inspiring and enlightening, and can definitely be gleaned for useful info especially for the prospective movie editor. That's not to say the movie novice can't have fun this as well. In this book, you obtain a clearer understanding of why certain editorial choices were created and also gives you a fresh respect for editors. (I've since watched "Deleted Scenes" with a whole fresh understanding.)But unlike Cinematrography, this book's visuals were lacking. Too a lot of of the stills in this book were dark, or unclear and did no justice to the words of the esteemed editors discussing their work.
This is an interesting book, but unlike a well-edited movie, it doesn't feel tight, and cohesive. It includes a collection of interviews with different editing professionals, and while a lot of provide us with mildly amusing anecdotes (and far too a lot of related discussions of transitioning from linear to non-linear editing) you really have to mine for any gems of actual wisdom. This is a lot of editors sitting around talking about themselves as editors and not providing much in the method of technical guidance. It's very reminiscent of the multiple books on screenwriting out there where the screenwriting specialists talk about their craft - but in those books, I think aspiring writers obtain a lot more practical tip from the interviews and so - I don't know if this is an attribute of the pre-release books, or of the final release book as well, but a amazing a lot of of the photographic film frames used to illustrate a particular sequence are far too dark, a few almost completely black.I really wish to like the book - but I think it needs another pass at editing...
As a cinema fan and also a filmmaker, although I graduated from college, I did not major in movie or attend a movie school.But despite not having majored in film, I do have a passion for fact, if one was to visit my private library, you would see a plethora of movie books. Books on theory, books on execution and books that focuses on different filmmakers. And also along with those books is a dedicated cinema shrine of DVD's and Blu-ray's featuring the work of the world's talented filmmakers since the late 1890's to present-time.And having reviewed a lot of movies on Blu-ray and DVD and also cinema-related books, there is one zone in filmmaking that is necessary is the editing making is a collaborative process and an editor is responsible for assembling the shots while the movie is in production and through this, a director knows if an adjustments or extra shots need to be taken. But of course, for an editor, it's the post-production phase that is the basic role of an editor and works with the director (and producers) for the final cut. A meaning of the film, the clarity of the movie and enhancing the visuals of a cinematographer, it all comes down to the editing in post-production.And for anyone who has watched a huge budget action film, an artistic surreal movie or cinema that needed a amazing amount of editing that created us feel in awe of the film, in essence, we are seeing that collaboration involved in filmmaking but most importantly, cinema fans can message how much editing plays a huge part in a film."FilmCraft: Editing" by Justin Chang is a book which focuses on 21 editors from all over the world.Featuring priceless interviews and article spotlights on the following editors: -Walter Murch (USA) - Worked on "Apocalypse Now", "Ghost" and "The Godfather" films. -Anne Voase Coates (USA/UK) - Worked on "Lawrence of Arabia", "The Golden Compass", "Erin Brokovich", "The Elephant Man", etc. -Richard Marks (US) - Worked on "The Godfather: Part II", "As Amazing as It Gets", "You've Got Mail", etc. -Peter Zinner (Austria/US) - Legacy spotlight on Peter Zinner's career. Zinner worked on "The Godfather" films, "The Deer Hunter", etc. -Stephen Mirrione (US) - Worked on "Ocean's Eleven", "Babel", "Traffic". -Dylan Tichenor (US) - Worked on "There Will Be Blood", "Magnolia", "Brokeback Mountain", "The Town", etc. -Tim Squyres (US) - Worked on "The Crouching Tiger, Hidden Dragon", "Sense and Sensibility", "Syriana", "Godford Park", etc. -Valdís Óskarsdóttir (Iceland/US) - Worked on "Eternal Sunshine of the Spotless Mind", "The Celebration", "Finding Forrester", etc. -Dede Allen (US) - Legacy spotlight on Dede Allen's career. Allen worked on "Dog Day Afternoon", "The Breakfast Club", "Bonnie and Clyde", "Wonder Boys", etc. -Virginia Katz (US) - Worked on "The Twilight Saga: Breaking Dawn - Part I", "Dreamgirls", "Gods and Monsters", "Kinsey", etc. -Michael Kahn (US) - Worked on "Schindler's List", "Saving Personal Ryan", "Raiders of the Lost Ark", "Jurassic Park", "War Horse", etc. -Joel Cox (US) - Worked on "Gran Torino", "Million Dollar Baby", "Mystic River", "Unforgiven", "J. Edgar", etc. -Ralphe E. Winters (Canada/US) - Legacy spotlight on Ralph E. Winters who worked on "Ben-Hur", "The Pink Panther", "Seven Brides for Seven Brothers". -William Chang Suk-ping (China) - Worked on "In the Mood for Love", "2046', "Chungkind Express", "My Blueberry Nights" -Liao Ching-sung (Taiwan) - Worked on "Three Times", "Millennium Mambo", "Cafe Lumiere", etc. -Hervé de Luze (France) - Worked on "The Pianist", "The Ghost Writer", "The Ninth Gate", "Carnage", etc. -Barbara McLean (USO) - Legacy spotlight on Barbara McLean, McLean worked on "All About Eve", "Twelve O' Clock High", "The Snows of Kilimanjaro". -Angus Wall & Kirk Baxter (US & Australia/US) - The editing duo worked on "The Social Network", "The Curious Case of Benjamin Button", "Zodiac", "The Girl with the Dragon Tattoo", etc. -Lee Smith (Australia) - Worked on "The Truman Show", "The Dark Knight", "Inception", "Batman Begins", etc. -Christopher Rouse (US) - Worked on the "Bourne" films, "The Italian Job", "United 93', etc. -Sally Menke (US) - Legacy spotlight on Sally Menke who worked on "Pulp Fiction", "Inglorious Basterds", "Kill Bill: Vol. 1', "Reservoir Dogs", etc."FilmCraft: Editing" by Justin Chang is a book that shows us how these editor's approached movies that they were best known for. Rules that the follow when editing and the editing methods used.But most importantly, while these editors have communicated with a lot of viewers around the globe through the movie that they have worked on, through "FilmCraft: Editing", it gives these editors a possibility to communicate through their own words.JUDGMENT CALL:When it comes to editing, there are books that explain the concept of editing and the technique of editing but when it comes to editors in general, especially those who have worked on well-known films, there have been a om Gabriella Oldham's 1995 "First Cut: Conversation with Movie Editors" to the 2008 book "British Movie Editors: The Heart of the Movie" and books featuring on a sole editor such as "An Evening with Movie Editor Chistopher Tellefsen" by Manhattan Edit Workshop or "When the Shooting Stops...The Cutting Begins: A Movie Editor's Story" by Ralph Rosenblum, there really has not been a lot of editing books featuring editors worldwide.But fortunately, Justin Chang's "FilmCraft: Editing" does just that. While it does focus on mostly American cinema, there editors featured in this movie who have worked on a dozens of movies ranging from huge blockbusters with Steven Spielberg, those who worked on "The Godfather" films, those who worked on the visual Wong Kar-wai films, etc. This book is a unbelievable resource to anyone who are upcoming editors or even a curious cineaste.But before I obtain into the good, allow me talk about any negative aspects...trust me, there are not that many. Interviews and articles on a collective are typically subjective and when it comes to cinema, especially if you watch cinema worldwide, one thing that you wish to see is a amazing representation of interviewees from around the world. As mentioned, the book does focus on a lot of American filmmakers, two in Asia, one in France, Australia, Iceland, UK, etc. So, for those hoping for representation of editors who have worked on Italian cinema, Russian cinema, Japanese cinema, etc. You are not going to search them in this book.With that being said, the representation of editors from a lot of amazing movies is quite appreciated and I also feel that for a book of this caliber, there is always room to feature more editors from other countries in hopefully a future volume.But on this book alone, I found this book to be unbelievable in a lot of levels. For example, Walter Murch goes into his private take of the "Rule of Six" with percentage values, Anne Voase Coates wrote about working on "Lawrence of Arabia", Richard Marks talks about working on "The Godfather" films, Stephen Mirrione on the challenges of working on "21 Grams" and "Babel", Tim Squyres working on Ang Lee movies and using Avid, Virginia Katz talks about working on a Chinese film, "Fearless" after working on "Dreamgirls" but also working on action sequences. Michael Kahn talks about working on how he became an editor and began editing for Steven Spielberg, William Chang Suk-ing talks about working on Wong Kar-wai films, Liao Chung-sung talks about working on Hou Hsiao-hsien films, Christopher Rouse working on the "Bourne" films, Lee Smith on working on "Inception", "The Dark Knight", etc. and there are more interviews with talented editors that are featured throughout the book. And you also obtain a few "legacy spotlights" on editors who have passed away.I can continue to gush about this book about why I loved it but this is one of those books that those who are interested in editing, will wish to own. To learn from the best editor's out there, their approach to film, how they took on challenges but most of all, just that opportunity to learn from these e fact is that unless you spend a lot of on Blu-ray or DVD's which you can hope has an audio commentary track or interview with a editor, it really is amazing when you come across a book written by a writer who is passionate about cinema and really went out to gather considerable names for their book. And this is easily one of the best books on interviews with editors out there!In fact, I recommend getting this book along with "FilmCraft: Cinematography" by Mike Goodridge & Tim Grierson which are related in presentation but as Chang's book focuses on editing, Goodridge and Grierson's book focuses on the cinematographers.Overall, "FilmCraft: Editing" by Justin Chang is an perfect resource for those who are considering a career in editing or just passionate about cinema and wish to learn from those who worked on the editing of the film. If you are a movie student, an observer of cinematography or just a cineaste who are passionate about the movies and the people who edit these films, create no doubt about it... "FilmCraft: Editing" is highly recommended!
Coming from a time where a man would have to sit down and glue fragments of movie together, FilmCraft: Editing sheds light on the fresh ways of editing, and through the eyes of numerous editors themselves, exposes the challenges and facts about movie editing. Using well known films, this book shows the audience how a movie comes together, and why a director locations a shot in a certain place. Each editor included talks about how and why they do what they do, and they speak about the importance of editing in a film. FilmCraft is truly a amazing method to learn about the numerous various ways a movie can be edited, with each distinct sequence creating fresh meaning. FilmCraft: Edition does an perfect job of explaining editing to an audience that was not aware before of how much work goes into making a movie while also being a book that can be appreciated by those who have editing experience or are involved in movie making.
Summary:This book includes interesting content, but the confused book design and production values limit its usefulness. A lot of better titles are e Good:The book's 17 interviews with prominent feature movie editors are worth reading for several reasons. First, some of the best editors in the business are included, such as my private favorite, Walter Murch. A lot of of the interviewees had experience in movie cutting dating back to when they really did chop film, which provides a fascinating perspective on how this aspect of filmmaking has changed. Some of the interviewers clearly disagree with each other about the relative merits of actual movie cutting versus non-linear editing on the recent digital equipment: Does NLE encourage lazy thinking? Does it create the impossible task of working with hundreds of thousands of feet of movie possible? The interviewees argue multiple viewpoints, and this makes the book e Bad:Whoever designed the book itself didn't do a very amazing job. In particular, the images chosen to highlight each editor's work often do not do the topic justice. Example: On pages 70-71 are four photos intended to illustrate techniques used in "Crouching Tiger, Hidden Dragon." That movie is amazingly visual, with literally hundreds of sequences available for this purpose. What is presented are four frames that are almost black, with no recognizable content in any of them (although it is possible to imagine a face in one of them, and maybe a tile roof in another). Why did the book designer choose these four frames? Why didn't the editor overrule this decision? Did anyone look at the book before it was published? We'll never e cover itself is an ugly failure. Both the front and back cover feature the names of the interviewees in a lightweight font printed in low-contrast, reverse type (grey on black, light blue on medium blue). You might be able to almost read these names if the cover had been coated to prevent it from scuffing. But the shelf wear and scuffing on my copy makes them unreadable. These are newbie mistakes created by inexperienced or poor designers who lack editorial supervision. Perhaps a cost cutter later in the process decided to use cheaper paper stock or printing. Again, we'll never e Ugly:This book straddles multiple categories, but excels at none of them. As a collection of interviews, it is amazing but frustrating because the photo choice and presentation do not do the interviews justice. As a coffee table book it fails utterly, because so a lot of of the photos are dull and lifeless. It is also a failure as a reference on movie editing, although it is unlikely that was one of the author's commendations:My review of this book is quite critical, because in the hands of more competent editorial and design staff, the results could have been quite good. The interviews are worth reading, and I have found myself thinking about points created by the interviewees days after reading them. So five stars for content, minus one star for poor design and one star for production/printing.If you wish to read amazing books on movie editing technique, you cannot go wrong with these: * In the Blink of an Eye by Walter Murch: If you only read one book, read this one. A classic. * Film Editing: Amazing Cuts Every Filmmaker and Film Lover Must Know: A coffee table book filled with useful techniques for editors, but also interesting to movie lovers. * Master Shots: 100 Advanced Camera Techniques to Obtain an Expensive Look on Your Low-Budget Movie and Master Shots Volume 2: Shooting Amazing Dialogue Scenes: Both solid references.Enjoy!
This is a must-read for movie editors, and would benefit anyone interested in any capacity of filmmaking. This book is written by Justing Chang, the movie critic for Dozens - he knows a lot about films, and invited the industry's top editors to partake in interviews about their y of the editors have been nominated/won at least one Oscar, and they are respected within the filmmaking community. Their insight is very valuable, as they reflect on the craft of editing, their collaborations with well-known directors, and discuss their contributions to some of the best films ever are my 5 favorite interviews within the book:1. Walter Murch - The Godfather, Apolcalypse Now, Cold Mountain2. Lee Smith - Master & Commander, The Dark Knight, Inception3. Michael Kahn - Raiders of the Lost Ark, Saving Personal Ryan (fruently collaborates with Spielberg)4. Joel Cox - Unforgiven (and a lot of other Clint Eastwood films)5. Angus Wall & Kirk Baxter - The Social Network (and other David Fincher films)Also, if you are interested in the subject of movie editing, I would also recommend this DVD: The Cutting Edge - The Magic of Film Editing
I initially approached this book in the wrong way. When I first picked it up, I thought I would learn about editing a film, with step by step examples illustrating how different editors do their stuff. More like a read it and stead, the handsomely crafted book is actually more of an inspirational exercise. The author has amassed interviews with a huge number of well-known movie editors. The author has also archived some interviews with popular editors who have died. They are arranged in a method that seems to take into consideration both their put in the timeline of and their contribution to movie history. Because both living and dead editors are covered, the material seems immersive and inclusive.Each interview is peppered with indepth analysis of the editor's favorite, not necessarily their best films. They talk about the process and how they worked with the director of the movie to make memorable moments.And each of these discussions is peppered with still frames showing key moments in these sequences. Some of the sequences are illustrated with what seems like still frames of every single image. Others are not quite as is interesting to read the interviews and discover the relationship these editors have with their directors. As you read through the interviews, you will learn about the thought process.But you won't learn about the physical job of editing a film.
This is a amazing book and I've been using it with Michael Jang's other book (this is just an exercise book meant to be used with the other book he wrote on this).The exercises are highly useful. I highly recommend the e only thing I had a issue with is with one specific file for the virtual systems on the included DVD. The file is named "g" According to the book, it includes some extra resources like for when you wish to create an rpm, among other things. The issue I had, I could not mount the drive because while the partition was listed, it would not recognize any file system on that single partition.What was the impact? Probably not much. All of the virtual systems work fine. I did have to adjust the MAC address for the virtual systems (he mentions that in his book and gives respectable advice). I created sure the MAC matched in the /etc/udev/rules.d/les file compared to the ifcfg-ethX TE: the info below is for the author Michael Jang. I noticed he replied to another purchaser of this book. This is the the specifics I encountered when attempting to use the one file "ge" fileHello Mr Jang,First, I have been using your books for a while and appreciate your hard work. I have recommended them to others. I'm not the person you replied to - but I thought I'd mention the problem with the practice VM I found.I had problems after importing the disk (would never mount, info below) for the disk named "g" which of course is just the 1GB secondary disk, not the basic disk. I am highly familiar with KVM, I have used it for years at home and also use it at my workplace.1) I verified the SELinux contexts2) I ran md5sums for your reference (I do not know the original md5sums) and included them3) I imported the 3 virtual systems (all went well, but my gamma syste could never recognize a file system for the 1gb disk named: g.4) I deleted the gamma system on my computer, including the associated ".img" files.5) I copied the original gamma.tar.gz and uncompressed it once again (hopeing an original copy/uncompress of the file would help, it did not)6) I recreated gamma and imported the second drive (it boots/functions fine except the original issue with the 1gb disk named: g persists).FIRSTI have a various storage pool for my RHEL systems under /bigdisk with the proper selinux contexts.I verified SELinux contexts were proper. I have about eight total systems and I executed the following command to set the selinux context for /bigdisk/ and all it's contents recursively.[[email protected] bigdisk]# semanage fcontext -a -t virt_image_t '/bigdisk(/.*)?'[[email protected] bigdisk]# restorecon -RFv /bigdiskdrwx--x--x. root root system_u:object_r:virt_image_t:s0 /bigdisk-rw-------. root root system_u:object_r:virt_image_t:s0 g-rw-------. root root system_u:object_r:virt_image_t:s0 g-rw-------. root root system_u:object_r:virt_image_t:s0 g-rw-------. root root system_u:object_r:virt_image_t:s0 g-rw-------. root root system_u:object_r:virt_image_t:s0 gSECOND MD5SUM CHECKS - I verified the md5sum of gamma on my system matches the file on the included DVD. (I do not know if my md5sums matches your original files for the virtual server named gamma). I did the md5sum checks because sometimes that can be an problem when transferring kvm photos I've found. -- The md5sum of the gamma.tar.gz file on the CD-ROM within my book is:1717007a71420d563cadc729e939a2cc /cdrom/gamma.tar.gzAnd it matched the file after copying to disk.1717007a71420d563cadc729e939a2cc /bigdisk/mastercopy/gamma.tar.gzAfter doing the gunzip/tar -xvf (I have a separate disk for my vm photos under my own default storage pool).Here are the md5sums:[[email protected] mastercopy]# gunzip gamma.tar.gz[[email protected] mastercopy]# md5sum gamma.tare1b58cd87d001812a847bc9058ca197d gamma.tarThen I did a new unpack of the files for gamma.tar (gunzip and tar -xvf)and here's the md5sums prior to attaching/recreating the gamma system:cd573cfaace07e7949bc0c46028904ff var/lib/libvirt/images/g192d8ef650e52d21b02410b8ddfbc27b var/lib/libvirt/images/g(do those md5sums match what was originally placed into the tar.gz archive file?)THIRD IMPORTING VIRTUAL KVM SYSTEMSThe import of the KVM systems went fine (except of course the 1gb g disk). I have my default storage pool under /bigdisk/ as mentioned previously so I created TE: Importing the g disk had problems with the file systemI went to import the g disk into the gamma system. I saw on page 287 info on the g disk photo (1gb).It mentions on page 287 of the book: "do import the g file as a second hard disk, configured as an old-style integrated drive electronics (IDE) disk (also known as a Serial Advanced Technology Attachment [SATA] disk)."I used the graphical interface to add the 1gb g storage, and I selected "IDE" per the first paragraph on page 287.I navigated the gui to the zone of the g storage and added it per what I saw on page 287. - I tried IDE with raw - I tried IDE without specifying raw - I tried Sata as well-- All of these resulted in a partition being visible via the [fdisk -l] command, but no useable partition. All mount attempts resulted in the error that I must specify the filesystem type. Just for 'yuks' I downloaded gparted from the EPEL repository and installed it, and it too could not create out the format of the cause the paragraph on page 287 mentioned "SATA' as well, I attempted to import the disk as SATA. This did not show any file system.When I perform the command [fdisk -l] to view the partition, it registers the partition exists, but no immediate file system.[[email protected] ~]# fdisk -lDisk /dev/sda: 1073 MB, 1073741824 bytes255 heads, 63 sectors/track, 130 cylindersUnits = cylinders of 16065 * 512 = 8225280 bytesSector size (logical/physical): 512 bytes / 512 bytesI/O size (minimum/optimal): 512 bytes / 512 bytesDisk identifier: 0x00000000I did no write actions versus the partitions while in URTH - delete and reimport virtual server named gammaI removed the gamma system from my inventory, deleted the expanded gamma photo files and re-copied the gamma.tar.gz file, went through the process of expanding them and reimported the virtual system. The same effect occured: the g mounted fine and the system works as advertised. the other disk is unrecognizableFIFTH - recopy files from original DVD, restart selinux contexts, re-import gamma into KVMAfter removing the original gamma virtual KVM system (and the img files).SIXTHI recopied/reimported them using the instructions in chapter 1 you provided (well, I have them on a separate disk, so a various storage pool)I then also imported the 1GB disk per the instructions on page 287:Then this is what was found in the /etc/libvirt/qemu/gamma.xml file for the /bigdrive/g drive: I booted the system, and re-did the fdisk -l:[[email protected] ~]# fdisk -lDisk /dev/sda: 1073 MB, 1073741824 bytes255 heads, 63 sectors/track, 130 cylindersUnits = cylinders of 16065 * 512 = 8225280 bytesSector size (logical/physical): 512 bytes / 512 bytesI/O size (minimum/optimal): 512 bytes / 512 bytesDisk identifier: 0x00000000SUMMARY:I really do appreciate the detail you placed in your books (and your videos via safari). I thought I'd give you feedback regarding this one problem for the 1gb disk named g file that I could never mount because I could not search a file system. I suspect I've tried all I can think you have any recommendations on what I could do to show the 1gb disk named g so my system can mount it and I could use the resources on that disk?Thanks again Mr Jang,Jack
Amazing book, used to pass rhcsa7 you just need to test and do the labs on a RHEL7 or Centos7 VM and cross reference the things that don't work with the recent RHEL7 documents. Systemd, Firewalld, SSM were the main things that changed. Don't muck around with iptables unless you just wish to, you wont need it for rhcsa7.
This book was written with the intentions of being used with Michael Jang's other RHCSA / RHCE Study Tutorial ( have both of these books. I used the RHCSA / RHCE study tutorial to earn my RHCE a few months ago, but I also have this companion as a tool to hold sharp. This is another well written, well thought out book by Mr. Jang. He gives perfect exercises and examples in the text, and they are all designed to work in tandem with the virtual machines he contains on the DVD that ships with the book. He gives amazing instructions for setting up the virtual machines in the book, which essentially gives you a excellent "Practice Lab" that is essential to retaining the RHCE knowledge.If you are looking at this book, I assume you know that the Red Hat exams are purely practical and very difficult. With both of Mr. Jangs study tutorial and companion (this book), you will have everything you need to go from barely knowing linux, to being able to master both the RHCSA and RHCE exams. I have been fortunate to attend actual Red Hat training, and these books were the excellent study companion as well.I honestly cant give this book a amazing enough review it is that good. I can only attest that without these books, earning my RHCE would have been *difficult*. In the linux field, this is the most highly recommend books for Red Hat based distributions. Not only will they serve you well in preparation for the exams, they will give you years of benefit as a solid desk reference. Mr. Jang gives amazing explanations of the How's and Why's of each subject, that you actually learn the materials.Just be ware, This book is designed to be used as the companion to his main study guide. I would recommend that you both of Mr. Jang's Red Hat books if you are planning to sit for the exams. Read them. Do the exercises at the end of each chapter, respond the questions. Don't move on to the next chapter until you feel you have mastered the current one. The questions and exercises he gives in both the Study Tutorial and this Companion are designed to reinforce the material he taught in that chapter. The books are also well laid out, in that you will learn all the tools you need first, before you move on to the advanced chapters.
Pre-ordered this book before it was released and got it early. It's great. It assumes very small knowledge to start with which was frustrating at first because I was looking for a review. This book was recommended to me by a RedHat instructor. The author's preface goes on and on about how this is not a replacement for instruction from RedHat, and so on. Hooey on that. If you have access to a decent 64-bit computer (required by the virtual machines that come with the book), and a CentOS iso (or you can one), you will be well on your method toward mastery. Read the book, do the exercises, read the recommended reading and take the assesment tests on RedHat's site, and you'll do fine. Aced the RHCSA and feel comfortable with testing for RHCE which I will do early December.I recommend this book to anyone really dedicated to RedHat certification. There is a lot of work to do on your part; this book is merely a guide, but it is a very competent guide.
Even though the RHCSA exam is now on REDHAT7, the book helped me to have deeper knowledge of the Red Hat system. However, if taking the exam I recommend purchasing a book that goes over RHEL7 along with this.
PLUS:When I bought this book I was searching for additional practice questions to support me understand better the concepts and practices involved in running RHEL. I found everything I was looking for and more in this respect.MINUS:The book promised detailed answers to its exam questions, but did not deliver "blow-for-blow" answers as I thought it would in the respond section. This created me hold going back to the pages of text and to the "Study guide" for details. Not amazing for someone just a few days away from his exam!OVERALL:The Study tutorial and this book together will provide anyone with everything he needs to pass the RHCSA/RHCE exams PLUS they provide practical working knowledge for the RHEL 6 Admin.Excellent work.
I got this to prepare for RHCSA exam. The book is concise and well written and will serve its purpose well. The one thing I didn't realize is that an internet connection is needed to complete the labs utilizing the supplied virtual machines. The 4th and 5th lab require you to have the VMs connected to the internet through the host machine in to download, install, and configure specific packages. I would have waited until I had access to a solid internet connection if I'd known this ahead of time. In the mean time, I'm reading and taking notes on the written material so its not a complete loss.
The structure of the book follows the RHCE/RHCSA Exam objectives, although Red Hat keeps changing the knowledge zone it expects to try the candidates. Anyways, not book can be 100% compatible to the e book is supposed to be a supplements to the study guide. If you don't have the study guide, this book is method too thin for any concrete contents. It does include huge amount of hands-on exercises, which support improve the proficiency as the time pressure is an necessary factor in the true r some reason, I was not able to load the 3 VM from the CD. I had to practise on the true Red Hat box.
You are leaving Texas at your own peril. You are about to enter Zona Libre. Horizons West is directed by Budd Boetticher with a story written by Louis Stevens. It stars Robert Ryan, Rock Hudson, Julia Adams, John McIntire, Raymond Burr & Dennis Weaver. It's a Technicolor production with Charles P. Boyle on photography. It's the end of the Civil Battle and the Hammond brothers Neal (Hudson) and Dan (Ryan) return to the family ranch in Texas. Neal is satisfied to graft away on the ranch but Dan wants considerably more. But Dan's plans are altered after an encounter with Cord Hardin (Burr), an encounter that sees Dan switch to the wrong side of the law. A switch that drives a wedge thru the Hammond family, particularly since Neal has decided to don a badge and become a Marshal of Austin. Interesting and watchable early Western effort from Budd Boetticher. It has some psychological aspects that tag it out as being above average. Themes of greed and family strife are of course nothing fresh in the grand scheme of the Western movie, but Boetticher and his cast knit them together here with some conviction, notably Ryan who was in the middle of a amazing run of films that included On Risky Ground, Beware, My Lovely and The Naked Spur. There's no true complexities to the characters, but they are well formed, and the finale has the courage of its convictions. There's also some very neat period costuming from Rosemary Odell, with the quite ravishing Adams benefiting greatly there. The main problematic problems outside of some narrative familiarity come with being asked to believe that Ryan and Hudson (whose limp) are brothers, and that McIntire is Ryan's father (there's only two years between them in reality). Whilst there's sadly a lack of impacting outdoor photography; even if that's off set a touch by the simple on the eye set designs for the city by Russell A. Gausman & Joseph Kish. A more than adequate time filler for the discerning Western fan. 6/10
Seriously? Admit it, this is a rip off of GAMELOFT SIX GUNS, most items are copied, hehe but the truth I did have fun this since its light and satisfactorily smooth on a low end android device phone. Downside is the aiming and targeting its dumb. Please create its atleast auto point or at least 80-90% probability to point on enemy.