Pirates of the Caribbean: From the Magic Kingdom to the Movies Review

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Pirates of the Caribbean: From the Magic Kingdom to the Movies ReviewI thought that Jason Surrell's book about the Haunted Mansion was great, and this book is just as wonderful. Read about the original idea proposed for the 'walk-thru' version of the Pirates of The Caribbean ride, go through each scene of the actual ride and find out the differences between the California, Florida, Japan and Paris rides. There are many photos and illustrations throughout the book (some of which I've never seen before). The book ends with a section on the movie and points out certain scenes taken from the ride. Overall, this book is worth every penny! I am looking forward to Jason Surrell's upcoming book on the Disney Mountains (Space, Thunder & Splash)Pirates of the Caribbean: From the Magic Kingdom to the Movies OverviewPirates of the Caribbean is one of the most popular and beloved attractions in Disney theme park history, and can be found in each Magic Kingdom Park around the globe. Pirates of the Caribbean: From the Magic Kingdom to the Movies will illustrate how the scalawags and buccaneers made the voyage from sketches to reality, evolving from early story concepts to adaptations and changes as it moved into each of the parks around the four corners of the world, to the very latest ideas for show enhancement.

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Hitchcock's Notebooks: An Authorized And Illustrated Look Inside The Creative Mind Of Alfred Hitchcock Review

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Hitchcock's Notebooks: An Authorized And Illustrated Look Inside The Creative Mind Of Alfred Hitchcock ReviewHaving been an armchair Hitchcock fan for a few years now, I was eager to read about his creative process to find out just how much he meant to put into making his films. Admittedly, I had read only two other books on Hitchcock before, Donald Spoto's "The Art of Alfred Hitchcock" (after I watch one of Hitch's flicks I crack open that book and read the chapter for said movie...great analysis)and "Psycho" by Stephen Rebello (great inside stiff - er, stuff - and a cool new cover, no less). This book, tho, was different because it is well illustrated with storyboards, (drawings of the crows attacking the schoolkids and the crop duster scene from North by Northwest among others - come on, that's cool stuff!) photostatted letters from the Master himself (was not the master of sus-'pens', I'll tell you, you can barely read what he writes...but worth the closer read). There is a plethora of script stuff in here that handily contributes to the book's heft...I found some of that to be a little much, but the more serious Hitchcock fan (bidding on original Hitchcock posters on Ebay, for example) might be more into the subtle (insightful, mind you) variations in some of "Rebecca's" dialogue, for instance. Dan Auiler did a nice job sifting through what must have been a lot of, well, 'stuff' to get to the really neat-o plot development on movies such as "The Birds" and "Marnie" and he also includes some cool backstory on a film Hitchcock had to abandon because the studio practically forced him to make "Topaz." Supposedly this unmade film could have been a real career boost, as well as possibly helped to reshape 1960s cinema. Buy this book if you love movies and want an inside look at a master's methods.Hitchcock's Notebooks: An Authorized And Illustrated Look Inside The Creative Mind Of Alfred Hitchcock Overview

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How to Draw Animation: Learn the Art of Animation from Character Design to Storyboards and Layouts Review

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How to Draw Animation: Learn the Art of Animation from Character Design to Storyboards and Layouts ReviewThis book is not for people who are interested in becomingserious animators. The book seems to be geared towards children whoare interested in how animation works. So if you are a seriousanimation student I would have to warn you to stay clear of this book. However, this is a good book to give the little kiddies on how animation works. On the bases of it being a Childrens book about animation I would have to give it 5 stars. Since I am sort of an animator in training I would have to give it 2 stars for content. Why? You ask because the content is very brief and does not go into much detail. ...How to Draw Animation: Learn the Art of Animation from Character Design to Storyboards and Layouts OverviewThese lively pages burst with hands-on instruction for creating clever, colorful character animation. Once again, this best-selling author knows just what readers want, and he provides it with this timely instructional on that hugely popular and magical art form: animation.Everywhere we turn—movies, television, videos, CD-ROM—animated characters capture our imagination. This superb book shows aspiring cartoonists and animators how to learn or adapt skills to the lucrative, ever-growing field of animated art. Inviting, step-by-step demonstrators present animation with the emphasis most helpfully placed on cartooning, rather than film technique. The wide-ranging instruction teaches how to create images of hilarious antics and mischief; bring alive enchanted fairy tales and action adventures; conceive brand-new characters with original looks: design contemporary looking settings and backgrounds; and prepare professional-quality storyboards.

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Chuck Jones: Conversations (Conversations with Comic Artists) Review

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Chuck Jones: Conversations (Conversations with Comic Artists) ReviewI highly recommend this book, and not just because I'm in it. (I highly easily finagled a telephone interview with Chuck Jones in 1988--not the greatest interview in the book, but surely one of the highlights of my life.)
If you're a fan of the legendary animation director, this book is the Holy Grail of interview books. It includes interviews by Richard Thompson and Greg Ford (who later did his own Looney Tunes cartoon, THE DUXORCIST) from Film Comment's legendary 1975 issue devoted to animation; an interview by film-buff supreme Joe Adamson (who also did his own Bugs Bunny cartoon, A POLITICAL CARTOON--geez, when do I get to do *my* Looney Tunes??); and several other great and extensive interviews with the master. An invaluable look into the mind of one of the great popular artists of our time.Chuck Jones: Conversations (Conversations with Comic Artists) Overview
Chuck Jones: Conversations brings to life the legendary Warner Bros. artist who helped shape the history of American animation, defining our impressions of such characters as Bugs Bunny, Daffy Duck, Road Runner, Wile E. Coyote, and Pepé le Pew. These interviews span more than thirty years, beginning with a 1968 conversation in which Jones (1912-2002) shares the spotlight with science fiction giant Ray Bradbury.
Throughout, the interviews illustrate the development of Jones's career, including shifts that came after the Warner Bros. animation unit closed in the early 1960s-from the uncertain years of American animation during that decade and the 1970s through the "rediscovery" of Jones and Hollywood studio animation during the 1980s and 1990s. Jones candidly discusses his aesthetic sensibilities, providing tips for aspiring animators and describing Warner Bros. animation in its heyday.
Jones was an art college graduate who struggled through the Depression, trying to establish himself within the Hollywood industry. In these conversations he emerges as a witty raconteur and a well-read, inspiring advocate for animation art, intent on nurturing future generations of animators. Jones recalls vividly the Golden Age of studio animation from the 1930s to the 1950s, including his connections with the Walt Disney studio and United Productions of America. With pleasure, insight, and depth, he describes his family and early life as well as his post-Looney Tunes and Merrie Melodies days. These interviews reveal Jones's struggles as an artist, the many influences upon him, and the creative process that made him famous. This volume contains previously unpublished material along with classic interviews.
Maureen Furniss, Savannah, Georgia, professor of animation and film at Savannah College of Art and Design, is the founding editor and publisher of Animation Journal. She is the author of Art in Motion: Animation Aesthetics, and her work has appeared in many periodicals.

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Drawing the Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson Review

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Drawing the Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson ReviewThis is not your typical university press book.
This is not your typical film or animation history book.
Tom Sito's DRAWING THE LINE is essential reading for historians of the 20th century, for labor historians, for filmmakers, for animators, and for anyone who wants to read an outstanding piece of writing.
It has a cast of thousands: Mafiosi, musicians, politicians, inventors, movie stars, producers, and animated cartoonists who were also labor activists.
If you are in the animation or film business, or a labor union, this book will raise your eyebrows more than once. If you are none of the above but want to learn about these things from the artist/worker's perspective, this book will educate you while entertaining you. (Remember when animated films did that?)
DRAWING THE LINE fills a huge gap in the history of the American labor movement. It is valuable history and it is also a lot of fun to read.
Drawing the Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson OverviewSome of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood's marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America's largest animation union, Sito offers a unique insider's account of animators' struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito's history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry's past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests -- and for the betterment of their art form.

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Animators of Film and Television: Nineteen Artists, Writers, Producers and Others Review

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Animators of Film and Television: Nineteen Artists, Writers, Producers and Others ReviewThis book is a real gem. If you are at all interested in film or animation, you will enjoy it a great deal. The author delves into the life and career of several noted figures in animators with great gusto, giving credit where credit is due. She also makes the link from animation to pop culture, which is really a must. The book is well-written and interesting as well as giving you an education on animation greats.Animators of Film and Television: Nineteen Artists, Writers, Producers and Others OverviewIn the words of Walt Disney, "Animation can explain whatever the mind of man can conceive." Part biography, part history, part artistic commentary, this volume looks at several major figures in the field of animation and discusses how their contributions to the art of animation have affected the course of the industry--and in many cases, had a direct effect on popular culture as a whole. These gifted artists are divided into several classifications: Idealists (Art Babbitt, John Hubley); Mavericks (John Kricfalusi, Terry Gilliam); Technicians (the Fleischer Brothers); Influences (Frank Tashlin, Matt Groening, Ray Harryhausen, Ed Benedict); Trailblazers (Lotte Rieniger, Lillian Friedman); Teller of Tales (Henry Selick); Teachers (George Newall, Tom Yohe, the FMPU); and Storytellers (Joe Grant, Bill Scott, Michael Maltese). Each animator is represented by a list of his or her key films and awards.

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Animating with Stop Motion Pro Review

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Animating with Stop Motion Pro ReviewMark Sawicki has produced a very thorough and practical book to get someone started as a stop motion animator. Although the title implies that the content is very software orientated, the main body of the text is more about stop motion production with the software instruction being only a small part of it, which is a good approach. Subsequently, there is a very good balance between software instruction and tips and broader animation storytelling issues associated with stop motion production. To illustrate this, I particularly liked that the book did not go straight into explaining how to do something in Stop Motion Pro, with the minimum overview, as many software-centered books do. Instead, it explains how an effect was created traditionally, highlighting the draw backs encountered by the animator, then goes on to explain how Stop Motion Pro can be used to do the same effect without the analog drawbacks. The book covers choices regarding technology based on very clear information and effectively identifies less well used features of the program and shows how to be creative with these.
One slight disappointment was how little mention there was of British stop motion pioneers of the 1960s and 70s who inspired later, more well known animators, such as Sproxton and Lord and Nick Park; people like Oliver Postgate and the stop motion output of Gordon Murray Pictures.
Overall, the book covers everything a student or enthusiast would need to know about replacement, straight ahead and destructive animation techniques and how to fabricate, build, set up, shoot, edit and add sound with practical knowledge and application of the software. Processes cover an array of fabrication techniques starting with aluminum wire armatures moving on to ball and socket. The introduction to Stop Motion Pro is covered with enough detail to get the animator started with exercises that go on to fully explore the program. My students will be using this book in my class.
Animating with Stop Motion Pro OverviewAnimating with Stop Motion Pro is comprehensive, hands-on guide to achieving professional results with Stop Motion Pro 7.0 software. Gone are the days of stop motion guesswork and waiting to see the finalized result of your meticulous, labor intensive animations. With the push of a mouse button and the Stop Motion Pro software, animators have ten times the capability of simple camera stop motion capture. Re-visualize stop motion character movements, graph these movements and composite characters into a flawless animations with the techniques and step by step tutorials featured in Animating with Stop Motion Pro. Create professional stop motion animation immediately with detailed exercises at the companion website: http://booksite.focalpress.com/companion/Sawicki/stopmotion/. Integrate classic stop motion animation techniques with the latest stop motion software features.* Develop the next Wallace and Gromit with ease and skill with the step by step tutorials and exercises; highlighting Stop Motion Pro 7.0 features like multi layered onion skinning, continuous preview, rotoscoping and frame averaging, motion control and audio synching. * Create professional stop motion animation immediately with detailed exercises at the companion website: http://booksite.focalpress.com/companion/Sawicki/stopmotion/. Integrate classic stop motion animation techniques with the latest stop motion software features. * Amplyify your animations with the only certified Stop Motion Pro guide available; Re-visualize stop motion character movements, configure your camera and build armature rigs while creating dynamic animations.

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Storyboards: Motion In Art, Third Edition Review

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Storyboards: Motion In Art, Third Edition Review... I'm an illustrator myself with 23 years of storyboarding experience. This book is an excellent tool for both the novice and the seasoned, old grizzled vet like me. For the novice it explains the process, offers guides to how to approach a board, what's important, staging, mood, the different types of boards markets, billing, promotion... the whole gammut. For the vets, it jogs our memory. We tend to fall into patterns of how we do things and it gets comfortable and perhaps a bit common place... or even sloppy. The book reminded me that there's more than one right way or any single solution and maybe the 1st and easiest way isn't the best. There are some great samples of different styles of boards from different artists and a good focus on thinking before drawing. It's a good, usefull addition to my ever expanding library and anyone in the field or wanting to be in the field should consider getting a copy. Make sure it's the 2nd edition... a far more extensive and complete book than the earlier edition. (I now have both)Storyboards: Motion In Art, Third Edition Overview

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The Man behind the Magic: The Story of Walt Disney Review

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The Man behind the Magic: The Story of Walt Disney ReviewThe authors of this biography do not bash Walt like some do just to get press sensationalism. They do not candycoat him either, and the book is very fair. First released in 1991, this book has a few really nice stories and interviews that were new to me. It also has some of the best photos of any of the bios out there, in small b/w spread throughout the book. The photos could be bigger though and the only big color photos were animation art rather than the other great photos that are in the book of Walt at home, play, & work. For someone that has to have every book on Walt this should be in your library.
If you are a diehard Disney history buff who wants a longer read after this book, then try the Bob Thomas book "Walt Disney an American Original" next or the Thomas book on Walts brother Roy Disney called "Building a Company", I could not put it down.The Man behind the Magic: The Story of Walt Disney OverviewFor generations he set the standard for family entertainment. His films--Snow White, Cinderella, Bambi--are perennial classics. Now, Walt Disney's remarkable story is told for children from his childhood on a Missouri farm to the building of the Disney empire. 8-page color insert. Balck-and-white photographs.--This text refers to an out of print or unavailable edition of this title.

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Animation Development: From Pitch to Production Review

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Animation Development: From Pitch to Production ReviewThanks to David's book we aspiring cartoon creators no longer need to resort to repeated 2x4-to-noggin therapy for relief, or spending days on end surfing the net getting advice from who knows who...or even what. I've struggled for some time fearful of spinning my wheels and burning through money because I couldn't find good answers dedicated to the topic of pitching ideas for production. Got the book 2 days ago and burned through it. Would have been done sooner but I have a production day job that pays the bills. A good limitation to have always! So now I'm going to grab my projects and go over 'em with David's book in hand. WHERE'S MY TRUSTY HI-LITER!Animation Development: From Pitch to Production OverviewWhether a novice curious about the cartoon production process, a visual arts student who has not yet experienced that big break, or a seasoned professional looking for valuable insight, Animation Development is the go-to guide for creating the perfect pitch. David Levy has been through every aspect of the pitching process--preparation, hope, rejection, success--and now he wraps up his valuable experience to deliver this comprehensive guide on the industry and process. Animation Development will help readers discover how to tap into their creativity to develop something personal yet universal, push projects through collaborations and partnerships, set up pitch meetings, get legal representation and agents, and manage the emotional roller-coaster common to the pitching and development process.

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The Art and Science of Digital Compositing, Second Edition: Techniques for Visual Effects, Animation and Motion Graphics (The Morgan Kaufmann Series in Computer Graphics) Review

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The Art and Science of Digital Compositing, Second Edition: Techniques for Visual Effects, Animation and Motion Graphics (The Morgan Kaufmann Series in Computer Graphics) ReviewI started my career in visual effects around the same time the first edition was published and have referenced it constantly through out the 9+ years. I bought the 2nd edition for two reasons, my copy of the first edition was falling apart and nostalgia. I was not expecting much new information and was mostly just looking for an intact copy of the first edition with a few new tidbits here and there. I could not have been more wrong.
The second edition has so much NEW information in it was like reading a time capsule of the technological advances of the last ten years. There is not a topic or subject used in compositing that is not covered here. Only two books have sat on my desk my entire career, the first edition and the cinematographers manual. I have read many books available on visual effects, but none compare, honestly. The main reason for that is complete software independence, not partial, complete.
There is no other book that teaches you the raw knowledge you need to be an artist. Anyone can teach you how to push certain buttons of a specific app, this is the only book that clearly teaches you when to push them and why. Artists in today's marketplace need a deep core knowledge of what the software packages are doing so that they can easily switch to other packages. This is especially true in feature film compositing where the industry is at a point of impasse and there is no clear winner of the package wars, fingers crossed for NUKE ;). There is no standard tool anymore so the best way to stay employable is to know what this book teaches, the math, the science, the art.
This book is chock full of examples, color photos and production examples. Whether you've been at this for a while or are new to the art, own this book. Own it for years and years and years. Yes, it's more expensive then any other book on the subject but it is worth so much more then the others that it will pay for itself very quickly. If you already have the other books, sell them, get this.The Art and Science of Digital Compositing, Second Edition: Techniques for Visual Effects, Animation and Motion Graphics (The Morgan Kaufmann Series in Computer Graphics) Overview*The classic reference, with over 25,000 copies in print, has been massively expanded and thoroughly updated to include state-of-the-art methods and 400+ all-new full color images!At ILM, compositing is one of the most important tools we use. If you want to learn more, this excellent 2nd-edition is detailed with hundreds of secrets that will help make your comps seamless. For beginners or experts, Ron walks you through the processes of analysis and workflows - linear thinking which will help you become deft and successfully tackle any shot. - Dennis Muren ASC, Senior Visual Effects Supervisor, Industrial Light & MagicRon Brinkman's book is the definitive work on digital compositing and we have depended on this book as a critical part of our in-house training program at Imageworks since the 1999 Edition. We use this book as a daily textbook and reference for our lighters, compositors and anyone working with digital imagery.It is wonderful to see a new edition being released and it will certainly be required reading for all our digital artists here at Imageworks.- Sande Scoredos, Executive Director of Training & Artist Development, Sony Pictures ImageworksThe Art and Science of Digital Compositing is the only complete overview of the technical and artistic nature of digital compositing.It covers a wide range of topics from basic image creation, representation and manipulation, to a look at the visual cues that are necessary to create a believable composite.Designed as an introduction to the field, as well as an authoritative technical reference, this book provides essential information for novices and professionals alike.*17 new case-studies provide in-depth looks at the compositing work done on films such as Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Golden Compass, The Incredibles, King Kong, The Lord of the Rings:The Return of the King, Sin City, Spider-Man 2, Wallace and Gromit: The Curse of the Were-Rabbit, and Star Wars: Episode 3 - Revenge of the Sith.*The accompanying DVD-ROM features bonus resources, including example footage from hit films and projects that give readers hands-on experience withreal industry materials.*Includes new sections on 3D compositing, High Dynamic Range (HDR) imaging, Rotoscoping, and much more!*17 new case-studies provide in-depth looks at the compositing work done on films such as Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Golden Compass, The Incredibles, King Kong, The Lord of the Rings:The Return of the King, Sin City, Spider-Man 2, Wallace and Gromit: The Curse of the Were-Rabbit, and Star Wars: Episode 3 - Revenge of the Sith.*The accompanying DVD-ROM features bonus resources, including example footage from hit films and projects that give readers hands-on experience withreal industry materials.*Includes new sections on 3D compositing, High Dynamic Range (HDR) imaging, Rotoscoping, and much more!

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Producing Animation, Second Edition Review

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Producing Animation, Second Edition ReviewI am an animation artist who has also worked as a producer and production manager. PRODUCING ANIMATION attempts to explain an under-researched topic, but also helps perpetuate the idea that you need to have five managers for every artist on an animated picture. Top heavy management and overproduced films that are in production before their story is set are the true reasons for the skyrocketing costs of animation in the past few years. There are some horror stories here, such as the 'executive' who thought he could rewrite dialogue...after the picture had been animated. The authors also decry an 'artistic supervisor' (could that possibly be a director?) who (oh dear) wanted to make changes. The executive got his changes. The artist, they imply, did not. They also claim that artists have to be told by production people when to give up their artwork so that they can meet the production schedule. So the blame for production delays is invariably placed on the artists, who are a 'rag tag team', not highly trained professionals. Portions of the book are useful: blueprints for schedules (nothing about 'complexity of the film' setting the neat little figures back though.) Anyone who wishes to produce animated films and who does not have any idea what the artists do on the project (and sadly that describes a good many producers) would do well to read the sections on the PRODUCTION PLAN and PRODUCTION CREW.
There is one helpful quote at the beginning of this book from Warner Television executive Ken Duer. "...it would only make sense to let the directors direct and be creatively responsible for the project and let the producers manage and create a 'stage' for creative artists so that the artists can do what they do best."
They didn't need to write any more about the 'function of the producer' after that. But it was amusing to see the authors attempt to justify the existence of a 'line producer' whose job descriptions are duplicated by the associate producer; and they actually admit that the associate-executive-in-charge-of-assistant-to-the producer titles are more a product of 'what an agent or representative is able to negotiate for their clients, wholly independent of their actual ability.'
Artists, buy this book and read it. Know who you are dealing with. Producers, read it and learn, but have some respect for the artists. They are, after all, the ones actually producing something.Producing Animation, Second Edition Overview
You have a useful library of books covering the tools, techniques and aesthetics of animation, but you've been asked to put your production and creative skills to the test to produce a theatrical feature film or to deliver 52 episodes of a television series with only 18 months in the schedule. Producing Animation is your answer.

Written by Catherine Winder and Zahra Dowlatabadi and edited by Tracey Miller-Zarneke, Producing Animation is a comprehensive guide to the production industry. Already a relied upon resource by professionals and students alike, this book covers the process from script to screen while defining the role of the producer at each phase. The second edition features new content such as sidebars on key topics from industry experts, discussions on CG, 2D and stereoscopic production processes, and an overview on marketing and distributing your project. Companion website provides access to sample tables, templates and workflow outlines for CG and 2D animation production.

* The complete guide to identifying, pitching, selling, developing,and producing an animated show with detailed resources for production planning, budgeting, scheduling and tracking your project.

*A unique collection of the knowledge, experience and advice of industry professionals on a wide variety of topics, from selling your project to setting up a co-production to stereoscopic filmmaking * New! Producing Animation 2nd edition features 2 new chapters discussing software and legal aspect of a producer's role, in-depth case studies, and updated resources for professionals and students alike. * Companion website features sample charts, editable tables and templates, and workflow outlines for 2D, 3D, object and digital animation production.


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Walt in Wonderland: The Silent Films of Walt Disney Review

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Walt in Wonderland: The Silent Films of Walt Disney Review
Long before Cinderella, Snow White and the Seven Dwarfs, and Bambi there was Oswald the Lucky Rabbit. "Walt In Wonderland" chronicles Disney's years as a director and producer of silent films.
More than 90 silent cartoons were made by Disney and his associates during the 1920's. With some 170 illustrations and a scholarly, well researched text, "Walt In Wonderland" is a superb addition to filmdom's archives and a boon for early film buffs.
In this volume that we learn how many of Disney's ongoing themes made their first appearances in these cartoons, and also find out more about the remarkably talented people that Disney brought together and nurtured.
- Gail CookeWalt in Wonderland: The Silent Films of Walt Disney Overview

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Walt Disney: The Triumph of the American Imagination (Vintage) Review

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Walt Disney: The Triumph of the American Imagination (Vintage) ReviewHaving collected and read about Walt Disney and animation for 30+ years, I found that the only proper way to read Gabler's biography is as follow-up to the great book by Michael Barrier, "An Animated Man", also available on Amazon. Barrier gives the structure of Walt's life as centered on Walt's true loves: his animation and his parks. While Barrier's book is a very pleasant read, and gives insight in what made Walt tick. As a contrast, Gabler recites data as if it was a class in Latin and represents Walt as a kind of nut. Gabler clearly neither likes nor understands Walt. He also has no knowledge of--or love for--the medium of animation, and he keeps talking of Walt's "animations," an expression that is only used by people who have no idea what they are talking about. But he did have access to the Archives, and thus some things are only to be found in his book. There are many, many factual errors in Gabler's book. A huge list can be found on Barriers's site (Google "GablerErrata"). And as a final note, on that same site, one can read that Diane Disney Miller herself thinks the Gabler book is a gross misrepresentation of her father (Google "Diane_On_Gabler"). So buy both books, read Barrier first, then Gabler, and then make up your own mind!Walt Disney: The Triumph of the American Imagination (Vintage) Overview

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Of Mice and Magic: A History of American Animated Cartoons; Revised and Updated (Plume Books) Review

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Of Mice and Magic: A History of American Animated Cartoons; Revised and Updated (Plume Books) ReviewThis is the book that turned me on to animated films. Well-known movie critic and buff Leonard Maltin wrote the third great book on American animated cartoons (the first two being "The Art of Walt Disney" and "Tex Avery: King of Cartoons"), and he gives us a look at all of the great cartoons of old, from Betty Boop and Koko the Clown through the eras of Mickey Mouse, Bugs Bunny, Mister Magoo, and even Fritz the Cat. His book is somewhat out of date now, as this book was published in 1985. Three years later, 1988 proved to be a watershed year in animation with the rebirth of Disney animation in "The Little Mermaid," while "Who Framed Roger Rabbit" made it okay for adults to enjoy cartoons. (Disney's "Duck Tales" also led the way to a new beginning of quality animation for TV, leaving the shoddy kiddie toy merchandising fodder in the dust...almost.) The years following these animation landmarks opened the gates to a flood of terrific cartoons that Maltin's book doesn't cover, including Spielberg's "Tiny Toons" and "Animaniacs;" Disney's "Toy Story;" the mainstream popularization of Japanese animation; quality children's cartoons with "Rugrats," "Bobby's World," and "Doug;" Warner Bros.' animated "Batman" and "Superman;" animation aimed at older audiences with "The Simpsons" and "South Park;" and so much more. The the animation renaissance of the past dozen years or so has brought a new rebirth to the animation industry...and in fact, the definitive book on the new era of animation hasn't been written yet. But the cartoons of the Golden Age are widely available, and indeed, they are still broadcast on TV every day, more than fifty years after such great live-action contemporaries as Bogart, Cagney, and so many others have passed into the archives of movie history. Maltin's book is an exceptional, delightful look into an innocent era of animation that has finally taken its rightful place in film history.Of Mice and Magic: A History of American Animated Cartoons; Revised and Updated (Plume Books) OverviewFilm historian Leonard Maltin recreates a whole era of Hollywood cartoons, from Betty Boop to Spielberg's "An American Tail". It also brings the reader up to date on the modern work of Walt Disney and the Warner Bros studio, plus new developments in animation. The book includes a filmography of cartoons and sources for video rental.

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The Pixar Touch (Vintage) Review

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The Pixar Touch (Vintage) ReviewI was glued to this book about Pixar's humble beginnings and inspiring ascension into the firmament. In true Cinderella fashion, the company starts with nothing, gets no respect, but eventually its dreams come true. It's a thought-provoking journey.
Pixar's story interweaves with that of the Walt Disney Company throughout its history. Founding CEO Ed Catmull's college dissertation involved creating a texture map projecting Mickey Mouse and Winnie the Pooh onto undulating surfaces. When Disney decided to replace its ink-and-paint process with computers, it had Pixar test the system with a scene from The Little Mermaid. In 1991, Disney agreed to finance Pixar's first full-length feature film, Toy Story, but production was shut down in late 1993 because the plot dictated that Woody be mean and petty. Disney rewrote the script to make the toy cowboy more sympathetic. And in January 2006, Disney agreed to acquire Pixar for 287.5 million shares of Disney stock.
The story works in the biographies of some fascinating men. Catmull turned down Disney when it approached him to help design the Walt Disney World attraction Space Mountain. Steve Jobs, newly thrown out of Apple Computer, bought Pixar for just $5 million, only to discover he had to spend twice that to keep it afloat. You read how John Lasseter advances from a skipper on Disneyland's Jungle Cruise to the principal creative advisor of Disney and Pixar animation.
The book includes a handful of black and white photos, and eight glossy, full-color pages with images from Pixar movies Toy Story, A Bug's Life, Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars and Ratatouille.
Here's the chapter list:
1. Anaheim
2. In the Garage
3. Lucasfilm
4. Steve Jobs
5. Pixar, Inc.
6. Making it Fly 1
7. Making it Fly 2
8. "It Seemed Like an All-Out War"
9. Crisis in Monstropolis
10. Emeryville
11. Homecoming
Appendix 1: Pixar Academy Awards and nominations
Appendix 2: Pixar FilmographyThe Pixar Touch (Vintage) Overview

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The Animation Business Handbook Review

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The Animation Business Handbook ReviewI was looking for a book that could provide details on the inner workings of the animation business. This book did not disappoint. In fact it is much more than I expected. The book details such thing as financing, budgeting, distribution, marketing, pitching your product, operational strategies, and key management fundamentals specific to this industry. It is obvious that the author has been entrenched in this industry and knows it well. Page after page is filled with factual data about production budgets, film revenues (not just box office, all the channels), operational costs, and extremely informative statistical snapshots. This edition was printed in 2004 and the industry has certainly changed, but a vast majority of the information in this book is still relevant today.The Animation Business Handbook OverviewToday, animation is more prevalent than ever in television, films, video games, and the Internet. Karen Raugust has created a much needed, comprehensive look at the entire business. She shows in detail how a successful animation studio or entrepreneur operates, describes the process of developing an animation property from the concept stage through the finished product, and outlines business methods used to create and sell animated media.Topics covered include:* Distribution, sales, and marketing methods* Financing, budgeting, costs and revenue opportunities* The creation of ancillary entertainment and merchandise* Animation in international markets.The Animation Business Handbook is the quintessential reference for anyone in or considering entering the animation industry.

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Alien Race: Visual Development of an Intergalactic Adventure Review

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Alien Race: Visual Development of an Intergalactic Adventure ReviewI would like to start by saying that I am by no means an authority on concept art, although I am a freelance artist. I am also by no means a professional science fiction critic, though I have been a sci-fi fan for as long as I can remember. Lastly, I may have given the book 4 stars but that's only because I can't give it 4 and a half.
Simply put, 'Alien Race: A Visual Development of an Intergalactic Adventure' is a stunning, well put together and artistically inspiring piece of creativity in book form. Designed as a collection of concept art, stories and ideas developed for a possible intellectual property, the book explores the various characters, creatures, environments and plot angles that might go into the creation of a film, animated cartoon, tv series or video game. While no such use of the material in 'Alien Race' actually exists as of this review (unfortunately), the artwork and concepts contained within the pages of this book could easily be from a 'making of the movie' book for a popular film.
Especially impressive is the way multiple artists and designers approached the same or similar concepts in the book. I also liked how they showed the ideas they did not go with, again bringing to mind the concept designs seen in the 'art of' or 'making of' books for currently developed properties like the J.J. Abrams Star Trek film or the Star Wars: The Clone Wars animated series for example.
So why not five stars? Well, its a personal preference really and has less to do with the quality of the book itself. I felt a couple of the ideas in the book were underdeveloped and would therefore hinder its use as a 'real' property. The 'human team', that is those participants in the 'Alien Race' who hail from Earth, seemed visually underwhelming in comparission to their alien counterparts. Again this is just my personal aesthetic and not a reflection of the work. Also, the Flyers, those creatures that fly in the race, seemed less diverse and astounding then their ground based cousins even though they travel threw the air which is the more exotic environment.
If there is ever an 'Alien Race II' I'd love to see creatures that swim or climb and perhaps some insectoid lifeforms. That said, this book is definitely a triumph in that my only complains are wanting more.Alien Race: Visual Development of an Intergalactic Adventure Overview
Alien Race is an illustrated narrative of an original science fiction tale. Three Art Center College of Design entertainment design students discuss the process of and develop the visuals for one of the most unique stories today - combining action, adventure and captivating art to introduce the reader to the fascinating world of concept design.


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Gardner's Guide to Multimedia & Animation Studios (Gardner's Guide Series) Review

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Gardner's Guide to Multimedia & Animation Studios (Gardner's Guide Series) ReviewIs a shame that a great book like this only have one review until now ( and a wrong one ) hence I'll try to correct this.
NOTE: Be aware that this review is for the GARDNER'S GUIDE TO ANIMATION SCRIPTWRITING ( this review is wrongly appearing TOO in the "Gardner's guide to Multimedia & animation Studios", some kind of problem in Amazon.com I Think, :-( SORRY Chaz )
I bought this book in August 2001, if you are looking for books about scripts there are many ones, some very good, but any is writed exclusively thinking in animation and cartoons. For the animator this is an invaluable reference, here is the summary:
1.- Animation - An Overview
2.- Cartoon Genres
3.- The Moral
4.- Central Idea
5.- Dead End Ahead - The Central question
6.- The Characters and the Character Arc
7.- Introduction to Plot
8.- The Twenty-Two minute Structure
9.- The Eleven Minute Structure
10.- The Seven Minute Structure
11.- Make 'Em Laugh - Levels of Humor
12.- Prose
13.- Dialogue
14.- The Scene
15.- Broadcast Guidelines
16.- The Rewrite
17.- The Writing Process of Animation
Glossary, Cartoonography, Filmography, Road Map Forms, Apendix
The book itself have a good easyreading design, with plenty of quotations and references to well known movies or series, here you have the basics of writing but you can find more profound books about this, the special of the book is that is writed for cartoons specially, have 3 chapters studying the structures of the cartoonscript of 7, 11 and 22 minutes, of course you can apply all the information for an animation of any length, movies or shorts.
Including checklists for Structure, Characters, Scenes, Dialogue, Humor, Prose, 3 Structure guides, 75 Excercises, 37 Rules and an Animated 7 minutes Teleplay in the appendix: You have here a book that will go to occupy an important place near you.
I'm not an acclaimed screenwriter in fact I'm a novice in this area but I'm working with a firm producing some animations and I can asure you that this book can prevent you some rocky mistakes in this special field and even If you are a Pro you'll find some good points here.Gardner's Guide to Multimedia & Animation Studios (Gardner's Guide Series) OverviewThis is the most comprehensive new media industry directory. Gardner's Guide to Multimedia and Animation Studios profiles hundreds of computer graphics, animation, multimedia companies in the USA and Canada. A valuable directory for professionals and students seeking to enter the New Media job market. Researched categories includes: areas of specialization; number of employees; description of company achievements, mailing address, phone and fax numbers, and web address. Indexed by the following categories: geographic location of studio; number of employees; area of specialization; in addition to the generic index. This book is your direct link to over 10,000 practitioners at hundreds of studios.

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