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Relevant bibliographies by topics / Video compositing / Books

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Books on the topic 'Video compositing'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Digital compositing for film and video. Boston: Focal, 2002.

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2

Steve, Wright. Digital compositing for film and video. 3rd ed. Amsterdam: Focal Press/Elsevier, 2010.

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3

Steve, Wright. Digital compositing for film and video. Boston: Focal Press, 2002.

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4

Paolini, Marco. Shake 3: [professional compositing and special effects]. Berkeley, CA: Peachpit Press, 2004.

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5

Colby, Richard, Matthew S. S. Johnson, and Rebekah Shultz Colby, eds. Rhetoric/Composition/Play through Video Games. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137307675.

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6

1944-, Rawling Keith, ed. Play and say with Paddy and Pip: Video activity book. London: Macmillan, 1987.

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7

Lancaster, Kurt. DSLR cinema: Crafting the film look with video. 2nd ed. Waltham, MA: Focal Press, 2013.

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8

DSLR Cinema: Crafting the film look with video. Amsterdam: Focal Press, 2011.

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9

Fulwiler, Betsy Rupp. Writing in science in action: Strategies, tools, and classroom video. Portsmouth, NH: Heinemann, 2011.

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10

DSLR cinema: Crafting the film look with video. 2nd ed. Waltham, MA: Focal Press, 2013.

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11

Saslow, Joan M. Top notch TV 2: Video course. White Plains, NY: Pearson Education, 2007.

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12

Robitaille, Stephen J. Guide to using the ABC News/Prentice Hall video library for composition with the Blair Handbook. Englewood Cliffs, NJ: Prentice Hall, 1994.

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13

Music for new media: Composing for videogames, web sites, presentations, and other interactive media. Boston, MA: Berklee Press, 2006.

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14

Set the action!: Creating backgrounds for compelling storytelling in animation, comics, and games. Waltham, MA: Focal Press, 2012.

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15

Position papers: Research and argument. Portsmouth, NH: Heinemann, 2014.

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16

Wright, Steve. Digital Compositing for Film and Video. Routledge, 2006. http://dx.doi.org/10.4324/9780080477251.

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17

Wright, Steve. Digital Compositing for Film and Video. Routledge, 2017. http://dx.doi.org/10.4324/9781315284019.

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18

Wright, Steve. Digital Compositing for Film and Video. Routledge, 2013. http://dx.doi.org/10.4324/9780240813103.

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19

Wright, Steve. Digital Compositing for Film and Video. Routledge, 2001. http://dx.doi.org/10.4324/9780080504360.

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20

Digital Compositing for Film and Video, Second Edition. 2nd ed. Focal Press, 2006.

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21

Steve, Wright. Digital Compositing for Film and Video: Production Workflows and Techniques. Taylor & Francis Group, 2017.

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22

Steve, Wright. Digital Compositing for Film and Video: Production Workflows and Techniques. Taylor & Francis Group, 2017.

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23

Digital Compositing for Film and Video: Production Workflows and Techniques. Taylor & Francis Group, 2017.

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24

Steve, Wright. Digital Compositing for Film and Video: Production Workflows and Techniques. Taylor & Francis Group, 2017.

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25

[Digital] Visual Effects and Compositing. Pearson Education, Limited, 2014.

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26

Wright, Steve. Digital Compositing for Film and Video with CDROM (Focal Press Visual Effects and Animation). Focal Press, 2001.

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27

Compositing Visual Effects: Essentials for the Aspiring Artist. Taylor & Francis Group, 2011.

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28

Ploor, D. Michael. Video Game Design Composition. Goodheart-Willcox Publisher, 2013.

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29

Participatory Composition: Video Culture, Writing, and Electracy. Southern Illinois University Press, 2013.

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30

Video Game Design Composition Software Design Guide. Goodheart-Willcox Publisher, 2014.

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31

Burt, Warren. Thoughts on an Algorithmic Practice. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.36.

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In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.

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32

Publishing, Abang. Tilted Video Gamer Funny: Journal, Notebook, Diary, Composition Book. Independently Published, 2020.

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33

Touchstone Level 1 Video Resource Book. Cambridge University Press, 2008.

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34

Gokay, Janet. Touchstone Level 2 Video Resource Book. Cambridge University Press, 2008.

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35

Writing Interactive Music for Video Games: A Composer's Guide. Addison-Wesley Professional, 2014.

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36

Graves, Donald H., Jane Hansen, Donald Graves, and Jane H. Hansen. The Writing and Reading Process (The Writing and Reading Process Video Series). Heinemann, 1988.

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37

Johnson, M., and R. Colby. Rhetoric/Composition/Play through Video Games: Reshaping Theory and Practice of Writing. Palgrave Macmillan, 2013.

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38

Farmer, Jennifer, Noah Schwartzberg, and Christina de la Mare. Evolve Level 6 Video Resource Book with DVD. University of Cambridge ESOL Examinations, 2019.

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39

Exploring how texts work: The video. Newtown, NSW: Primary English Teaching Association, 1994.

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40

Sanger, Yvonne. Composition Notebook: Retro Games Design Video Games Video Games Fan Game Notebook 2020 Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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41

Fulwiler, Betsy. Writing in Science in Action: Strategies, Tools, and Classroom Video. Heinemann, 2016.

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42

McAlpine, Kenneth B. Bits and Pieces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.001.0001.

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This book explores the development of and the social, cultural, and historical context of chiptune, a form of electronic music that emerged from the first generation of video game consoles and home computers in the 1980s. Through a combination of musical and procedural analysis and practitioner interviews, the book explores the role the technical constraints of early video game hardware played in shaping the sound of 8-bit video game music and the inventive approaches to coding and composition musicians used to circumvent them. It examines the sounds, culture, and personalities behind the music and shows how chiptune links as closely to the music of Bach as to the aggressive posturing of punk or the driving electronic sounds of house. The book begins by looking at chiptune’s roots in video game music and discusses how, as the sound chips that gave rise to its distinctive voice were superseded by more sophisticated hardware, chiptune moved underground to become an important part of the demoscene, a networked community of digital artists. It discusses chiptune’s reemergence in the late 1990s as a new wave of young musicians rediscovered these obsolete machines and began to use them as quirky and characterful musical instruments, in the process taking chiptune from the desktop and placing it centre stage. The book concludes by contemplating what lies ahead; as more people incorporate the chiptune sound into their work, will it ever hit the mainstream or will it remain firmly countercultural as part of the digital underground?

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43

Top Notch TV 2 Video Course. Pearson ESL, 2007.

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44

Schiff, David. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0014.

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A final assessment of Carter’s character and musical preoccupations sparked by a 2012 Youtube video of a conversation between the composer and cellist Alisa Weilerstein. At 103 Carter still shows all the musical and intellectual acuity that the author remembers from the time he studied with him over forty years earlier. Carter describes aspects of his Cello Concerto as part of a story that is inherent in the notes themselves, not an external program. Three of Carter’s last compositions illustrate what he meant by “story” and how his sense that every note has life in it defines his distinct musical identity.

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45

Publishing, Abang. I Pause My Game to Be Here Funny Video Gamer: Journal, Notebook, Diary, Composition Book. Independently Published, 2020.

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46

Swift, Jonathan. Gulliver's Travels [Video Cd-Rom]. www.bnpublishing.com, 2005.

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47

notebook, valentine for boy. Composition Notebook: Love Video Games Valentine's Day Funny Journal/Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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48

Diederich, Sven. Composition Notebook: Event Video Fan Film Movie Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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49

Rhetoric Compositionplay Through Video Games Reshaping Theory And Practice Of Writing. Palgrave Macmillan, 2013.

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50

Kellman, Noah. The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.001.0001.

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Writing music for games is an art that requires conceptual forethought, specialized technical skill, and a deep understanding of how players interact with games and game audio. The Game Music Handbook embarks on a journey through numerous soundscapes throughout video game history, exploring a series of concepts and techniques that are key to being a successful game music composer. This book organizes key game music scoring concepts into an applicable methodology, describing them with memorable distinctions that leave readers with a clear picture of how to apply them to creating music and sound. Any music composer or musician who wishes to begin a career in game composition can pick up this text and quickly gain a solid understanding of the core techniques for composing video game music, as well as the conceptual differences that separate it from any other compositional field. Some of these topics include designing emotional arcs for nonlinear timelines, the relationship between music and sound design, discussion of the player’s interaction with audio, and more. There is also much to be gained by advanced readers or game audio professionals, who will find detailed discussion of game state and its effect on player interaction, a composer-centric lesson on programming, how to work with version control, information on visual programming languages, emergent audio, music for virtual reality (VR), procedural audio, and other indispensable knowledge about advanced reactive music concepts. The text often explores the effect that music has on a player’s interaction with a game. It discusses the practical application of this interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.

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