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Book Categories |
| Introduction | xix | |
| Part I | Overview | 1 |
| Chapter 1 | Introduction to Visual Effects | 3 |
| What Are Effects? | 3 | |
| Effects Media | 5 | |
| The Different Studios | 5 | |
| Expectations of the Production Environment | 6 | |
| Chapter 2 | So You Want to Be an Effects TD? | 9 |
| Choosing an Education | 9 | |
| Learning the Skills | 13 | |
| Choosing a Studio | 15 | |
| Resumes, Demo Reels, and Interviews | 19 | |
| Getting in the Door | 22 | |
| What Do I Do When I Get There? | 22 | |
| What's Next? | 24 | |
| Chapter 3 | An Interview with John "D.J." DesJardin | 25 |
| Part II | Fundamentals | 39 |
| Chapter 4 | The Effects Pipeline | 41 |
| What Is the Pipeline? | 41 | |
| The Film Production Pipeline | 42 | |
| Commercials and Music Videos | 46 | |
| Developing Pipelines | 57 | |
| How It Usually Happens | 66 | |
| Chapter 5 | Approaches to Effects | 67 |
| Practical versus Digital | 68 | |
| Mathematical Expressions versus Keyframed Animation | 72 | |
| Simulated versus Animated | 74 | |
| Geometry versus Shader | 75 | |
| A "Real World" Example | 76 | |
| Chapter 6 | Different Types of Digital Effects | 79 |
| Environments | 80 | |
| Natural Phenomena | 83 | |
| Digital "Special Effects" | 95 | |
| Props and Paraphernalia | 98 | |
| Other Challenges? | 100 | |
| Chapter 7 | An Interview with Judith Crow | 101 |
| Chapter 8 | Optimizing the Process | 115 |
| Developing an Effect | 116 | |
| Basic Controls for Effects | 116 | |
| Further Development | 118 | |
| Integration | 119 | |
| Automation | 120 | |
| Chapter 9 | Geometry Operators and Tools | 123 |
| Geometry for 3D Graphics | 123 | |
| Generators | 126 | |
| Modeling Operators | 133 | |
| Deformers | 138 | |
| Attribute Editors | 147 | |
| Toolbox Complete? | 150 | |
| Chapter 10 | Simulation Systems | 151 |
| Simulations | 152 | |
| Particle Simulation Operators | 160 | |
| Using Simulations Wisely | 171 | |
| Chapter 11 | Effects Lighting and Shaders | 173 |
| A Lighting and Shading Review | 173 | |
| Lighting Effects and Effects Shaders | 175 | |
| Chapter 12 | An Interview with Theo Vandernoot | 185 |
| Part III | Practical Application | 195 |
| Chapter 13 | A Practical Scenario | 197 |
| A Fresh Start | 198 | |
| Designing the Studio Pipeline | 199 | |
| A More Technical Pipeline View | 200 | |
| Asset Management | 205 | |
| The Computer System | 210 | |
| Implementation of the Studio | 212 | |
| Chapter 14 | Pre-Production Work | 213 |
| Breaking Down the Script | 213 | |
| Breaking Down a Shot | 214 | |
| Designing the Effects | 215 | |
| Creating the Visual Effects Pipeline | 218 | |
| Chapter 15 | Creating the Effects | 221 |
| Research and Development | 221 | |
| Effectively Running Shots | 233 | |
| Chapter 16 | Successfully Delivering the Elements | 235 |
| Generating Elements | 235 | |
| Final Touches | 241 | |
| Post-Mortem | 243 | |
| Chapter 17 | An Interview with Hoyt Yeatman | 245 |
| Glossary | 261 | |
| Index | 273 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Wayne McGraw
reviewed Creating 3D Effects for Film, TV, and Games on July 29, 2008
Creating 3D Effects for Film, TV, and Games
Anybody who is seriously developing interfaces for Kinect must read this book. This book provides a comprehensive overview of the mountain of work in 3D interaction techniques that occurred years before project Natal (which later became Kinect)was even an idea to be approved or rejected on some executive's desk at Microsoft. It summarizes design recommendations for system commands, navigation techniques, and even methods of evaluation based on the body of work done by researchers in the mid-90s, when virtual reality was all the rave.
There are of course some differences between the mocap-style tracking used for these interaction techniques and the 3d mesh + skeletal tracking provided by the Kinect, so these recommendations should all be taken with a grain of salt. Nevertheless, the book provides a great foundation and seeds for ideas that are essential for any researcher or developer designing interaction techniques, games, or user interfaces for the Kinect.
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Add Creating 3D Effects for Film, TV, and Games, Creating 3D Effects for Film, TV, and Games covers the detailed processes and pipelines used to create effects for a variety of multimedia. It enables effects artists to develop the best process for completing complex projects, providing an understandin, Creating 3D Effects for Film, TV, and Games to the inventory that you are selling on WonderClubX
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Add Creating 3D Effects for Film, TV, and Games, Creating 3D Effects for Film, TV, and Games covers the detailed processes and pipelines used to create effects for a variety of multimedia. It enables effects artists to develop the best process for completing complex projects, providing an understandin, Creating 3D Effects for Film, TV, and Games to your collection on WonderClub |
