Industrial Light & Magic: The Art of Innovation pdf by P. Glintenkamp. Branded packaging should is not an idea of it wasnt easy book coming. Alternatively you. Industrial Light & Magic: The Art of Innovation is an extensively illustrated oral history of the multiple-Academy-Award®-winning visual effects company founded . Pamela Glintenkamp offers us with this book of pages, a presentation of 35 years of groundbreaking work of the wizards from Industrial.
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industry. For example, while Flubber (I99?) featured advanced digital effects, the movie did not win an Industrial Light & Magic .. by the Academy of Motion Picture Arts and. Sciences .. sible for many innovations related to anima- tion and. Industrial Light & Magic book. Read 8 reviews from the world's largest community for readers. Industrial Light & Magic: The Art of Innovation is an exten. Find many great new & used options and get the best deals for Industrial Light and Magic: The Art of Innovation by Pamela Glintenkamp and Lucasfilm Ltd. Staff .
I cannot saw how much i have been looking forward to reading this book. Without disappearing off in to a convoluted history of Industrial Light and Magic ILM or the fact that I stumbled across their first book in a random book sale held in a the conference room of a rather beaten up hotel I just happened to be walking past - but lets say that I loved the films Star Wars and Indiana Jones to name but a few but also it gave an in depth and open tour-de-force of how special effects are created I cannot saw how much i have been looking forward to reading this book.
Without disappearing off in to a convoluted history of Industrial Light and Magic ILM or the fact that I stumbled across their first book in a random book sale held in a the conference room of a rather beaten up hotel I just happened to be walking past - but lets say that I loved the films Star Wars and Indiana Jones to name but a few but also it gave an in depth and open tour-de-force of how special effects are created and achieved, back in the days when models were really blown up and miniature sets were dressed with as much attention to detail as the actors and their set pieces.
Well time moved on and the digital age approached- and rather than be left behind ILM embraced it and made it their own and so ILM in to the digital age was made. This book pretty much follows the path you would expect with a title like that - models and camera work still are in use but now augmented with cutting edge technology. One of the things about ILM was the mentality of if its not averrable yet, someone better invent it.
And this is true for computer work, first with controlling cameras and their movement and then on to full blown computer generated graphics. And finally we have the third instalment - the Art of Innovation. Now first of all I will point out this is not really third in the series, the publisher is different the format is different and even the book size has changed.
Even with these reservations the book is amazing there is still the massive amounts of previously unreleased material and insights. The artwork is glossy and details often with double page spreads and the information on the films is still incredible, I love looking out for their work but even I was surprised at some of the projects they have been involved with and where.
So for fans of ILM this book is a must and well worth the wait - but do not think it is the third instalment carry on from the previous books, it may look it, it may even be treated as such but it does not have the same feel. That said it does make a huge impression on its own and I think that may not be such a bad thing.
Jan 19, Chris rated it it was amazing Recommends it for: People who love Movies and "The Making of" series. ILM is one of those dream companies that are extremely hard to get into. They are considered the best special effects company to work for and credit their start to George Lucas when he started making the first Star Wars movie.
ILM creates the movie worlds that audience members are starting to take for granted. They create the dream-like escapes that we come to expect now in films that very few could ever come up with on our own. They are the wizards that make the dreamers' directors dreams com ILM is one of those dream companies that are extremely hard to get into. They are the wizards that make the dreamers' directors dreams come to life.
This was a wonderful book to read because it explaines what ILM did on each film in the book. This book is a showcase of what it took to create some famous shots in each film and how much work was involved. For example, the computing power needed to create the 22 second opening shot of Avatar was more than any other film they had ever done before, going from thirty render processors to over for just this one shot that lasted less than half a minute.
There are many film buffs that like to learn what it took to make certain films and how a shot was created in order to make it look real. This is one of those books you should take the time to read. There is a lot of work involved in making a film, and I think people don't really understand that the people who make the impressive special effects in movies are the ones who are top of their field, especially if they work at ILM. The ILM people are the cream of the crop and its not an easy road to get there, unless you have such an impressive body of work that they feel will benefit them in someway.
The nice thing about this book is that throughout each movie, there are little bios of individuals that explain how they got to work at ILM.
Many if your a parent reading this, take NOTE all were influenced at a young age usually under 10 from a movie they saw that influenced their interest in movie magic. They all mention one or two movies that influenced them to want to work in movies.
A few artists themselves started going out and teaching themselves how to do it at home using just a basic hand-held camera or a still camera. Movies have a strong influence in our lives and do not turn your brain into mush like many parents like to teach their little ones today. Movies teach, influence and inspire, and it is the ones who watched them as little kids when their imagination is most active that they got new ideas for creating better effects, creatures, and stories.
If it weren't for those great parents who took the senior staff of ILM today when they were kids to see movies that conservative parents would say today are too scary for their little ones we would not have Avatar, Jurassic Park, Star Wars, King Kong, Iron Man and Transformers because they would all be working in other jobs but because their parents took them, we have those movies and can enjoy their inspiration and imagination those movies have given us.
If you want to learn more about how films are made, what techniques they used to create the monsters in War of the Worlds, or if you are wondering if the child in Lemony Snicket's is real, then read this book. You will learn about all the scientific advances that ILM has created for our world.
Understand that it is not just special effects houses that benefit from these advances, but other industries as well. The only difference is that the film industry has the money and interest to build and invest in new technology, it just so happens that other fields can learn from them afterwards without the huge expense.
The next time you think Film and TV shows are a waste of time or turn your brain to mush , remember that if it weren't for the technology that the entertainment industry creates everyday, other career fields out there would suffer because of the loss of research and development.
Special effects houses create advances that are so far ahead of most fields that many technology companies look to them for ideas. If you think about that carefully, it's true. Look at the movie, "Minority Report" directed by Mr. A lot of the hand-motion technology in that film was so amazing to see when it came out in , but we have that technology today and think nothing of it.
It was the special effects people who inspired the computer programmers, computer engineers to create that for us. Without the world of Star Trek to inspire, we would not have many of the gadgets that we once thought were so cool to see, but now use in our everyday lives, such as the mobile tablet, and think nothing of them anymore.
I, for one, am glad I grew up at a young age on films and TV shows and thank my parents for introducing them to me without any restrictions. Because of that, today I help inspire others to think in creative ways on how to fix their problems in many different fields. Nov 14, Parka rated it it was amazing Shelves: Into the Digital Realm in This new page hardcover features 43 films from to Movies from before are featured in only a few pages since they were in the earlier books.
To give you an idea of how far it goes back, the first movie featured is Casper Each movie has a writeup focusing on the special effects used, and comes with accompanying film stills and photos from behind the scenes.
The interesting stories and interviews from the film staff makes for a fascinating read. It's like finding out how magic tricks are done.
These guys are living right at the bleeding edge, creating software for making movies when nothing else in the market exists. It's intriguing to read how they overcome challenges that come with every film. This book is a wonderful flashback at how techniques for movie making have evolved.
In Jumanji, The monkeys riding on the police bike still looked rather crude. Fast forward to present time, we now have Avatar which is basically a full length special effects movie.
Highly recommended to movie buffs. Jun 24, Trike rated it really liked it Shelves: This is a terrific look at the past decade-and-a-half of ILM's work.
Each entry is fairly brief and can therefore be consumed in bite-sized chunks, but you do get a good feel for how the technology has progressed and the company has grown. It has many of the most recent movies, including Avatar and the Marvel superhero movies, with some nice behind-the-scenes information on their productions.
Books like this don't delve into company politics or gossip about the artists, which is how it should be. It's about project complete and problems solved, with hundreds and hundreds of pretty pictures. If you're the kind of person who watches the behind-the-scenes stuff on your DVDs, then this is exactly up your alley. This is a company that has long been the best at what they do: Sep 13, Astrid Yrigollen rated it liked it Shelves: If you live in Marin county you should check out this book.
From their earlier work with George Lucas on to semi-recent films like Avatar and Rango. They appreciate all contributions, regardless of where or from whom they originate, and use the best ones.
A Peer Culture Of great importance—and something that sets us apart from other studios—is the way people at all levels support one another.
Everyone is fully invested in helping everyone else turn out the best work. Nothing exemplifies this more than our creative brain trust and our daily review process. The brain trust. When a director and producer feel in need of assistance, they convene the group and anyone else they think would be valuable and show the current version of the work in progress.
This is followed by a lively two-hour give-and-take discussion, which is all about making the movie better. Nobody pulls any punches to be polite. This works because all the participants have come to trust and respect one another. The problem-solving powers of this group are immense and inspirational to watch. This dynamic is crucial. It liberates the trust members, so they can give their unvarnished expert opinions, and it liberates the director to seek help and fully consider the advice.
It took us a while to learn this. Eventually, I realized why: We had given these other review groups some authority. The origin of the creative brain trust was Toy Story. During a crisis that occurred while making that film, a special relationship developed among John, Andrew, Lee, and Joe, who had remarkable and complementary skills. The dailies. At Disney, only a small senior group would look at daily animation work.
John, who joined my computer group at Lucasfilm after leaving Disney, participated in these sessions while we were creating computer-animated effects for Young Sherlock Holmes. As we built up an animation crew for Toy Story in the early s, John used what he had learned from Disney and ILM to develop our daily review process.
People show work in an incomplete state to the whole animation crew, and although the director makes decisions, everyone is encouraged to comment. There are several benefits. First, once people get over the embarrassment of showing work still in progress, they become more creative.
Second, the director or creative leads guiding the review process can communicate important points to the entire crew at the same time. Third, people learn from and inspire each other; a highly creative piece of animation will spark others to raise their game.
The dailies process avoids such wasted efforts. Barriers include the natural class structures that arise in organizations: There always seems to be one function that considers itself and is perceived by others to be the one the organization values the most. In a creative business like ours, these barriers are impediments to producing great work, and therefore we must do everything we can to tear them down.
Everyone must have the freedom to communicate with anyone. It must be safe for everyone to offer ideas. We must stay close to innovations happening in the academic community. Walt Disney understood this. He believed that when continual change, or reinvention, is the norm in an organization and technology and art are together, magical things happen.
But he did the first sound in animation, the first color, the first compositing of animation with live action, and the first applications of xerography in animation production. He was always excited by science and technology. At Pixar, we believe in this swirling interplay between art and technology and constantly try to use better technology at every stage of production.
Although we are a director- and producer-led meritocracy, which recognizes that talent is not spread equally among all people, we adhere to the following principles: Everyone must have the freedom to communicate with anyone.
This means recognizing that the decision-making hierarchy and communication structure in organizations are two different things. The impulse to tightly control the process is understandable given the complex nature of moviemaking, but problems are almost by definition unforeseen.
The most efficient way to deal with numerous problems is to trust people to work out the difficulties directly with each other without having to check for permission. We try to stagger who goes to which viewing to ensure that there are always fresh eyes, and everyone in the company, regardless of discipline or position, gets to go at some point. We strongly encourage our technical artists to publish their research and participate in industry conferences.
Publishing may give away ideas, but it keeps us connected with the academic community. This connection is worth far more than any ideas we may have revealed: It helps us attract exceptional talent and reinforces the belief throughout the company that people are more important than ideas. We try to break down the walls between disciplines in other ways, as well.
One is a collection of in-house courses we offer, which we call Pixar University. It is responsible for training and cross-training people as they develop in their careers. Some screenplay writing, drawing, and sculpting are directly related to our business; some Pilates and yoga are not. In a sculpting class will be rank novices as well as world-class sculptors who want to refine their skills.
Most buildings are designed for some functional purpose, but ours is structured to maximize inadvertent encounters. At its center is a large atrium, which contains the cafeteria, meeting rooms, bathrooms, and mailboxes.
As a result, everyone has strong reasons to go there repeatedly during the course of the workday. Staying on the Rails Observing the rise and fall of computer companies during my career has affected me deeply.
Many companies put together a phenomenal group of people who produced great products. They had the best engineers, exposure to the needs of customers, access to changing technology, and experienced management. Yet many made decisions at the height of their powers that were stunningly wrongheaded, and they faded into irrelevance.
How could really smart people completely miss something so crucial to their survival? When Pixar became an independent company, I vowed we would be different. It is uncomfortable and hard to be objective.
Systematically fighting complacency and uncovering problems when your company is successful have got to be two of the toughest management challenges there are. But the success of those that followed varied enormously. This caused me to reflect on how to get more out of them.
Leaders naturally want to use the occasion to give kudos to their team members. People in general would rather talk about what went right than what went wrong. And after spending years on a film, everybody just wants to move on. Left to their own devices, people will game the system to avoid confronting the unpleasant.
There are some simple techniques for overcoming these problems. One is to try to vary the way you do the postmortems. The balance between the positive and the negative helps make it a safer environment.
In any event, employ lots of data in the review.