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Producing Great Sound for Digital Video educates beginning and experienced filmmakers on the intricacies of creating an outstanding soundtrack, from preproduction planning through the final mix.
The entire book is fascinating: it's absolutely packed with useful information and tips. Most of us remember learning in high school physics that sound travels about 1,100 feet per second, but besides gauging the location of a lightning bolt from how long it takes for the thunder to reach our ears, we never found it useful. Imagine, however, shooting a scene from about 90 feet away with a camera-mounted microphone. In this scenario, the audio will lag behind the image by about three frames--not much, but it's certainly noticeable. The problem gets worse as the distance increases. The workaround is to put a microphone next to the subject or slide the audio track so that it syncs with the images.
The book presents other solutions to showstopping problems that, because of lack of experience, a filmmaker wouldn't realize until getting to the editing room. Other critical issues such as preproduction planning, the art of production and recording (including environmental factors and microphone setups), and post-production editing and effects are also discussed.
The advent of low-cost, high-quality video production equipment has ushered in the birth of AV producers and AV presenters who have grand intentions but negligible experience. Digital cameras, inexpensive computers capable of capturing and playing back high-quality digital video, and full-featured editing software offer all kinds of ways to create visual eye candy, but embryonic filmmakers don't always realize that the picture is only half the story. Producing Great Sound for Digital Video explains how the other half works, what to watch out for, and how to achieve professional results. --Mike Caputo
Book Description
Producing Great Sound for Digital Video is a complete audio training guide as well as a quick problem-solving resource for the working pro. The author explains hundreds of real-world techniques to use from preproduction through the final mix. Readers get how-tos, tips, and time-savers, plus tutorials on key skills such as dialogue and music editing. This edition features deeper coverage of location techniques, including choosing the right mic, in-camera sound recording, getting sound into the camera cleanly, calibrating the camera to location sound equipment, working with mic booms, using separate recorders, and digital wireless. It also includes updates on working techniques, including new software categories for postproduction and new interchange standards.
Producing Great Sound for Digital Video is packed with hundreds of real-world techniques that range from pre-production through the final mix--including tutorials, tips, and tricks to make great tracks with any computer or software.
Customer Reviews:
Great Book.......2007-01-19
for anyone that wants to have a professional approach to digital video this is a good book.
If you only buy one book on sound.. This is it.......2006-09-09
Where do I start? In a nutshell, this book *IS* the only book to have on sound if your only buying one. No lie. My background... 20 years ago I used to be the "The Amp Dr" fixing commercial PA systems, amps, etc. I have a much better background on sound than most, I was an electrical engineer after that, designing power supplies, and other analog interfaces to digital equipment. Most of that has been dormant for the last 20 years, but I recently decided to make documentaries, and as two of my first projects deal with music, sound seemed pretty important. I got several books on sound, I figure buy six, one has to be good. You can save your money, this book was the one in six.
Knowing audio but NOT audio for video, one of the most important things I discovered is that a professional quality product (video) can only be made with good sound.. If you think you $2 -$10K pro-sumer camera is going to deliver it with the standard mic turn on "auto level", you're really wrong. Half of good sound is the absence of sound, or at least the absence of unintended sound. Insuring good sound is more work than it sounds, but the quality and impact of what I am shooting now is significantly better than before. Otherwise, its' all like home videos, maybe pretty shots and cleverly edited, but still seems like home videos. It all becomes much clearer after reading this book.
When I picked up this book, it was a mental orgasm. Not only does this guy know his stuff, even more importantly, he knows how to communicate it. The way it was written, I was easily able to skip over the stuff I didn't want to review, and go straight for the meat. It is meaty. Almost EVERYTHING I wanted to know was here. I did end up going back just to see how he explained the basics.. great! One of the things I liked about his style, is some authors will tell you something is bad or wrong, with no explanation.. Jay give you good examples.. the CD recording with the book is worth it's weight in , he give examples of proper recording and bad recording (with explanations). You can actually hear it as oppose to read an explanation and take it on faith. Borrow money if you have too.. but buy it.
My message to Jay:
If you read this Jay, I have a few requests. (1) Don't let this book go out of date. Please do you SNR and distortion measurements on some of the new HD cameras. Given the bit resolution is now even less with HDV (12 bits (HDV) vs 16 bits (DV)), I think dual systems are even more important to cover in greater detail. (2) Update with some of the new digital recorders that are replacing DATs (3) Thanks for a great book!
A rare 'how to' book that delivers actual content!.......2006-01-05
I've often been taken in by large reference books that promise to be a comprehensive guide to a subject, but turn out to be a lot of filler (screen shots of PC applications, or an excuse for the author to give lots of less-than-useful anectodal stories, etc.)
Not so with Jay Rose's 'Producing Great Sound for Digital Video' book. This informative guide covers a lot of ground, including sound theory, equipment explanations and use, and techniques for sound production including NLE tips, audio mixing, mic use etc. The great thing about this book is it is written with the expectation that your sound production values should be professional, but it's still accessible to hobbyists and those on a budget.
While I think novices to the field of sound engineering (like myself) probably benefit most from this work, I think a lot of the material here is useful to the video production community as a whole. I learned a lot from this, great work.
A Top Resource for Anyone who does Serious DV Recording.......2005-04-23
This book is a top shelf resource. It is useful to both novices and those with more experience. Starting with the very basics, and that does involve some physics, it works its way through virtually all aspects of sound production for digital video.
Do not be fooled. You are not going to learn much to improve the built in recording that comes with your camera. The author is unapologetic in his broad condemantion of the built-in stuff in terms of both quality and usablility. He goes into the reasons and gives a bit of advice on making the most of what you have but this is not what the book is about. Instead, it is about exactly what the title claims. Unfortunately, this is seldom if ever achieved with the built in stuff.
After going over some of the basics of sound and recording, different types of equipment are described in terms of suitability to task and cost. After that, the actual use of this equipment is considered in a variety of situations. The book is not just concerned with equipment and its use, however. There are chapters on editing and even on the use of prefessional talent. In short, the assumption is that you want to get good quality audio for your video production. The author then describes how to do exactly that in a variety of settings. Unfortuately, doing the job sometimes takes a bit more effort than just pushing the record button on the camera. It also take a bit more money although it does not have to take a great deal more. It depends on what type of sound is needed and how you are going to use it.
If all you want is to catch the background sound in a home video, spend your money on something else. If you want to learn how to get the best possible sound for your particular need and preserve that sound to use with video, you need this book.
You will understand sound after this book.......2005-03-02
Audio is really important, and this book will make sure you get incredible sound at every shoot. I really recommend this book!
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.
Book Description
Celluloid Mavericks: A History of American Independent Filmmaking documents this rich history, showing what it meant to be "independent" in the 1930s and what it means today. Author Greg Merritt distinguishes between indie and semi-indie productions, explores the genres represented under the independent umbrella, and addresses the question of what makes a movie independent -- its "spirit" or the budget backing the production. From one-reel flicks at the turn of the century to the blockbusters of the '90s, Celluloid Mavericks takes readers on a fascinating tour of the industry. 50 photos.
Customer Reviews:
my fave film book.......2002-07-09
This book blew me away. I love the way it covers the whole spectrum of indie film, not just "art" but "exploitation" as well. The story of how these films came to be against great odds makes for great reading. I learned something knew on every page. Highly recommended for fans of non-Hollywood films.
Excellent book.......2002-01-21
This was a very good read, masterfully told and researched. This is the only book that tells the COMPLETE history of indie movies. Highly recommended.
THE BEST BOOK ON THE TOPIC.......2000-06-16
This is the best book ever written on independent film. I wish I could give it move than 5 stars, because Celluloid Mavericks is a pure pleasure to read: witty, informative and always extremely entertaining. No other book comes close to its breadth and detail, especially in regards to the previously uncharted territory between 1896 and 1960. This is my all-time favorite film book, well deserving of its many raves reviews.
"Indispensible book, as entertaining as it is informed".......2000-04-19
from the New York Press 3-29-2000 - copyright Matt Zoller Seitz
Merritt's book covers a century's worth of off-center cinema, including 1890s nickelodeons, 1940s chitlin-circuit black films, Sam Fuller's genre-busting work in the 50s and 60s, blaxploitation and hardcore porn in the 70s and the Sundance wave of the 80s and 90s. The central idea of free spirits bucking the system unifies waht might have been a too-broad historical text, and Merritt's tart wit enlivens the fact-packed narrative. His prose isn't merely amusing; it's lovingly polished, a real pleasure to read. He's honest enough to admit that most 70s blaxploitation films were garbabe, "rarely as much fun as their posters or soundtracks." He coins a wonderful new phrase to describe the hillbilly flicks that flooded rural drive-ins around the same time: "Whitezploitation." He describes Tom Laughlin's "Billy Jack" as a movie about pacifists who "come to worship a man of violence," and declares, "the real hoot is seeing the messiah take off his boots and kick the grins off rednecks."
This isn't one of those fuzzy, ruminative books where the author writes whatever strikes his fancy and crams it into a bulging thematic suitcase after the fact. The preface carefully defines "independent" to mean any movie "financed and produced completely autonomous of all studios," and "semi-indie" as a movie that received studio funding at some point. The definitions cast certain well-known American films in a fresh light. I didn't know, for example, that the Oscar-winning "One Flew Over the Cuckoo's Nest" didn't get a dime's worth of funding from any studio.
Chapter to chapter and page for page, "Celluloid Mavericks" is an indespensable book, as entertaining as it is informed.
A VERY GOOD BOOK.......2000-04-11
This was a great read. Very well-written. It covered more than any other film book. I especially liked the exploitation stuff and how it mixed with art films: the yin and yang of indie cinema.
Customer Reviews:
superior (in every way) to the movie.......2007-07-23
Books usually are. This is the one to get--if you're interested in The Ed Wood Story.
I read bits and pieces of Wood's prose on the internet--and the funny thing is, or maybe I should say the INTERESTING thing is, he was far better at writing prose, than he was at writing movie dialogue and directing.
The problem with Eddie's paperbacks is that the guy was so damn obsessed with crossdressing. Why? Why couldn't he stay away from it for a while, at least long enough to write a paperback or two or three (even) without having the male lead dress up in a bra and angora sweater?
Sheesh. Stuff gets old after a while.
It's easy enough to relate to him for wanting to do something in the creative realm (as a filmmaker, etc.), and not be able to pull it off.. I mean, whose heart doesn't go out to him for that? Better yet, to anyone? Who couldn't get that?--other than the typical businessman who is solely focused on the bottom line, making a profit?
Anyway, this book has the whole story. It's a sad tale--with a downer of an ending. What can you do? The cards had been dealt--and poor Eddie's hand did not show much promise.
And the biggest BUMMER OF ALL is that people out there are making tons of money off this guy's hard work and sweat!
Justice? What's that?
Ed Wood Through The Eyes of Those Who Knew Him.......2006-12-16
This is a labor of love, taking ten years and many interviews, as well as research, to give us the best hope we'll ever have of getting an understanding of maverick Ed Wood.
The structure is mostly clips from interviews, letters, and some of Wood's works, mostly interviewes. Thus one gets a sense of Ed Wood that in no way tries to be objective - instead it's about people who knew him, and their statements stand on their own (even when they conflict). There is actual research done as well - filmographies, book summaries, a small history - but most of the book is interviews.
The style however actually works - someone like Ed Wood may not always leave a very good trail. In addition, being very much a unique person in the unique culture of bargain-basement hollywood, personal testimony is just about the only way to have a hope to comprehend his stories.
The result is a fascinating, personal, and respectful book on a surprisingly complex man. Don't expect any punches pulled either - Ed Wood for all his likeability and charm (which he had in spades), was an occasional conman, and as his life degenerated, he fell into alchoholism, poverty, and domestic violence. Do expect a very personal portrait.
This book is an absolute must for any fan of Wood, B-movies, and the underside of Hollywood. As I write this it is out of print, but I gladly shelled out the money for a used copy. May it return to press soon - but you owe it yourself to get it.
Touching bits and pieces of a fascinating person........2006-06-08
Rudolph Grey has interviewed many of the people who knew and worked with Edward D. Wood Jr, and the entire book is compiled of quotes from these people. This non-narrative style may at first seem boring, but it's not. It is fascinating and touching, sometimes funny and tragic and gives a good understanding of several aspects of Ed Wood.
It also contains many pictures and a detailed list of Wood's films and books, including plot descriptions. This definately is a must-have for everybody who is interested in Ed Wood or old Hollywood independent films in general.
Bitter Truths of Personal Failure, Pornography, and Alcoholism.......2005-10-16
Born in 1924, Wood was a highly decorated WWII Marine with an itch to wear women's clothes, make movies, and drink to excess. During his lifetime he would be notorious for transvestitism and alcoholism; he would also be involved in some twenty films, all of them cheaply made, all of them remarkable for their ludicrous incompetence. At the time of his 1978 death he was a raving drunk scratching out a living by writing pornography, and his film career was considered so trivial that not a single industry trade paper bothered to run an obituary.
But time does strange things. Within a few years of his death, Wood's films began to gain a cult-following, and in 1992 Rudolph Grey published NIGHTMARE OF ECSTASY, a loosely structured "oral history" of Wood's life as related by those who knew him best: his various wives and girl friends, his actors, his employers, his friends. The book would form the basis of Tim Burton's brilliant 1994 film ED WOOD.
Wood comes off as considerably less likeable here than in Tim Burton's bio-pic, which stopped short of detailing some of his more unsavory antics--including fraud, vicious alcoholism, the occasional fit of wife-beating, and his work in pornography. The Ed Wood of the 1950s might have been fun to know, at least so long as you didn't have any money in his ventures; the Ed Wood of the 1970s, however, was someone you would might have crossed the street to avoid.
Although a number of Wood's acquaintances led solid lives and attempted to help Wood as his life spiraled out of control, by and large Wood seems to have acted as a magnet for Hollywood hustlers, riff-raff, and trash--and before too long Wood himself became indicative of Los Angeles lowlife scene. While the interview subjects give conflicting accounts of specific events in Wood's life, the end result is the same: a tremendous sense of wasted effort, futile dreams, and unending pathos. This is some seriously bitter stuff.
NIGHTMARE OF ECSTASY concludes with a fairly solid chunk of factual data, including biographical notes on interview subjects, a chronology of major events in Wood's life, a bibliography that includes passages from Wood's novels, a comprehensive filmography--and even an annotated list of projects Wood was never able to get off the ground. I recommend the book, but I do so with a warning: if you're looking for a restatement of Tim Burton's film, you'll be significantly disillusioned.
GFT, Amazon Reviewer
Sobering Look at the Dark Side of Hollywood.......2005-08-06
I first heard of Edward Wood Jr, the so-called 'Worst Director of All Time', when the Tim Burton film "Ed Wood" was released in 1995. Although the film is excellent, it does paint quite a rosy picture of Wood's life. The story in this book is much grimmer.
The book itself is a collection of interviews with the people who knew and worked with Ed Wood, copiously illustrated with black and white photographs, and covers his life and career. There are many entertaining stories here, covering the making of such films as "Glen or Glenda", "Bride of the Monster" and "Plan 9 From Outer Space", and the reader encounters a wide variety of eccentrics, losers and dreamers, who Wood met living on the fringes of Hollywood.
Sometimes the recollections of interviewees contradict each other, but that is memory. Grey doesn't give his own opinions on the interviewees and their remembrances but wisely stays outside and avoids judgement. The book is a fairly comprehensive account of Wood's life, but it is let down by mispellings, and often the phots are quite hard to see. It is however a must for anyone interested in Wood, 1950s "B" movies, or Hollywood.
Average customer rating:
- The Art of A Bugs Life
- Visual insights, art & insider's info abound!
- The book for every animators.
- Wow!!!!!!!!!!!!!
- great pictures, atrocious writing
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BUG'S LIFE, A: THE ART AND MAKING OF AN EPIC OF MINIATURE PROPORTIONS
Jeff Kurtti
Manufacturer: Disney Editions
ProductGroup: Book
Binding: Hardcover
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The Art of Ratatouille
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The Art of Cars
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TOY STORY: THE ART AND MAKING OF THE ANIMATED FILM
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The Art of Finding Nemo
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The Art of The Incredibles
ASIN: 0786864419 |
Customer Reviews:
The Art of A Bugs Life.......2007-01-16
Nice Book. A little bit of damage. But what do you expect from a second hands book?
Visual insights, art & insider's info abound!.......2000-08-16
This collector's edition of A Bug's Life deserves ongoing mention is a fun accompaniment to the film, requiring good reading skills or parental assistance but pairing film clips with an outline of the story. Visual insights, art and insider's info abound.
The book for every animators........1999-05-02
This book is very much to own for animators and who that love this movie
Wow!!!!!!!!!!!!!.......1999-01-07
A hardcover and full color book on the making of a bugs life.Absolutely wonderful!!Interviews with the directer and clips from the movie.Also encludes many of the story-boards they used.I loved it !!!!!!!
great pictures, atrocious writing.......1998-12-28
A very handsome book that doesn't appear to've been copyedited at all. The first five pages have more grammatical errors than any ten randomly selected novels. Plus, author Jeff Kurtti's tortured prose stylings seem better suited to a grade 12 english class than a "quality" mass market publication. Still, excellent pictures, an attractive layout, and some good and interesting quotes from the key creatives, albeit rammed bone-headedly in between all the intermittently coherent Kurtti-text. Buy it to look at, not to read.
Average customer rating:
- Pretty good book
- Profoundly dissapointing
- Amateurish and unfocused
- Storyboarding from the simple to the complex
- This is a book about storyboarding?
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The Art of the Storyboard: Storyboarding for Film, TV, and Animation
John Hart
Manufacturer: Focal Press
ProductGroup: Book
Binding: Paperback
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Timing for Animation
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Storyboarding 101: A Crash Course in Professional Storyboarding (Michael Wise Productions)
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From Word to Image: Storyboarding and the Filmmaking Process
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Exploring Storyboarding (Design Exploration Series)
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Apple Pro Training Series: Final Cut Pro 5 (Apple Pro Training)
ASIN: 0240803299 |
Book Description
The Art of the Storyboard shows beginners how to conceptualize and render the drawings that will communicate continuity to the cinematographer, set designer, and special effects supervisor, or to create the skeletal outline around which an animated program is developed.
Using sketches of shots from classic films, from silents to the present, The Art of the Storyboard covers the history and evolution of this craft and discusses the essentials of translating one's vision onto paper, from the rough sketch to the finished storyboard. Over 100 illustrations from the author's and other storyboard artists' work illuminate the text throughout. Exercises at the end of each chapter help students to develop essential drawing and visualizing skills.
The Art of the Storyboard teaches basic drawing techniques and illustrates the use of perspective, light and shade, and depth of field needed in order to render the human figure in motion. In this book students are introduced to essential components of storyboarding, such as framing, placement of figures, and use of camera angles
-the only book on storyboarding for media
Customer Reviews:
Pretty good book.......2006-07-02
This book was very helpful to me. I am a professional animator and storyboard/layout artist, even though I have a very good grasp of drawing, this book helped me improve my composition(balance, contrast, flow, etc) and cinematography skills. The illustrations are from great old time classics like Battleship Potemkin (which is frequently used as examples in top film schools across the world) and an numerous other examples. The simplicity of some of the drawings illustrates how you don't have to be the best artist to draw a good storyboard, other drawings show how you can do pretty psimple but photorealistic renderings in a few minutes. Although this is not the all in one stop for storyboarding, it is a must have for aspiring storyboard artists. The one thing that could use improvement is the discussion on perspective drawing, but this book helped me improve so much that I still give it 5 stars. Note: This is not a how to draw book, If you have a solid foundation in drawing, you will benefit more from this and similar books.
Profoundly dissapointing.......2002-11-28
Siggraph San Antonio was about to close up shop on its last day and I finally made my way to the bookstore. I had about 7 minutes to make my choices. One choice was a nicely done book on character animation in Flash, and the other was "The Art of the Storyboard" by John Hart Hart's book is one that I can truly say I regret buying. There is little of use inside, and some severely misleading bits as well. (For instance Hart tells us that it's the storyboard artist who determines light placement.) I was hoping for a book that would give me some information on generally used techniques for depicting camera moves, fades and other conventions. Instead we get pencil drawings cribbed from films that look more like fan-art than any storyboards I've ever seen or worked with.
Anyone wanting insights into how tho convey their cinematic vision to others would do well to steer clear of this volume.
Amateurish and unfocused.......2002-01-18
After searching for books on storyboarding for a class, I found and read a handful of them. This book was a big disappointment. For readers looking to learn about the CRAFT of storyboarding, I strongly recommend "From Word to Image" by Begleiter. However, if you like personal anecdotes, personal preferences, Hollywood history trivia, uninspiring graphics, and little teaching content, then Mr. Hart's "Art of Storyboard" will give you much of that. I am giving it two stars instead of one, because there are few books on storyboarding and because there is nonetheless some useful content (but it could have been put in 10 pages).
Storyboarding from the simple to the complex.......2001-09-24
This book covers storyboards ranging from the most basic to the most detailed. The author recreates frames from classic films--old and new--to illustrate how a storyboard can include light, movement, perspective, and shadow to offer a more complete view of the scene. I found this book to be as much about the art of observing, which is essential to anyone involved in the filmmaking process.
This is a book about storyboarding?.......2001-04-18
One of the main problems with books about storyboarding is that very few actually outline and explain how to execute it without going into too much theoretics. Like a cookbook, I would like to be instructed step-by-step on how to create storyboards: how to decide which angles best suit a written outline; differences in storytelling metric scenarios (quiet scenes, action scenes, etc.); and what would lead me to decide on how to visually set up a scene properly. All this book does is delve into the loooong history of different films, rambling on and on about significant key storyboard shots in the movie. Unfortunately, none of it is instructional. Worse yet, the examples the author uses are his own pencil sketches, which are lifted from actual scenes from an established movie. This does nothing for his credibility as a storyboard artist, especially if he didn't board the sequences himself. While it is important to explain specific key shots in a film to aspiring artists, using re-drawn sequences to fill an entire book is almost insulting to the very subject one is trying to learn from.
Average customer rating:
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Gardner's Guide to Writing and Producing Animation (Gardner's Guide series)
Shannon Muir
Manufacturer: Garth Gardner Company
ProductGroup: Book
Binding: Paperback
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ASIN: 1589650271 |
Book Description
From the initial selection of an animation project to its final marketing materials, the art and business of animation production are illuminated in this step-by-step guide, which includes interviews with industry professionals about the place of their work within the general production pipeline and profiles of commercial animation studios. Television specials, pilots, shorts, and independent features are among the projects covered, in addition to a discussion of career opportunities in the field and the creative partnership of artists and engineers.
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
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Sight, Sound, Motion: Applied Media Aesthetics
Herbert Zettl
Manufacturer: Wadsworth Publishing
ProductGroup: Book
Binding: Hardcover
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VideoLab 3.0, Revised
ASIN: 0495095729 |
Book Description
Media aesthetics have gained prominence with the dramatic advances in the digital technology of video and electronic cinema. In this dynamic field, Herb Zettl's SIGHT SOUND MOTION/APPLIED MEDIA AESTHETICS FIFTH EDITION is more applicable than ever. This new edition of SIGHT SOUND MOTION continues to be the most comprehensive book on the market, not only describing the major aesthetic image elements--light and color, space, time-motion, and sound-but also presenting in-depth coverage on the creative ways that they are used in television and film. Zettl's thorough coverage of aesthetic theory and the application of that theory place this contemporary and highly relevant text in a class by itself. Richly illustrated, this edition features strong visuals that often draw on traditional art forms, such as painting, sculpture, and dance.
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.
Books:
- Pursuits of Happiness: The Hollywood Comedy of Remarriage (Harvard Film Studies)
- Redefining Black Film
- Remaking the Urban Waterfront
- Rushmore (Classic Screenplay)
- Schmucks!: Our Favorite Fakes, Frauds, Lowlifes, Liars, the Armed and Dangerous, and Good Guys Gone Bad
- Sculpting a Galaxy: Inside the Star Wars Model Shop
- Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
- Spike, Mike, Slackers, & Dykes: A Guided Tour Across a Decade of American Independent Cinema
- Star Pilot (DK READERS)
- Steve McQueen The Last Mile
Books Index
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Lighting for Digital Video & Television, Second Edition
Audio Postproduction for Digital Video
Video Shooter: Storytelling with DV, HD, and HDV Cameras (DV Expert Series) (DV Expert Series)
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Digital Video Production Cookbook: 100 Professional Techniques for Independent and Amateur Filmmakers (Cookbooks (O'Reilly))
