This book educates readers on the same art, techniques, technology, and approaches used to create digital effects such as water, smoke, fire, crumbling buildings, and virtual sets in big-budget Hollywood films. The author’s credit list includes some of the biggest effects films in recent history: "The Fifth Element," "Titanic," and "Armageddon." The book discusses fundamentals and techniques for creating visual effects without regard to a particular software package, which should increase readership by including users of all digital effects programs. A practical application takes the reader through a real-world set of effects shots, just like at a Hollywood effects studio. To round out the learning experience, the Companion Web site provides readers with a wealth of examples.

Discusses fundamentals and techniques for creating visual effects, such as water, smoke, fire, and crumbling buildings, without regard to a particular software package, and takes a look at the current state of the effects industry today, including the daily activities and practices of effects technical directors, artists, and supervisors. Original.

"Creating 3D Effects for Film, TV, and Games" covers the detailed processes and pipelines used to create effects for a variety of multimedia. It enables effects artists to develop the best process for completing complex projects, providing an understanding of visual effects as part of the overall process of creating films, commercials, video games, and a variety of other multimedia. It is filled with detailed discussion of each step of the production process and contains in-depth interviews with leading industry professionals. From selecting the studio that best suits your talents to addressing the details put in during the final steps of creating effects, this book is the comprehensive tour guide that every Effects TD should own.

A View From the Top

Much of the material published on digital special effects falls into three categories:
First is the stuff that comes with the software package - usually written at the last minute and in a real hurry so that the company can start selling the software.
Second is the stuff from outsiders who write the how to use this software kind of books. They’re better because the writers are better and have at least some idea of what they are trying to do.
Finally there are the ’this is the way we did it on some movie or game.’ Better yet, because this is not tied to one single software package.

What’s missing is that in real life it works the other way. You or your boss determines what is needed and then it’s up to you go produce the effect. What software is best for that task? How does it fit in with the rest of the production? Perhaps more important, how do you get that job in the first place.

David Santiago got into this business first getting degrees and then becoming interested in the theater, then he moved into Cgi. As such he understands the process better than most. And this book really concentrates on the process itself, not the nuts and bolts of how to use this particular software package to make an explosion or whatever is needed.

Along with his comments he presents several interviews with senior people who are in charge of creating the special effects in, mostly, movies; but also some other fields.

A View From the Top

Much of the material published on digital special effects falls into three categories:

First is the stuff that comes with the software package - usually written at the last minute and in a real hurry so that the company can start selling the software.

Second is the stuff from outsiders who write the how to use this software kind of books. They’re better because the writers are better and have at least some idea of what they are trying to do.

Finally there are the ’this is the way we did it on some movie or game.’ Better yet, because this is not tied to one single software package.



What’s missing is that in real life it works the other way. You or your boss determines what is needed and then it’s up to you go produce the effect. What software is best for that task? How does it fit in with the rest of the production? Perhaps more important, how do you get that job in the first place.



David Santiago got into this business first getting degrees and then becoming interested in the theater, then he moved into Cgi. As such he understands the process better than most. And this book really concentrates on the process itself, not the nuts and bolts of how to use this particular software package to make an explosion or whatever is needed.



Along with his comments he presents several interviews with senior people who are in charge of creating the special effects in, mostly, movies; but also some other fields.