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Shooting with the Canon 60D details the features, controls, and options in the Canon EOS 60D camera.

Take a virtual journey to the bustling streets of New York in Bert Monroy: The Making of Times Square. Digital painter Bert Monroy reveals how he created the minute details that build the impressive 108,000 x 21,600 pixel, 25-foot wide photorealistic portrait of this iconic intersection.

Up until recent times, mastering audio has been something of a mysterious art that required mega dollars and experience to get release-worthy results… With the rapid evolution of dedicated software and technology, getting professional, release-ready results is now a possibility for everyone with the right knowledge and understanding!

Master director Federico Fellini moved into the realm of self-reflexive autobiography with Marcello Mastroianni as Fellini's alter ego Guido Anselmi, a film director who, overwhelmed by the large-scale production he has undertaken, plunges into an interior world where fantasy and memory impinge on reality. Fellini jumbles narrative logic by freely cutting from flashbacks to dream sequences to the present until it becomes impossible to pry them apart, creating both a psychological portrait of Guido's interior world and the surrealistic, circus-like exterior world that came to be known as "Felliniesque."

In director Richard Lester's Cuba, Sean Connery plays British soldier-of-fortune Robert Dapes, sent to Havana during the last days of the Batista regime. He is supposed to train Batista's soldiers for their upcoming confrontations with Castro's followers. As Dapes becomes increasingly sympathetic towards the rebel cause, he takes a few precious moments to renew his romance with Alexandra Pulido (Brooke Adams), who is now married to Juan Pulido (Chris Sarandon). The basic thrust of the film is that unchecked capitalism is perfectly capable of collapsing under its own weight – and that lofty idealism can be easily forgotten once absolute power is within one's grasp.

The fifth of Eric Rohmer's "Six Moral Tales," Claire's Knee is a deliciously Rohmeresque story of sexual obsession. French diplomat Jerome (Jean-Claude Brialy), on a resort vacation, meets Claire (Laurence De Monaghan), the teen-aged daughter of a friend. Though engaged to be married, Jerome falls hopelessly in love – not with Claire, but with Claire's knee. Realizing that to be revealed as a fetishist would be ruinous for him, Jerome does not act upon his obsession. Eventually he gets to fulfill his yearnings by placing his hand upon Claire's knee, a gesture which she assumes is out of sympathy for a personal crisis she is going through. Originally released as Le Genou de Claire, this film was the recipient of the Prix Louis Delluc and the Prix Melies.

In the tradition of such acclaimed cinéma direct works as Jean Eustache's Le Cochon (1970) and Frederick Wiseman's Meat (1976) comes Nikolaus Geyrhalter's 92-minute documentary Our Daily Bread – an ironic, detached cinematic glimpse of how the food we eat on a daily basis is picked, killed, mechanically processed, and packaged for human consumption. Geyrhalter resists having an overtly political or muckraking agenda; instead, his sequence of images acts as an extended visual meditation, a plunge into the poetic mundanity of everyday existence. By singling out processes that we would otherwise take for granted or overlook, Geyrhalter calls our attention to the more absurd and surreal aspects of the food chain – with the graceful and rhythmic, yet thoroughly strange and haunting, processes of automatization in the foreground.