Customer Reviews: Read 19 more reviews...
 As complete as it can be - close to an encyclopaedic dictionary! June 8, 2009
Luiz F. S. Campello (Rio de Janeiro, Brasil)
There is not much I can add to what's been said in the previous reviews, but there is ONE thing I found here that I never read anywhere else, and just that would make the book worth it's price. From page 160, I quote:
"If we dispense with the steps of drawing an overhead and plotting the points of the set into an elevation, then we need a quick way of determining the placement of the vanishing points by eye. The suggested placement is one-half a frame's distance outside the frame on either side, for a natural, 50mm lens length appearance."
I've read a lot of books on perspective, and, even though they will tell you everything about vanishing points, this is the first (and only book) I read that tells you WHERE to put the damned things, to depict a scene with a "normal" view. (Thank you, Marcie - you're a life saver!...)
My particular area of interest is comic book artwork, (just like reader Jason Briggs), but I consider ANYTHING that can make the art look believable as an invaluable asset, and everything she teaches here, is of immense value, if your objective is to render scenes that will make the reader feel as if he (or she) is actually seeing the picture. For someone interested in the same aspects as Jason, who is interested in the psychological aspects of the craft, I would recommend the books by Will Eisner - that's right up his alley. (What I can't imagine is where he got the notion that this book would contain what he was expecting to find - there is nothing in the reviews, or written on the cover, or in the table of contents, that suggests what he inferred.)
That said, my opinion about the book is: if you know NOTHING about storyboarding, be it for the movies or TV, this will be the first best step you can take. AND, if you ALREADY know something about storyboarding, it will serve as pointers to guide you, so you won't forget any important aspect of the craft. (And there are LOTS of them...) The author managed to cram a ton of information into 223 pages, without making the book a heavy reading, and that's no easy feat! And the "war stories" she tells are also very insightful, and sometimes even funny. Thank you again, Marcie!
 good all-in-one February 28, 2008
Bradley J. Krause (Milwaukee, WI)
I used this book to help teach a class. It has more than enough for a semester class to absorb, and all of the information is relevant, real-world and useful
 not much here June 11, 2007
Public Hero (USA)
2 out of 2 found this review helpful
All of what this book says could have been said in 5 or 6 pages. There are a few basic concepts the book covers that are worthwhile, but I found it to be heavily padded and very basic. A much better book is Profores' Film Directing Fundamentals, which comes at storyboarding and other visualization tools from a director's viewpoint, rather than an illustrator's.
VALAUABLE FOR PREVIZ February 11, 2007
Mr. Tony Bannan (PERTH AUSTRALIA)
3 out of 3 found this review helpful
I found the book invaluable as it gives a great insight into the real world of storyboarding. I am a 3d previz artist trying to establish an economical previz solution to productions of smaller budgets.
I believe the traditional storyboard artist and illustrators are an integral part of the process of previz, all my 3d previz begin with boards all sketches.
I think this book is excellent for anyone wanting to tune their skills towards a professional storyboarding career.
tony
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A MUST READ October 26, 2006
Jeanna Sheridan (Concord, CA.)
1 out of 1 found this review helpful
I found this book an excellent read and a great tool. I write screenplays, so my characters have specific duties. This book helps me determine what the camera shots should look like (without having to direct the director, which is a big no-no in screen writing).
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