Visual Effects Society Handbook: Workflow and Techniques

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Susan Zwerman, Jeffrey A. Okun
Taylor & Francis, Aug 6, 2012 - Art - 700 pages
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Wisdom from the best and the brightest in the industry, this visual effects bible belongs on the shelf of anyone working in or aspiring to work in VFX. The book covers techniques and solutions all VFX artists/producers/supervisors need to know, from breaking down a script and initial bidding, to digital character creation and compositing of both live-action and CG elements.

In-depth lessons on stereoscopic moviemaking, color management and digital intermediates are included, as well as chapters on interactive games and full animation authored by artists from EA and Dreamworks respectively. From predproduction to acquisition to postproduction, every aspect of the VFX production workflow is given prominent coverage. VFX legends such as John Knoll, Mike Fink, and John Erland provide you with invaluable insight and lessons from the set, equipping you with everything you need to know about the entire visual effects workflow.

Simply a must-have book for anyone working in or wanting to work in the VFX industry.
 

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I own a hard copy of this book, it is absolute essential to anyone looking for a career in visual effects or for general reference, incredible amount of in-depth detail about everything from special effects to digital effects and beyond.

Contents

Camera Angle Projection
Safety Front and Rear Projection Systems
Detail
Visual Effects Techniques
Copyright

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About the author (2012)

Ms. Zwerman is a highly respected Visual Effects Producer with an outstanding record of accomplishments in film production and visual effects. She began her career in film in New York, where she quickly rose through the ranks from Production Assistant to Assistant Director and Unit Production Manager in both films and commercials. She won a Grammy Award for "Best Concept Music Video? for producing the music video I'm Fat, starring Weird Al Yankovic. After moving to Hollywood she worked for several years as UPM and Post-Production Manager before making the leap to VFX Producer on the film Tall Tale. Since then, her credit has appeared on a successsion of high-profile feature motion pictures such as The Guardian, Men of Honor, Alien Resurrection, and Broken Arrow. She is a member of the Directors Guild of America, the Producers Guild of America, and the Visual Effects Society. She is very active in these organizations: Chairperson of the Directors Guild of America's AD/UPM VFX/Digital Technology Committee (DGA); a board member of the Producers Guild of America's New Media Council (PGA); and Chair of the Visual Effects Society's Special Projects(VES). Over the past ten years she has planned and hosted numerous technology and visual effects seminars for these organizations and was honored with a Directors Guild of America Honor Plaque for extraordinary service to the guild's Technology Council. She continues to share her knowledge by leading VFX seminars at universities and film schools, teaching visual effects techniques to young professionals just entering the entertainment industry
JEFFREY A. OKUN has just completed the visual effects work on the 20th Century Fox's, The Day The Earth Stood Still Jeff was charged with creating invisible effects for the film, for which he was nominated for his 3rd Visual Effects Society award. The mission statement for this project was, 'If the audience sees a visual effect then we have ruined the film' - which is pretty difficult when you consider that spaceships, aliens, giant robots and nanotech killer insects were required for the project. The over 500 visual effects for this feature film include virtual characters, set extensions, full 3D photorealistic sequences, traditional matte paintings and creating spectacular action 'beats' that propel the story forward. Additionally Jeff employed science fact based CGI flocking systems based on chaos theory. Okun is known for creating 'organic' and invisible effects, as well as spectacular 'tent-pole' visual effects that blend seamlessly into the storytelling aspect of the project. "I feel that my job is not to showcase what can be done with the technology but to serve the story above all else.? Okun has also worked on wide-ranging effects as seen in such award winning films as BLOOD DIAMOND, THE LAST SAMURAI, STARGATE, SPHERE, RED PLANET, DEEP BLUE SEA, LOLITA, and THE LAST STARFIGHTER. (For a full list of credits please refer to his CV.) His credits also include ground breaking music videos from such varied artists as Sting, The Beatles, Jimi Hendrix, Janet Jackson, Wayne Newton, Bryan Adams, Amy Grant, Dolly Parton, Prince, Michael Jackson, the Neville Brothers and Rod Stewart. Additionally Jeff created visual effects tracking and bidding software that is in wide use within the industry, as well as the revolutionary visual effects technique dubbed the "PeriWinkle Effect" and the "Pencil Effect", which has been used in many projects to help achieve more a realistic sense of danger and more accurate budgets. Jeff is the Chair of the Visual Effects Society, and also served as chair of the VES Awards Committee, having spear-headed the creation of the Awards. He is a respected member of the Visual Effects Branch of the Academy of Motion Picture Arts & Sciences, the Academy of Television Arts and Science and BAFTA. He is currently editing the VES Handbook of Visual Effects, due to be published in early 2010.
Ms. Zwerman is a highly respected Visual Effects Producer with an outstanding record of accomplishments in film production and visual effects. She began her career in film in New York, where she quickly rose through the ranks from Production Assistant to Assistant Director and Unit Production Manager in both films and commercials. She won a Grammy Award for "Best Concept Music Video? for producing the music video I'm Fat, starring Weird Al Yankovic. After moving to Hollywood she worked for several years as UPM and Post-Production Manager before making the leap to VFX Producer on the film Tall Tale. Since then, her credit has appeared on a successsion of high-profile feature motion pictures such as The Guardian, Men of Honor, Alien Resurrection, and Broken Arrow. She is a member of the Directors Guild of America, the Producers Guild of America, and the Visual Effects Society. She is very active in these organizations: Chairperson of the Directors Guild of America's AD/UPM VFX/Digital Technology Committee (DGA); a board member of the Producers Guild of America's New Media Council (PGA); and Chair of the Visual Effects Society's Special Projects(VES). Over the past ten years she has planned and hosted numerous technology and visual effects seminars for these organizations and was honored with a Directors Guild of America Honor Plaque for extraordinary service to the guild's Technology Council. She continues to share her knowledge by leading VFX seminars at universities and film schools, teaching visual effects techniques to young professionals just entering the entertainment industry

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