The VES Handbook of Visual Effects - Jeffery A. Okun, Susan Zwerman.pdf - sztuka - banduras1

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Library of Congress Cataloging-in-Publication Data

The VES handbook of visual effects: industry standard VFX practices and procedures/edited by Jeffrey A. Okun, Susan

Zwerman; co-editors, Scott Squires, Toni Pace Carstensen, Kevin Rafferty.

p. cm.

Includes bibliographical references and index.

ISBN 978-0-240-81242-7 (pbk. : alk. paper) 1. Cinematography—Special effects—Handbooks, manuals, etc.

2. Digital video—Handbooks, manuals, etc. 3. Digital cinematography—Handbooks, manuals, etc. I. Okun, Jeffrey A.

II. Zwerman, Susan. III. Visual Effects Society. IV. Title: Handbook of visual effects.

TR858.V47 2010

778.5’345—dc22

2010008415

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN: 978-0-240-81242-7

For information on all Focal Press publications

visit our website at www.elsevierdirect.com

10 11 12 13 5 4 3 2 1

Printed in China.

Typeset by : diacriTech, Chennai, India

ABOUT THE VES xxiii

ABOUT THE VES

The Visual Effects Society (VES) is a nonproit professional, honorary

society dedicated to advancing and promoting the art and science

of visual effects and to foster and strive for excellence and knowl-

edge in all matters pertaining to visual effects. Further, the VES

strives to actively cultivate talented individuals in this discipline;

to educate and develop public awareness and understanding; to

support and encourage technological advancements in the ield

of visual effects; and to establish a collective organization that rec-

ognizes, advances, and honors visual effects as an art form, in order

to promote the interests of its membership.

FOREWORD xxv

Foreword

It became apparent to the Visual Effects Society that a need for

exposing, and thereby standardizing, best practices in the cre-

ation of visual effects and the associated processes to the indus-

try and others has long been overdue. This is especially true now,

when one considers that our art is currently involved in virtually

every moving image project regardless of medium—sometimes

having a larger budget and creative impact on the inal product

than any other aspect of the industry today. The Society therefore

made it a priority to create this book.

The VES Handbook of VFX has been written by artists and

technologists who have helped create literally millions upon mil-

lions of shots, images, scenes, and visuals for television, movies,

commercials, animation, games, and visual media worldwide.

Every one of the 88 contributors to this effort is an experienced,

highly qualiied professional who can be classiied as a leader in

the ield. Their contributions, their opinions, and their under-

standing come at the price of hard-won lessons taught by that

best teacher of all: experience . And each has sellessly given his or

her time, knowledge, and expertise to the creation of this book.

Our intention is for The VES Handbook of VFX to set an industry

standard for visual effects practices and procedures.

The book is meant to guide and inform as well as to enlighten,

share, and educate. But it is far from being a complete explana-

tion and discussion of all aspects of visual effects. As detailed as

it might appear, every shot is different from every other one, and

no set of rules, beliefs, opinions, or suggestions will be applicable

to all. There is no substitute for experience, and this book should

not be taken as such.

Everyone in the business of imagery has the same goal, or at

least similar goals. Whether a visual effects producer, supervisor,

pyrotechnics expert, miniature builder, cinematographer, plate

supervisor, CG god, software engineer, rotoscoper, production

coordinator, studio executive, compositor, matte artist, illustra-

tor, color timer, etc., all will be, and should be, seeking the high-

est quality imagery at a reasonable cost. It is never an easy task to

achieve this goal. But by being better informed, by learning from

others’ successes and mistakes, it will make achieving that goal at

least a bit easier.

We hope that as you read this book, you will begin to under-

stand the steps, experiments, processes, software, hardware, rela-

tionships, politics, and tasks that lead to the successful creation

xxvi FOREWORD

of visual effects. And as you gain that knowledge and begin to

test, create, and invent, you will be able to add to that knowledge.

An online companion site ( www.VESHandbookofVFX.com )

accompanies this book. It is populated by more in-depth discus-

sions of the material contained herein. But more importantly, this

is where you will be able to add to this wealth of information, as

your experience dictates.

One thing of utmost importance that this book does not

address directly is story . As visual effects artists, we always need to

keep in mind that our purpose is to tell the story. Visual effects is

a very powerful and effective art to that end. And it is fast rising to

be the most important and lexible art in the moving image indus-

try. We have enabled directors and writers to tell stories that have

never been told before in ways that have never been seen before!

Consider what the stories of George Lucas, Steven Spielberg, and

James Cameron, to name but a few, would have been like with-

out the work of the visual effects artists and technologies. Where

would Pixar be without our art? But, as Spiderman’s Uncle Ben 1

said to him, “With great power comes great responsibility.” And

so it is with visual effects. We have a responsibility to the art, to

each other, and most importantly, to the story. We must never

lose sight of the fact that the best visual effects in the world are

pointless if they cannot advance the story.

So to you, the reader, the student, the artist, the professional,

we applaud you for wanting to know more, for reading and

digesting the information contained in this book. We hope that

after reading it, you will feel better prepared to go out into the

world armed with greater knowledge and a more powerful tool

set than you had before that will help you create the images you

need to tell your story.

Jeffrey A. Okun

Editor

Susan Zwerman

Editor

1 Spider-Man (2002)

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