Digital animation Books

Book SynopsisA stunning book exploring the art of Sergio Pablos' animated Christmas original, Klaus. A young, lowly Scandinavian postman named Jesper gets the chance to make his mark when he's tasked with bringing the postal service to a contentious village in the cold north, where he meets a mysterious, white-bearded toymaker named Klaus.Trade Review“one of the most interesting art-of books in some time” - Cartoon Brew“The next level of books on film animation is here” - Borg.com“a delightful behind the scenes look at the colorful artwork of this new holiday special” - Fangirl Nation “I’m a huge fan of this film, but the art book sold it for me...not only a beautiful book, but a promise that animation is going in new and exciting places” 9.5/10 - Adventures in Poor Taste “extremely insightful” - Geekisphere“Beautifully designed, lovely cover, and great layouts made for a holiday book to treasure” - Borg.com

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Book SynopsisA Sunday Times Best Book of the Year 2017 One day in November 1994, Lawrence Levy received a phone call out of the blue from Steve Jobs, whom he’d never met, offering him a job running Pixar, a little-known company that had already lost Jobs $50 million. With Pixar’s prospects looking bleak, it was with some trepidation that Levy accepted the position. After a few weeks he discovered that the situation was even worse than he’d imagined. Pixar’s advertising division just about broke even, its graphics software had few customers, its short films didn’t make any money and, on top of all that, Jobs was pushing to take the company public. Everything was riding on the studio’s first feature film, codenamed Toy Story, and even then it would have to be one of the most successful animated features of all time… Full of wisdom on bringing business and creativity together, and recounting the touching story of Levy’s enduring friendship with Jobs, To Pixar and Beyond is a fascinating insider’s account of one of Hollywood’s greatest success stories.Trade Review‘A fascinating tale of creative and business brilliance, and of a remarkable friendship.’ * Sunday Times *‘A highly readable and gripping story.’ * Mail on Sunday *'A charming, upbeat tale...much like one of the studios own animated features.' * Financial Times *'A magnifying glass held to the small print that is needed to make magic.' * The Sunday Times *'Levy’s memoir of his time heading the most dazzling entertainment studio of our times, has all the twists and turns of one of Pixar’s own films.' -- Francine Stock * Prospect *'This book, like Pixar's story, is truly remarkable.' * E&T Magazine *‘[An] enchanting memoir…Mr Levy has quite a story to tell.’ * New York Times *‘Those interested in how start-ups work or how film studios make money will love the book.’ * MoneyWeek *‘I love this book! I think it is brilliant. Of course I am biased, but even so, I think people will love this story – one they didn’t even know existed. And Lawrence has told it beautifully.’ -- Ed Catmull, co-founder and president of Pixar Animation, president of Disney Animation, bestselling author of Creativity Inc.‘A lovely and surprising discourse on topics business books rarely touch…eye-opening and inspiring… This delightful book is about finance, creative genius, workplace harmony, and luck… Life obviously is about more than business, but few books discuss both so well.’ * Fortune *‘What a delightful book about the creation of Pixar from the inside. I learned more about Mr. Jobs, Pixar and business in Silicon Valley than I have in quite some time. And like a good Pixar film, it’ll put a smile on your face.’ * Andrew Ross Sorkin, New York Times *‘A finely sketched insider’s account of the hard-fought success of a pathbreaking company. Lawrence Levy goes surprisingly and refreshingly deep on the business details behind Pixar’s creative achievements. He also shows an intimate side of Steve Jobs that will delight the mercurial businessman’s many admirers.’ -- Adam Lashinsky, assistant managing editor of Fortune Magazine and author of Inside Apple‘To Pixar and Beyond is part business book and part thriller – a tale that’s every bit as compelling as the ones Pixar tells in its blockbuster movies. It's also incredibly inspirational, a story about a team that took big risks and reaped the rewards. This is a must-read book for anyone who cares about corporate culture and wants to learn how to build a business, as well as everyone who loves Woody, Buzz, and all of the other beloved Pixar characters. I loved this book and could not put it down.’ -- Dan Lyons, bestselling author of Disrupted‘The gripping story of how through hard work, vision, and a devotion to excellence, tiny Pixar transformed itself into a Hollywood powerhouse. But it also something more: a wonderful buddy story – between Levy and Steve Jobs – and how their friendship and partnership transformed them both.’ -- William D. Cohan, bestselling author of House of Cards and Money and Power

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Book SynopsisBring your artwork to life with the power of the FORCE! Watch, listen, and follow along as Mike Mattesi demonstrates the fundamental FORCE line and explains dynamic figure drawing techniques through 30 videos that are launched through the book''s companion App. Packed with superb, powerfully drawn examples, the updated third edition of FORCE features an all-new section on the FORCE blob, and dozens of fresh illustrations. Mike Mattesi's 10th anniversary edition of FORCE will teach readers how to put thought and imagination to paper. Whether you are an illustrator, animator, comic book artist, or student, you''ll learn to use rhythm, shape, and line to bring out the life in any subject.The 10th Anniversary Edition contains numerous improvements. Around 30 videos are embedded within the book and accessible through the FORCE Drawing App. In the App, click on the image of the camera, point your mobile device's camera at the page with the symbol, and then finally tap the video carTable of ContentsSeeing Life Forceful FormForceful Shape Clothing On location ReportageIndex

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Book SynopsisIn this new and improved third edition of the highly popular Game Engine Architecture, Jason Gregory draws on his nearly two decades of experience at Midway, Electronic Arts and Naughty Dog to present both the theory and practice of game engine software development. In this book, the broad range of technologies and techniques used by AAA game studios are each explained in detail, and their roles within a real industrial-strength game engine are illustrated.New to the Third Edition This third edition offers the same comprehensive coverage of game engine architecture provided by previous editions, along with updated coverage of: computer and CPU hardware and memory caches compiler optimizations C++ language standardization the IEEE-754 floating-point representation 2D user interfaces plus an entirely new chapter on hardware parallelism and concurrent programming This book is intended to serve as an introductory text, but it also offers the experienced game programmer a useful perspective on aspects of game development technology with which they may not have deep experience. As always, copious references and citations are provided in this edition, making it an excellent jumping off point for those who wish to dig deeper into any particular aspect of the game development process.Key Features Covers both the theory and practice of game engine software development Examples are grounded in specific technologies, but discussion extends beyond any particular engine or API. Includes all mathematical background needed. Comprehensive text for beginners and also has content for senior engineers. Table of ContentsSection I Foundations Chapter 1 Introduction Chapter 2 Tools of the Trade Chapter 3 Fundamentals of Software Engineering for Games Chapter 4 Parallelism and Concurrent Programming Chapter 5 3D Math for Games Section II Low-Level Engine SystemsChapter 6 Engine Support SystemsChapter 7 Resources and the File System Chapter 8 The Game Loop and Real-Time Simulation Chapter 9 Human Interface Devices Chapter 10 Tools for Debugging and Development Section III Graphics, Motion and Sound Chapter 11 The Rendering Engine Chapter 12 Animation Systems Chapter 13 Collision and Rigid Body Dynamics Chapter 14 Audio Chapter 15 Introduction to Gameplay Systems Chapter 16 Runtime Gameplay Foundation Systems Section V Conclusion Chapter 17 You Mean There’s More?

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Book SynopsisA retelling of Disney Moana featuring beautiful development art from the original Walt Disney Animation Studios artists. Since its release in 2016, Moana has been captivating audiences all over the world with its story of an adventurous teenager and a mighty demigod on a mission to fulfil the ancient quest of her ancestors and save her people. Enjoy the hit movie through this retelling of the story accompanied by concept art from the original Disney Animation artists. Alongside the art, fascinating facts about each piece of art give an insight into the design process behind the iconic movie. The beautiful hardback features a textured finish, stunning foil and illustrated endpapers to ensure this is a book to treasure for years to come. This is the perfect gift for all those who have been swept away by the story of Moana!

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Book SynopsisWALKSFrom Richard Williams' The Animator's Survival Kit comes key chapters in mini form.The Animator's Survival Kit is the essential tool for animators. However, sometimes you don't want to carry the hefty expanded edition around with you to your college or studio if you're working on just one aspect of it that day.The Animation Minis take some of the most essential chapters and make them available in smaller, lightweight, hand-bag/backpack size versions. Easy to carry. Easy to study.This Mini focuses on Walks.Walks are full of personality. Walks reveal the character, they tell the story of the person. In this Mini Richard Williams provides the building blocks of how to construct walks, using stick figures to make it easy to learn, copy and understand.The process will encourage you to invent and entertain.

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Book SynopsisBuild your own video chat application - but that's just the beginning. With WebRTC, you'll create real-time applications to stream any kind of user media and data directly from one browser to another, all built on familiar HTML, CSS, and JavaScript. Power real-time activities like text-based chats, secure peer-to-peer file transfers, collaborative brainstorming sessions - even multiplayer gaming. And you're not limited to two connected users: an entire chapter of the book is devoted to engineering multipeer WebRTC apps that let groups of people communicate in real time. You'll create your own video conferencing app. It's all here. WebRTC is an API exposed in all modern web browsers. After almost a decade of development, the WebRTC specification was finalized, and this book provides faithful coverage of that finalized specification. You'll start by building a basic but complete WebRTC application for video chatting. Chapter by chapter, you'll refine that app and its core logic to spin up new and exciting WebRTC-powered apps that will have your users sharing all manner of data with one another, all in real time. No third-party libraries or heavy downloads are required for you or your users: you'll be writing and strengthening your knowledge of vanilla JavaScript and native browser APIs. You'll learn how to directly connect multiple browsers over the open internet using a signaling channel. You will gain familiarity with a whole set of Web APIs whose features bring WebRTC to life: requesting access to users' cameras and microphones; accessing and manipulating arbitrary user files, right in the browser; and web storage for persisting shared data over the life of a WebRTC call. Like any Web API, WebRTC doesn't enjoy a perfect implementation in any browser. But this book will guide you in writing elegant code to the specification, with backward-compatible fallback code for use in almost all modern browsers. Use WebRTC to build the next generation of web applications that stream media and data in real time, directly from one user to another - all by working in the browser. What You Need: Readers need a text editor, an up-to-date copy of Chrome or Firefox, and a POSIX-style command-line shell. They'll also need to install a little bit of open-source software, especially Node.js. All necessary setup is covered in full in the book's introductory chapter.

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Book SynopsisThe award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. The Visual Effects Society (VES) tasked the original authors to update their areas of expertise, such as AR/VR Moviemaking, Color Management, Cameras, VFX Editorial, Stereoscopic and the Digital Intermediate, as well as provide detailed chapters on interactive games and full animation. Additionally, 56 contributors share their best methods, tips, tricks, and shortcuts developed through decades of trial and error and real-world, hands-on experience.This third edition has been expanded to feature lessons on 2.5D/3D Compositing; 3D Scanning; Digital Cinematography; Editorial Workflow in Animated and Visual Effects Features; Gaming updates; General Geometry InTable of ContentsComing Soon … Chapter 1: IntroductionFirst, Some Ground RulesNow, the IntroductionWhy Use Visual EffectsChapter 2: Pre-Production /PreparationOverviewBreaking Down a Script – Budgeting Ballpark BudgetMore Detailed BudgetsBiddingPlate PhotographyTemp ScreeningsReviewing BidsContractsRebidding during ShootingRebidding in PostMonitoring the Budget and ScheduleKeeping the Budget DownWorking with the Director and ProducerDemo ReelThe MeetingMoving ForwardProduction DepartmentsProduction DesignCameraWorking with the CinematographerSpecial EffectsStuntsWardrobeMakeup ProductionVisual EffectsEditorialLocationsProduction MeetingDesigning Visual Effects ShotsGuidelines for DirectorsStoryboardsPrevisObjective of the ShotConcept ArtContinuityPhotorealismOriginal ConceptsBudgetReality and MagicCamera AnglesFramingScaleDetailSpeedScaled ImagesDepth of FieldSequence of ShotsCamera MotionLess Is MoreAction PacingCG CharactersCreatures and Character DesignPowers of 10 ShotsVisual Effects TechniquesTechnique ConsiderationsAdditional Suggestions for Determining TechniquesDevelopment of Previs TechniquesHistory and BackgroundWhat is Previs and Other Forms of Visualization?What is Previs?Different Types of Visualization and When to Use ThemVisualization: The New EssentialThe Application of Previs: Who Benefits and How?The Benefits of PrevisProject TypesPost-VisualizationWhat is Post-Visualization?Why Use Postvis?Who Does Postvis?Cautions and Suggestions for Good PracticeThe Perils of Previs!Passing the Work OnThe Role of the VFX Supervisor in PrevisPrevis: Advanced TechniquesVisualization UsefulnessVR as a ToolVisualization in EngineRender in EngineVisualization in Real TimeAR as a ToolCamera Angle Projection IntroductionDrawing What the Lens SeesTechvisWhat Is Techvis?Who is Techvis for?Virtual Production What is Virtual Production?How is Virtual Production Used?Chapter 3: Acquisition / ShootingWorking on SetCommon Types of Special EffectsWhat are Special Effects?A Brief History of Special EffectsThe Special Effects CoordinatorWorking with the Visual EffectsVisual Effects in Service to SFXSpecial Effects Design and PlanningStoryboards and PrevisThe Elements: Rain, Wind, and Snow and IceSmoke, Fire, and PyrotechnicsMechanical EffectsFlying Wire Rigs and StuntsSafetyGreenscreen and Bluescreen PhotographBest Practices and OtherwiseOverviewFunction of the BackingNegative Scanning and Digital ConversionBacking Uniformity and Screen CorrectionThe Alpha ChannelThe Processed ForegroundThe CompositeRecommended Specifications and PracticesHow to Expose a Green Screen Shot, and WhySetting Screen BrightnessChoosing the Backing ColorFloor Shots, Virtual SetsForeground LightingControlling Spill LightLighting Virtual SetsTracking MarkersOn-Set PreviewCameras for Blue Screen or Green Screen PhotographyUnderwater PhotographyOn-Set Data AcquisitionCamera ReportTracking MarkersProps for the ActorsCyberscanningDigital PhotosLidar/Laser ScanningLens Distortion ChartsHDRI and Chrome BallsLidar Scanning and AcquisitionOn-Set 3D Scanning SystemsTypes of TechnologyLidarPhotogrammetryProp ScannersLighting DataGathering Lighting DataBeware of False Savings!Using Conventional Still CamerasReference Shooting ConsiderationsClean PlatesShooting the Clean PlateLocked-Off CameraMoving CameraOther IssuesPost-ProcessAlternates without Clean PlatesOther Uses for Clean PlatesMonster SticksOn-Set Animation Capture: Witness Cam (IBMC) Wireless Non-Video Motion CaptureFactors Affecting Witness CamerasDealing with the Data in Post-ProductionCamera Tracking for Real-Time VisualizationCamera Tracking Pre-ProductionThe Camera DepartmentPrior to ShootingCurrent Tracking Systems in UseTriangulation As a Method of Recording Camera DataCamera/Subject Positional InformationBasics: The ToolkitBasics: Nodal PointPhotographic ReferenceHow to ProceedShooting Video as a ReferenceRules, Setup, and Testing Do a Complete Test Shot!Why Run Through Example or Test Shots?Digital CinematographyDigital DefinitionsHigh Dynamic Range (HDR)Lens MetadataLook ManagementThe Recording SystemLens Mapping for VFXVFX PhotographyThe Camera ArrayDesigning an Array ShotTechniciansShoot DaySpecial TechniquesPostThe FutureFilming Live-Action Plates to be Used in VFXCamera Position (Station Point)Angle of ViewLighting ConsiderationsCamera TiltBackground QualityMoving PlatesScouting the Camera PositionsA Case StudyCamera CarsCamera Car Safety IssuesPurpose-Built Crane CarsVibration and Camera StabilizationRoad SpeedPrecautionsPanoramic RigsOn the WaterAir to AirCable SystemsShooting Elements for CompositingWhat Is an Element?Stock FootageTypes of ElementsGeneric versus Shot-Specific ElementsDetermining Element NeedsCheatingBackgroundsBlack BackgroundsLine-UpCamera Format ConsiderationsAssorted Methods for Shooting ElementsHigh-Speed Photography and Filming ElementsCamerasTechniciansDirector of PhotographyLightingApplicationLocking Down the CameraVideo AssistPostSupervising Motion ControlWhat is Motion Control?Performance ChoreographyMultiple-Pass PhotographyScalingImport and Export of Camera Move DataThe DataTypes of Motion Control SystemsMotion Control SoftwareCamera TypesSync and PhaseDealing with ProductionAcquisition of Motion / Still Photographic Textures for Mapping onto CGPanoramic BackgroundsTiled StillsMotion Tiling and Synchronous PlatesPractical ConsiderationsStills for Textures and LightingStop-MotionEvolution of Stop-Motion PhotographyThe Time Required to Shoot in Stop-MotionPreparation before ShootingSetting up a Shooting Space for Stop-MotionUse of Motion Control in Stop-MotionUseful CaveatsEvolution of a ShotUse of Stop-Motion in Visual EffectsChapter 4: Performance and Motion CaptureWhat is Motion Capture?Is Motion Capture Right for a Project?The Mocap LookTechnical SpecificationsEntry PointBudgetWhich Technology is Right for a Project?Gauging a Project’s Needs and ConstraintsPassive Retroreflective OpticalActive OpticalInertialStructured LightDense Stereo ReconstructionBend SensorsPreparing for Motion CaptureActorsMotion Capture SuitsMarker Placement – BodyMarker Placement – FaceRigging for Motion CaptureShot ListTechnology ConsiderationsHardwareThe StrobeMarkersLensesFilterImage SensorOnboard ProcessorInputs/OutputsSetupSoftwareAcquisitionCalibrationPost-ProcessingReconstructionLabelingGap FillingCleaningSolving Motion CaptureFacial Motion CaptureFacial Actor SurveyActor Survey – HardwareReference DataStatistical DataFacial RiggingFacial AcquisitionAudioFacial Motion Capture SolvingReal-Time Motion Capture Real-Time UsesReal-Time LimitationsAlternate TechnologiesMotion Capture ResourcesVirtual ProductionWorld BuildingPrevisualizationOn-Set VisualizationVirtual CinematographyChapter 5: Stereoscopic 3DHow 3D Works Accommodation and ConvergenceInteraxial SeparationToe-in Versus Horizontal Image TranslationParallax or Depth BudgetPositive and Negative ParallaxFloating WindowsFix It in PostStereoscopic DesignThe Emerging Grammar of 3DCreative Use of DepthPrevisualizationAvoiding Painful 3DThe Aesthetic of Scale Cutting for 3DDesigning for Multiple Release FormatsImmersion-Based versus Convergence-Based StereoNative StereoPre-ProductionOn-SetStereography in the Visual Effects ProcessStereography for FinishingHFR as a Solution for Better 3D MoviesVFX Elements and StereoIntroduction – How VFX Elements are UsedNative Stereo ContentMono Capture – Packaged Script and Element DeliveriesMono Capture – Hybrid Approach for Stereo DeliveryMono Capture – Full CG Approach for Stereo DeliveryCreating Depth – Layout and StereographyStereo Camera – Depth WedgesStereo CompositingRequesting a Full CG Stereo Render Mid-ProductionVFX Production Tasks2D to 3D ConversionDepth Creation PreparationVisual Analysis of 2D Depth CuesPre-Production and Previs for ConversionSource and Target PerspectiveShared Shots/Shared WorkflowsMain Stages of 2D-to-3D ConversionMajor 2D-to-3D Conversion WorkflowsSpecial CasesRe-projection Mapping WorkflowPixel Displacement or Pixel ShiftingOther 2D-to-3D Conversion WorkflowsIs "Real" Always Right?2D-to-3D Conversion ManagementStereoscopic Visual EffectsPrepping for the Third DimensionShooting the Third DimensionVisual Effects in the Third DimensionPhotographed ElementsAccuracy and Attention to DetailArtistic Skill LevelData ManagementStereoscopic Digital Intermediate WorkflowStereoscopic 3D Process MilestoneViewing 3D DailiesProjection Screens for Stereoscopic Viewing3D Editorial ProcessesData WorkflowApplying the 3D Grade3D Stereo Deliverables3D Home Video DeliverablesStereoscopic Window The Stereoscopic WindowPlacement of the Window in Relation to the 3D SceneWindow ViolationsWindow Placement LogicHow to Create a Stereoscopic WindowProducing Movies in Three DimensionsDevelopment – Getting the Green LightProduction – What to Look Out ForChapter 6: Post-Production / Image ManipulationResolution and Image Format ConsiderationsFormatsTransportResolutionAcademy Color Encoding System (ACES)ACES ComponentsACES BenefitsACES Color Space EncodingViewing ACESPreparations for Using ACESImage Compression/File Formats for Post ProductionImage EncodingStill Image CompressionOther Lossless Compression MethodsFile FormatsColor Management The Three GuidelinesDigital Color Image Encodings and Digital CamerasColor Management at the DesktopBringing Color Management to Film WorkflowsDigital IntermediateShot Element Pulls and Delivery to VFXIntroductionThe Lab"Production" Is to "Lab" as …The MergeThe HandoffVFX EditorialThe SelectThe PullVFX EditorialEditing within a Shot: The Art of Precompositing (Precomp)How It Came to BeModern Day Tracking and Disseminating of InformationAs the Shot ChangesWrapping It UpEditorial Workflow in Feature AnimationIntroductionEditorial Crew Staffing and StructureEditorial Involvement with Feature Animation Production StagesCommunication with ArtistsStartingWorking with TeamsWorking GloballyReference and PerspectiveShot ProductionCommunicating with Artists in Other DepartmentsCompletionCompositing of Live-Action ElementsModern Digital CompositingScene TrackingRotoscoping and PaintRotoscopingDigital Painting and Plate ReconstructionMatte Paintings/Creative EnvironmentsMatte Paintings: Art of the Digital RealmWhat Is a Matte Painting?Matte Painting Pioneers and HistoryVisualizing the Matte Painting Shot in Pre-ProductionOn-Set Supervision for Matte Painting ShotsBasic Skills and Tricks of the TradeMiniatures and Computer-Generated SetsFinding the Best FrameRe-Projected Photo SurveyThe Need for Creative Compositing3D Matte PaintingChapter 7: Digital Element CreationDigital Modeling Overview: The Importance of ModelingTypes of ModelingModel Data TypesDevelopment of ModelsModeling for a Production PipelineEngineering Aspects for PolygonsEngineering Aspects for NURBSRigging and Animation RiggingRigging: What is It?Animation RiggingDeformation RiggingTexturing And SurfacingThe Importance of Texture PaintingHard Surface ModelsCreature ModelsTypes of Geometry: Their Problems and BenefitsPrepping the Model to Be PaintedTexture CreationVarious Other Map-Driven EffectsTexture Painting in ProductionModel EditingDigital Hair / FurHair Generation ProcessGeneral Issues and SolutionsDigital Feathers Morphology of Real FeathersModeling Digital FeathersSimilarities between Hair and FeathersDifferences between Hair and FeathersGeneral Geometry InstancingAsset CreationWorld BuildingShot ConsiderationsDynamics and SimulationHow is a Simulation Created?When is Simulation Appropriate?Tricks and CheatsImportant ConsiderationsPlanning and PreparationSoftware Solutions: A Broad Overview of Current OptionsParticlesWhat are Particle Systems?The Next StepThe Birth of ParticlesCreating EffectsRigid-Body DynamicsHow Rigid-Body Dynamics are CreatedPotential ProblemsOther IssuesTricks for Getting It DoneDigital LightingLight in Reality and in Computer GraphicsCase Study of Reality Compared with Simple CG SimulationVisual Sophistication through Texture MappingPhysically Derived Shading ModelsBeneath the SurfaceGoals of Lighting in Visual EffectsWork Flow for Successful Creative Digital LightingThe Technologies of Lights in Computer GraphicsDirect Lighting: Source to Surface to CameraReflectionsPhotographed ReflectionsShadowsImage-Based LightingRendering OcclusionAmbient OcclusionReflection OcclusionCreating Light Sources from Environment MapsPhysically Based RenderingPhysically Plausible RenderingVolumetric Lighting EffectsShader BasicsWhat are Shaders?Shading ModelsBump and DisplacementMap-Based ShadersProcedural ShadersShader DesignAnti-aliasing Considerations2D Compositing 2D File FormatsImage Quality: Color Bit Depth and ConcatenationLog vs. LinearLow Dynamic Range and High Dynamic Range ImagesMattes and Pre-Multiplied AlphaWorking with Rendered CG ElementsIntegration Techniques2D Compositing Z-Depth CompositingAdding Depth of FieldAdding Motion BlurRelighting3D Compositing Working with 3D Data in a CompositorPan and TileCamera ProjectionsSet ExtensionsCoverage Mapping3D Mattes3D Retouch and CleanupAdjusting Camera MovesParticlesDeep CompositingCrowd Generation and Simulation TechniquesLive-Action ReplicationSpritesComputer-Generated CrowdsModeling for ReplicationVariationMesh DensityAnimation Cycles for ReplicationMotion CaptureKeyframe AnimationDynamic Motion SynthesisBehaviors and Crowd ControlCG Prosthetics and Actor EnhancementsOn-Set Tracking and Capture ConsiderationsEye Enhancements3D Techniques2D Techniques2D TechniquesSilhouette ChangesRe-Projection3D Products, Systems, and SoftwareDigital Element Creation Process3D Graphics Software3D TrackingSpecial EffectsRenderingTexturingChapter 8: Interactive GamesOverviewHow the Gaming Industry and Film/TV Industries are differentGame Engines and Real-Time Rendering Runtime ComponentDisciplines and Job TitlesGame DesignEngineeringProductionTestArtThe Art DirectorConcept ArtEnvironment ArtistsTexture ArtistCharactersHard ModelingPropsLightingBaked vs. Dynamic LightingShadowsEffectsSystem EffectsEnvironmental FXBreakablesDestructionTech ArtistAnimationUIReal Time Shaders and MaterialsPre-Rendered Cinematics vs. Real Time VisualsOptimization and Runtime BudgetsPerformance Analysis and ProfilingCPU vs. GPU boundTechnical TerminologyUser CalibrationLatency"Game Mode" on TelevisionsHDR10PBR – Physically Based RenderingFBXMip MappingFilteringTexelScreen Space Ambient OcclusionLevel of DetailVertex Shaders and Fragment ShadersAR/VRFuture of GamingOn-Demand Rendering, Cloud Distribution and Ray TracingChapter 9: Complete AnimationWhat Is An Animation Project?Full Animation versus Visual EffectsDifference Between Visual Effects and AnimationProduction PipelinesProductionA Survey and History of Animation TechniquesTraditional AnimationStop-MotionComputer Graphic TechnologyConsiderations for a Full CG-Animated Feature PipelineCG Feature Animation PipelineManaging an Animated FilmFilm Management and Personal StyleBuilding Brain TrustsBuilding the Core Creative TeamWriting and Visual DevelopmentWorking with a StudioFacilities and EnvironmentManaging the EventThe Production Process: An Animator’s PerspectiveWorking on CG-Animated Content in Live-Action FeaturesPlanning the ProcessProductionCharacter and Environment InteractionChapter 10: General Workflow ConsiderationsVirtual Studio TechnologyAnalysis of A Production WorkflowFrom Workflow to PipelineService Bureau versus In-House RequirementsDesign of a Production WorkflowFrom Analysis to DesignDeploying a Production WorkflowFrom Design to ImplementationInfrastructureTracking AssetsWhat is Task and Asset Tracking?Commercial Task and Asset Tracking SystemsBuilding Task and Asset Tracking SystemsScene Assembly3D Scene Assembly2D Scene Assembly (Compositing)Working Across Multiple FacilitiesImagesModelsTexturingAnimationCompositingR&DChapter 11: VR / AR (Virtual / Augmented Reality)A Note from the EditorsPrelude to Virtual Reality & Augmented RealityPre-Production for VR/ARProduction for VR/AR Post-Production for VR/AREditorial Post-Production for VR/AR How to Direct the Viewer?The Post-ProcessNonlinear Editorial, Timelines and EditsWorld Lock and Forced PerspectiveTypes of Head-Mounted and Handheld DisplaysWhat are the HMD and the "VR Presence"?Electronical Designs of HMDs and their Respective PerformancesOptical Designs of HMDs and their Respective UsagesImage Quality Factors in VR HMD DisplaysHemispheres and DomesGame Mechanics Are What it is All AboutOvercoming Doubt and Preconceived NotionsDome ProjectionsThe Future of DomesVR/AR Tracking Displays Uses of VR EnterpriseNarrative StorytellingFuture of VR and AR This is Just the BeginningAcknowledgmentsAppendix A: Charts and FormulasAppendix B: Credits / Titles to Be Submitted in Accordance with VES GuidelinesAppendix C: GlossaryIndex

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Book SynopsisPlaytesting Best Practices: Real World and Online covers the complete journey of playtesting - the iterative journey to shape and refine tabletop games from raw ideas to balanced and fun games. This step-by-step guide embraces the process and celebrates the purpose of every step, from early self-playtesting to late-stage unguided playtesting, and offers the specific questions and practices the author has refined to perfect his own games.This book is split up into four main sections, each with a distinct focus: Getting ready to playtest: establishing goalposts, brainstorming, self-playtesting, getting organized, how to design a prototype, and writing rules. The focus here is starting good habits and establishing best practices, whether this is your first game or your hundredth. Playtesting in the real world: how to find playtesters, how to teach your game, what to do during the playtest, how to take notes and collect feedback, and being a gre

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Book SynopsisBuilding Blocks of Tabletop Game Design: An Encyclopedia of Mechanisms, Second Edition compiles hundreds of game mechanisms, organized by category. The book can be read cover to cover and used as a reference to solve a specific design problem or for inspiration and research on new designs. This second edition collects even more mechanisms, expands on and updates existing entries, and includes color images. Building Blocks is a great starting point for new designers, a handy guidebook for the experienced, and an ideal classroom reference.Each Game Mechanisms Entry Contains: The definition of the mechanism An explanatory diagram of the mechanism Discussion of how the mechanism is used in successful games Considerations for implementing the mechanism in new designs Trade Review"If games were lands to be explored, they would be far too large for one explorer to master. Building Blocks of Tabletop Game Design is a much-needed atlas for the explorer—giving a framework of what to look for in a game, and a focus for game play that will be useful for understanding the whole. The game scholar will find this invaluable."—Richard Garfield, creator of Magic: The Gathering "People talk about the art of game design or the craft of game design. Engelstein and Shalev hone in on the science of game design with a razor-sharp scalpel. This book will be within arm’s reach as I work on games and I expect it to be consulted often."—Rob Daviau, creator of Risk: Legacy and Chief Restoration Officer of Restoration Games"The most comprehensive and well-researched encyclopedia of game mechanisms that I’ve seen to date."—Matt Leacock, creator of Pandemic"The value of this work lies not only in the thoughtful descriptions and discussions of the building blocks themselves, but in the cataloging of example games for each section. So many design problems have been solved before, and this book gives designers a handy overview of those solutions."- Elizabeth Hargrave (designer of Wingspan):Table of ContentsChapter 1 Game StructureChapter 2 Turn Order and StructureChapter 3 ActionsChapter 4ResolutionChapter 5 Game End and VictoryChapter 6 UncertaintyChapter 7 EconomicsChapter 8 AuctionsChapter 9 Worker PlacementChapter 10 MovementChapter 11 Area ControlChapter 12 Set CollectionChapter 13 Card Mechanisms

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Book SynopsisRussell Chun earned his master's degree in medical illustration from the Johns Hopkins University School of Medicine, and used Flash for over eight years to develop interactive, instructional multimedia. He has taught Flash at the beginning through advanced levels at a number of institutions including the College of San Mateo, the Center for Electronic Art, the UC Berkeley Graduate School of Journalism, Cellspace, Columbia University Graduate School of Journalism, and City University of New York Graduate School of Journalism. He has also taught Flash at national conferences, regional user group meetings, and corporate workshops. He is the author of several advanced Flash books, Macromedia Flash Advanced Visual QuickPro Guide for versions 5, MX, MX2004, and 8. He has written several Flash articles for MacWorld and for SBS Digital Design.

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Book SynopsisFrom Pixar''s upcoming film Incredibles 2, this making-of book is a dive back into the beloved world of the Incredibles. The Art of Incredibles 2 explores Pixar''s highly anticipated sequel through colorful artwork, energetic character sketches, intriguing storyboards, and spellbinding colorscripts.Featuring gorgeous production art and interesting details from the production team about the making of the film, The Art of Incredibles 2 overflows with insights into the artistic process behind Pixar''s engaging creative vision.Copyright ©2018 Disney Enterprises, Inc. and Pixar. All rights reserved.Trade Review"in ‘The Art Of Incredibles 2’, edited by Kaen Paik, we see how characters, environments, vehicles and outtakes were done or prepared. Which basically means design, storyboards and a lot of photos. There is more of that than footage from the film so it might be of less interest to your sprogs. If you are ever contemplating getting into the industry at any level then you need to see the amount of work that is done even before it gets animated. The attention to detail right down to the money they use, shows a lot of pre-planning and thought." -- SFcrowsnest"The Art Of Incredibles 2 is loaded with the kind of sketches, digital doodles and clay sculpts that you have come to expect from these tie-ins. It's an essential indulgence for anyone who wants to wallow in the world and explore the details that fly by far too quickly on-screen." -- Total Film"Animated features are nothing without their animators and designers and The Art Of Incredibles 2 is a well-edited and fascinating glimpse behind the curtains of Disney•Pixar’s inventive sequel. Recommended for fans of the film, the characters or people with an interest in animation." -- Trip Wire Magazine

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Book SynopsisFrom DreamWorks Animation comes a movie event based on the best-selling book series by Dav Pilkey. This comedy for the entire family tells the story of 2 pranksters named George and Harold, who hypnotize their principal into thinking he's a ridiculously enthusiastic, incredibly dimwitted superhero named Captain Underpants. The movie stars the voice talents of Ed Helms, Kevin Hart, Thomas Middleditch, Nick Kroll and many more!Trade Review“From the moment you crack open The Art of Captain Underpants to be greeted by a foreword written and illustrated in comic strip format by series author Dav Pilkey, you know you’re in for a treat” - VG Blogger

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Book SynopsisThe Art of Game Design guides you through the design process step-by-step, helping you to develop new and innovative games that will be played again and again. It explains the fundamental principles of game design and demonstrates how tactics used in classic board, card and athletic games also work in top-quality video games.Good game design happens when you view your game from as many perspectives as possible, and award-winning author Jesse Schell presents over 100 sets of questions to ask yourself as you build, play and change your game until you finalise your design.This latest third edition includes examples from new VR and AR platforms as well as from modern games such as Uncharted 4 and The Last of Us, Free to Play games, hybrid games, transformational games, and more.Whatever your role in video game development an understanding of the principles of game design will make you better at what you do. For over 10 years this book has provided iTable of ContentsCh 1 In the Beginning, There Is the Designer. Ch 2 The Designer Creates an Experience. Ch 3 The Experience Takes Place in a Venue. Ch 4 The Experience Rises Out of a Game. Ch 5 The Game Consists of Elements. Ch 6 Ch 7 The Elements Support a Theme. Ch 8 The Game Begins with an Idea. Ch 9 The Game Improves through Iteration. Ch 10 The Game Is Made for a Player. Ch 11 The Experience Is in the Player’s Mind. Ch 12 The Player’s Mind Is Driven by the Player’s Motivation. Ch 13 Some Elements Are Game Mechanics. Ch 14 Game Mechanics Must Be in Balance. Ch 15 Game Mechanics Support Puzzles. Ch 16 Players Play Games through an Interface. Ch 17 Experiences Can Be Judged by Their Interest Curves. Ch 18 One Kind of Experience Is the Story. Ch 19 Story and Game Structures Can Be Artfully Merged with Indirect Control. Ch 20 Stories and Games Take Place in Worlds. Ch 21 Worlds Contain Characters. Ch 22 Worlds Contain Spaces. Ch 23 The Look and Feel of a World Is Defined by Its Aesthetics. Ch 24 Some Games Are Played with Other Players. Ch 25 Other Players Sometimes Form Communities. Ch 26 The Designer Usually Works with a Team. Ch 27 The Team Sometimes Communicates through Documents. Ch 28 Good Games Are Created through Playtesting. Ch 29 The Team Builds a Game with Technology. Ch 30 Your Game Will Probably Have a Client. Ch 31 The Designer Gives the Client a Pitch. Ch 32 The Designer and Client Want the Game to Make a Profit. Games Ch 33 Transform Their Players. Designers Have Certain Responsibilities. Ch 34 Each Designer Has a Purpose.

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Book SynopsisOver the past 25 years, Pixar''s team of artists, writers, and directors have shaped the world of contemporary animation with their feature films and shorts. From classics such as Toy Story and A Bug''s Life to recent masterpieces such as Up, Toy Story 3, and Cars 2, this comprehensive collection offers a behind-the-scenes tour of every Pixar film to date. Featuring a foreword by Chief Creative Officer John Lasseter, the complete color scripts for every film published in full for the first time as well as stunning visual development art, The Art of Pixar is a treasure trove of rare artwork and an essential addition to the library of animation fans and Pixar enthusiasts.

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Book SynopsisSwendly Benilia shares with us simple and tangible tips and tricks to understanding and drawing FORCE across hundreds of drawings full of dunamism and energy! This book is an expellant companion to the FORCE brand since it delivers hundreds of FORCE drawings with succinct notations, filtered and approved by Mike Mattesi, about how to improve your FORCE drawing skillsKey Features: Hundreds of dynamic FORCE drawing that inspire the reader to see and draw FORCE Succinct tips and tricks keep it light and educational The tips and tricks not only explain how but also why the drawings are successful. This is unique to the FORCE Drawing method Each page shares numerous drawing around a FORCE idea with a short paragraph to further clarify the FORCE tip or trick. Explaining to the reader why the drawings work increases their ability of achieving the same level of excellence Swendly Benilia isTable of ContentsChapter 1: FORCE Basics. Chapter 2: FORCE Form. Chapter 3: FORCE Shape.

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Book SynopsisThoroughly updated, this book discusses level design, the discipline of creating interactive game environments, with an emphasis on architectural principles. These principles can help level designers create meaningful user experiences and emotional responses for players.. Table of ContentsChapter 1 A Brief History of Architecture and Level Design. Chapter 2 Drawing for Level Designers. Chapter 3 Level Design Workflows. Chapter 4 Basic Gamespaces. Chapter 5 Communicating through Environment Art. Chapter 6 Building exciting levels with dangerous architecture. Chapter 7 Rewards in Gamespaces. Chapter 8 Level 1-1: The Tutorial Level . Chapter 9 Storytelling in Gamespaces. Chapter 10 Possibility Spaces and Worldbuilding. Chapter 11 Working with Procedurally Generated Levels. Chapter 12 Influencing Social Interaction with Level Design. Chapter 13 Sound and Music in Level Design .

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Book SynopsisRUNS, JUMPS AND SKIPSFrom Richard Williams' The Animator's Survival Kit comes key chapters in mini form.The Animator's Survival Kit is the essential tool for animators. However, sometimes you don't want to carry the hefty expanded edition around with you to your college or studio if you're working on just one aspect of it that day.The Animation Minis take some of the most essential chapters and make them available in smaller, lightweight, hand-bag/backpack size versions. Easy to carry. Easy to study.This Mini focuses on Runs, Jumps and Skips.As with Walks, the way we run shows our character and personality. A lazy, heavy person is going to run very differently to an athletic ten-year-old girl.Richard Williams demonstrates how - when you're doing a walk and you take both legs off the ground, at the same time and for just one frame a walk becomes a run. So, all the things we do with walks, we can do with runs.This Mini pr

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Book SynopsisDIRECTING, DIALOGUE AND ACTINGFrom Richard Williams' The Animator's Survival Kit comes key chapters in mini form.The Animator's Survival Kit is the essential tool for animators. However, sometimes you don't want to carry the hefty expanded edition around with you to your college or studio if you're working on just one aspect of it that day.The Animation Minis take some of the most essential chapters and make them available in smaller, lightweight, hand-bag/backpack size versions. Easy to carry. Easy to study.This Mini focuses on Directing, Dialogue and Acting.As a director, whatever your idea is, you want to put it over, so the main thing with directing is to be clear very clear. The Director's job is to hold everything together so that the animator can give the performance. Richard Williams shows how that performance can be achieved with flexibility and contrast. With Acting and Dialogue, the temptation is to try to do everything at once Williams' advice: do one thing at a time.

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Book SynopsisSuccessful games merge art and technology in truly unique ways. Fused under tight production deadlines and strict performance requirements, shaped by demanding player expectations, games are among the most complex software projects created today. Game AI Pro: Collected Wisdom of Game AI Professionals covers both the art and the technology of game AI. Nothing covered is theory or guesswork. The book brings together the accumulated wisdom, cutting-edge ideas, and clever tricks and techniques of 54 of todayâs top game AI professionals. Some chapters present techniques that have been developed and passed down within the community for years while others discuss the most exciting new research and ideas from todayâs most innovative games. The book includes core algorithms that youâll need to succeed, such as behavior trees, utility theory, spatial representation, path planning, motion control, and tactical reasoning. It also describes tricks and techniques thTable of ContentsGeneral Wisdom. Architecture. Movement and Pathfinding. Strategy and Tactics. Agent Awareness and Knowledge Representation. Racing. Odds and Ends.

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Book SynopsisCreating Q*bert and Other Classic Video Arcade Games takes you inside the video arcade game industry during the pivotal decades of the 1980s and 1990s. Warren Davis, the creator of the groundbreaking Q*bert, worked as a member of the creative teams who developed some of the most popular video games of all time, including Joust 2, Mortal Kombat, NBA Jam, and Revolution X. In a witty and entertaining narrative, Davis shares insightful stories that offer a behind-the-scenes look at what it was like to work as a designer and programmer at the most influential and dominant video arcade game manufacturers of the era, including Gottlieb, Williams/Bally/Midway, and Premiere. Likewise, the talented artists, designers, creators, and programmers Davis has collaborated with over the years reads like a who’s who of video gaming history: Eugene Jarvis, Tim Skelly, Ed Boon, Jeff Lee, Dave Thiel, John Newcomer, George Petro, Jack Haeger, and Dennis Nordman, among many others. The impact Davis has had on the video arcade game industry is deep and varied. At Williams, Davis created and maintained the revolutionary digitizing system that allowed actors and other photo-realistic imagery to be utilized in such games as Mortal Kombat, T2, and NBA Jam. When Davis worked on the fabled Us vs. Them, it was the first time a video game integrated a live action story with arcade-style graphics. On the one-of-a-kind Exterminator, Davis developed a brand new video game hardware system, and created a unique joystick that sensed both omni-directional movement and rotation, a first at that time. For Revolution X, he created a display system that simulated a pseudo-3D environment on 2D hardware, as well as a tool for artists that facilitated the building of virtual worlds and the seamless integration of the artist’s work into game code. Whether you’re looking for insights into the Golden Age of Arcades, would like to learn how Davis first discovered his design and programming skills as a teenager working with a 1960's computer called a Monrobot XI, or want to get the inside scoop on what it was like to film the Rock and Roll Hall of Fame band Aerosmith for Revolution X, Davis’ memoir provides a backstage tour of the arcade and video game industry during its most definitive and influential period.Trade Review"Davis, an International Video Game Hall of Fame inductee, reflects in this entertaining debut on his years as an influential creator at the forefront of the “video game revolution.” He recounts his “earliest exposure” to computers, in high school in Brooklyn in the 1970s, when he learned programming on a device “the size of a desk.” As a freshman at Rensselaer Polytechnic Institute, he discovered Pong, and later created his first game, a simulated gin rummy that was done via punch cards. After graduating, Davis landed his first programming job in 1982 at the arcade game company Gottlieb, where he helped create Q*bert—one of the most popular video arcade games of the ’80s—an accomplishment that led him to later achieve breakthroughs in automating the digitizing of graphics used in such games as Mortal Kombat and NBA Jam. Even in his more granular descriptions, Davis’s enthusiasm brings to the page the palpable excitement of the “golden age” he’d been a part of. From deciding on Q*bert’s moves (“Should I just keep him stuck at the edge [of the pyramid], or allow him to fall into nothingness?”) to procuring the flying footage needed for the alien invasion game Us vs. Them, every detail is parsed to convey the rigorous thought underpinning some of history’s most successful video games. Gamers will be fascinated."—Publisher's Weekly “Warren was part of a small team building Williams’ next generation of video arcade hardware and software. By the time I joined the video game department, they had built a development foundation upon which future classic arcade games like NARC, Smash TV, Terminator 2, NBA Jam, and Mortal Kombat would be created. . . . I can’t overstate the impact Warren had on the development of Mortal Kombat and so many other Williams/Midway games.”—Ed Boon, Co-creator of Mortal Kombat and NetherRealm Studios creative director“Q*bert may be Warren’s most famous creation, but his work at 1990’s Midway was instrumental in the parade of arcade smash hits that marched out of our studio. He is both humble and accurate in his behind-the-scenes recollections. If ever you wanted a peek behind our coin-op curtain and a window into the life of a true industry pioneer, this is it!”—John Tobias, Co-creator of Mortal Kombat"In retro-gaming circles, Warren Davis is something of an unheralded pioneer, one of many who laid a blocky 8-bit path to PlayStation, Wordle and an industry now pulling in $180 billion annually.”—Chicago Tribune"In his new book, Creating Q*bert and Other Classic Arcade Games, legendary game designer and programmer Warren Davis recalls his halycon days imagining and designing some of the biggest hits to ever grace an arcade."—Engadget“Working alongside Warren at Williams Electronics was one of those rare, once-in-a-lifetime opportunities. He conjured magical code that introduced me to the world of digitization and video game programming. Not only a wise and entertaining designer/programmer, he impressed us all with his extra-curricular acting gigs. This book gave me a true appreciation for the man that was always positive, kind, and helpful to a young 'know it all' from Indiana."—George Petro, founder of Play Mechanix, makers of Big Buck Hunter“The impact Warren Davis has had on video game culture cannot be understated. It was great to learn so much more about one of the Godfathers of the industry.”—Joshua Tsui, director of Insert Coin“[Davis] takes us on an insightful journey through the ’80s and ’90s covering the birth and nearly two decades of arcade game development from a unique insider perspective. . . . For someone who has been an active gamer since 1980, I found this a highly enjoyable and surprisingly detailed journal of those times. . . . I went into this review hoping to learn a bit of the backstory on how Q*bert was created and came away with a much greater knowledge of the entire arcade industry from testing, building, and even marketing. . . . I highly recommend Creating Q*bert and Other Classic Video Arcade Games to anyone who enjoys (or has ever enjoyed) arcade video games regardless of your age. The games you play today on PC and console all got their roots during these two decades of innovation and chances are Warren Davis played some part in what we are all playing today.”—Mark Smith, Game Chronicles“Warren delivers a ringside peek into the Golden Age of arcade gaming. Art, science, and commerce merged to produce games which continue to delight and challenge aficionados, and Warren was smack dab in the middle of it. He tells his story in a clear, concise voice, all the while retaining a touch of awe reflecting the alchemy of the era.”—Jeff Lee, Co-creator of Q*bert and curious earthling“Warren was in the right place with the right stuff. We were fortunate to be at the beginning of a revolution in entertainment. It is great that an interactive entertainment pioneer has taken the time to write about his journey and Warren does it well.”—David Thiel, interactive audio artist “Warren’s book is a well-written, entertaining history of the early video game industry. Working with Warren, Dave, Rich, and others creating Us vs. Them was an interesting creative challenge. We had never done anything like this before, but we just dove in, solving problems as they came up. I have a lot of great memories of our time together working on Us vs. Them, and Warren’s writing reminded me of a few I had forgotten. Thanks, Warren, for documenting the history of our great adventure.”—Dennis Nordman, pinball and coin-op game designer“Warren’s wit, insights and self-depreciating humour make this a pleasure to read and as entertaining as the games he created.”—The Nottingham Post“With a brilliant and friendly style, Warren Davis tells us his story full of interesting anecdotes.”—RetroMagazine“Creating Q*bert is more than a compelling memoir: it is a vehicle that parks itself and delivers now-stalgia in Q*bert-style leaps and bounds. Warren Davis is your friendly, neighborhood, savant-like driver.”—Geek InsiderTable of ContentsCONTENTS 1) The Shaping of a Young Mind 2) Entering Wonderland 3) The Cubes Game 4) A Noser is Born 5) The Aftermath 6) US vs THEM 7) Gottlieb’s Demise 8) Williams and the Dawn of Digitization 9) The Premier Years 10) Return to Williams 11) Last Days in the Funhouse 12) Loose Ends

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Book SynopsisGame Feel exposes feel as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse) - no matter the instruments, style or time period - these building blocks come into play. Feel and sensation are similar building blocks where game design is concerned. They create the meta-sensation of involvement with a game. The understanding of how game designers create feel, and affect feel are only partially understood by most in the field and tends to be overlooked as a method or course of study, yet a game's feel is central to a game's success. This book brings the subject of feel to light by consolidating existing theories into a cohesive book. The book covers topics like the role of sound, ancillary indicators, the importance of metaphor, how people perceive things, and a brief history of feel in games.The associated web site contains a playset wiTable of ContentsINTRODUCTION PART 1: Deconstruction1. Why Feel, Why Now?This chapter focuses on the impetus behind the book, asking the reader to recall the sensation of controlling a virtual avatar and talking about why feel is so important (and why it is often overlooked.)2. The Grand Scheme of Game DesignThis chapter assigns feel a place in the larger realm of game design, defining its scope and boundaries, talking about how it fits into creating the Ultimate Game Experience of life-enriching flow and empowerment. Using diagrams and research derived from Maslow's Pyramid of Wants and Will Wright's concept of Granularity, feel is identified as one of the atomic units of game construction, one of the most basic building blocks of interactivity. 3. Games that don't Feature Virtual Sensation There are some types of digital games - Civilization, Solitaire, the Sims, and so on - that don't focus on feel or utilize it as one of their core elements, separating them from what will be discussed in the book. An interesting aside is that we are indeed experiencing virtual sensation whenever we use a mouse but that it is so intuitive and familiar that there's really no rational motion translation or skill to build. This brings up an interesting point: much of the pleasure of controlling something purely visual is in the challenge of mastering it, in the obfuscation. In fact, we're wired to receive pleasure for remapping our neural pathways to gain skill and mastery in this way, and it's one of the reasons that overcoming challenges (playing games) is so pleasureable. 4. What is Feel?How do players experience feel? It seems to be mostly subconscious, though there are some artifacts that will be of use to us. Citations here of various forum scrapings and interviews with players looking for feel des

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Book SynopsisPhysics is really important to game programmers who need to know how to add physical realism to their games. They need to take into account the laws of physics when creating a simulation or game engine, particularly in 3D computer graphics, for the purpose of making the effects appear more real to the observer or player.The game engine needs to recognize the physical properties of objects that artists create, and combine them with realistic motion. The physics ENGINE is a computer program that you work into your game that simulates Newtonian physics and predict effects under different conditions. In video games, the physics engine uses real-time physics to improve realism. This is the only book in its category to take readers through the process of building a complete game-ready physics engine from scratch. The Cyclone game engine featured in the book was written specifically for this book and has been utilized in iPhone application developmentTrade ReviewPraise for 1st edition:"The first game physics book to emphasize building an actual engine...his book fills a gap by demonstrating how you actually build a physics engine." - Dave Eberly, President, Geometric Tools."A competent programmer with sufficient mathematical sophistication could build a physics engine just from the text and equations--even without the accompanying source code. You can't say this about a lot of books!" - Philip J. Schneider, Industrial Light & Magic.Table of ContentsIntroduction. Particle Physics: The Mathematics of Particles. The Laws of Motion. The Particle Physics Engine. Mass Aggregate Physics: Adding General Forces. Springs and Spring-Like Things. Hard Constraints. The Mass Aggregate Physics Engine. Rigid-Body Physics: The Mathematics of Rotations. Laws of Motion for Rigid Bodies. The Rigid-Body Physics Engine. Collision Detection: Collision Detection. Generating Contacts. Contact Physics: Collision Resolution. Resting Contacts and Friction. Stability and Optimization. Putting It All Together. Further Topics in Physics: Physics in Two Dimensions. Other Programming Languages. Other Types of Physics. Appendices: Useful Inertia Tensors. Useful Friction Coefficients. Mathematics Summary

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Book SynopsisJoe Dockery has taught for 27 years in the Snoqualmie Valley School District (WA) and currently leads the Digital Media Academy at Mount Si High School. His work has earned him numerous teaching awards from Washington State, the International Society for Technology in Education, and other groups. Joe is an Adobe Education Leader (AEL) and is ACA certified. Conrad Chavez (book author) is an author and photographer with over two decades of experience with Adobe digital media workflows. During his time at Adobe Systems Inc., Conrad helped write the user guide for Adobe After Effects. He is the author or co-author of several titles in the Real World Adobe Photoshop and Adobe Classroom in a Book series, and he writes articles for websites such as CreativePro.com and Peachpit.com. Visit his web site at conradchavez.com.Table of Contents Chapter 1: Introducing Adobe After Effects Chapter 2: Understanding Basic Transformations Chapter 3: Saving Time with Animation Presets Chapter 4: Trimming, Tracking, and Time Remapping Chapter 5: Compositing by Keying and Masking Chapter 6: Creating Puppet Animations and 3D Layers Chapter 7: Working in the Visual Effects Industry

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Book SynopsisRenée Stevens is an interactive and immersive designer, educator, author, and speaker. Her creative work focuses on innovative ways that design can help overcome learning disabilities and create more accessible and inclusive learning environments. She is the founder of the XR tech startup, tagAR. For more than a decade she has run her own interactive design studio consulting and designing on XR projects and working as a motion designer for Forbes. You can find her teaching at the S. I. Newhouse School of Public Communications at Syracuse University, where she is the Associate Chair of the Visual Communications Department, overseeing the undergraduate and graduate design programs. She was named an Educator to Watch by Graphic Design USA (GDUSA). She has been invited around the world to speak about her research and design work in XR, including TEDx, SXSW, Sundance, VR/AR Association, and AIGA. She is the author of the book Powered by Design. She lives in New Table of ContentsCHAPTER 1 PICK YOUR REALITY The tech behind the acronyms You are already using extended reality Prosthetic knowledge Looking ahead CHAPTER 2 TECHNOLOGY CHECK Is any of this actually new? The world in the palm of your hand Projection mapping Head-mounted displays Spatial computing Reality check CHAPTER 3 THE IMMERSIVE EXPERIENCE The world in 3D Affordances Multimodal experiences Experience design CHAPTER 4 IDEATION Identify the why Innovation and practicality Outside influence Keep it human The answer to your questions CHAPTER 5 CREATING THE PROTOTYPE Fake it 'til you make it Sketch transparently The power of prototypes Use what you know Process work CHAPTER 6 THE UX OF XR Approachable design Seamless user flow Know thy audience Making reality accessible UX challenge CHAPTER 7 THE UI OF XR The z-axis 3D interface metaphors Time and space Microinteractions Inspiration is all around you CHAPTER 8 HUMAN FACTORS Designing the whole experience Theories of perception Creating hierarchy in 3D Human centered CHAPTER 9 THE UNCONTROLLABLE BACKGROUND Expecting the unexpected Figure-ground Location, location, location Getting emotional Control is overrated CHAPTER 10 AUGMENTED TYPOGRAPHY Legibility and readability Creating visual contrast Take control Design with purpose CHAPTER 11 COLOR FOR XR Color appearance models Light interactions Dynamic adaptation Reflection CHAPTER 12 SOUND DESIGN Hearing what you see Spatial sound Augmented audio Voice experiences Power of sound CHAPTER 13 BRINGING IT TO LIFE To code or not to code Keep it agile Try, and try again User experience research Privacy and ethical considerations Keep it super CHAPTER 14 UP NEXT Where to go from here Breaking out of rectangles Why we need XR right now Extend our physical space

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Book SynopsisJoseph Labrecque is a creative developer, designer, and educator with nearly two decades of experience creating expressive web, desktop, and mobile solutions. He joined the University of Colorado Boulder College of Media, Communication and Information as faculty with the Department of Advertising, Public Relations and Media Design in Autumn 2019. His teaching focuses on creative software, digital workflows, user interaction, and design principles and concepts. Before joining the faculty at CU Boulder, he was associated with the University of Denver as adjunct faculty and as a senior interactive software engineer, user interface developer, and digital media designer. Labrecque has authored a number of books and video course publications on design and development technologies, tools, and concepts through publishers which include LinkedIn Learning (Lynda.com), Peachpit Press, and Adobe. He has spoken at large design and technology conferences such as Adobe MAX aTable of ContentsGetting Started 1 Creative Cloud Desktop and Mobile Applications 2 Cloud-Based Photography with Lightroom 3 Raster Image Compositing with Photoshop 4 Designing Vector Graphics with Illustrator 5 Managing Page Layout with InDesign 6 Prototyping for Screens with Adobe XD 7 3d Rendering with Dimension 8 Producing Audio Content with Audition 9 Sequencing Video Content with Premiere Pro 10 Compositing Motion Graphics with After Effects 11 Animating Interactive Content with Animate Bonus Lesson 1 Fundamentals of Design with Adobe Express Bonus Lesson 2 Live Performance Capture with Character Animator

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Book SynopsisMoving from an exploration of 19th century popular science and magic to Hollywood science fiction cinema of our time, this text examines the history, advancements and connoisseurship of special effects.Trade ReviewIt is something of a cliche to think of special effects as 'movie magic,' but Pierson helps us to understand the substance behind that cliche, tracing our current fascination with computer-generated imagery back to discourses about magic and popular science in the late nineteenth century. Much as these earlier magicians helped to excite public interest and shape popular perceptions of emerging technologies, Pierson shows how CGI has become one of the most visible aspects of the digital revolution and how effects-laden films have often sought to examine their own precarious position somewhere between simulation and reality. -- Henry Jenkins, Director, Comparative Media Studies Program, MIT author of Textual Poachers: Television Fans and Participator Intriguing... This is not a 'nuts and bolts'history of onscreen magic, but a specific analysis of the 'cultural reception'that visual effects have enjoyed throughout the history of cinema. American Cinematographer [A] ground-breaking book... Pierson's journey through the history of special effects offers us an important new perspective which has previously been left out of cinema-related academia and formal criticism. -- John McGowan-Hartmann Senses of CinemaTable of ContentsIntroduction: Special Effects and the Popular Media 1. Magic, Science, Art: Before Cinema Natural Magic Science Fictions Scientific American Millenial Magic 2. From Cult-classicism to Techno-futurism: Converging on Wired magazine The Limits of Convergence Photon and Stop-motion animation Corporate-futurism/Techno-futurism Home-production 3. The Wonder Years and Beyond: 1989-1995 On Genre Reinventing the Cinema of Attractions Digital Artifacts Retro-future/Retro-vision 4. Crafting a Future for CGI The Case of Editing Disaster Strikes An Aesthetics of Scarcity The Public Life of Numbers Conclusion: The Transnational Matrix of SF Notes Bibliography Index

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Book SynopsisSpaces Mapped and Monstrous explores the paradoxical nature of 3D cinema and its place in today’s visual landscape. Considering 3D’s distinctive visual qualities and its connections to wider digital culture, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts.Trade ReviewThis book’s highly polished arguments situate digital 3D cinema within major debates about the role of the image in contemporary society as well as related structures of power. Jones’s historical focus and interaction with significant visual culture debates situate the unique contribution this book has to offer. -- Miriam Ross, author of 3D Cinema: Optical Illusions and Tactile ExperiencesAt once rigorously historical, inventively erudite, and highly original, Spaces Mapped and Monstrous combines digital theory, screen aesthetics, and media archaeology to persuasively argue that the digital aesthetics in 3D cinema should not be dismissed as "failed realism" or cheap gimmicks. Instead, these examples provide new spatial relations and epistemological regimes that help us better understand digital technologies more broadly. -- Julie Turnock, author of Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster AestheticsIn this expansive inquiry, Nick Jones dispels the myth that 3D is simply a variant of planar cinema. For over a century, Jones contends, 3D has been vital to a shifting understanding of what images are and how we are mobilized through them. Encompassing both its experimental anamorphic facets and its complicity in the instrumentalization of the visual field, this account is a call for us to think 3D again. -- Janet Harbord, author of Ex-centric Cinema: Giorgio Agamben and Film ArchaeologyTable of ContentsList of IllustrationsAcknowledgmentsIntroductionPart I: Contexts1. History: The Long View of 3D Film and Theory2. Visualization: From Perspective to Digital 3DPart II: Mapped Spaces3. Simulation: Dematerializing and Enframing4. Immersion: Entering the Screen5. Surveillance: Converting Image to Space, World to DataPart III: Monstrous Spaces6. Defamiliarization: Rethinking the Screen Plane7. Distortion: Unfamiliar and Unconventional Space8. Intimacy: The Boundedness of Stereoscopic MediaConclusion: Seeing in 3DNotesBibliographyIndex

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Book SynopsisSpaces Mapped and Monstrous explores the paradoxical nature of 3D cinema and its place in today's visual landscape. Considering 3D's distinctive visual qualities and its connections to wider digital culture, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts.Trade ReviewThis book’s highly polished arguments situate digital 3D cinema within major debates about the role of the image in contemporary society as well as related structures of power. Jones’s historical focus and interaction with significant visual culture debates situate the unique contribution this book has to offer. -- Miriam Ross, author of 3D Cinema: Optical Illusions and Tactile ExperiencesAt once rigorously historical, inventively erudite, and highly original, Spaces Mapped and Monstrous combines digital theory, screen aesthetics, and media archaeology to persuasively argue that the digital aesthetics in 3D cinema should not be dismissed as "failed realism" or cheap gimmicks. Instead, these examples provide new spatial relations and epistemological regimes that help us better understand digital technologies more broadly. -- Julie Turnock, author of Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster AestheticsIn this expansive inquiry, Nick Jones dispels the myth that 3D is simply a variant of planar cinema. For over a century, Jones contends, 3D has been vital to a shifting understanding of what images are and how we are mobilized through them. Encompassing both its experimental anamorphic facets and its complicity in the instrumentalization of the visual field, this account is a call for us to think 3D again. -- Janet Harbord, author of Ex-centric Cinema: Giorgio Agamben and Film ArchaeologyTable of ContentsList of IllustrationsAcknowledgmentsIntroductionPart I: Contexts1. History: The Long View of 3D Film and Theory2. Visualization: From Perspective to Digital 3DPart II: Mapped Spaces3. Simulation: Dematerializing and Enframing4. Immersion: Entering the Screen5. Surveillance: Converting Image to Space, World to DataPart III: Monstrous Spaces6. Defamiliarization: Rethinking the Screen Plane7. Distortion: Unfamiliar and Unconventional Space8. Intimacy: The Boundedness of Stereoscopic MediaConclusion: Seeing in 3DNotesBibliographyIndex

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Book SynopsisDiscover the tips, tricks and techniques that really work for concept artists, matte painters and animators. Compiled by the team at 3dtotal.com, Digital Painting Techniques, Volume 1 offers digital inspiration with hands-on insight and techniques from professional digital artists. More than just a gallery book - within Digital Painting Techniques each artist has written a breakdown overview, with supporting imagery of how they made their piece of work. Beginner and intermediate digital artists will be inspired by the gallery style collection of the finest examples of digital painting from world renowned digital artists. Start your mentorship into the world of digital painting today with some of the greatest digital artists in the world and delve into professional digital painting techiques, such as speed painting, custom brush creation and matte painting. Develop your digital painting skills beyond the variety of free online digital painting tutorials and apply the most up to date tTrade Review"[O]ffers a range of digital inspirations and techniques from some 25 professional artists. More than just a gallery of images, this features step-by-step techniques that beginners through intermediate users can easily follow, inspired by world computer graphics artists. Photography, computer and arts collections alike will relish this."---BookWatchTable of ContentsSpeed Painting; Custom Brushes; Matte Painting; Creatures; Humans; Environments; Sci-Fi / Fantasy; Complete Projects; Gallery

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Book SynopsisVoice Over for Animation takes animation and voice-over students and professionals alike through the animated voice-over world. The book provides information, exercises, and advice from professional voice-over artists. Now you can develop your own unique characters, and learn techniques to exercise your own voice gain the versatility you need to compete. You can also learn how to make a professional sounding demo CD, and find work in the field. The accompanying downloadable resources are professionally recorded, and feature: scripts, Animation Talent Agent interviews, Casting Director interviews and Interviews with Animation Voice-Over Artists like Nancy Cartwright (Bart, The Simpsons) and Cathy Cavadini (Blossom, Power Puff Girls) and Bill Farmer (Goofy). This is an invaluable resource for animators and voice-over artists.Trade ReviewMJ Lallo quotes:Nancy Cartwright: "MJ Productions is the coolest VO studio in LA.", Ned Loft (Disney): "MJ is a fun and talented artist and teacher.", Brian Nefsky (Disney Imagineering): "MJ runs great classes and is a great VO talent."New quotes likely from:June Foray (voice-over artist, Natasha, from Rocky and Bullwinkle. Still working regularly today.)Lucille Bliss (Smurfette and many more)Both of these voice-over artists have already agreed to be interviewed for the new book. There will be many more. Women In Animation has a number of animation voice-over artists and recording studio owners as members.Nancy Cartwright: "MJ Productions is the coolest VO studio in LA."Ned Loft (Disney): "MJ is a fun and talented artist and teacher."Brian Nefsky (Disney Imagineering): "MJ runs great classes and is a great VO talent."Table of ContentsChapter OutlineChapter 1: Introduction to Animation Voice-OversChapter 2: Voice Techniques and ExercisesChapter 3: Animation Voice-Over TechniquesChapter 4: DialectsChapter 5: Developing CharactersChapter 6: Your Demo CD Chapter 7: Finding an AgentChapter 8: Voice CastingChapter 9: Recording for CartoonsChapter 10: Recording for Animated Features, Games, Theme Parks, Toys, and NarrationChapter 11: ADR (Automated Dialogue Replacement)Chapter 12: Dubbing

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Book SynopsisBecome Tony White's personal animation student. Experience many of the teaching techniques of the golden era of Disney and Warner Brothers studios and beyond.all from the comfort of your own home or studio. Tony White's Animation Master Class is uniquely designed to cover the core principles of animated movement comprehensively. How to Make Animated Films offers secrets and unique approaches only a Master Animator could share. Includes hands-on Tutorials, demonstrations and final sample animations. . Whether you want to become a qualified animator of 2D, 3D, Flash or any other form of animation, Tony White's foundations bring you closer to that goal. The downloadable resources are invaluable, in that readers are not only taught principles and concepts in the book, they are able to see them demonstrated in action in the movies.Trade ReviewRoy E. Disney's Introduction for "Animation from Pencils to Pixels"Table of ContentsTony White's Animation Master ClassIntroduction.1) Why this book?For 2D AnimatorsFor 3D AnimatorsFor ALL Animators2) First PrinciplesEquipment & techniques overviewDope Sheets & Production FoldersTop Pegs versus Bottom PegsFlipping Techniques(This section will include video footage on DVD)3) InbetweeningTiming & ChartingArcs & Paths of ActionSuperimpositionEven InbetweensSlowing-InSlowing-OutStraight Ahead AnimationAssignment 01(This section will include video footage on DVD)4) Bouncing BallKeysInbetweensWeight & TimingAssignment 02(This section will include video footage on DVD)5) Generic WalkPrinciplesCycle Action versus Moving ForwardKeys (legs only)Passing PositionInbetween positionsKeys (upper body & arms)InbetweensHead actionTimingAssignment 03(This section will include video footage on DVD)6) Personality WalksPrinciplesAlternative Passing PositionsEccentric InbetweensTimingAssignment 04(This section will include video footage on DVD)7) RunsPrinciplesPositions (lower body)Positions (upper body)Variations in actionTimingAssignment 05(This section will include video footage on DVD)8) QuadrupedsPrinciplesBreaking down the actionBack legsFront legsBodyTailHead & NeckVariationsAssignment 06(This section will include video footage on DVD)9) WeightPrinciplesWeight in actionWeight movingCarrying weightThrowing weightAssignment 07(This section will include video footage on DVD)10) AnticipationPrinciplesStarting an actionThrowingJumpingAssignment 08(This section will include video footage on DVD)11) DialoguePrinciplesBody languageEmotionLip SyncAssignment 09(This section will include video footage on DVD)12) Putting it all togetherOverviewWorking with audioStoryboardAnimaticAssignmentDope sheet timingKey pose testInbetweeningPencil TestLip SyncFinal movieAssignment 10(This section will include video footage on DVD)13) The future of animationThe still untapped potential for animation.2D or not 2D?The Animaticus FoundationReaders critique (information)14) Tony White's Animation Master Class ~ DVD Outline:Introduction.Author at his drawing desk offering an overview of animation. Presenting the tools of the trade, the principles of movement and key concepts. Demonstrating everything, especially key drawings, dope sheets, flipping techniques, inbetweening and superimposition.Assignment 01: Inbetweening test. (Key poses provided in book.) Bouncing BallPresentation of the principles of weight, flexibility, timing and movement on arcs. Author at desk animating a bouncing ball. Examples of animated movie clips to demonstrate the final work.Assignment 02: Bouncing Ball.Generic WalkPresenting the principles of a generic walk movement, cycle action versus moving forward, key stride positions, passing positions, inbetweening options. The author breaking down the action of a walk first the lower legs, then the body and arms, then the head action options. Discussion on timing.Assignment 03: Generic Walk.Personality WalksDemonstration on how the generic walk can be evolved to something with more eccentricity or personality. Author animating various styles of walk from identical keys. Side-by-side demonstration of each walk, in comparison to the generic walk.Assignment 04: Personality walk.RunsAuthor defines what a walk is and discusses the various forms from minimum to maximum number of frames. Demonstrates walk animation, first showing lower body, then upper body, then variations in action. Animated examples of runs.Assignment 05: Animated Run.QuadrupedsAuthor discuses the principles of generic quadruped action and their anatomical make-up, then presents variations of movement from critter to critter. Desktop demonstration of how the action is broken down for a cartoon quadruped walk first the back legs, then the front legs, then head, body and tail. Example of eccentric quadruped walk. Assignment 06: Eccentric quadruped walk.WeightAuthor discusses the principles of weight and its importance in animated action. Demonstrates how to put weight into a moving, bouncing, jumping flour sack. Example of sack animation.Assignment 07: Flour Sack animation.AnticipationAuthor discusses the principles of anticipation and discusses the various moments where the implementation of anticipation is necessary. Demonstrates the creating of anticipation in a running action. Examples of anticipation animation.Assignment 08: Anticipation with throw.PerspectiveAuthor discusses the principles of animation and the process of placement in action moving to and from the camera's point of view. Demonstration of walk in perspective. Examples of perspective animation.Assignment 09: Perspective walk through 360 degrees.DialogueAuthor discusses the principles and requirements of dialogue animation. The principles of body language, facial expression and lip syncing are presented. Demonstration of talking character animation, approached and illustrated (with pencil test clips) stage-by-stage.Assignment 10: Dialogue sequence (from free audio tracks downloadable from author's website).Multi-character actionAuthor discusses the principles of action and dialogue between two or more characters on the screen at the same time. The principles of principle and secondary action are explained, plus the importance of the role of the passive character in a dialogue sequence. Author demonstrates action between two characters. Examples of animation shown.Assignment 11: Two-character dialogue sequence (from free audio tracks downloadable from author's website).Production secretsAuthor discusses the stages of animation production, emphasizing the importance of animated storytelling and filmic technique for animators. The stages of production are presented breaking down audio tracks, storyboards, animatics, dope sheets & timing, key pose test, inbetweening secrets, pencil test, coloring, compositing and post production.Assignment 12: Short film project.

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Book SynopsisDigital sculpting is the use of tools to push, pull, smooth, grab, pinch or otherwise manipulate a digital object as if it were made of a real-life substance such as clay. Mudbox is the premier sculpting solution for digital artists, allowing them to naturally and easily sculpt detailed, organic characters and models in a way that feels like traditional sculpting.This book guides CG professionals through the process of creating amazing digital sculptures using the Mudbox arsenal of ground-breaking digital sculpting and 3D painting tools, and porting the models into their Maya or Max work.Artists will explore tried and true, traditional sculpting techniques and learn to apply them to digital sculpting. A series of in-depth tutorials are incluced, each challenging them with progressively more complex models as they go on.Fine art sculptors transitioning from traditional sculpting to digital sculpting will benefit for unique never-before-published guidance on hoTable of ContentsChapter 1 Sculpting Concepts; Chapter 2 Introduction to Mudbox; Chapter 3 Sculpting a Portrait Bust; Chapter 4 Sculpting a Figure; Chapter 5 Painting Sculptures; Chapter 6 Creating Displacement Maps; Chapter 7 Scanning, Printing, and Milling;

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Book SynopsisAction Analysis is one of the fundamental princples of animation that underpins all types of animation: 2d, 3d, computer animation, stop motion, etc. This is a fundamental skill that all animators need to create polished, believable animation. An example of Action Analysis would be Shrek's swagger in the film, Shrek. The animators clearly understood (through action analysis) the type of walk achieved by a large and heavy individual (the real) and then applied their observations to the animated character of an ogre (the fantastic). It is action analysis that enabled the animation team to visually translate a real life situation into an ogre's walk, achieving such fantastic results.Key animation skills are demonstrated with in-depth illustrations, photographs and live action footage filmed with high speed cameras. Detailed Case Studies and practical assignments ground action analysis methodology with real life examples. Action Analysis for Animators is a essential guide for students, amateurs and professionals.Table of ContentsIntroductionWhy analyse action? The Study of MotionNaturalistic action, abstract action,Dynamics and Laws of MotionAnimation PrinciplesFigures in MotionAssignmentsAnimals in MotionAssignmentsNone Organic ActionClothing and costumes, Water, Wind, Fire, OthersCapturing Action Methodologies for AnalysisReference and ResearchSources, Creating a Reference Library

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Book SynopsisDesign beautiful, professional-level animated effects with these detailed step-by-step tutorials from former Disney animator and animated effects expert Joseph Gilland. Filled with beautiful, full-color artwork, Elemental Magic, Volume II, breaks down the animated effect process from beginning to end-including booming explosions, gusting winds, magical incantations, and raging fires. He also breaks down the process of effects clean-up, as well as timing and frame rates. The companion website includes real-time footage of the author lecturing as he animates the drawings from the book. In these videos, he elucidates the entire process from blank page to final animation. See it all come to life like never before. Throughout the book, Joseph refers to and includes examples from his own professional work from feature films such as Lilo & Stitch and Tarzan.Trade ReviewPRAISE FOR ELEMENTAL MAGIC, VOLUME I:"Gilland's fascinating new book [is] a revelation of the amazing blend of the art and craft behind of classical effects animation."-Don Hahn, Academy Award-nominated producer of Beauty and the Beast and The Lion KingTable of ContentsThe Elements; The Wave; The Splash; Lighting a Fire; Blowing it Up; The Magic Touch

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