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Steven Cristol, coauthor of Simplicity Marketing Adam Curry, coauthor of The Customer Marketing Method Jay Curry, coauthor of The Customer Marketing Method Frank Davis Jr., coauthor of Customer Responsive Management Seth Godin, author of Permission Marketing Ian Gordon, coauthor of Relationship Marketing Arthur Hughes, author of The Complete Database Marketer Karl Manrodt, coauthor of Customer Responsive Management Regis McKenna, coauthor of Relationship Marketing and author of Real Time Frederick Newell, author of Loyalty.com Don Peppers, coauthor of The One-to-One Future Frederick Reichheld, coauthor of The Loyalty Effect Martha Rogers, coauthor of The One-to-One Future Don E. Schultz, author of Integrated Marketing Communications Peter Sealey, coauthor of Simplicity Marketing Patricia Seybold, author of The Customer Revolution

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Note: French blancmange is very different from English. The French style is made with almond milk and gelatin.

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To create a quilt using patches, follow these steps: 1. Open the Patch quilt.max file from the Chap 24 directory on the DVD. This file contains a quilt made of patch objects that have been combined into one object. 2. Open the Material Editor by choosing Rendering Material Editor (or press M), and click the first sample slot. Then click the Type button. The Material/Map Browser opens. In the list of materials, locate and double-click the Multi/Sub-Object material (or select it and press the OK button). In the dialog box that appears, select Discard old material and click OK. The Multi/Sub-Object material loads into the selected sample slot, and the Multi/SubObject Basic Parameters rollout displays in the Material Editor. 3. In the Multi/Sub-Object Basic Parameters rollout, click the color swatches to the right of the Material button to open the Color Selector. Select different colors for each of the first ten material ID slots. 4. Drag the Multi/Sub-Object material from its sample slot in the Material Editor, and drop it onto the patch object. Close the Material/Map Browser and the Material Editor. 5. In the Modify panel, select the Patch subobject and scroll to the bottom of the Modify panel to the Surface Properties rollout. 6. Assign each patch a separate material ID by clicking a patch and changing the ID number in the rollout field. Figure 24-4 shows the finished quilt. Because it s a patch, you can drape it over objects easily.

The cursor changes and lets you click the track to place the location of the Time Warp, which appears as a thin vertical white line. After a Time Warp has been added to a clip, you can enable Time Warp editing mode by clicking the Editable Time Warp button in the toolbar. A dashed line is overlaid on the clip. This dashed line gives you an idea of how the clip s time is being altered. Then click and drag the top of the Time Warp marker to crunch time in one direction, or click and drag the bottom half of the Time Warp marker to crunch time in another direction. The dashed lines show the relative effect. Figure 35-4 shows two layer tracks separated by a transition track. The top track shows the default spacing for a Time Warp, and the bottom track shows time compressed to the right.

mation, new references and the correction of typographical and other small errors, as would normally be done in a reprint of an existing book In the original handbook our contributors, who included many internationally recognized experts on their chosen topics, were asked to write authoritative, science-based reviews of knowledge in their areas of special interest They were asked not to attempt a theoretical or research cutting edge of their topics, since these may be found elsewhere in more narrowly focussed works or peer-reviewed journals Rather, they were requested to compile a general, up-to-date summary of knowledge in their respective areas, making decisions about what was of primary importance to include in such a summary With this remit in mind, we also requested that referencing should be selective, with an emphasis on key hypotheses and the most prominent research ndings.

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