A book like this is immensely visual and requires a great many pictures. While I do have a large library of 35mm film scans and HDTV elements to tap into, it was not enough for a book of this scope. I am grateful to the following groups and individuals who contributed images that enliven the pages of this book.

A special heartfelt thank you goes to the amazing Sylvia Binsfeld of DreamWeaver Films and her fabulous 35mm short film Dorme that I had the privilege and pleasure of compositing for her. Her contribution of high-resolution 35mm film scans, delightful CGI elements, and gorgeous digital matte paintings grace many pages of this book including the cover (www.dormefilm.com).

A very special thanks to Jonathan Karafin who was my stellar subject matter expert on stereo conversion. His insights and depth of knowledge from working in the stereo conversion industry virtually from its inception were invaluable to making this section accurate and totally authentic.

Many thanks to Alex Lindsay and Christopher Marler of PixelCorps for contributing high definition bluescreen and greenscreen footage shot with their fabulous Sony HDC-950 HD color video camera direct to hard drive (www.pixelcorps.com).

A special thank you to Tom Vincze, a terrific CGI artist, who created multipass CGI, sims, and particle system examples specifically for this book (www.thomasvincze.com).

Many thanks to Greystone Films and the Mount Vernon Ladies’ Association for providing high-resolution 35mm film scans from their location-based film We Fight to be Free, a docu-drama about the early heroic life of George Washington.

My thanks to Pavel Dvorak, a photographer and friend, who contributed many high-quality digital still photos from his collection (www.absolutpavel.com).

Thanks also to Kodak for their generous contribution of scanned 35mm film elements from their corporate film The Lightning Project, courtesy © Eastman Kodak Company (www.kodak.com).

I would also like to thank the very surprising Ruairi Robinson for contributing key shots from his spectacular visual effects film Silent City. His examples of match move and set extension were valuable additions to this book (www.ruairirobinson.com).

Thanks to the Foundry, a world leader in providing plug-ins to the visual effects community, for providing the crowd duplication example (www.thefoundry.co.uk).

Thanks go to Eric Deinzer (www.ericdeinzer.com) and his charming wife Mariana Acuna (www.pixelsbyme.com) for their excellent advice on the stereo conversion section.

A special shout-out to Mauricio Monroy who advised me on the gritty details of stereo conversion and reviewed my methods for accuracy (www.mmvfx.com).

The chapter on the Life of a VFX Shot would not have been possible without the contribution of stories and photographs from Sylvia Binsfeld, cited above. Many thanks to Svetlana Cvetko the DP for Dorme, who contributed her stories and pictures (www.svetlana-dp.com). I am pleased to also thank Nicholas Barnes, the 3D animator for Dorme, for his contributions to the stories and pictures about his role in creating the CGI for the VFX shot in Dorme.

And, finally, a very special thanks to my darling wife, Diane Wright, for she has been a great supporter and contributor to the entire effort on this book. She not only graciously tolerated the amount of time spent writing it, but also reviewed, critiqued, formatted, and contributed graphics ([email protected]).