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The cracks were noticed because after heavy rainfall water would leak through the slab and into the building.
- Movie Special Effects Software search results Windows Movie Maker 6.1. Auto Movie Creator 3.26. ImTOO Movie Maker 6.0.4.1126. 4Media Movie Editor 6.0.3.0701. Bolide Movie Creator 4.1. Debugmode Wax 2.0e. AlphaStar 1.31. Video Edit Magic 4.47. Flex GIF Animator 10.10. Blaze Audio VoiceSFX.
- Simulation and visualization tools for autonomous agent driven animation for film, games, television, architecture and transportation.
- Top 10 Special Effects in Movie Maker. Top 1: SpiceFX Movie Maker. SpiceFX Movie Maker is a special effect for Windows Movie Maker which can help you edit your movie more creative and flexibility. It has more than 600 video transitions as well as effects you can use to rich your videos at ease.
- Amazing Audio Tools. Import and mix music tracks like a pro. Includes audio effects, such as choral, echo, distortion and more. Make your own custom movie soundtrack with. MixPad multi-track mixing software. Record your own narrations with the click of a button. Use sound effects from the free Sound Effect Library.
Download this app from Microsoft Store for Windows 10 Mobile, Windows Phone 8.1, Windows Phone 8. See screenshots, read the latest customer reviews, and compare ratings for Special Effect.
TV commercials, blockbuster movies, video games or online videos all rely heavily on visual effects that make a strong impression on a viewer. If you're looking for a software that enables you to create stunning computer graphics or to combine images from multiple sources in a single frame you are at the right place because in this article we're going to introduce you to the best visual effects VFX software products on the market.
All computer programs that enable its users to add visual effects to raw footage or generate artificial objects and environments can be roughly divided into two categories, software for 3D modeling and software for compositing. Some of the visual effects software listed below are best VFX software are for beginners, some of them are used in Hollywood movie making.
Part 1: Best Visual Effects Software for Beginner: Wondershare Filmora9 Video Editor
If you are just an amateur which doesn't know many video editing skills yet wants to make Hollywood-like videos then, Wondershare Filmora9 (Latest Filmora version 9) is the video editing software you should choose.
1. 300+ built-in effects and more Free Video Effects Packs in Filmstocks
As you may know, it is essential for beginners to edit videos like a pro with least efforts. So, Filmora9 video editor provides over 300 built in effects, like filters, overlays, elements and transitions. Whatâs more, there are some built-in sound tracks which are free of royalty to use in your video.
Besides the built in effects, you can get some professional visual effect packs and sets in Filmstocks effects store, like the above blockbuster collection in the video above.
If you are looking for some free video effects for Filmora9 without paying any extra money, you should definitely check this collection page of all free video effects packs that you can use in Filmora9 video editor .
Learn more about how to download and add Elemental 2D Visual Effects to Video.
2.It's easy to try out
Wondershare Filmora9 video editor offers a free trial version that you can use without limits: this is the full version and you can explore, experiment and create knowing that you have access to the entire functionality of this special effects software. They even have a complete video introduction to Filmstocks effects store to help you efficiently navigate the program and learn how to get started editing your videos and adding special effects.
3.Simple interface
Did you look at those introductory videos? You can see the Wondershare Filmora9 video editor interface is bright, easy to navigate and simple to use. You can do almost all of the work using drag-and-drop to select what you need. The learning curve is very gentle. This is a huge benefit in convenience if you want to get started right away, or if you don't have the time to invest learning to use a new video effects editor like a professional.
4.Incredible list of features
Special effects software for videos that is easy to use is nice, but that's not worth it if you can't do everything you need. Wondershare Filmora9 video editor has a professional-level list of features and capabilities to edit videos and add special effects, including:
- Import from any recording device
- Import from social media
- Trim, crop & rotate videos
- Add music
- Edit audio
- Add text & titles
- Add motion graphics
- Apply filters & overlays
- Add transitions
- Export & share to a huge selection of formats and social media sites
The list of features is extensive enough to make Wondershare Filmora9 video editor valuable as a professional video effects editor tool and as special effects software for casual users.
5. Windows and Mac compatibility
It's difficult to find video and special effects editing programs that have versions for both Mac OS and Windows â Wondershare Filmora9 video editor is one of the few that successfully caters to both crowds.
Add to those reasons the fact that Wondershare Filmora9 video editor is one of the least expensive video effects editors you can find and you have the complete package! Download the free trial version for yourself and see why Wondershare Filmora9 is so popular.
Part 2: Best Visual Effects Software for 3D Modeling:
The 3D modeling software products let you create a surface of any object you can imagine, while the compositing software is frequently used to produce the chroma key effect, among countless other effects. Here are some of the best visual effects software for 3D modeling and compositing you can find on the market. The software mentioned below are all for very professional use, and in some degree, are complicated to use.
1. Houdini
Image resource: MIX Training
Side FX's famed software was first released in 1996 and two decades later it is still one of the most powerful software products 3D artists utilize to generate breathtaking 3D models. It became famous for its unique approach to procedural generation and it's frequently used by VFX companies such as Sony Pictures or ILM. Its latest version features improved rendering, modeling and animation options as well as the Crowds tool that is designed to make motion blending or crowds layouts much more realistic. The free version of Houdini is available, although it offers only the basic options, while the price of the entire software package is $6,995.
2. Maya
Image resource: YouTube
Free Special Effects For Movies
Autodesk Maya is an award-winning software that was used during the production of cult movies such as The Matrix, Ice Age or Avatar, to name a few. This speaks volumes about Maya's capabilities and potential. Nearly all big VFX studios have used versions of this 3D modeling software at one point, and today it is considered to be the industry standard. Features like Interactive grooming workflow, polygon or symmetry modeling, and an extensive sculpting toolkit make Maya one of the best options on the market for professional 3D artists. The software is compatible with Windows, Mac and Linux operating systems, but before buying it, make sure that your computer meets the software's demanding technical requirements.
3. 3Ds Max
Image resource: Autodesk
3Ds Max has been a popular choice for 3D artists for decades as the software was commonly used by video game developers and TV commercial studios. After more than two decades on the market, the software is still being upgraded and each new version brings new tools that extend the scope of options its users have at their disposal. The latest version of 3Ds Max brings improved Data Channel Modifier, Mash and Surface modeling or Procedural wood texture features, among numerous others. The software is only compatible with the Windows OS, and the free trial is available if you want to try it out before you decide to buy it.
4. Cinema 4D
Image resource: Chip
Besides 3D modeling, Cinema 4D enables its users to create animations, perform rendering or texturing tasks and it offers a rich library of object presets, scenes and materials. In addition to sculpting tools, the 3D artist can utilize Polygon and Parametric modeling options in their projects. Furthermore, Splines enable you to create complex 3D objects, while Deformers let you twist or compress these objects without having to worry about their geometry. The software is compatible with both PC and Mac computers, but its system requirements may be too demanding for consumer-level computers. Buying Cinema 4D online is not an option since you have to contact a licensed distributor in order to purchase the software.
![Acceptable cracking in concrete slabs](/uploads/1/2/6/3/126383048/811498274.jpg)
5. Blender
Image resource: Blender
This free and open source computer graphics software is frequently used to produce animated films, 3D printed models or video games. Besides 3D modeling, its features include rendering, rigging, sculpting, video editing and compositing to mention just a few out of many options Blender offers to its users. 3D artists can use the software's rich library of modifiers to apply non-destructive operations to the objects they've created. What's more Blender's UV Unwrapping features include painting directly onto the mash, Cube, Cylinder, Sphere and Camera projections, as well as UV layout image exporting. The software is compatible with Mac, Windows and Linux operating systems.
Part 3: Best Visual Effects Software for Compositing for Professionals
1. Nuke
Image resource: YouTube
Blizzard Entertainment, DreamWorks Animation, and Walt Disney Animation Studios are on the list of Nuke's users, which clearly shows that this node-based digital compositing software can perform even the most demanding tasks. Nuke grants you access to both 2D and 3D compositing as well as the Editorial options. 2D compositing features include a Nodal toolset, Deep image compositing, Rotoscoping, or Warp Effects, while the 3D compositing options enable you to work in a 3D environment, use a 3D camera tracker or Point Cloud and depth generation tools. Pricing plans start from $4,528 and go up to $9,768 for Nuke Studio that contains all features the software has to offer.
2. Fusion
Image resource: Provideo Coalition
Fusion was created in 1987 and since that time it has become one of the best and the most advanced visual effects and digital compositing software in the world. Sin City, Spider-Man 3 or Game of Thrones are only a few titles on a seemingly endless list of movies and TV shows that were post-processed in this software. Features such as Virtual Reality, Camera and Planar Tracking, or Planar Rotoscoping enable users of this node-based digital compositing software to produce breathtaking videos. Fusion is compatible with Windows, Mac and Linux operating systems and you can use it for free or purchase the Fusion Studio for $299 and get access to even more video compositing options.
3. Adobe After Effects
Image resource: AlternativeTo
Experienced professionals don't need a special introduction to Adobe's software since Adobe Premiere Pro or After Effects have set the industry standards for decades. As its name suggests, Adobe After Effects is specifically designed to help its users apply effects to already edited footage. Chroma Key, 3D camera tracker or Rotoscoping features open up endless possibilities for software's users who are looking for a way to add mesmerizing visual effects to their videos. Adobe After Effects can be used on Mac and PC computers, but it can only be purchased through Adobe's Creative Cloud, that requires you to be a registered Adobe user.
4. HitFilm Pro
Image resource: YouTube
![Movie special effects software free Movie special effects software free](/uploads/1/2/6/3/126383048/218444741.jpg)
Filmora9 is a good choice for beginners to composing green screen videos and adjusting blending and composting modes. You can watch the video below and download the free trial version to test the green screen compositing.
We highly recommend Filmora9 video editor for you to add and customize visual effects quickly. You can add both royalty free music and sound effect to the video, and the specially designed filters, overlays, elements, transitions, elements as well as the title & text effects. Download Filmora9 video editor today and empower your creativity.
Easy-to-use and powerful video editor for all creators.
Bring up your video to a professional level with straightforward tools.
- Choosing Video Editing Software
- Video Editing Tips
A period drama set in Vienna uses a green screen as a backdrop, to allow a background to be added during post-production.
Bluescreens are commonly used in chroma key special effects.
Special effects (often abbreviated as SFX, SPFX, F/X or simply FX) are illusions or visual tricks used in the theatre, film, television, video game and simulator industries to simulate the imagined events in a story or virtual world.
Special effects are traditionally divided into the categories of mechanical effects and optical effects. With the emergence of digital film-making a distinction between special effects and visual effects has grown, with the latter referring to digital post-production while 'special effects' referring to mechanical and optical effects.
Mechanical effects (also called practical or physical effects) are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery, scale models, animatronics, pyrotechnics and atmospheric effects: creating physical wind, rain, fog, snow, clouds, making a car appear to drive by itself and blowing up a building, etc. Mechanical effects are also often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls to enhance a fight scene, or prosthetic makeup can be used to make an actor look like a non-human creature.
Optical effects (also called photographic effects) are techniques in which images or film frames are created photographically, either 'in-camera' using multiple exposure, mattes or the Schüfftan process or in post-production using an optical printer. An optical effect might be used to place actors or sets against a different background.
Since the 1990s, computer-generated imagery (CGI) has come to the forefront of special effects technologies. It gives filmmakers greater control, and allows many effects to be accomplished more safely and convincingly andâas technology improvesâat lower costs. As a result, many optical and mechanical effects techniques have been superseded by CGI.
- 1Developmental history
Developmental history[edit]
Early development[edit]
In 1857, Oscar Rejlander created the world's first 'special effects' image by combining different sections of 32 negatives into a single image, making a montagedcombination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century.[1]
It wasn't only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the 'stop trick'. Georges Méliès, an early motion picture pioneer, accidentally discovered the same 'stop trick.' According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the 'stop trick' had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the stage manager at the Theatre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1914, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand painted color. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the 'Cinemagician.' His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work.
From 1910 to 1920, the main innovations in special effects were the improvements on the matte shot by Norman Dawn. With the original matte shot, pieces of cardboard were placed to block the exposure of the film, which would be exposed later. Dawn combined this technique with the 'glass shot.' Rather than using cardboard to block certain areas of the film exposure, Dawn simply painted certain areas black to prevent any light from exposing the film. From the partially exposed film, a single frame is then projected onto an easel, where the matte is then drawn. By creating the matte from an image directly from the film, it became incredibly easy to paint an image with proper respect to scale and perspective (the main flaw of the glass shot). Dawn's technique became the textbook for matte shots due to the natural images it created.[2]
During the 1920s and 1930s, special effects techniques were improved and refined by the motion picture industry. Many techniquesâsuch as the Schüfftan processâwere modifications of illusions from the theater (such as pepper's ghost) and still photography (such as double exposure and matte compositing). Rear projection was a refinement of the use of painted backgrounds in the theater, substituting moving pictures to create moving backgrounds. Lifecasting of faces was imported from traditional maskmaking. Along with makeup advances, fantastic masks could be created which fit the actor perfectly. As material science advanced, horror film maskmaking followed closely.
Many studios established in-house 'special effects' departments, which were responsible for nearly all optical and mechanical aspects of motion-picture trickery. Also, the challenge of simulating spectacle in motion encouraged the development of the use of miniatures. Animation, creating the illusion of motion, was accomplished with drawings (most notably by Winsor McCay in Gertie the Dinosaur) and with three-dimensional models (most notably by Willis O'Brien in The Lost World and King Kong). Naval battles could be depicted with models in studio. Tanks and airplanes could be flown (and crashed) without risk of life and limb. Most impressively, miniatures and matte paintings could be used to depict worlds that never existed. Fritz Lang's film Metropolis was an early special effects spectacular, with innovative use of miniatures, matte paintings, the Schüfftan process, and complex compositing.
An important innovation in special-effects photography was the development of the optical printer. Essentially, an optical printer is a projector aiming into a camera lens, and it was developed to make copies of films for distribution. Until Linwood G. Dunn refined the design and use of the optical printer, effects shots were accomplished as in-camera effects. Dunn demonstrating that it could be used to combine images in novel ways and create new illusions. One early showcase for Dunn was Orson Welles' Citizen Kane, where such locations as Xanadu (and some of Gregg Toland's famous 'deep focus' shots) were essentially created by Dunn's optical printer.
Color era[edit]
The development of color photography required greater refinement of effects techniques. Color enabled the development of such travelling matte techniques as bluescreen and the sodium vapour process. Many films became landmarks in special-effects accomplishments: Forbidden Planet used matte paintings, animation, and miniature work to create spectacular alien environments. In The Ten Commandments, Paramount's John P. Fulton, A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted the massive constructions of Rameses with models, and split the Red Sea in a still-impressive combination of travelling mattes and water tanks. Ray Harryhausen extended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as Jason and the Argonauts (whose climax, a sword battle with seven animated skeletons, is considered a landmark in special effects).
The science fiction boom[edit]
Eventhough the 1950s and 1960s numerous new special effects were developed which would dramatically increase the level of realism achievable in science fiction films.
If one film could be said to have established a new high-bench mark for special effects, it would be 1968's 2001: A Space Odyssey, directed by Stanley Kubrick, who assembled his own effects team (Douglas Trumbull, Tom Howard, Con Pederson and Wally Veevers) rather than use an in-house effects unit. In this film, the spaceship miniatures were highly detailed and carefully photographed for a realistic depth of field. The shots of spaceships were combined through hand-drawn rotoscoping and careful motion-control work, ensuring that the elements were precisely combined in the camera â a surprising throwback to the silent era, but with spectacular results. Backgrounds of the African vistas in the 'Dawn of Man' sequence were combined with soundstage photography via the then-new front projection technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by Douglas Trumbull using a new technique termed slit-scan.
The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in the late 1960s and early 1970s, many studios closed down their in-house effects houses. Many technicians became freelancers or founded their own effects companies, sometimes specializing on particular techniques (opticals, animation, etc.).
The second was precipitated by the blockbuster success of two science fiction and fantasy films in 1977. George Lucas's Star Wars ushered in an era of science-fiction films with expensive and impressive special-effects. Effects supervisor John Dykstra, A.S.C. and crew developed many improvements in existing effects technology. They developed a computer-controlled camera rig called the 'Dykstraflex' that allowed precise repeatability of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimized by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process. The effects crew assembled by Lucas and Dykstra was dubbed Industrial Light & Magic, and since 1977 has spearheaded most effects innovations.
That same year, Steven Spielberg's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional 'lens flare' (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers.
The success of these films, and others since, has prompted massive studio investment in effects-heavy science-fiction films. This has fueled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques such as CGI. It has also encouraged within the industry a greater distinction between special effects and visual effects; the latter is used to characterize post-production and optical work, while special effects refers more often to on-set and mechanical effects.
Introduction of computer generated imagery (CGI)[edit]
A recent and profound innovation in special effects has been the development of computer generated imagery (CGI), which has changed nearly every aspect of motion picture special effects. Digital compositing allows far more control and creative freedom than optical compositing, and does not degrade the image as with analog (optical) processes. Digital imagery has enabled technicians to create detailed models, matte 'paintings,' and even fully realized characters with the malleability of computer software.
Arguably the biggest and most 'spectacular' use of CGI is in the creation of photo-realistic images of science-fiction/fantasy characters, settings and objects. Images can be created in a computer using the techniques of animated cartoons and model animation. The Last Starfighter (1984) used computer generated spaceships instead of physical scale models. In 1993, stop-motion animators working on the realistic dinosaurs of Steven Spielberg's Jurassic Park were retrained in the use of computer input devices. By 1995, films such as Toy Story underscored the fact that the distinction between live-action films and animated films was no longer clear. Other landmark examples include a character made up of broken pieces of a stained-glass window in Young Sherlock Holmes, a shape-shifting character in Willow, a tentacle formed from water in The Abyss, the T-1000 Terminator in Terminator 2: Judgment Day, hordes and armies of robots and fantastic creatures in the Star Wars (prequel) and The Lord of the Rings trilogies, and the planet, Pandora, in Avatar.
Planning and use[edit]
![Special film effects software, free download Special film effects software, free download](/uploads/1/2/6/3/126383048/527475385.jpg)
Although most visual effects work is completed during post-production, it must be carefully planned and choreographed in pre-production and production. A visual effects supervisor is usually involved with the production from an early stage to work closely with the Director and all related personnel to achieve the desired effects.
Practical effects also require significant pre-planning and co-ordination with performers and production teams. The live nature of the effects can result in situations where resetting due to an error, mistake, or safety concern incurs significant expense, or is impossible due to the destructive nature of the effect.
Live special effects[edit]
Spinning fiery steel wool at night
Live special effects are effects that are used in front of a live audience, such as in theatre, sporting events, concerts and corporate shows. Types of effects that are commonly used include: flying effects, laser lighting, theatrical smoke and fog, CO2 effects, and pyrotechnics. Other atmospheric effects can include flame, confetti, bubbles, and snow.[3]
Mechanical effects[edit]
Movie Special Effects software, free download
Mechanical effects encompass the use of mechanical engineering to a greater degree. Cars being flipped and hauled over buildings are usually an effect built on specialized rigs and gimbals such as in movies like Unknown. These features were made possible by the use of these rigs and gimbals. Usually a team of engineers or freelance film companies provide these services to movie producers. As the action event is being recorded against a green screen, camera men, stunt artists or doubles, directors and engineers who conceptualize and engineer these monumental mechanics, all collaborate at the same time to acquire the perfect angle and shot that provides the entertainment users enjoy. It is then edited and reviewed before final release to the public.
Rig & Gimbal Mechanical Special Effects
Visual special effects techniques[edit]
- Computer-generated imagery (often using Shaders)
- Matte (filmmaking) and Matte painting
- Prosthetic makeup effects
Notable special effects companies[edit]
- Adobe Systems Incorporated (San Jose, CA)
- Animal Logic (Sydney, AU and Venice, CA)
- Bird Studios (London)
- BUF Compagnie (Paris)
- CA Scanline (Munich)
- Cinema Research Corporation, 1954â2000 Hollywood
- Cinesite (London/Hollywood)
- Creature Effects, Inc. (Los Angeles)
- Digital Domain (Venice, CA)
- Double Negative (VFX) (London)
- DreamWorks (Los Angeles)
- Flash Film Works (Los Angeles)
- Framestore (London)
- Giantsteps (Venice, CA)
- Hydraulx (Santa Monica, CA)
- Image Engine (Vancouver, BC)
- Industrial Light & Magic (San Francisco), founded by George Lucas
- Intelligent Creatures (Toronto, ON)
- Intrigue FX (Canada)
- Jim Henson's Creature Shop, (Los Angeles; Hollywood; Camden Town, London)
- Legacy Effects, (Los Angeles, CA)
- Look Effects, (Culver City, CA)
- M5 Industries (San Francisco) home of Mythbusters
- Mac Guff (Los Angeles; Paris)
- Machine Shop (London)
- Makuta VFX (Universal City, CA) (Hyderabad, India)
- Matte World Digital (Novato, CA)
- Method Studios (Los Angeles; New York; Vancouver, BC)
- The Mill (London; NY and LA)
- Modus FX (Montreal, QC)
- Moving Picture Company (Soho, London)
- Pixomondo (Frankfurt; Munich; Stuttgart; Los Angeles; Beijing; Toronto; Baton Rouge, LA)
- Rainmaker Digital Effects (Vancouver, Canada)
- Rhythm and Hues Studios (Los Angeles)
- Rise FX (Berlin)
- Rising Sun Pictures (Adelaide, AU)
- Rodeo FX (Montreal, Quebec, Munich, Los Angeles)
- Snowmasters (Lexington, AL)
- Sony Pictures Imageworks (Culver City, CA)
- Strictly FX, live special effects company
- Surreal World (Melbourne, AU)
- Super FX, Special Effects Company, Italy
- Tippett Studio (Berkeley, CA)
- Tsuburaya Productions (Hachimanyama, Setagaya, Tokyo)
- Weta Digital, (Wellington, New Zealand)
- Zoic Studios (Culver City, CA)
- ZFX Inc a flying effects company
Notable special effects directors[edit]
Notes[edit]
- ^Rickitt, 10.
- ^Baker, 101-4
- ^Danielle S. Hammelef (2015). Explosive Scenes: Fireballs, Furious Storms, and More Live Special Effects. Capstone. p. 18. ISBN978-1-4914-2003-4.
References[edit]
- Cinefex magazine
- American Cinematographer magazine
- Richard Rickitt: Special Effects: The History and Technique, Billboard Books; 2nd edition, 2007; ISBN0-8230-8408-6
- Movie Magic: The History of Special Effects in the Cinema by John Brosnan (1974)
- Techniques of Special Effects Cinematography by Raymond Fielding (For many years, the standard technical reference. Current edition 1985)
- Special Effects: Titanic and Beyond The online companion site to the NOVA documentary (especially notable are the timeline and glossary)
- T. Porter and T. Duff, 'Compositing Digital Images', Proceedings of SIGGRAPH '84, 18 (1984).
- The Art and Science of Digital Compositing (ISBN0-12-133960-2)
- McClean, Shilo T. (2007). Digital Storytelling: The Narrative Power of Visual Effects in Film. The MIT Press. ISBN0-262-13465-9.
- Mark Cotta Vaz; Craig Barron: The Invisible Art: The Legends of Movie Matte Painting, Chronicle Books, 2004; ISBN0-8118-4515-X
- Larry Nile Baker, A History of Special Effects Cinematography in the United States, 1895â1914, Larry Nile Baker, 1969.
Film Special Effects Software
External links[edit]
Movie Special Effects Software
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