Writing a book can be a lonely and arduous task, yet I could not have
done it alone. Scores of people went out of their way to help me,
throughout my career as well as for this book. I would like to take
this opportunity to thank them.
First of all, I would like to bow down to my mentor, Chris
Kniffen. It was due to his doting yet persistent tutelage that I origi-
nally developed a keen interest in MEL, and without fail he has
nourished it ever since. I doubt that I will ever be able to convey my
appreciation fully, but I owe him my eternal gratitude.
This book would have been impossible without the constant
counseling and reviewing of Craig Davies, who also wrote the code
for Chapter 9. I am in awe of his technical knowledge and greatly
indebted for his expertise, understanding, and patience.
My co-author, Ed Caspersen, deserves a well-meant pat on the
back for contributing Chapter 6 and for being a constant source of
stimulating conversation. In retrospect, one can do nothing but cher-
ish those 3 a.m. chat sessions about radian conversions and ternary
operations, while at the same time having a quiet chuckle about
one’s own geekiness.
A very special thanks goes out to the FX and R&D crew at The
Moving Picture Company: Nigel Ankers, Rob Hopper, Jonathan
Wills, Harry Mukhopadhyay, Jimmi Gravesen, Oliver Winwood,
Mark Newport, Ciaran Divine, and Niall Flinn, for providing a stimu-
lating and jovial working environment and creating a fertile breeding
ground for technical challenges.
From that same crew, I would like to do a special shout-out to
Chris “Sexy” Armsden, for being a constant source of amusement,
even when you were lying face down on the pavement covered in
your own fluids.
I would also like to pay tribute to über-Mayans Michael K.
O’Brien and Julian Mann for their support throughout the years.
Last but not least, a warm, fuzzy thanks for my Lilliputian muse,
for supporting me through nights of reviewing and for listening to
me when I was ranting about the idiosyncrasies in Maya.

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