Special Effects in the Movies
Author: John Culhane
Publisher:
Published: 1981
Total Pages: 208
ISBN-13:
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Special Effects
Author: Richard Rickitt
Publisher: Watson-Guptill Publications
Published: 2000
Total Pages: 318
ISBN-13: 0823077330
DOWNLOAD EBOOKTraces the history and evolution of motion picture special effects from silent films' smoke and mirrors to computer-assisted effects, and dissects such components as optical illusions, models, animation, and makeup and sound effects.
Digital Visual Effects in Cinema
Author: Stephen Prince
Publisher: Rutgers University Press
Published: 2011-12-07
Total Pages: 271
ISBN-13: 0813552184
DOWNLOAD EBOOKAvatar. Inception. Jurassic Park. Lord of the Rings. Ratatouille. Not only are these some of the highest-grossing films of all time, they are also prime examples of how digital visual effects have transformed Hollywood filmmaking. Some critics, however, fear that this digital revolution marks a radical break with cinematic tradition, heralding the death of serious realistic movies in favor of computer-generated pure spectacle. Digital Visual Effects in Cinema counters this alarmist reading, by showing how digital effects–driven films should be understood as a continuation of the narrative and stylistic traditions that have defined American cinema for decades. Stephen Prince argues for an understanding of digital technologies as an expanded toolbox, available to enhance both realist films and cinematic fantasies. He offers a detailed exploration of each of these tools, from lighting technologies to image capture to stereoscopic 3D. Integrating aesthetic, historical, and theoretical analyses of digital visual effects, Digital Visual Effects in Cinema is an essential guide for understanding movie-making today.
Movie Magic
Author: John Brosnan
Publisher:
Published: 1974
Total Pages: 285
ISBN-13: 9780356046990
DOWNLOAD EBOOKEditing and Special/Visual Effects
Author: Charlie Keil
Publisher: Rutgers University Press
Published: 2016-08-26
Total Pages: 263
ISBN-13: 0813573572
DOWNLOAD EBOOKMost moviegoers think of editing and special effects as distinct components of the filmmaking process. We might even conceive of them as polar opposites, since effective film editing is often subtle and almost invisible, whereas special effects frequently call attention to themselves. Yet, film editors and visual effects artists have worked hand-in-hand from the dawn of cinema to the present day. Editing and Special/Visual Effects brings together a diverse range of film scholars who trace how the arts of editing and effects have evolved in tandem. Collectively, the contributors demonstrate how these two crafts have been integral to cinematic history, starting with the “trick films” of the early silent era, which astounded audiences by splicing in or editing out key frames, all the way up to cutting-edge effects technologies and concealed edits used to create the illusions. Throughout, readers learn about a variety of filmmaking techniques, from classic Hollywood’s rear projection and matte shots to the fast cuts and wall-to-wall CGI of the contemporary blockbuster. In addition to providing a rich historical overview, Editing and Special/Visual Effects supplies multiple perspectives on these twinned crafts, introducing readers to the analog and digital tools used in each craft, showing the impact of changes in the film industry, and giving the reader a new appreciation for the processes of artistic collaboration they involve.
Special Effects
Author: Michele Pierson
Publisher: Columbia University Press
Published: 2002-05-23
Total Pages: 243
ISBN-13: 0231500807
DOWNLOAD EBOOKDesigned to trick the eye and stimulate the imagination, special effects have changed the way we look at films and the worlds created in them. Computer-generated imagery (CGI), as seen in Hollywood blockbusters like Star Wars, Terminator 2, Jurassic Park, Independence Day, Men in Black, and The Matrix, is just the latest advance in the evolution of special effects. Even as special effects have been marveled at by millions, this is the first investigation of their broader cultural reception. Moving from an exploration of nineteenth-century popular science and magic to the Hollywood science fiction cinema of our time, Special Effects examines the history, advancements, and connoisseurship of special effects, asking what makes certain types of cinematic effects special, why this matters, and for whom. Michele Pierson shows how popular science magazines, genre filmzines, and computer lifestyle magazines have articulated an aesthetic criticism of this emerging art form and have helped shape how these hugely popular on-screen technological wonders have been viewed by moviegoers.
The Technique of Special Effects Cinematography
Author: Raymond Fielding
Publisher:
Published: 1972
Total Pages: 436
ISBN-13:
DOWNLOAD EBOOKSpecial Effects
Author: Sara Green
Publisher: Bellwether Media
Published: 2019-08-01
Total Pages: 32
ISBN-13: 1681035901
DOWNLOAD EBOOKThe action of the big screen--car crashes, torrential rainfall, ships sinking--is the work of special effects! Directors and crews use anything they can to create a real and captivating experience. Enormous models, airplane engines, controlled fires, and much more create the excitement we all crave! Young readers will marvel over this behind-the-scenes look at how movies are made.
Making Movie Magic
Author: John Richardson
Publisher: The History Press
Published: 2020-01-24
Total Pages: 395
ISBN-13: 0750994398
DOWNLOAD EBOOKJohn Richardson is an Oscar-winning special effects supervisor and designer, who has been involved in over 100 movies, including nine James Bond adventures, all eight Harry Potter films, Aliens, Superman, A Bridge Too Far, Straw Dogs, The Omen, Cliffhanger, Far and Away, Willow . . . and many, many more. In creating the magic that flows through these films – by creating huge explosions, beheading people, producing futuristic gadgets, making a man fly or breathing life into creatures that amaze and haunt us – Richardson has come to hold a unique place in cinema history. The son of pioneering FX technician Cliff Richardson, he learned his trade at the feet of a master of the craft. With over five decades of adventures under his belt, and a vast photographic collection of unseen pictures, Richardson now lifts the lid on his exciting and fascinating career of making movie magic.
Digital Storytelling
Author: Shilo T. McClean
Publisher: MIT Press
Published: 2008-09-26
Total Pages: 318
ISBN-13: 0262633698
DOWNLOAD EBOOKHow digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students. Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles—other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say—contrary to the critics—that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects—whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres—and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.
