Rating: 
Summary: A Must Have For 3D Animators
Review: "Digital Cinematography & Directing", is the newest book in my Lightwave library. and by far the most entertaining. I have found Dan's books to be the best Lightwave training resources available. This book is no exception! I like how the book focuses on the aesthetics of animation, rather than the typical "how-to". It's the story that can really make the difference and I feel that this book guides you in the path to becoming a better animator. The book begins by giving the reader a foundation in photography, which is applied to the 3D camera. It then goes on to helping the reader to develop and visualize their story. Later chapters include topics such
as directing, lighting, staging, and editing. I feel that Dan's book, from beginning to end, covers all of the essential concepts of cinematography and directing.
This book is a must-have for all 3D animators!
Rating: 
Summary: Great "Digital" Publication
Review: Ablan's "Digital Cinematography & Directing" is a great addition to my growing "Digital" library from New Riders Publishing. After the "Digital Lighting" book came out, I couldn't wait for all aspects of digital imaging and 3D animation to be covered. Like the other reviews pointed out, the "Digital Cinematography and Directing" book cover a topic that isn't found in other books. Sure, I've picked up a few camera and cinema books, and adapted those ideas to my 3D program, but the $39 I spent on this book was well worth it. First, the book is in color, with big clear example images. Second, it's not a huge book that locks you to your desk. At 240 pages, it's easy to slip into your case and read it on the train ride to work (as I do). More importantly, the content is not overly inflated with technical jargon or crazy bulbous examples. You can tell this book was written by an animator, as it addresses issues every 3D animator should be aware of when it comes to cameras and lenses, shots and directing subjects.
Great book, great reference. I would have liked to see more cool characters used for the examples, rather than stock models. All in all, the examples work, which is what's important. If the examples were cooler, something using LOTR Gollam character, I would say this is 5 star. Now I'm waiting to complete my "digital" library with "digital compositing".
Rating: 
Summary: Invaluable cinematographic reference for CG artists
Review: After having finished reading the fourth New Riders Publishing title of my selection, during early January, one essential impression dominates my perspective: The company's motto, "Publishing the Voices that Matter," accurately represents NR, its mission, authors and, most importantly, the content of its books-as well as simultaneously promoting its authors. It's latest foray into the 3D computer-graphics realm, "[digital] Cinematography & Directing," by Dan Ablan, essentially is consistent with the company's catch phrase. Although relatively lean at just 224 pages, this fifth member of New Riders' "[digital]" series explores a paramount subject frequently overlooked within the virtual CG world: the aesthetic and technical components key to orchestrating and executing a successful theatrical production within the computer realm. The gadget-ridden CG universe-still in its formative years-is beginning to evolve beyond its preoccupation with sophisticated technical toys. Nevertheless, the medium's relative infancy tends to ignore the classical considerations of storytelling while overemphasizing the importance of glitzy, flashy visual effects and technical achievement. "[digital] Cinematography & Directing," however, encourages achieving a balance of effects wizardry, technical mastery, creative aplomb and theatrical integrity in CG works. A comprehensive source of valuable cinematographic and directorial information for those uninitiated in these areas, this title focuses on educating the reader about these essential processes without inundating him or her with a barrage of technical jargon. Focus is on explaining, illustrating and applying all the key concepts of traditional cinematography and directing to CG projects. Furthermore, in typical NR fashion, the text avoids proprietary focus on specific 3D programs, instead logically exploring concepts with the understanding that they translate to any capable software package. In addition, color renders and screenshots, complemented by grayscale storyboard sketches and occasional illustrations, per usual, accentuate and clarify profound points, eliminating any ambiguity. On the downside, though, the author's rather elemental writing style may alienate more intellectual readers, implementing many small words rather than the more efficient use of fewer, longer and more active, compelling terms. Most frequently, the prose wanes mundane-a bit too conversational and ordinary. This bland style is exacerbated by something of a preoccupation with the word "proper," variations of the term appearing repeatedly in close proximity, and sometimes within the same sentence. Similar are parallel instances such as the sentence, "Strong vertical lines symbolize strength." (p. 153) This simply is poor writing-and represents an editor's failure to identify and resolve a deficiency in word selection. Equally annoying are excessive references to the CG artist maintaining total control over his or her digital set, as opposed to conventional cinematographic and directorial applications. A few occurrences of this fact would be adequate, but this point reappears numerous times throughout the title. It's a genuine shame that these unnecessary, derogatory elements taint the publication's readability. Fortunately, the book's informational content supersedes the damages, but it's not a pleasant read, overall. A cursory index measuring just five pages doesn't aid the reader in locating specific material, either. (Good thing the Table of Contents is well-detailed.) Furthermore, Chapter 5's overall critical information about lighting is somewhat convoluted by unnecessary references to the more scientific intricacies-"footcandles," "lux," "lumens" and Kelvin. These rather obscure details temporarily sidetrack the reader from more relevant information, such as preceding generalizations (mood, intensity) and succeeding emphasis on ambience and light color. It's not that science isn't important but, rather, that its relatively cryptic underpinnings are more suitably included in another type of publication. Again, though, most theoretical and technical data explored in the text is requisite to orchestrating and executing a favorable dramatic CG production. And, although most of the book's informational content probably will bore seasoned character animators, experienced directors and veteran cinematographers, at least portions of it will serve as a useful refresher-and maybe even some enlightenment-for less-traveled CG professionals. Experienced still photographers with CG leanings will gain something from this title. As for 3D novices aspiring to the feature-film ranks as animators, cinematographers or directors, well, this material is essential. Particularly salient points-just to name a few-are such issues as the underemphasized role of camera altitude (Chapter 8), the merits of using audio to stimulate scene visualization (Chapter 9), still-to-motion frame conversion (Chapter 10), video-frame interlacing versus non-interlacing (Chapter 10), shot-framing techniques (Chapter 11) and the value of viewing and analyzing successful contemporary films as a learning tool. On the whole, "[digital] Cinematography & Directing" is a purposeful and useful cinematic resource for CG designers, artists and animators, chock full of relevant and essential information for creating theatrical productions on the computer. It doesn't attempt to expand beyond reasonable boundaries by adding superfluous data to inflate to a larger volume. The title is suitable as refresher material for CG-animation gurus, and as a comprehensive cinematic source for 3D novices. DC&D won't dazzle experienced photographers or cinematographers, and it won't enlighten veteran directors in the nuances of filmmaking. But that's not its mission. And, overall, it serves its intended commission well. Finally, like other 3D-specific New Riders titles, once acquired, it's always available and suitable as valuable reference material. It's just too bad that it's not a more well-written text. (As for the alleged companion CD, none arrived with my review copy. Has the original title been amended to include CD-based reference material, as cited by Amazon.com in its "Product Details" section about the book?)
Rating: 
Summary: dissapointed
Review: Based on other reviews I was expecting much more than I got. Ok,lets say, maybe it would be good for beginners, but as a mid level 3d artist I found it pretty much a worthless. The material consist of low tech Poser type scenes, with only a briefest overview of lighting, nothing about textures and surfaces, and the stuff on cameras is so basic one can figure it out with a month of Bryce use. Don't be fooled by the cover - this is strictly 101 stuff. BTW - I sent it back
Rating:
Summary: Great Introductory Material
Review: Dan Ablan takes on a huge range of material in this terrific introductory book. He touches on pre-planning, staging, lighting, sound, and editing. It provides a very easy introduction to this material, though you should consider it a starting point rather than a definative reference work on any of these topics. I wish a book like this had been available when I first started in CG work. An easy to read, clearly written digital cinematography 101.
Rating:
Summary: Outstanding!
Review: Digital Cinematography & Directing is one of the best written books I've seen for explaining technical issues about cameras, angles, aspect ratios, compressions, and more. The beginning chapters were very informative on topics I thought I already knew about. Throughout the book, I continuall found some tricks I hadn't thought of that have really helped my 3D animations. I've used LightWave, Maya, and Softimage, and none of their manuals have gone into this much detail about how to use the 3D camera, much less, how to direct it and its subjects. Excellent excellent reference!
Rating:
Summary: Outstanding!
Review: Digital Cinematography & Directing is one of the best written books I've seen for explaining technical issues about cameras, angles, aspect ratios, compressions, and more. The beginning chapters were very informative on topics I thought I already knew about. Throughout the book, I continuall found some tricks I hadn't thought of that have really helped my 3D animations. I've used LightWave, Maya, and Softimage, and none of their manuals have gone into this much detail about how to use the 3D camera, much less, how to direct it and its subjects. Excellent excellent reference!
Rating:
Summary: poor
Review: I bought this book in hope that I could improve my shots in 3d Animation but it couldn't teach me anything I didn't already know. I have worked in character animation for over 6 years and this book was way too basic for me. It might be ok for beginers but I am sure there would be better resourses out there. The book is thin and each chapter is very short, it was like reading a magazine. For those of you interested in improving your skills (which is what we constantly do in this industry) don't bother with this book.I am sure there is a better one out there.
Rating:
Summary: Nice Job!! Just what 3D animators need!
Review: I have to say, this book is killer! It really has helped me figure out what the difference in aspect ratios is, and how to really maximize my camera in my 3D software. I've used the digital textures book and the digital lighting book so this book was the next natural thing. Do yourself a favor and get Dan Ablan's Digital Cinematography and Directing. It will help your images and animations look better than you though they could.
Rating:
Summary: Nothing outstanding - not so "digital" really
Review: I just bought the book and it's a great value. I also just bought a new 3D storyboarding program which allows me to apply the ideas in the book and incorporate them into my current project. I am NOT an animator but a writer-director planning the remaining hour of a low-budget indie feature film (DV) in production. This book is valuable not only for storyboard artists but also independent filmmakers and writers! I just recommended this book highly on the forum for the storyboarding program, which is called FrameForge 3D Studio (see the product offers at The Writer's Store website).
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