This book provides independent filmmakers and VFX artists with tools to work collaboratively and effectively on their low-budget films. Experts Shaina Holmes and Laurie Powers Going define common VFX needs and demystify the process of incorporating VFX into all stages of production. The book covers every step of the process, including when to consider using VFX, basics of 2D and 3D methodology, budgeting, virtual production, on-set supervision, and more. It provides tips and tricks to common VFX questions, such as color management and file types, along with practical solutions for the production team while on-set working with VFX scenes. The incorporation of testimonials from indie filmmakers and VFX/post production professionals brings a voice to both sides of the table and provides real-world scenarios for the techniques described. The book offers realistic lower budget alternative solutions to achieving big budget vision. This book is ideal for independent filmmakers, novice filmmakers, and students working on low and no-budget films.

This book provides independent filmmakers and VFX artists with tools to work collaboratively and effectively on their low-budget films. Experts Shaina Holmes and Laurie Powers Going define common VFX needs and demystify the process of incorporating VFX into all stages of production. The book covers every step of the process, including when to consider using VFX, basics of 2D and 3D methodology, budgeting, virtual production, on-set supervision, and more. It provides tips and tricks to common VFX questions, such as color management and file types, along with practical solutions for the production team while on-set working with VFX scenes. The incorporation of testimonials from indie filmmakers and VFX/post production professionals brings a voice to both sides of the table and provides real-world scenarios for the techniques described. The book offers realistic lower budget alternative solutions to achieving big budget vision. This book is ideal for independent filmmakers, novice filmmakers, and students working on low and no-budget films.

Daisy Bacon, the opinionated, autocratic and complex editor of Love Story Magazine from 1928 to 1947, chose the stories that would be read by hundreds of thousands of readers each week. The first weekly periodical devoted to romance fiction and the biggest-selling pulp in the early days of the Great Depression, Love Story sparked a wave of imitators that dominated newsstands for more than twenty years. Disparaged as "love pulp," the magazine actually championed the "modern girl," bringing its heroines out of the shadows of Victorian poverty and into the 20th century. With Love Story'ssuccess, Bacon became a national spokesperson, declaring that the modern woman could have it all-in love, in marriage and in the business world. Yet Bacon herself struggled to achieve that ideal, especially in her own romantic life, built around a long-term affair with a married man. Drawing on exclusive access to her personal papers, this first-ever biography tells story behind the woman who influenced millions of others to pursue independence in their careers and in their relationships.

Most fans of Western fiction know Paul S. Powers as one of the foundation authors of the famous pulp magazine of the 1930s and 1940s, Wild West Weekly. Now, here for the first time, are twelve Paul Powers stories written in the years after Wild West Weekly stopped publication. Six of these stories were published in magazines such as Exciting Western, Thrilling Western, The Rio Kid Western and Thrilling Ranch Stories. The other six are brand new stories - never before published - that were discovered in 2009. Altogether they make for an outstanding collection of western stories that represent the glory years of the Western short story and the best of Powers' prolific pulp Western career.

He wrote under at least eight pseudonyms, published hundreds of short stories and novellas in pulp magazines, and lived a life at times as outrageous as his fiction. Pulp Writer tells of Paul S. Powers’s travels from serious literary ambitions to the pages of Wild West Weekly, of his seeking his fortune (or material, at any rate) in the ghost towns and mining camps of Colorado, and of his life in Arizona and California as he reaped the rewards of his wildly successful Wild West Weekly characters such as Sonny Tabor and Kid Wolf. Extending from the Great Depression to the golden age of the pulps, Powers’s career, chronicled here in often laugh-out-loud style, is an American success story of true grit and commercial savvy and of a larger-than-life character with questionable but endlessly entertaining Western lore to spare. In the process, he provides a valuable and rarely-chronicled look at the business of writing and publishing pulp fiction during its golden years. Powers’s granddaughter Laurie never knew her grandfather and lost touch with his side of the family. In her biographical essays, she finds her lost family and discovers the Pulp Writer manuscript. Her essays also provide a valuable historical context for pulp publications such as Wild West Weekly and their importance during the Great Depression.