Amazon.com
Film Directing Shot by Shot offers a good introduction to the rudiments of film production. Steven D. Katz walks his readers through the various stages of moviemaking, advising them at every turn to visualize the films they wish to produce. Katz believes that one of the chief tasks of filmmaking is to negotiate between our three-dimensional reality and the two-dimensionality of the screen. He covers the number of technical options filmmakers can use to create a satisfying flow of shots, a continuity that will make sense to viewers and aptly tell the film's story. Katz provides in-depth coverage of production design, storyboarding, spatial connections, editing, scene staging, depth of frame, camera angles, point of view, and the various types of stable compositions and moving camera shots.
Book Description
A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies
since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form.
Customer Reviews:
Chicken scratches vs. Detailed Storyboards.......2007-08-19
I have used this book numerous times for my teachings in which students go through the process of making a short film with certain limitations being imposed. It is part of a process that I call "fast filmmaking". I like the examples that Katz presents, specifically that it is not the quality of the drawing, but how the drawing communicates the director's vision to the rest of the crew. I will usually have a student "explain" their storyboard to the class, and it is amazing how a few chicken scratches can give as much details as a fully detailed storyboard. Kudos to Katz for explaining the creative aspect of directing, and Michael Weise Productions for publishing these types of books.
of moderate interest to readers of video magazines.......2007-08-13
as a long-time reader of videographer's magazines, I didn't find much of interest in this book. If I were new to the trade, I'd probably have found it more useful. For that reason, I gave it a rather high rating of 4 stars
Mind-opening, even if you aren't interested in directing.......2007-06-30
I've worked in the graphics design business for years, but more recently I've grown interested in working with video, primarily shorts and documentary work. I was looking for a book that could help teach me the "language" of motion and visual storytelling, and this book fit the bill. In fact, I found it to be incredibly inspiring as a student of art in general. It's extremely well-written, chock full of practical examples, and contains numerous time-worn techniques as well as cutting-edge experimentation. One funny thing: since it was written a few years before the desktop digital video revolution began, it talks about some of the difficult aspects of shooting which are now in many ways moot. But it's good to hear about the history of the craft.
If you have any interest in all in shooting, directing, or producing any kind of motion picture, show, or short, you'll definitely want to buy this book. However, be forewarned: you'll never be able to watch movies the same way again. You'll begin to pick up all the subtle nuances of filmmaking without even realizing it, so don't feel bad if you have to force yourself to re-engage with the actual story as you're watching!
Useful, pleasurable.......2007-05-07
I'm a college student, not at film school, who makes videos as a serious hobby. I thought this book was much better than other titles in the same market, because it's so specific. Instead of telling you what anyone with common sense knows, like "keep continuity" and "composition can affect the mood of a scene," this film lays it all out in detail. I recommend this for everyone who wants to improve. Even if you're not particularly interested in storyboarding, you'll learn how to think about your sequences in advance much better.
Learning the Rules Before You Break Them.......2007-01-13
Even though many of the great filmmakers may have not utilized storyboards, every one of them has pre-visualized their films.
Pre-visualization is the essence of what it means to be a director. A director can only be effective if he/she properly prepares for each scene. Even if one does not have every shot precisely planned out, they will still have an idea of the look and the flow of the process.
There are certainly many people who feel directing should be intuitive, that there should be no structure to the process or else creativity is stifled. This is a valid point from the perspective of the artist.
What is wonderful about this book is that it gives extensive insight into WHY one should cover a scene in a certain way. Directing as a profession requires a certain amount of preparation and PROOF that you have a handle on the film. Producers want reassurance that you have a vision worth pouring tens of millions of dollars into. Armed with the ability to properly express yourself in regard to your vision, you will have a much easier time convincing others to follow you.
So, in the end, if you are interested in studying the language of film and the methodology behind classic film composition and editing, then this book and the accompanying Film Directing: Cinematic Motion are essential.
Book Description
Tens of thousands of readers have benefited from Michael Rabiger's classic text on documentary filmmaking, now updated to reflect the revolutionary switch to digital video equipment and software. You will learn how to research and focus a documentary film or video idea, develop a crew, direct the crew, maintain control during shooting, and oversee postproduction. Practical work is emphasized, with dozens of exercises and questionnaires to help focus your ideas and give you hands-on practice. The documentary is treated as an important genre in its own right, as well as a useful prelude to directing feature films.
The fourth edition is a significant update. The book's emphasis has always been on concrete steps you can take to become a documentary filmmaker, and there are loads of new projects to help, along with assessment tables that allow you to gauge your progress. In addition, there is new material on location sound, the reality TV trend, top documentaries to see, and more.
*The definitive guide to making a documentary
*A hands-on approach with dozens of exercises
*A fully updated 4th edition of the classic textbook
Customer Reviews:
Enjoyable Too.......2007-04-11
Thought it would be much more heavy and academic. Is an easy read without dumbing down. Great for getting you going again if youhave "fallin off the wagon".
great.......2007-04-10
what a great book. it's up-to-date and goes through everything you could ever want to know about documentary filmmaking.
The Ultimate Guide to Documentary Filmmaking.......2007-03-26
I already use Rabinger's "Directing" tome as my filmmaking bible, and always refer to it when planning productions and right before shooting. So when I started a documentary project, I knew I had to get this version dedicated to that aspect of filmmaking. I was not disappointed. Right away, his advice improved my project planning and helped me make a much better project pitch than I originally had. And once again, it's loaded with practical advice that's very easy to read and use. Rabinger knows how to put together a great reference resource. Too bad all books weren't put together like these.
Great book for filmmakers of all kinds.......2006-09-21
this book includes all kinds of useful information that is not necessarily specific to documentary, although that is it's focus. there's excercises in here to help develop ideas into a filmic narrative, ethics, how to tackle an interview as well as subject matter. i've read a lot of film books, and i have to say, this is not only well written with a sense of humor and wit, it deals with potential situations in a down to earth way. The information provided is not just technical, but also how to approach an emotional situation, gain the trust of your participants, and address multiple points of view.
Directing The Documentary.......2006-07-19
I am currently writing a documentary for a feature length film, and found Michael Rabiger's book informative, subtle, and well structured. Having received a documentary film class at University, I had already learned about the basic tools of the medium. This book provides a masterclass in documentary filmmaking, and prepares you for the demands of documentary filmmaking. I recommend it to students and professionals alike.
Amazon.com
This is essential reading for anyone interested in directing or acting. Judith Weston's brilliance is to recognize that directors, actors, writers, and technicians are involved in a process that is at essence a collaboration. In order for them to have the best shot at creating something true and meaningful, they must share a language and a method of exchange that fosters creative cooperation. Weston rightly sees the director as the central figure in inspiring the energy of a production's harmony. She advises the prospective director on every aspect of a stage or film production, showing how the director can draw the best performances possible from actors.
Book Description
Internationally-renowned directing coach Weston demonstrates what constitutes a good performance, what actors want from a director, what directors do wrong, script analysis and preparation, how actors work, and shares insights into the director/actor relationship.
Customer Reviews:
Buy this book now!.......2007-04-15
If you are even thinking that this book might be of some interest to you, I can assure you it will change the way you work -- all for the good. Weston has boiled down and focused the art of getting a performance in a clear and brilliant manner. What else can I say, why are you still reading this - buy it. Simple.
Simple techniques that WORK!.......2007-02-05
Judith Weston has outlined for the director (of any performance, not just film) quick and effective ways to communicate and elicit the performance you want... at the very least, you will get something different. I am an actress who has had the privilege of working with Judith and her directors. I have seen the process in action. I've used it. When someone has truly applied the techniques that this book recommends, it doesn't matter if the actors have just started, or if they're old pros, with vastly different methods, the performances are fresh. The performances change. The performances improve! READ THIS BOOK!
No other book on acting or directing comes close.......2006-10-18
This book isn't just for directors. It is an invaluable resource for actors as well. I've taught film and video acting for a number of years and never found a book that was worth having students read even part of. Until this one. Unlike most books on acting which focus on techniques that may work great on stage but are worse than disastrous on film, Judith Weston goes under the surface of acting and directing to the core of what a close-up camera needs to see. That, in a nutshell, is "lending the character your unconscious," so that absolutely nothing looks (or is) fake or "pretend." Even more importantly, she provides down-to-earth, extremely effective techniques for directors that support and demand genuine, affect-free performances. She discusses the creative process of the director at a level that is not idiosycratic or based on her personal "style" (as so many books for directors and actors do). Her advice is both common-sensical and deeply insightful, it's what every good director knows but often can't articulate consistently enough. Don't miss this book if you work in film or video, whether you are a director, actor, teacher, editor, DP, AD, or even a gaffer. After reading Weston, you will see every aspect of the actors performances more truly and clearly, and find yourself finding new ways to get the most out of every second on screen. One of those books that changes your life by telling you what you already knew more clearly than you ever thought it could be said, and giving you fresh new ways to put it into practical use. Highest recommendation.
the best book on directing actors.......2006-02-17
This book teaches the most important skill a director can possess: getting great performances from actors.
She breaks things down into logical bits and helps you avoid many common mistakes directors make, such as giving unplayable directions, giving too many directions, talking too much, etc.
She writes with wisdom, insight, and humor.
If you're a director or a wannabe director, do the world a favor and read this book so the world has better performances to watch.
This book is the best kept secret in show business. An even more valuable secret is her workshop, which she teaches regularly in L.A. as of this review (Spring 2006).
Great beginner book.......2005-10-14
I agree with Thor Vadir's review in that it did favor the actor more often than not. But that is ok as long as you are aware ahead of time.
As a very first time director, I read this book through 2x before my shoot. It is a 40 min short film with paid actors.
It was very helpful as a true newbie.
This, coupled with some experience under my belt, has given me a great start to my (hopeful) career.
Average customer rating:
- 5 stars
- Best in field
- motion graphics professor
- Fundamental book on the theory of the moving image
- The Filmmaker's Bible of Aesthetics or What Works and Why
|
Sight, Sound, Motion: Applied Media Aesthetics
Herbert Zettl
Manufacturer: Wadsworth Publishing
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Book Description
This book describes the major aesthetic image elementslight and color, space, time-motion, and soundand how they are used in television and film. Zettls comprehensive coverage of aesthetic theory and his inclusion of effective visuals and examples place this text in a class by itself.
Customer Reviews:
5 stars.......2005-10-10
The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.
Best in field.......2004-12-28
This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.
motion graphics professor.......2002-06-04
"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."
I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.
Fundamental book on the theory of the moving image.......2001-05-20
This was the assigned textbook for my digital video 2 class, and it is simply wonderful. Zettl is a very knowledgable man on the subject of creating images for film, video, and even new media. (Zettl's text Video Basics 3 was used in my digital video 1 class as well) This book lays a solid foundation for the theory behind how and why the viewer perceives the moving image, and how the filmmaker and video producer can create more pleasing and coherent productions.
While the biggest complaint I've heard about this book is it's over-reliance on theory, it still does a good job of contextualizing theory into practical application. Thus the title of the book: APPLIED Media Aesthetics. Although I haven't read any of Eisentien's theories behind filmmaking, I suspect that Zettl's treatment would compete rather well, and is probably more accessible for a modern reader.
This book covers all the bases from color and light, time and space and structuring audio to image. Zettl succintcly deconstructs the intelligent mind behind the images and sound of our cultures film and television productions.
Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book.
The Filmmaker's Bible of Aesthetics or What Works and Why.......2000-11-04
This is probably the most important textbook a film production student can have on his/her shelf. NOT for how to work with actors or how to light a scene, but for understanding the underlying reasons of why things work due to our learned aesthetics and Western sensibilities.
Professor Herbert Zettl has written the most concise manual on why we has film viewers percieve things the way we do. He explains in detail (and layman's terms) how our aesthetics have been formed to interpret the dynamic medium of film and television.
How editing of action from shot to shot creates the illusion of continuous motion. How stagelines work so not to give the effect that your actor is jumping around from one side of the scene to the other. How to crop your shot BETWEEN the bodies natural cut-off points (i.e. neck, elbow, waist) to prevent the actor from looking like a disembodied head or torso.
This book is cover-to-cover insights into what we as viewers take for granted when we watch a good filmmaker's work, but may not consider when faced with the daunting task of mounting a film production and the on-set "reality" problems that dominate the filmmaker's mind when shooting a film.
I first read this book when I was in film school twenty years ago. Since then I have directed many professional film productions and I still review it before starting a new one to refresh myself.
Just as Syd Field's book "Screenplay" is the bible for screenwriting, "Sight Sound Motion" is the bible on understanding what works in film/video and why.
Average customer rating:
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Television Production
Alan Wurtzel , and
John Rosenbaum
Manufacturer: McGraw-Hill Humanities/Social Sciences/Languages
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ASIN: 0070721580 |
Book Description
Designed for television production courses or a multiple-course production sequence, this successful book has been a recognized leader in the market for two decades. New co-author, John Rosenbaum, who brings twenty years of teaching experience to the book, not only complements Wurtzel's professional expertise, but reorganized the book and adding new material of particular interest to students. The authors' have thoroughly updated the examples, references, photo program and artwork. The increased attention to field/video applications and information will make the book much more flexible and give it a broader appeal in a variety of courses.
Book Description
Producing and Directing the Short Film and Video is the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations.
* Unique approach which looks at the process from the director's and producer's point of view
* Third edition includes information on new HD formats, postproduction, and a new animation example
* A companion website contains useful forms, information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations
Average customer rating:
- Another old book in a fresh new cover
- Very clear and precise for the unexperienced tv professional
- Easy to read and broad in its focus
- ¡Excellent Book For People Interested in TV Production!
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Directing & Producing for Television: A Format Approach, Second Edition
Ivan Cury
Manufacturer: Focal Press
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Show Runner: Producing Variety & Talk Shows For Television
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Producing for TV and Video: A Real-World Approach
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Television Production Handbook
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Television Production, Thirteenth Edition
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This Business of Television
ASIN: 024080452X |
Book Description
Directing & Producing for Television provides readers with the tools they need to help them direct and produce efficiently in a variety of settings. It is a vital resource that is based on the author's own experience in the industry and in university settings, where he found that students are adept at handling equipment but often lack actual production technique. This text addresses those critical details and outlines the demands of each format.
The second edition has been significantly updated to reflect recent changes in common industry practice, as well as new camera, lighting and editing technologies. A new review section has been added to each chapter to reinforce students' understanding of the material and allow beginning professionals to work with the material most pertinent to their needs.
The emphasis is on multiple camera television, although serious considerations is given to single camera production in those formats where single camera production is the predominant production technique (for example, documentaries and commercials/PSAs).
Hands-on approach based on author's experience as a TV director
Focuses on the production techniques
Updated to include all the latest industry practices for all formats
Customer Reviews:
Another old book in a fresh new cover.......2007-07-08
A waste of paper. This book is old info and lots of useless filler. IMO, almost completely uselss. Don't waste your time and money.
Very clear and precise for the unexperienced tv professional.......2005-01-21
As a first time TV show co-producer, I wanted a simple approach on learning the basics of TV directing and producing. This book has given me everything I needed to start understanding the technical aspects of the business. Now I can express my ideas more clearly to the show director and the crew, and even though this is not my primary career this book has made easier my introduction in the business.
Easy to read and broad in its focus.......2001-11-30
First and perhaps most important, this book is easy to read. It doesn't talk about technical things, but instead goes right to the heart of the matter: what you have to know if you're going to direct or produce a program. It also covers a broad range of shows--almost every format except sports and game shows. For the most part it describes multiple camera television directing, but that's used as a basis for understanding single camera TV. And there are chapters in which single camera television plays a significant role, most notably when Cury goes into documentary and PSA directing. I particularly liked the "who's who" at the facility, which covers the functions of those who work in television--from the executive producer to talent.
¡Excellent Book For People Interested in TV Production!.......2001-01-05
After reading this book, I have become a better producer and a better person. This book can help anyone from a student to a BIG TIME director. It is very clear in explaining the routine and features to help your show come together. A++
Book Description
This book takes the mystery out of directing. This fresh approach will enhance and broaden your directing skills and help you deliver powerful performances and well-conceived cohesive films.
Customer Reviews:
A How-to Book on Creative Collaboration.......2002-05-17
Written in a reader-friendly way, you'll want to work with this writer/director. Travis clearly educates the reader in the art of collaboration and all its essentials for a true creative process. Using both his experiences & his intuition, the writer takes us on an eye-opening expedition into the realms of cinematic cooperation, coordination & collaboration to produce the best possible film & get the most from our fellow-film crew members. How to work WITH the screenwriter, the producer(s), the director, the cinematographer, the creative team, the actors, the editor & the crew, blending all the diverse visions of the filmed story into a cohesive one.
An informative, exceptionally written and insightful work........1997-11-26
In all my years of reviewing text as well as fictional literature this book will take its place with the other top ten books I have in my collection. I have recommended it to both my family, my friends and co-workers. Direct and comprehensive for the novice as well as the professional. Dr. Dan Canterbury
Amazon.com
The title of The Digital Filmmaking Handbook is something of an oxymoron, because this thorough book covers everything you need to know about filmmaking production, from concept to screening. The only missing element is film itself.
Film and video production are in transition. Film and analog videotape rapidly are approaching the end of their technological lives, being replaced by digital videotape and digital cameras. You can buy computers that connect to DV cameras and edit DV tape almost anywhere, and they cost only slightly more than an entry-level computer. The Digital Filmmaking Handbook, then, is for anyone buying into the DV revolution who wants to do more than shoot home movies of the kids. It's for filmmakers young and old, professional and hobbyist, who want to learn to shoot, edit, and make great movies.
Unlike traditional filmmaking books, in which only the camera and some audio and editing equipment are addressed, part of this book approaches the medium from a computer hardware and software perspective. Numerous hardware issues like choosing the components for an editing workstation (chapter 5), the kind of digital video camera to use (chapter 6), selecting editing and audio software (chapter 7), and various output formats (chapter 18) are discussed. Also, there are chapters on effects, making video look like film (chapter 17), and digital titling (chapter 16).
The book never strays from speaking to moviemakers instead of moviemaking-gear buyers. Everything from preproduction tasks (such as scripting, storyboarding, and budgeting) to production tasks (like set preparation, lighting, filming (sans film), and sound recording) through final editing, color correction, titles, and output is explained. Filmmaking is heavily dependent on technology, and each of these subjects is well covered. Chapters on audio, for example, include selection of microphone types; differences between mic types; how to connect mics to a DV camera or synchronize audio in postproduction; how to control sound levels; and so on.
The chapter on editing reflects the experience of the authors. Films are understood through their own language, and how scenes are edited determines the dialect of that language. Such techniques as matching screen position, matching emotion and tone, matching action, when to use pauses and overlapping edits, and the effect of pauses and pull-ups (shortening a scene) are defined and justified.
If you can't get into NYU's film school--or even if you can--The Digital Filmmaking Handbook is a worthy reference to keep at your fingertips. --Mike Caputo
Book Description
Since the advent of digital video and desktop editing software, scores of independent producers have become equipped to make their own movies. But because filmmaking involves much more than just buying a camera and a computer, there's The Digital Filmmaking Handbook. This one-stop digital filmmaking resource will guide you from your initial idea to getting your finished project "in the can." It will show you how to create shots and effects that are rarely associated with low-budget productions. And it covers everything from writing and pre-production planning to shooting and post-production editing and effects. Now in its third edition, this best-selling book has been completely updated and revised to include detailed information on a number of important new digital video technologies, including both high-end HD video and the new HDV format, and affordable new digital video standard that lets even low-budget producers work in high-definition video. All of the chapters have been revised to cover the latest hardware, software, and production workflows,, and new exercises offer help with everything from writing to special effects. Whether your goal is an industrial project, a short subject for your Web site, or a feature-length movie for a film festival, this book will help you understand the questions you need to ask, so that you will be prepared to solve the myriad problems that will arise.
Customer Reviews:
This is the book you'll need..........2007-04-19
If you're like me, just getting started as a hobbyist filmmaker, this is the book. I only received it yesterday and glancing through the contents, it covers most, if not all of the questions I've had about certain aspects of filmmaking. It is well written in everyday english, easy to understand.
Since yesterday when I first opened the cover, I haven't been able to set it down for very long. It's that good. I highly recommend this book to any and all levels of individuals who want to learn about filmmaking from the ground up. It covers it all.
From writing to production: everything you'll need..........2006-03-16
Ben Long and Sonja Schenk's DIGITAL FILMMAKING HANDBOOK THIRD EDITION pairs a fine DVD packed with project files, film clips and tutorials with an updated, revised edition of a best-selling guide to new digital video technologies. Chapters have all been revised to cover the latest hardware and software configurations and new exercises provide help with everything from writing to production. Black and white screen shots and examples throughout make DIGITAL FILMMAKING HANDBOOK a one-step resource.
Good Description of How to Get Started.......2006-03-13
An excellent one stop guide to getting started in digital filmmaking, realizing of course, that there is no film involved.
This book starts with selecting the things like the type of camera you need to make digital video. And for good work, a good camera is necessary, and expensive. IThe book is intended for the person who is just getting started. It explains the terms, the basic equipment you will need, and so on.
The concept of making a film, no, a video starts with a story. From here you need a script. Then you do a story board to plan your shoot. If this sounds a bit professional, it is. This book presumes that you are serious about making a video. This is a rough cut at what the pros do to make a film. ==From this book alone you probably won't get to the Academy Awards show, but reading and putting into practice what the book says might get you into a commercial or a local indistrial film production.
All in all a good summary of getting started in the digital AV business.
Great for begginners--NOT for advanced or anyone who has any brains.......2005-10-31
This book was written for people that have no clue what a computer, a video camera, or a movie is. It is written for the very inexperienced or novice--the people that should not be making movies to begin with.
But it is packed with information a 7 year old or 88 year old can understand, and it is 95% close to being accurate. I guess if one needs to start somewhere, here it is, but after reading it, please do not make your first movie to send to festivals, make as many as you can, practice, practice, practice, then get a real book. Digital Filmmaking 101, Digital Moviemaking, Independent Filmmakers Manual, and so forth before getting into the movie making world--please.
Great starting guide and more!!.......2003-05-20
This book covers all aspects of digital film making and as such doesn't really have the space needed to go into in depth detail on every subject. Regardless, it is a great place to start. It's a very easy read, unlike a lot of film making books that assume you've already got a Masters degree in film. I wont talk much about content descriptions as other reviewers have done a good job of that already - infact, it was on the strength of such user reviews that I bought the book in the first place. I will say this though, if you haven't already bought a camera, buy this book before you do. Lack of funds may make your choices limited anyway, but you wont regret having read this book first.
I have given the book 4 stars instead of five simply because I found the tutorial sections to be a little out of place. The tutorials seem to make the assumption that you have equipment at your desposal - such as expensive lighting kits - and as I imagine that many readers wont, the significance of these tutorials will be slightly lost by the time you do actually have these items in front of you. Unfortunately I couldn't rate the book at 4.5 stars, but that is what I'd like to give it.
In closing, this shouldn't be, and if you're anything like me it wont be, the only book on digital film making that you buy, but it is definately the perfect place to start.
Book Description
John Knoll was 14 years old when the first Star Wars film (Episode IV) came out in 1977, and it changed his life. By the time the first prequel, The Phantom Menace, was released in 1999, he was its visual effects supervisor-in charge of all special effects-a position he held through Episodes II (Attack of the Clones) and III (Revenge of the Sith). With Knoll as tour guide, this deluxe addition to Abrams' 365 Days series provides the single most comprehensive collection of Star Wars images, including breathtaking 360-degree panoramic shots of sets and models, as well as concept art, props, film stills, and memorabilia.
The only book that covers all six films, Star Wars: 365 Days is Knoll's spectacular survey of the visual world created by those films. It shows us George Lucas and his crew creating their universe on location and in the studio-in pages dense with imagery and information, documenting a remarkable sustained creative effort by hundreds of devoted filmmakers and craftsmen. A CD-ROM, with nearly 100 QuickTime panoramas of the sets, adds to the beauty of this edition.
Customer Reviews:
Packed like a WOOKIE PUNCH!!!.......2007-07-29
WOW - photos I've never seen anywhere else! What a fun non-read this is!!!! For sure a book to talk about and keep on a coffee table! Small, packed and colorful!
The perfect gift for a star wars fan.......2007-07-16
This book offers a very nice mixture of inside views to the making of the original Star Wars movies as the new series Episode I to III. Each day (or double page) is showing one aspect of this amazing series with lots of pictures and information waiting for you.
Only downside in my opinion is that it is a bit too much focused on the new Episodes even though there is tons of information about the original movies too.
On the other hand you have a CD with 360-degree-views of some sets and some rare pictures on your PC!
All together this might be the perfect gift for a Star Wars fan like me ;-) 5 Stars!
Excellent book.......2007-06-04
This book is not the same old thing. It features pictures I'd not see anywhere else. Its a very heavy, very thick book full of great behind the scenes stuff. Worth every penny. I just wish John Knoll would make an equivelant book for Pirates of the Caribbean.
Great Star Wars Book.......2006-10-19
This book is really cool for most Star Wars lovers. It shows you how they filmed the movie. You can see who played the Wampa. I think the coolest part is Mustafar because you can see the lava river bank. You can also see on one page all the Astromech droids. You can also see alot of cool other stuff.
You should buy this book if you're a Star Wars fan!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Even if you are a long-time fan, you know NOTHING about Star Wars until you read this book..........2006-04-21
This is by far the best non-fiction STAR WARS book EVER, and believe me I read quite a few of them, including all of the "Making of" and "The Art of" books for every movie in the franchise.
If you want to know how every single scene in the 6-movie saga was conceived, this is the book for you. You will NEVER watch the movies the same way again after reading this book. I am not even sure where to start. You get 365 scene descriptions, each scene is spread over 2 pages, the pictures are highly detailed and the book paper is top-quality glossy, as good as ANY printed material can get. The size of the book is small, but it is obviously quite thick and heavy due to the page count. But this is as far as any complaint can get for this book. Almost every picture is never seen before, and the scenes are presented in the order they appeared in each movie. The movies are presented in the order they were made (Episodes IV-VI, then I-III). Only this book will make you really appreciate the true passion of George Lucas and what he and his crew went through to conceive the wonderful fantasy worlds that came out of his imagination. Just witnessing the evolution of scene preparation from low-tech techniques to fully virtual environments is hugely fascinating and worth the price of this book. From Tunisia to Norway, from studios in England to ILM Headquarters in Californa, the global adventures involving the shooting of the entire saga is an incredible event to witness. Did you know only one full-size X-Wing Fighter was built for Episode IV, or background scenes for the high-speed Speeder chase on the forest moon of Endor in Episode VI were realized by a cameraman running in a forest with a Steadicam strapped to his body shooting only one frame per second? This book is chock-full of such entertaining trivia. It is an addictive read, and as far as creativivy and imagination are concerned, the author of the book, visual effects specialist John Knoll, truly deserves a place right up there with George Lucas . Highly addictive and mandatory reading for anyone who has heard of the phenomenon called STAR WARS.
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