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Elemental Magic, Volume II: The Technique of Special Effects Animation (Animation Masters Title), by Joseph Gilland
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Review
PRAISE 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 King
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About the Author
In his 32+ year animation career, he has worked with such studios as Walt Disney Feature Animation, Don Bluth Animation, Productions Pascal Blais and the National Film Board of Canada. At Walt Disney Feature Animation, he served as Supervisor of Visual Effects for the Disney features Lilo & Stitch and Brother Bear. At Disney he also served as Head of Special Effects Units for the Disney features Kingdom of the Sun and Tarzan, and was Special Effects Animator on such notable titles as Pocahontas, The Hunchback of Notre Dame, James and the Giant Peach, Hercules and Mulan. He served as Designer and Supervisor for all 2D and 3D visual effects on the television series Silverwing, and Chaotic at Bardel Animation in Vancouver. He has also designed and directed a wide variety of television commercials. Clients include General Motors, CocaCola, Honda, MacDonald's, Gillette, Players Tobacco, Larrouse Dictionaries, and Radio Quebec. For almost three years, he was the Head of animation, and Digital Character animation at the Vancouver Film School. He lectures at animation schools in Canada, Europe and Asia, and has conducted workshops at animation festivals and schools around the world. he is a professional musician and performer as well.He has been writing professionally for over three years now, and has a bi-monthly column in the online Animation World Magazine, entitled 'The Animated Scene' which has an enormous readership around the world. He has also had articles published in Animation Magazine, the world's foremost industry magazine, as well as well as an article in 'Cartoons' The International Journal of Animation.
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Product details
Series: Animation Masters Title
Paperback: 360 pages
Publisher: Focal Press; 1 edition (October 5, 2011)
Language: English
ISBN-10: 0240814797
ISBN-13: 978-0240814797
Product Dimensions:
11 x 0.8 x 8.8 inches
Shipping Weight: 2.6 pounds (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
28 customer reviews
Amazon Best Sellers Rank:
#204,055 in Books (See Top 100 in Books)
I can't wait to use this book more. So often I'm searching for some kernel of knowledge when trying to learn new techniques (or hone existing ones), and most of the time books don't capture the same insights for me as taking a class or learning directly from another artist. But this book does it! Reading it feels like some of the best classes I had in art school, focused directly on a subject that's often glossed over, left out of "Art of" books, with true masters few and far between. I've only spent a few hours reading through the material and feel like I've already learned a lot of key things I can use in my daily work -- mostly, how to mentally approach animating special effects. I'm so glad a book like this exists, especially one penned by such an accomplished and deeply passionate artist. Thanks Joseph! You're helping make my game VFX all the better.
Both Volume 1 and 2 really explain how an effect should look and feel. Anyone can press play and a fluid solver or set up a rigid body scene, but is the result appealing? Does it fit with the story? Joseph Gilland is the guy to show you how it's done right. I've heard CG artist argue that their simulation is physically accurate correct and "the reason it looks that way because gravity behaves like blah blah blah," but It's not supposed to be accurate, it's supposed to look awesome.
It has been said that one must learn special effects for animation prior to animating or any other process in the field. I do not know if this is a solidified truth or not, but it pays off when an animator boils down the timing. Not to mention that drawing and artistic styling can manifest expansions as well when one delves into this sort of practice or study.There are plenty of examples to build a portfolio or an understanding. Let it be said that one should not copy from the examples in the book after he has firmly grasped then, and try and substitute his own takes on the matter and projects to build this portfolio.Minimal information is out or written on this subject pertaining animation, or at least as far as I know outside of an academic institution. A classical approach to the application, but beneficial digitally for a means to an end. This is one of the only sources of information pertaining to this matter, and should be a must for any student or individual starting out and interested in this area. Regarding the price and the amount of information that is stored within is a steal.The two volumes make for great additions to supplemented materials as photograph books on motion and such subjects, as well as life studies of natural phenomena.
This is the best study of the fluid like flow of fire I have ever seen or read. I am using this more for film practicals and vfx integration then drawing ... But the principles taught here apply to both.
I learn so much from Joseph's books. Makes me proud to be working in the industry and makes me love what I do even more. Hearing and learning things from a pro is great and inspiring.This book is a great guide for anyone and everyone that enjoys VFX =)
If you can only buy one of these books, I would recommend getting this book rather than Volume 1. Both books cover a lot of the same material, but this one has very well-crafted tutorials. If you are attempting to develop your technique in the animation of fire and water (very difficult things to successfully animate) this book will guide you. The best thing is that the tutorials are not software-specific - you can use them with any animation tools you use.This book is a must-have for anyone interested in animation.PS - It always makes my day to know that people find these reviews helpful. If you'd also like to ask a question or leave a comment I usually respond the same day, so if you have a question or comment (even if it's just to say, Hi!") feel free to post it below.Thanks,Claire
I've had this book for a while now and it's difficult to review on it's own, since technically it is part of a set. And also there really are no books out there specifically on this subject (that I'm aware of) so there's not much to compare it to. First off, if you didn't like the first book, you probably won't like this one. It's very similar and there is some overlapping material. There are some very good aspects to this book, but I have some issues with it: One, literally a third of the book is taken up by animating a splash, and two: I can't help but feel if both books were presented in a slightly more focused fashion it could've all fit into one book. For example in the chapter on fire he goes into a lot of scientific detail on combustion, which from a practical point of view, didn't do me any good and didn't need to be there.His overall teaching/presentation style is often a little wordy and not as focused as in some other animation books I have. I agree this is complicated stuff, but probably no more so than animation in general. It's just different. Also, there is a LOT of wasted space in the book. Some of the pages have big, clear pictures in it, which is great, but there are many pages where the type only takes up like half of a page because the margins are so far in, and there is some random illustration on the page that doesn't show how to animate anything, it's just for decoration. Feels very padded at times. And lastly, the companion website that is supposed to exist, doesn't. I went to the address it listed and there is nothing there.If you are really needing in-depth instruction on animating special effects then you'll probably want to pick this up. The fact that there isn't really any competition makes your choice pretty clear. Not what I'd hoped, but certainly has some good info in it.
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