"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 understanding of visual effects as part of the overall process of creating films, commercials, video games, and a variety of other multimedia. It is filled with detailed discussion of each step of the production process and contains in-depth interviews with leading industry professionals. From selecting the studio that best suits your talents to addressing the details put in during the final steps of creating effects, this book is the comprehensive tour guide that every Effects TD should own.
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Editorial Reviews
About the Author
Born and raised in Wilmington, Delaware, David Santiago, received his Bachelors in Electrical Engineering-Microwaves/Electromagnetics from the UT at Austin. He then worked at NASA's Jet Propulsion Laboratory in Pasadena and pursued his Masters in Electrical Engineering-Microwave Systems/Electrophysics at the University of Southern California. After 6.5 years David left JPL for Digital Domain where he learned computer graphics on "Dante's Peak", "Fifth Element", "Titanic" and "Armageddon". From DD David moved to VIFX, which later became Rhythm and Hues. After a few years he left R&H to become the Effects Supervisor and Head of the Effects Department of Moon Crescent Studios. There he helped design and develop the studio's pipeline. As a Senior Effects Technical Director at Asylum Visual Effects, he created effects for many feature films, music videos and commercials. He designed and implemented pipelines for such projects as Aaliyah, More than a Woman, Pearl Harbor, Black Hawk Down and Master and Commander: Far Side of the World. David has used every major software package in production as well as presented to SIGGRAPH audiences on effects techniques and methodologies, lectured several times at DHIMA, and taught several in-studio classes on shader writing, scripting, and general approaches to effects creation and problem solving. He has enjoyed helping many independent and student filmmakers complete projects.
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5 of 8 people found the following review helpful
Format:Paperback
Much of the material published on digital special effects falls into three categories:
First is the stuff that comes with the software package - usually written at the last minute and in a real hurry so that the company can start selling the software.
Second is the stuff from outsiders who write the how to use this software kind of books. They're better because the writers are better and have at least some idea of what they are trying to do.
Finally there are the 'this is the way we did it on some movie or game.' Better yet, because this is not tied to one single software package.
What's missing is that in real life it works the other way. You or your boss determines what is needed and then it's up to you go produce the effect. What software is best for that task? How does it fit in with the rest of the production? Perhaps more important, how do you get that job in the first place.
David Santiago got into this business first getting degrees and then becoming interested in the theater, then he moved into Cgi. As such he understands the process better than most. And this book really concentrates on the process itself, not the nuts and bolts of how to use this particular software package to make an explosion or whatever is needed.
Along with his comments he presents several interviews with senior people who are in charge of creating the special effects in, mostly, movies; but also some other fields.
First is the stuff that comes with the software package - usually written at the last minute and in a real hurry so that the company can start selling the software.
Second is the stuff from outsiders who write the how to use this software kind of books. They're better because the writers are better and have at least some idea of what they are trying to do.
Finally there are the 'this is the way we did it on some movie or game.' Better yet, because this is not tied to one single software package.
What's missing is that in real life it works the other way. You or your boss determines what is needed and then it's up to you go produce the effect. What software is best for that task? How does it fit in with the rest of the production? Perhaps more important, how do you get that job in the first place.
David Santiago got into this business first getting degrees and then becoming interested in the theater, then he moved into Cgi. As such he understands the process better than most. And this book really concentrates on the process itself, not the nuts and bolts of how to use this particular software package to make an explosion or whatever is needed.
Along with his comments he presents several interviews with senior people who are in charge of creating the special effects in, mostly, movies; but also some other fields.
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