Book Description
Digital Compositing for Film and Video is a hands-on, how-to guide that addresses the problems and difficult choices faced by the professional compositor in real-life situations. This book presents you with tips, tricks and techniques for dealing with the badly shot elements, color artifacts, and mismatched lighting that bedevil compositors. Included in this book is: in-depth, practical methods for bluescreen matte extraction, despill operations, compositing operations, and color correction - the "meat and potatoes" of all digital effects. Written in a completely software independent style, it is totally applicable to any brand of compositing software.
The second edition contains many important additions:
* printed in full color with over 400 color photos and illustrations
* companion DVD with 3.7 gigabytes of test images, including hard to get HiDef video and feature film scans
* new section on working with HiDef video
* new section on digital intermediate, the feature film finishing process of today
* more Adobe Photoshop blending modes and procedures
* new material that reveals the add-mix composite, light wrap, slot gags, and how to defeat banding problems
Customer Reviews:
An Essential Guide and not just for compositors.......2007-07-08
If you've ever been on set and heard the catchphrase "fix it in post" this book is for you.
Not only is the information detailed and thorough, but also extremely readable. Some ironic asides demonstrate Wright has the experience to back up his text. He covers all levels of compositing, from basic luminance keying to green-screen/blue-screen, to color corection and matching foreground and background elements, motion tracking, alpha-channels (to premultiply or not premultiply) and the differences between film and video.
The book is not software specific, and the enclosed exercises and demonstrations can be done on most software with compositing features -- including Photoshop!
Why four stars and not five? The extra money demanded for addional exercises seems to be an unfair gouge. But the book is definitely worth the cover price! Even if you have no immediate aspirations at all to composite something, you'll at least see just how tough it can be.
Producers, Directors and Camera departments (aspiring or experienced) can all learn something here -- and with any luck they'll learn it before they light their next green/blue screen.
Too bad the cover is so damn ugly.
Must have.......2007-06-08
I bought it based on the first Edition and I wasn't wrong.
Its even better.
Nice book.......2007-05-13
This is a very complete and engaging book.
It's generic enough so that you can learn a lot regardless of your software/manual tools;
But it focuses enough on certain programs, that it is still useful for those specific users as well.
It was a gift for a relative, but I spent a few hours reading before giving it away...
A must have for your VFX library.......2007-01-05
If you're new to the effect industry or a seasoned pro this is still the bible for understanding what is happening under the hood of a compositing software. This is not software specific, but be it 'Shake' or 'an other' this will help you truly understand the what, when and why.
This book together with - Ron Brinkman's 'The Art and Science of Digital Compositing' - also available at Amazon, will hold you in good stead throughout your career.
It truly gives you the 'wow' factor.
Excellent book.......2006-12-15
Even advanced compositors will glean juicy bits from Steve Wrights' effort. I've read all the standard texts and this one stands with the best. Clear, friendly prose makes this book a comfortable read; read it two or three times and you'll find that you get a little something out of it on each pass. Whether your work end up in print, video or film, this is a must-have book.
Book Description
Learn the key skills you need with this practical and inspirational guide to all the fundamental principles of animation. With extended pieces on timing, acting and technical aspects, Chris Webster has created the vital learning tool to help you get the most out of your animation and develop the practical skills needed by both professionals and serious students alike.
The free CD-ROM includes more than 30 animations illustrating the techniques described throughout the book as well as examples of a professional Production Schedule, Budget and Production Chart - everything you need to get started!
With a Foreword by Peter Lord, Creative Director and Co-Owner of Aardman Animations and an Introduction by Mike Milne, Director of the award-winning animation house Computer Animation, Framestore CFC.
* Improve your timing, performance and animation production skills with this practical guide to animation skills suitable for all disciplines.
* Benefit from the skill and experience of a leading professional and educator with more than 20 years industry experience
* Understand and master action analysis, movement and timing with this beautifully illustrated guide
Customer Reviews:
Could've been a lot better.......2007-06-03
Most animation books out there try and cover all aspects of animation and end up not covering anything very thoroughly. The Mechanics of Motion starts out as a book specifically tailored to the actual movement side of animation, but towards the second half it drifts into a more generic animation book.
The early sections of the book do a great job covering the basic principles depicting motion through animation and continue on through specific examples like bouncing balls, walks and cycle animation. But such a large number of pages are spent on vague coverage of storyboards, layout and production schedules. Towards the end there's some good writing on how to augment timings with exposure sheets, but it could have been a lot more.
There's definitely some good learning in this book, but it would have been a lot better off focusing strictly on how to make things move.
A great start.......2007-04-05
Without any formal knowledge about animation, this book opened my eyes to see, that is more involved in animation, that what you can think. Showing me how the laws of motion affect the objects and live forms, the inertia, momentum, and so. Maybe sounds a bit of Physics and complicated stuff like that, but the author is a great teacher showing you how the things work, and using a lot of drawings, the concepts get comprehensive.
Finally the book teach you the most important principles of animation, regarding of the medium you are more familiar with, maybe traditional 2D animations, 3D and computer animation, etc. All the teachings that this book provides are applicable.
Animation for all.......2007-03-08
Great for beginners and advanced because Webster focuses on motion and how it works when drawing animation. His sketches are clear and easy to try to draw, as a beginner.
Webster's focus on the physics of motion and how it works when drawing is a good prelude to the latter chapters in which he shows the painstaking process of creating an animated film. If a novice begins at the beginning, rather than jumping into digital animation, the foundation will be very strong.
The many examples of "squash and stretch" in people, objects, and animals, help understand that the principles apply in so many situations. The disc accompanying the book is helpful as well.
A criticism of Focal Press, the publisher: the paper is so heavy and slippery that it is awkward to use. I want to open a double-page spread while I am learning to draw. The pages don't allow me to do this.
Animation The Mechanics of Motion.......2006-11-07
This is a good book for drawers. It is a book devoted to people with good drawing skills who want to learn 2D animation, in the "old" style, that is, by drawing with pencil. The book is focused on hand drawing, not directed to computer animation with 2D or 3D tools, although its teaching is applicable for any process.
"Animation" is clearly writen by an animator to beginers animators. The book is a well organized mini course on animation. The final art is superb, the sketches are very good. The author is also a good teacher. Most of the Principles of Animation are covered, and it has the right tutorials on momentum, acceleration, walking and run cycles. It has a chapter with great directions on production, work organization, scheduling, budgeting, which are aspects sometimes neglected but of importance for a successful work.
This is the best animation book I have seen!.......2006-05-23
Over the years I have read and browsed many books on animation. Not only does this book cover the basics it explains them. The figures are easy to follow and convey complex concepts well. A lot of other animation books will cover a basic walk cycle from just the side view. Webster's book covers it from the side and front. I have had this book for a year and it has not made it to my bookshelf yet. I use it constantly for reference.
Book Description
Need to take your Adobe After Effects skills to the next level? Learn After Effects the fast, efficient way! This Visual QuickPro Guide uses illustrations and in-depth explanations. You’ll be a master in time!
• Takes a visual, task-based approach to teaching After Effects, using pictures to guide you through the software and show you what to do.
• Works like a reference book—you look up what you need and then get straight to work.
• Concise, straightforward steps and explanations offer the fastest way to learn tasks and concepts.
• Affordably priced, because buying a computer book shouldn’t be an investment in itself.
Through step-by-step instructions, enhanced by tips, sidebars, and plenty of visual aids, veteran video editor Antony Bolante shows you how to effectively and efficiently import and manage footage, view and edit layers, apply effects, animate type, and more. You’ll learn about key features with real-world examples of how and when features should be used, including what’s new in After Effects 7.0: motion tracker, powerful animation and keyframing controls, high quality keying and matte tools, network rendering, expert effects, nondestructive vector painting, and more!
Customer Reviews:
After Effects book worked for me..........2006-08-17
This book was a great help, Im currently attending the Art Institute of California-San Diego. and this book was recommended for my Motion Graphics class. It has a lot of good tutorials and pointers to do on your own. This book was a great asset to honing my motion graphics skills.
The best start to learn After Effect.......2006-07-12
Are you new with After Effects? Adobe After Effects 7 Visual Quickpro Guide for Antony Bolante really gives you fast steps toward learning more about this product. This book gives you a strong base to start a leading career using After Effects.
Antony Bolante in his book considered that the reader is beginner in After Effects. So, he describes each tiny part in an easy to understand way.
The first chapters in the book describe this great program, anatomy and tools. And shows you with examples how to use these tools.
For example, chapter 12 shows all about creating text and text animation. It starts with setting the workspace for text and goes through creating text, editing, formatting, setting text options and describes in details how to get the most out of text animation, starting with making the text follow a path, using text animation presets and creating animator groups.
The last chapter teaches you how to get your work out to the world by using different rendering techniques in After Effects.
I think this book is the best resource for beginner After Effect designers and animators, as it really gives you a big push toward the proficiency of Adobe after Effects.
Book Description
Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles--other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects.
Effects artists say--contrary to the critics--that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects-- whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres--and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.
Customer Reviews:
GREAT CRITIQUE OF CRAFT FOR VIZ F/X ARTISTS AND PRODUCERS .......2007-04-03
The faults of this book? Point size is under 9 points which strains the eyes given that this is 99% text. There are a few photographs, but the focus of this book is use of Digital Visual Effects in contemporary movies, and how the author and critics are responding to them.
As I'm a sucker for anything related to Visual Effects, I enjoyed this book. He defines concepts that are perhaps intuitive to a visual effects artist. Yet, making you aware of these things is quite cool. Someone has noticed, and taken the time to process what it all might mean.
I appreciate that the author connects the story and visual effects, though some quotes are heavy handed. An ILM staffer complains that "Borne Identity" lost him during a exaggerated shot. It's a movie, not a documentary. The most perceptive part goes into the misidentification of f/x by critics, specifically "Eternal Sunshine of the Spotless Mind," which used extensive digital effects that were attributed to incamera or old-style f/x. I wish he would've discussed Roman Coppola's CQ, which went whole hog chemical f/x. Still, there's plenty to consider. F/X are not the enemy. Mediocre filmmaking is.
Book Description
Visual effects are among the most exciting-and one of the most in-demand-aspects of contemporary film-making. But not all visual effects are created using prohibitively expensive equipment. For the first time, this compelling art form is explained and made accessible to aspiring film-makers and artists in a unique book/DVD combination. Exploring Visual Effects describes and illustrates each phase of visual effects production, from design and research through model building, photography, digital editing, and composition. The authors, drawing on extensive industry and classroom teaching experience, present a range of options for creating Hollywood-style effects using traditional and contemporary technologies-with explanations on how to choose the right technique based on content, budget, and time. The creative and budget-conscious ideas in this book can be explored using commonly available supplies and software-an important consideration when it comes to building the confidence to create convincing visual effects. The accompanying DVD provides a striking visual counterpoint to the text and features a gallery of downloadable stills and video clips for practicing techniques used in the video demonstrations.
Customer Reviews:
Strictly For Beginners.......2006-11-27
I might recommend this book to somebody studying to be in the visual effects business. It has some of the basic information for beginners but even there it falls short on what you would need to know.
I did enjoy the interviews with Bill Taylor, who I would consider a master of the art form, but this book only scratches the surface.
The price is also very high for what you get, which in my opinion is not very much.
Good book for someone starting out..........2006-06-29
This book has a lot of good information. It focuses more on practical effects and model building rather than digital effects, which is cool. However, if you are already in the business of creating visual effects, you probably will not get a lot out of it. With that said, the book is good and I DO recommend it for people getting started.
Informative, Entertaining, and Very Freakin' Cool.......2006-05-20
I'm not a professional filmmaker (I'm barley a hobbyist), but I totally dug this book! I've always been fascinated with visual effects, and I've read plenty of books on the subject...but none were as clear, concise, and easy to understand as this one. As I was reading, I had to look up a couple of technical terms, but like I said, I don't do this for a living. I have to believe that as much as I enjoyed the read, someone who will actually implement the author's techniques, will freakin' love this thing.
Excellent for beginner and veteran .......2006-05-16
I have woked in visual efeects for over 10 years and I like to think I know a great deal about my field but I still found that this book provded me with additional information on subjects I was already aquainted with. If you are new to visual effetcs the book provides a good overview of the many crafts associated with VFX and it is also a great refresher for those with experience. Mr Woodys book covers a wide spectrum of concpets and disciplines used in visual effects work in an enjoyable, easy to read style. If you're looking to get into VFX this is a great place to start.
A must have for learning visual effects.......2006-05-03
This was a fantastic book that covers a variety of areas of visual effects. I found the examples and DVD to be a huge help. I found it to be well written and the practical industry information is great. A must have for anyone learning the industry.
Book Description
Drawing heavily from the authors' twenty years of combined experience, Producing Animation offers a clear overview of this exciting industry and a comprehensive guide to the process of developing a project from conception to final delivery. Written from the perspective of a producer, this book offers the foundation of how a project is created in addition to describing the role of the producer at each phase. Answers are provided to many of the most commonly asked questions about animation ranging from how to enter the business to the average cost and schedule for a prime-time animated series.
Producing Animation has the first-of-its-kind comprehensive chart of accounts for animation, named the Animation Budget Builder, which can be individually tailored for each project. Visit www.MovieMagicProducer.com for more details. Students, aspiring producers, investors, television and
studio executives, artists, film line producers wishing to branch into animation, and legal advisors will find this an invaluable tool. The chapters specifically geared to the pre-production, production and postproduction processes offer animation producers a wealth of practical advice. Numerous illustrations outline the different steps of production. Forms the authors have devised to help streamline the process are also included.
Observations from a wide range of industry professionals such as; studio heads, creators, directors, producers, writers and members of the production crew, give the reader insight into what it takes to be successful in this business. The authors' personal anecdotes at key process checkpoints relay firsthand experience, illustrating some of the pitfalls a producer must learn to circumvent. Detailed information on preparing a thorough production plan including the budget, schedule, and crew plan can also be found in this book.
Complete guide to identifying, pitching, selling, developing,and producing an animated show
Provides comprehensive information on production planning, budgeting, scheduling and tracking your project
Includes a detailed description and flow charts of the production process for traditional (2D) and 3D CGI
Customer Reviews:
A nice picture.......2006-11-10
A friend of mine who is a production manager recommended this book to me. I think that any person working in production will find it very useful. This is a book that you can always refer to. Even if you are working in the CG industry, most things apply the same. This is a very unique book!
Independent Producer.......2006-05-04
This book is an excellent book for producers ONLY. If you are a director, animator, designer, etc. then this book is not for you at all. For example ,it doesn't mention the aspects of lighting, camera movements, artistic style and the list go on.
Adding to that, the authors seems to have low knowledge of 3D graphic and animation software and hardware. The authors didn't mention and software package at all. Both of the authors seems old in the animation industry, and ,unfortunately, they didn't improve their knowledge to match the new era of 3D animation.
Why three stars then? As I said, if you are producer, this book for you, but still not enough source. Also, if you are a planing in investing in animation business and don't want to go into the details of producing animation, this book is a good source for that purpose.
Message to the author.......2005-10-18
Both industry experienced ladies have done a good drafting
of the content. It looks more theoretical and fails to explain the practical aspects. I work in animation industry, but
it doesn't mean that I have to undervalue artists.
In a animation production both creative and management team
play equal role. But here the artists have been undervalued a lot.
it doesn't cover core production management aspects. Whole
production process has been explained in mechanical procedure.
The animation production company is not a product manufacturing
company.
A big disappointment.......2005-01-11
I was so disappointed with this book. As an animator I bought this book hoping that it would give me some idea about how to start producing my own short films and becoming an independant animator, but I soon discovered that the book had nothing to offer and the authors had no clue at all what problems animators faced in producing their own films.
Tremendous wealth of info on animaton production.......2003-05-01
Okay, you bought every book out there on how to create animation and you have a project you're trying to produce. Well, up until now you would have to track down [costly] freelance producers to put together your budgets and schedules and lose a big percentage of your creation to people who don't hand out trade secrets for free.
Not anymore! This book is packed with charts and diagrams of animation production that can be fit to whatever type of project you are planning on pitching. To the purist this book would seem to be the end of the world. Just because the book describes top heavy management doesn't mean we are obligated to follow [along]. "Producing Animation" lists every job out there, so we can pick and choose which ones are redundant and need to be streamlined.
This book has no place in a purists library. If all you want to do is have your work viewed at experimental film festivals keep working with your small group of volunteers. But those of us who need a resource to take our ideas to TV or the theater need look no further, because as of yet there is nothing else.
Thanks to Catherine and Zahra, you've probably taken much flack for putting this info out there for animators to buy.
Book Description
PRODUCING INDEPENDENT 2D CHARACTER ANIMATION takes an in-depth look at the artistry and production process of cel animation in a friendly, how-to manner that makes the sometimes tedious process of animation enjoyable and easy to understand. This book guides animators through every step of planning and production; includes examples of actual production forms, organization tips, screen shots, and sketches from the pre- to post-production processes; and contains detailed information on the hardware and software used to complete each step.
By mapping out the course of how his small studio brainstormed, created, then produced its award-winning animation, TIMMY'S LESSONS IN NATURE, Mark Simon explains to animators what it takesboth creatively and resource-wiseto get their animations to market.
Includes exclusive interviews with Oscar-nominated independent animator Bill Plimpton, Craig McCracken, creator of the POWER PUFF GIRLS, Craig "Spike" Decker of SPIKE & MIKE'S SICK AND TWISTED FESTIVAL OF ANIMATION, David Fine & Alison Snowden who are the Academy Award-Winning producers of BOB AND MARGARET, Cartoon Network's Senior Vice President of Original Animation, Linda Simensky, and Tom Sito, Co-Director of OSMOSIS JONES...as well as others.
* Take your project from concept to creation, then take it to market
* Learn story development, character design, audio recording, editing, ink and paint, compositing, and the software available to enhance your animated films
* Complete with project organization guidelines, production forms, as well as work samples, trial software, and eight animations on CD-ROM!
Customer Reviews:
this book officially kicks ass.......2004-07-13
First of all, I just wanted you to know - this book officially kicks ass.
I have been messing around with Flash animation on and off for the past 4 years. Some of my stuff appeared on Howard Stern's syndicated TV show, and I even won a prize in an animated joke competition.
But I have been in a total slump lately - no motivation or understanding of how to improve my skills and not a decent idea to speak of. I haven't posted a new animation on my website in well over a year.
Then I received the book (Producing Independent 2D Character Animation) as a gift. It has been the jump start I needed, like shock treatment for my creativity. I've written some scripts and started storyboarding. I also did an animatic in Flash to check the timing/jokes. With the procedures outlined in the book as my guide, I intend to begin animating again shortly.
Thanks to the author for sharing his knowledge.
Informative; Possibly Suffers from a Misnomer.......2004-07-10
There is some good information in this book. If you have at least a modicum of familiarity with animation though, there's very little new about art or theory or instruction in here. The title and subtitle should be reversed in terms of importance to
Making and Selling a Short Film: Producing 2D Independent Character Animation.
Granted, this is not a flaw with the book, but I am writing this review as a caution to those who might think of it as one thing, when it is in fact another. They don't mean "I produced animation for Mary." They mean "For Mary I was involved in an animation production."
Difference being, aside from a section on tips, there is -no- mention of the process of animating, but rather name-dropping of software/hardware you'll need to run a digital version of the conventional studio, presented vicariously through the author recounting his experiences in making his short film.
All that being said, though, the tips are pretty good and the single most informative part of this entire book are the exclusive interviews with artists and suits from around the industry. These are so insightful (on the respondent's part) and so chock full of good things to know that it might have been more beneficial to chop the price in half and have the whole book just be about the interviews. Still, keeping the price the same, it's almost still worth it.
This is not a bad book by any means; on the contrary, it is one of the better, more clearly written books out there, and though there are too many purposeless illustrations, the ones with purpose are great and it's wonderful eye candy to have them in full color. I never got a chance to see it before I bought it, and ordered it into Barnes and Noble by my house...Now I'll likely be contributing it back into the world via the Marketplace as an interesting one night stand...
best buy for beginning animators.......2004-05-06
explains all resources all indumentary needed and best of all almost everything has high budget and low budget examples.
Why is this so expensive?.......2004-02-25
This book is selling for $27.99 at Barnes and Noble as of 2/24/04 - that's over $20 less than here!
Highly Recommended!.......2003-07-12
This book is the most concise, and comprehensive book I've seen on the subject of producing a 2D animated cartoon. While several other books focus on the art of animation, Mark Simon focuses on the nuts and bolts of "getting it done". Topics flow from planning, visualization, character design to storyboarding, audio recording and animatics, through editing, rendering and even distribution options. The sample CD-ROM has a huge assortment of demo programs to help you "work along" with the book. It is by no means the ONLY book you need to embark on animating a cartoon, but it is an essential one for any prospective cartoon filmmaker's library. Interviews with several industry professionals are included and add a perspective from the talent buyer's view. All in all a very handy resource for someone who knows what they want to do, but need guidance to realize their vision.
Average customer rating:
- Good as a dictionary, no in-depth technical
- A great, extremely comprehensive reference
- Exactly what I wanted
- Dictionary of Visual Effects
|
Visual Effects in A Digital World: A Comprehensive Glossary of over 7,000 Visual Effects Terms (The Morgan Kaufmann Series in Computer Graphics)
Karen Goulekas
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ASIN: 0122937856 |
Amazon.com
If you call yourself a computer graphics professional but aren't sure of the meaning of cukaloris, Lambertian reflection, or umbra, you might want to pick up a copy of Visual Effects in a Digital World: A Comprehensive Glossary of over 7,000 Visual Effects Terms. Educational, fun, and historically fascinating, this is one of those books that every pixel monkey should have on his or her shelf.
If you've ever wondered what, exactly, rotoscope means (it has three different meanings) or what to eat with a "metaball," this book is for you. Chock full of interesting tidbits and a 32-page color gallery of examples, this is probably one of the more interesting technical dictionaries you'll ever have the pleasure of looking through.
Perhaps you know the difference between an array and an Arri, but the producer you're trying to explain it to is clueless. The clear, concise definitions listed here can help elucidate these terms and others so that even the most dense suit will, if not understand, at least feel like you must know what you're talking about.
It's one thing to be able to know what buttons to push, but something else entirely to be able to stump your friends with the meaning of arcane terms like Lindenmayer System or octrees. Everyone knows you're a geek. Now you can prove it. --Mike Caputo
Book Description
As the visual effects industry has diversified, so too have the books written to serve the needs of this industry. Today there are hundreds of highly specialized titles focusing on particular aspects of film and broadcast animation, computer graphics, stage photography, miniature photography, color theory, and many others.
Visual Effects in a Digital World offers a much-needed reconsolidation of this knowledge. All of the industry's workers frequently need to understand concepts from other specialties, and this book-the only one of its kind-lets them look up and grasp the basics of any visual effects concept in a matter of seconds. It's a great way for everyone, regardless of experience, to find their way through the jargon and learn what they need to know.
* Authoritative coverage from a winner visual effects expert-winner of a British Academy Award and two Emmys.
* Cover topics such as computer graphics, digital compositing, live action, stage, and miniature photography, and a wide range of computer and Internet concepts.
* Offers job descriptions for positions found throughout the industry.
* Demystifies the jargon used by practitioners in every subspecialty.
Customer Reviews:
Good as a dictionary, no in-depth technical.......2002-01-31
A thorough coverage of industry terminology, in an industry where terms are relentless being colored, reinvented and made anachronisms. However don't expect in-depth coverage of the mechanics of a given technique - there is simply no room for detail with this many terms to cover.
A great, extremely comprehensive reference.......2001-09-18
I've watched Karen put this book together over the course of the last year or so (even had a chance to give my 2cents on a couple of terms) and so I can hardly be called an Unbiased Reviewer. But now that it's done, I'd have to say that just about anybody who is involved with visual effects (which these days means just about any aspect of filmmaking in general) will find this book well worth owning. And even if you HAVE been in the industry for a long time, I guarantee that you'll be able to learn a few new things (or re-learn a few old things) after thumbing through this book.
Exactly what I wanted.......2001-08-26
Karen E. Goulekas has saved me quite some time with this book by providing a complete description for over 7,000 visual effects terms often referred to within the industry. In the past, I often had to search the net for certain terms and descriptions that had me baffled...but no more. For those of you who are considering buying this book, know that it isn't a book full of pictures (Although it does contain 32 pages of colour stills); It isn't a book detailing visual effects work in particular films; It is what is says - 'A comprehensive glossary of over 7,000 visual effects terms'. If this is what you're looking for, this book is for you.
Dictionary of Visual Effects.......2001-08-20
From the publisher of 'Art &Science of Digital Compositing'
First of all, This book is not a case by case study book. This is A-Z Dictionary about Visual Effects. I was disappointed by first impression. but it contains huge contents. including 16 pages color pics. May be very helpful students,people who in effects industry.
Book Description
Visual effects are an important aspect of film creation, with new technologies and techniques being developed every day. Nevertheless, many of the effects we see on screen are not computer generated; they are done inside the camera or with projection, techniques that have been around for many years. Visual Effects Cinematography examines both traditional and modern visual effects techniques, illustrating how the new techniques have built upon the old in a way that is especially valuable to students. This book examines in detail the various types of equipment used and how they work, and then goes on to discuss the process of planning the shoot.
The most important aspect of visual effects cinematography is the creative problem-solving that happens early in the production, to select the technique that will provide a particular effect and plan the shooting to accommodate the needs of specific scenes. Written by an effects director associated with such blockbuster films as Superman and 2001: A Space Odyssey, this book analyzes the most effective approach to a variety of visual effects problems, detailing the various options available to the filmmaker. Script breakdown, the use of storyboards, and shot planning are covered as part of this creative planning process.
Topics covered in this book include: elements that make up the visual effects shot; methods of compositing visual effects elements; types of mattes and methods of generating them; visual effects tools and planning; types of cameras and their corresponding in-camera effects; projectors and projection
Over 100 illustrations support the technical information contained within these pages. Students, cinematographers, and directors will gain valuable insight into the art and process of visual
Focuses on creative problem-solving and planning techniques
Full explanation of wide range of equipment and its uses
Valuable information cinematographers, directors, and students
Customer Reviews:
Not Useful.......2000-11-28
I bought this book thinking I could learn some traditional effects stuff that I could use in my own ultra-low budget movies - like how to light a blue screen, do those water cloud fx, pyro stuff, etc... - but there is almost nothing I could use. I could find more useful stuff briefly surfing the net.
A lot of the traditional compositing stuff is outdated because of digital, which wasn't really addressed. A lot of it is too equipment specific, not bothering to clearly explain stuff.
Maybe it's good if you just want to marvel at how complicated fx can get, but if you're looking for stuff you can apply, look elsewhere.
state of art in Visual Effects study.......2000-04-01
Visual effects industry has been exposed to many young people due to the easy access to computer graphics software. However, When people start to realize the scope of industry, they often get frustrated through one's limitation. This is the book that can answer your technical questions in clear manner. Before you start to buy specific books on CG software, check out this book and find out what you are most interested in visual effects area. This book covers the most valuable techniques. Disney style effects, moton control camera and so on. Unless you build strong foundation, your CG compositing skills are just remake-up of what others have done. To be creative, we should master the ABC of technical issues. Other good books are 'CG 101' and 'Art and science of digital compositing'. These are wonderful books in visual effects study.
Book Description
To make great animation, you need to know how to control a whole world: how to make a character, how to make that character live and be happy or sad. You need to create four walls around them, a landscape, the sun and moon - a whole life for them. You have to get inside that puppet and first make it live, then make it perform.
Susannah Shaw provides the first truly practical introduction to the craft skills of model animation. This is a vital book in the development of model animation which, following the success of Aardman's first full-length film 'Chicken Run',is now at the forefront of modern animation.
Illustrated in full colour throughout you are shown step by step how to create successful model animation. Starting with some basic exercises, readers will learn about developing a story, making models, creating sets and props, the mechanics of movement, filming, post production and how to set about finding that elusive first job in a modern studio.
* A full-colour, practical introduction to the craft skills of model animation
* Benefit from the advice of top international animators such as Nick Park and Tim Hittle
* The only book to provide a model animator with all they need to know to work in a modern studio
Customer Reviews:
Concise guide for anyone interested in stop-motion.......2005-09-25
While it is not a substitute for hands on experience it will get you up to speed. This book is a fantastic introduction to anyone interested in this subject. Students of the art will get a basic primer to all facets of the stop-motion process. If it is not provided as college course reading you should pick up a copy for your self studying.
Great Illustrated Instructions.......2005-09-11
As a visual person, I learn well when I see things demonstrated visually. That's why I like this book; lots of nice four-color photos of armatures, puppets, techniques for building them in great detail. What other book provides a close-up image of an armature joint? The language is a bit difficult to understand at times, because it is written and published in Britian, but that just confirms its authenticity. England is a world stop-motion mecca as home to Aardman Animations, creators of "Wallace and Gromit." I highly recommend this book to anyone interested specifically in stop-motion puppet animation.
Excellent informative book.......2004-01-14
I am in the middle of producing my own stop motion film and this book has really helped guide my production.... from creating armatures to set construction to animation... this book has a little of everything for those of us who have chosen this "lost art" of stop motion animation. This is a great book for anyone that is serious about getting their stop motion film made... I am constantly referring back to it because it is loaded with useful information. So I would definetly reccomend this book to anyone interested in making their own stop motion animation.
Great Book.......2003-12-26
This is a truly wonderful book, Susannah and Focal Press should be applauded for putting out a stop motion book in these CGI saturated times. I couldn't fault it in any way and I would say it should be a must have for any stop motion enthusiast. Susannah definately knows her stuff, I found it easy to follow the tips were great and there is heaps of information to study.
Sub Par.......2003-12-01
I had high expectations for this book. I have studied almost every stop motion book there is and I have to say this is nothing special. There are a few tips in it that I found enlightening but not enough to hold the whole book. Although the author seems knowledgable in the field, she does not put her instructions across clearly. I found it difficult to follow in that she gives a bit of info and then directs you to looks in later chapters, when writing instruction/how-to books it is wise to put things in order so thats the more basic blocks of info are placed at the beginning so you can refer BACK. And perhaps this book may be a tad more useful to readers in the UK, as the author refers mostly to UK companies and retailers for supplies. Over all I feel that there are a few things in this book that are useful and can not be found in other books. Perhaps if you already have a collection (such as myself) it is nice to own to compliment other books, but as a stand alone it falls short of being very helpful.
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