Computer Animation: Algorithms and Techniques (The Morgan Kaufmann Series in Computer Graphics) Review

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(More customer reviews)This book is not about how to accomplish animation using prepackaged software nor is it about art design for animation. Instead, it is aimed at computer science students who wish to write programs that perform animation and want to understand the algorithmic and mathematical issues behind that task.
Chapter one is a broad history of computer animation, and it would be misleading to think that this is a typical chapter in this book. Chapter 2 is a broad overview of computer graphics topics. It mentions quaternions, transformation matrices, the rendering pipeline, and I think it is meant to be a quick review more than an instructive chapter. If you are not already familiar with the material in chapter 2 this book will be over your head.
Chapters 3 through 6 are the meat of the book for those interested in computer animation algorithms. Chapter 3 presents low level details on interpolation and not only shows the math but also shows code fragments in C on how to accomplish some of the tasks mentioned. Chapter four presents more advanced algorithms such as camera control, kinematic modeling, rigid body simulation, flocking behavior, and collision detection. Again in this chapter mathematics of the algorithms is presented along side of C code to accomplish the tasks.
Chapter 5 changes topics from the discussion of object motion and the underlying physics to the topic of natural phenomena. The author does a good job of laying out clearly the basics of the mathematics behind these effects. However, he does seem to gloss over details more than he did in previous chapters. The same is true of Chapter 6 on the modeling and animation of articulated figures. The basics are all there, but there just wasn't enough detail to satisfy me.
As for the companion website, it is working at the time I am writing this review. However, the problem I have with books that have companion sites in place of an accompanying CD is that over time these websites are usually neglected and at worst, disconnected. However, an accompanying CD is always shipped with a new book.
Overall, this book is the best compromise I've found between accessible and comprehensive on this subject, and I would recommend it to anyone thinking about writing their own computer animation code.

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Adobe After Effects CS3 Professional Studio Techniques Review

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(More customer reviews)If you are interested in doing visual effects for any level of filmmaking, then you absolutely should have this book. After Effects has been used on everything from the smallest home movie to the biggest blockbuster motion picture, and Mark shows you how to get the absolute most out of the program.
I'm a visual effects artist who has worked on major films ("Sin City", "Evan Almighty", "Night at the Museum", "Golden Compass", etc...), and I work at one of the biggest VFX studios in the world. Alot of people in this industry believe After Effects is used only for motion graphics. That is completely incorrect, and this book will prove to you that After Effects is just as capable as any node-based compositing program, and in some instances even better. I personally have used After Effects on movies like "Austin Powers Goldmember", "Meet the Fockers", "Superbad", and tons more. I can't even begin to imagine how much time I would have saved if I had found this book prior to the last edition.
If you're an intermediate or seasoned AE user, no doubt you will still find amazing tricks and tips in here. I stood in a bookstore perusing the previous edition, telling myself I wasn't going to buy it, but after the 3rd or 4th time saying to myself "Wow, I didn't know you could do that in AE!", I took it to the cashier, bought it, and couldn't wait to get home to my computer to try some of the things out. I wasn't disappointed, and you won't be either.

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This is the only book in the After Effects market to focus exclusively on the creation of visual effects, and is a one-stop resource for anyone who wants in-depth explanations that demystify the realm of visual effects and how they were created, thanks to veteran author Mark Christiansen's friendly and accessible style. A thoroughly packed, informative read, this masterful guide focuses on explaining the essential concepts, features, and techniques that are key to creating seamless movie-quality visual effects. Readers will learn how to put After Effects to work to create the shots they need. Users who are comfortable with After Effects will find a helpful review of After Effects fundamentals--managing footage, viewing and editing layers, animating type, and more--so they can learn how to work smarter and more efficiently. Readers of all levels will learn core techniques for effects compositing: color matching, keying, rotoscoping, motion tracking, and emulating the camera. The final section of the book delves into creative explorations, demonstrating actual effects that readers might want to re-create. Readers will also find comprehensive coverage of all that's new in this upgrade. Throughout the book, beautiful full-color examples demonstrate what's possible, while the companion DVD offers plenty of sample footage and dozens of demos of the most useful After Effects plug-ins. .

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All About Techniques in Drawing for Animation Production Review

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(More customer reviews)As an animation artist, I am familiar with the author's work and eagerly awaited the arrival of this book. It did not disappoint!
It is good for beginners and seasoned veterans alike. The sequential animation drawings - along with their respective numberings and spacing charts - are worth more than the price of the book. They are an excellent way for the student of animation to see how the drawings are spaced to provide the true 'spark of life' so necessary in the success of the animated image 'coming alive'. The book ranks up there with the Preston Blair books, Thomas and Johnston's ILLUSION OF LIFE, and Richard William's THE
ANIMATOR'S SURVIVAL KIT. The chapters on Storyboarding, Layout and Background, along with many other animation gems, are there as well. A true tour de force!

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Titles in Barron's popular and growing "All About Techniques" series are written especially for advanced art students and experienced amateurs. They explain aspects of art theory, then provide step-by-step advice on methods for creating professional-looking art. This title covers every aspect of cartoon animation art in traditional media, starting with descriptions of tools and materials. Following chapters instruct in the creation of storyboards, then show how to render facial expressions, clothing, props, and body posturesto give characters individuality and help tell their stories. Concluding chapters show how to create action animation for films. Students will also find instruction in rendering background landscapes, as well as a brief history of modern cartoon animation.

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Oil Painting Techniques and Materials Review

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(More customer reviews)The Speed's book was originally published in 1924. There is another excellent and modern book basically covering same topics: "Alla Prima, Everything I Know about Painting" by Schmid. In comparison, Speed's book is physically much smaller, (less than 2/3 of Schmid's), but it is distilled and very rich. It gives a concise yet in-depth discussion of the most fundamental things about painting: wholeness, unity & variety, and rhythm etc., under topics of tone value, color, edge, and design, while form and drawing are mainly discussed in his another book. While the Schmid's book is easier to understand for beginner, the two books target the same levels of readers.
When reading Speed's book, it's better to read carefully between the words. You can read Schmid's book faster, because Schmid's book uses more sentences or paragraphs to explain an idea. For example, on make decision about which edges you should paint or to blur, Schmid gives you several paragraphs of useful advice, while Speed has one-sentence summarization: "It is not the edges of the object but the edges of the tone masses that make up the visual impression, that you are painting". The sentence may be easily neglected and skipped by someone with first time reading, but if he carefully reads the context and understands the meaning, it becomes useful not only in edges selection, but also in picture design.
The book's analysis of paintings by old masters is practical and insightful. One example is its comment on an early portrait (plate 32) by Velasquez, that the edge going from the wing of the nostril to the outside of the mouth weaken the wholeness of the pictorial design. By this way, it helps you understand deeper not only the concept of wholeness and the function of edges, but also good design.

The book's most significant concentration is on the mental part of the painting process, mainly about what & how to see and to design, rather than on learning particular painting techniques and materials, therefore, I believe that the author's original title "The Science & Practice of Oil Painting" is a better one in telling you what is in the book.
The book used one chapter, 10% of the whole book, discussing `modern art', which I think is a bit too much. (Both Speed and Schmid basically hold same opinion on `modern art'. Schmid has the mentioning that what we called `Modern Art' is a different human activity from `Classical Art' except that `Modern' artists use, some times, the same tools as `Classical' artists.)
I highly recommend this book to everyone. For beginner, if you do not read carefully, you will only read the surface, so that you think the book is statically for beginner. But when you grow and you carefully read it again, you will find it is rich and it grows with you. For the very advanced, you can review its points for successful painting, which is concisely presented in the book.

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Stimulating, informative guide by noted teacher covers painting technique, painting from life, materials - paints, varnishes, oils and mediums, grounds, etc. - a painter's training, more. Speed also provides expert analysis of works by Velasquez, Reynolds, Gainsborough, Hals, Rembrandt, and others. 64 photos. 5 line drawings.

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