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Digital Filmmaking, 2nd Edition by Natalie Phillips, Thomas Ohanian

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Introduction

When we wrote the first edition of Digital Filmmaking in 1995, the use of digital technologies by filmmakers was largely evident in digital special effects. Awash in the imagery of special effects-laden films such as Terminator 2, Judgment Day, and The Abyss, when most of us thought of the term “digital filmmaking/” we most often concentrated on the special visual effects category. Recall, however, that these were the days before films such as Titanic, The Matrix, and Star Wars Episode One: The Phantom Menace, which, together, combined to push the world of special visual effects to an even higher plane.

Although filmmakers were using video to acquire their images and eventually transfer them to film for theatrical projection, both ...

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