Working on SetCommon Types of Special EffectsWhat Are Special Effects?A Brief History of Special EffectsThe Special Effects SupervisorWorking with the Visual EffectsVisual Effects in Service to SFXSpecial Effects Design and PlanningStoryboards and PrevisThe Elements: Rain, Wind, and Snow and IceSmoke, Fire, and PyrotechnicsMechanical EffectsFlying Wire Rigs and StuntsSafetyFront and Rear Projection Systems for Visual EffectsRear ProjectionFront Projection (Blue or Green Screens and Picture Imagery)Rear Projection EquipmentFront Projection EquipmentLarge-Area Emissive Displays (LCD, Plasma, and Jumbotron Screens)Greenscreen and Bluescreen PhotographyFunction of the Backing—Green, Blue, or RedFabric and PaintBacking Uniformity and Screen CorrectionHow to Expose a Greenscreen Shot and WhySetting Screen BrightnessFloor Shots, Virtual SetsForeground LightingControlling Spill LightLighting Virtual SetsTracking Marks on the ScreenOn-Set PreviewCamera for Bluescreen or Greenscreen PhotographyNegative Scanning and Digital ConversionThe Processed ForegroundUnderwater PhotographyWorking with the CinematographerThe Alpha ChannelCompositing SoftwareOn-Set Data AcquisitionCamera ReportTracking MarkersProps for the ActorsCyberscanningDigital PhotosLidar/Laser ScanningLens Distortion ChartsHDRI and Chrome BallsLidar Scanning and AcquisitionOn-Set 3D Scanning SystemsOn-Set Data Acquisition3D Scanning SystemsPrepping the Actors for ScanningScanning Props or CarsReview All That Has Been Scanned3D Scanning Post-ProductionLighting DataGathering Lighting DataBeware of False Savings!GoalsUsing Conventional Still CamerasShooting ConsiderationsClean PlatesShooting the Clean PlateLocked-Off CameraMoving CameraOther IssuesPostprocessAlternates without Clean PlatesOther Uses for Clean PlatesMonster Sticks