book

Visual Effects Society Handbook

by Susan Zwerman, Jeffrey A. Okun, Susan Zwerman, Jeffrey A. Okun, Susan Zwerman

August 2012

Beginner

700 pages

32h 30m

English

Focal Press

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Front Cover
Half Title
Title Page
Copyright
Contents
About the VES
Foreword
Chapter 1 Introduction
Visual Effects and Special EffectsVisual EffectsSpecial EffectsWhy Use Visual Effects?The Creation of Visual EffectsA Bit of Visual Effects HistoryOptical PrintersElectronics for Camera ControlThe Digital AgeUnintended Consequences: Where Does Creativity End?
Chapter 2 Pre-Production/Preparation
OverviewBreaking Down a Script—BudgetingBallpark BudgetMore Detailed BudgetsBiddingPlate PhotographyTemp ScreeningsReviewing BidsContractsRebidding during ShootingRebidding in PostMonitoring the Budget and ScheduleKeeping the Budget DownWorking with the Director and ProducerDemo ReelThe MeetingMoving ForwardProduction DepartmentsProduction DesignCameraSpecial EffectsStuntsWardrobeMakeupProductionVisual EffectsEditorialLocationsProduction MeetingDesigning Visual Effects ShotsGuidelines for DirectorsStoryboardsPrevisObjective of the ShotConcept ArtContinuityPhotorealismOriginal ConceptsBudgetReality and MagicCamera AnglesFramingScaleDetailSpeedScaled ImagesDepth of FieldSequence of ShotsCamera MotionLess Is MoreAction PacingCG CharactersCreatures and Character DesignPowers of 10 ShotsVisual Effects TechniquesTechnique ConsiderationsAdditional Suggestions for Determining TechniquesWhat is Previs?Development of Previs TechniquesHistory and BackgroundThe Applications of Previs: Who Benefits From it and How?PostvisCautions and Suggestions for Good PracticeThe Perils of Previs!Passing the Work OnThe Role of the VFX Supervisor in PrevisThe Future of Previs: Advanced TechniquesEnvironment InputCharacter InputCamera InputGaming TechniquesOn-Set PrevisLighting Previs3D Stereo PrevisVirtual ProductionCamera Angle ProjectionDrawing What the Lens Sees
Chapter 3 Acquisition/Shooting
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

On-Set Animation Capture: Witness Cam
Wireless Nonvideo Motion CaptureFactors Affecting Witness CamerasDealing with the Data in Post-ProductionReal-Time Matchmoving and Camera-Tracking DataTriangulation as a Method of Recording Camera DataCamera/Subject Positional InformationBasics: The Tool KitBasics: Nodal PointPhotographic ReferenceShooting Video as a ReferenceRules, Setup, and TestingDigital CinematographyThe Viewing SystemThe Recording SystemFilming Live-Action Plates to be Used in VFXCamera Position (Station Point)Angle of ViewLighting ConsiderationsCamera TiltBackground QualityMoving PlatesScouting the Camera PositionsA Case StudyCamera CarsCamera Car Safety IssuesPurpose-Built Crane CarsVibration and Camera StabilizationRoad SpeedPrecautionsPanoramic RigsOn the WaterAir to AirCable SystemsShooting Elements for CompositingWhat Is an Element?Stock FootageTypes of ElementsGeneric versus Shot-Specific ElementsDetermining Element NeedsCheatingBackgroundsBlack BackgroundsLine-UpCamera Format ConsiderationsAssorted Methods for Shooting ElementsHigh-Speed Photography and Filming ElementsHigh-Speed PhotographyCamerasTechniciansDirector of PhotographyLightingApplicationLocking Down the CameraVideo AssistPostSupervising Motion ControlWhat Is Motion Control?Performance ChoreographyMultiple-Pass PhotographyScalingImport and Export of Camera Move DataThe DataTypes of Motion Control Systems
Motion Control Software
Camera TypesSync and PhaseDealing with ProductionAcquisition of Motion/Still Photographic Textures for Mapping onto CGPanoramic BackgroundsTiled StillsMotion Tiling and Synchronous PlatesPractical ConsiderationsStills for Textures and LightingStop-MotionEvolution of Stop-Motion PhotographyThe Time Required to Shoot in Stop-MotionPreparation before ShootingSetting Up a Shooting Space for Stop-MotionUse of Motion Control in Stop-MotionUseful CaveatsEvolution of a ShotUse of Stop-Motion in Visual EffectsWhat are Miniatures?What Are Miniatures and Why Are They Used?The Advantages and Disadvantages of Miniature EffectsExecution of PlanningDesign and Integration within the FilmPhotographic ContinuityMiniature CategoriesScale DeterminationsForced Perspective MiniaturesIn-Camera Compositing of Miniatures with Full-Scale Live-Action ActorsNodal Pans and TiltsForced PerspectiveMixed ScalesThe Fabrication of Miniature EffectsScale and Purpose Requirements of a MiniatureConstruction MaterialsThe Paint ProcessPrevisualization and MiniaturesThe Basic Standard ToolsThe Incorporation of Mechanical, Practical, and Pyrotechnic Effects with MiniaturesWater EffectsFire, Explosives, and CollapsingShooting Locations and ConditionsPhotography of Miniature Effects: Motion ControlWhat Is Motion Control and What Are Its Benefits to Miniature Photography?Execution and Technique Using PrevisPhotographyPhotography of Miniature Effects: High-Speed PhotographyDepth of FieldPyrotechnicsSmoke, Fire, and WaterThe Use of Miniatures in the Digital WorldSpecial Effects for MiniaturesShrinking RealityScale ConsiderationsCameraWaterRainFireSmokeExplosionsBreakaways
Chapter 4 Performance and Motion Capture
What is Motion Capture?Other Types of Motion CaptureResistance-Based TechnologiesElectromechanical-Based TechnologiesComputer VisionTime-of-Flight TechnologiesIs Motion Capture Right for a Project?Preparing for Motion CaptureWhat Can Be CapturedWhat Cannot Be CapturedTechnology ConsiderationsMarker PlacementMarker Placement on FacesMarker MasksHardwareThe StrobeMarkersLensesFilterCharge-Coupled DeviceOnboard ProcessorInputs/OutputsSetupBalanceSoftwareAcquisitionPost-ProcessingReconstructionLabelingRigid BodiesCleaningSolving Motion CaptureFacial CaptureCapture TechniquesMarkerless Motion CaptureStabilizationThe Face ModelFacial RiggingFacial Action Coding SystemReal-Time Motion CaptureLimitationsLine of SightMarkersSolvingVisualizationAlternate Technologies
Chapter 5 Stereoscopic 3D
How 3D WorksAccommodation and ConvergenceInteraxial SeparationToe-in versus Horizontal Image TranslationParallax or Depth BudgetPositive and Negative ParallaxFloating WindowsFix It in PostStereoscopic DesignThe Emerging Grammar of 3DCreative Use of DepthPrevisualizationAvoiding Painful 3DThe Aesthetic of ScaleCutting for 3DDesigning for Multiple Release FormatsImmersion-Based versus Convergence-Based StereoVirtual 3D PhotographyPros and Cons of Virtual 3D PhotographyMultiple Camera RigsThe 3D Camera RigImplementing ConvergenceManipulating the Screen SurroundSpecial Cases for Virtual 3D Photography2D to 3D ConversionDepth Creation PreparationVisual Analysis of 2D Depth CuesMain Artistic Stages of 2D-to-3D ConversionMajor 2D-to-3D Conversion WorkflowsSpecial CasesTransparenciesReflectionsRe-Projection Mapping Method WorkflowPixel Displacement or Pixel ShiftingMinor 2D-to-3D Conversion WorkflowsAutomatic ConversionTemporal OffsetDynamic Temporal OffsetIs “Real” Always Right?3D Stereoscopic Visual EffectsPrepping for the Third DimensionShooting the Third DimensionVisual Effects in the Third DimensionPhotographed ElementsAccuracy and Attention to DetailArtistic Skill LevelData Management3D Stereo Digital Intermediate WorkflowStereoscopic 3D Process MilestonesViewing 3D DailiesProjection Screens for 3D Stereoscopic Viewing3D Editorial Processes3D Stereoscopic ConformingData Workflow2D versus 3D Grading3D Stereo RealD Mastering ConsiderationsGeometry and Correction of Undesirable Binocular Disparity3D Stereo DeliverablesStereoscopic WindowThe Stereoscopic WindowPlacement of the Window in Relation to the 3D SceneWindow ViolationsWindow Placement LogicHow to Create a Stereoscopic WindowProducing Movies in Three DimensionsDevelopment—Getting the GreenlightProduction—What to Look Out For
Chapter 6 Post-Production/Image Manipulation
Resolution and Image Format ConsiderationsFormatsTransportResolutionImage Compression/File Formats for Post-ProductionImage EncodingStill Image CompressionFile Formats4k+ Systems Theory Basics for Motion Picture ImagingPart 1: Resolution and SharpnessPart 2: Into the Digital RealmPart 3: Does 4k Look Better Than 2k?Part 4: Visual Perception Limitations for Large ScreensFilm Scanning and RecordingScanningRecordingColor ManagementThe Three GuidelinesDigital Color Image Encodings and Digital CamerasColor Management at the DesktopBringing Color Management to Film WorkflowsDigital IntermediateVFX Editorial
Editing within a Shot: The Art of Pre-Compositing
How It Came to BeModern Day Tracking and Disseminating of InformationAs the Shot ChangesWrapping It UpCommunication with ArtistsStartingWorking with TeamsReference and PerspectiveShot ProductionCommunicating with Artists in Other DepartmentsCompletionThe History of CompositingThe History of Optical TechniqueTraveling Matte Technique and the Digital AgeHistorical Notes on Blue ScreenFilm versus DigitalCompositing of Live-Action ElementsModern Digital CompositingCapturing the Image to CompositeAfter the ShootExtractions and the Magic BulletStarting the CompositeCompositing Screen Elements in Stereoscopic 3DRotoscopingDigital Painting and Plate ReconstructionScene TrackingMatte Paintings/Creative EnvironmentsMatte Paintings: Art of the Digital RealmWhat Is a Matte Painting?Matte Painting Pioneers and HistoryVisualizing the Matte Painting Shot in Pre-ProductionOn-Set Supervision for Matte Painting ShotsBasic Skills and Tricks of the TradeMiniatures and Computer-Generated SetsFinding the Best FrameRe-Projected Photo SurveyThe Need for Creative Compositing
Chapter 7 Digital Element Creation
Digital ModelingOverview: The Importance of ModelingTypes of ModelingModel Data TypesDevelopment of ModelsModeling for a Production PipelineEngineering Aspects for PolygonsEngineering Aspects for NURBSRigging and Animation RiggingRigging: What Is It?Animation RiggingDeformation RiggingTexturing and SurfacingThe Importance of Texture PaintingHard Surface ModelsCreature ModelsTypes of Geometry: Their Problems and BenefitsPrepping the Model to Be PaintedTexture CreationVarious Other Map-Driven EffectsTexture Painting in ProductionModel EditingDigital Hair/FurHair Generation ProcessGeneral Issues and SolutionsDigital FeathersMorphology of Real FeathersModeling Digital FeathersSimilarities between Hair and FeathersDifferences between Hair and FeathersDynamics and SimulationHow Is a Simulation Created?When Is Simulation Appropriate?Tricks and CheatsImportant ConsiderationsPlanning and PreparationSoftware Solutions: A Broad Overview of Current OptionsParticlesWhat Are Particle Systems?The Next StepThe Birth of ParticlesCreating EffectsRigid-Body DynamicsHow Rigid-Body Dynamics Are CreatedPotential ProblemsOther IssuesTricks for Getting It DoneDigital LightingLight in Reality and in Computer GraphicsCase Study of Reality Compared with Simple CG SimulationVisual Sophistication through Texture MappingPhysically Derived Shading ModelsBeneath the SurfaceGoals of Lighting in Visual EffectsWork Flow for Successful Creative Digital LightingThe Technologies of Lights in Computer GraphicsDirect Lighting: Source to Surface to CameraNegative LightsReflectionsPhotographed ReflectionsShadowsImage-Based LightingRendering OcclusionAmbient OcclusionReflection OcclusionAverage Light Direction Vectors: Bent NormalsCreating Light Sources from Environment MapsPhysically Based RenderingVolumetric Lighting EffectsShader BasicsWhat Are Shaders?Shading ModelsBump and DisplacementMap-Based ShadersProcedural ShadersShader DesignAntialiasing Considerations3D CompositingColor RepresentationBit Depth and Dynamic RangeMattesCompositing CG2.5D CompositingCrowd Generation and Simulation TechniquesLive-Action ReplicationSpritesComputer-Generated CrowdsModeling for ReplicationVariationMesh DensityAnimation Cycles for ReplicationMotion CaptureKeyframe AnimationDynamic Motion SynthesisBehaviors and Crowd ControlCG Prosthetics and Actor EnhancementsOn-Set Tracking and Capture ConsiderationsEye Enhancements3D Techniques2D Techniques2.5D TechniquesSilhouette ChangesRe-Projection3D Products, Systems, and SoftwareDigital Element Creation Process3D Graphics Software3D TrackingSpecial EffectsRenderingTexturing
Chapter 8 Interactive Games
Films versus GamesBasic DifferencesMost Important AspectNarrative StorytellingDifferences in LimitationsCost of Iterations and Changes during ProductionCategory TypesFormat TypesTransmedia Production Design TechniquesGames and PlatformsGame TypesGame PlatformsWhat Are Game Engines and How Do They Function?Working with a Game EngineWhat Are the Production Steps in Creating a Game?Marketing to an AudienceVisualsPhases of DevelopmentGame Cinematic SequencesNoninteractive ScenesGame Engine–Rendered NIS ScenesThe Design and Production Process
Chapter 9 Complete Animation
What is an Animation Project?Full Animation versus Visual EffectsDifference Between Visual Effects and AnimationProduction PipelinesProductionA Survey and History of Animation TechniquesTraditional AnimationStop-MotionComputer Graphic TechnologyConsiderations for a Full CG-Animated Feature PipelineCG Feature Animation PipelineManaging an Animated FilmFilm Management and Personal StyleBuilding Brain TrustsBuilding the Core Creative TeamWriting and Visual DevelopmentWorking with a StudioFacilities and EnvironmentManaging the EventThe Production Process: An Animator’s PerspectiveWorking on CG-Animated Content in Live-Action FeaturesPlanning the ProcessProductionCharacter and Environment Interaction
Chapter 10 Other Workflow Considerations
Virtual Studio TechnologyAnalysis of a Production WorkflowFrom Workflow to PipelineService Bureau versus In-House RequirementsDesign of a Production WorkflowFrom Analysis to DesignDeploying a Production WorkflowFrom Design to ImplementationInfrastructureTracking AssetsWhat Is Task and Asset Tracking?Commercial Task and Asset Tracking SystemsBuilding Task and Asset Tracking SystemsScene Assembly3D Scene Assembly2D Scene Assembly (Compositing)Working across Multiple FacilitiesImagesModelsTexturingAnimationCompositingR&D
Acknowledgments
Appendix A: Charts and Formulas
Appendix B: Credits/Titles to Be Submitted in Accordance with VES Guidelines
Appendix C: Glossary
Index
2 Pre-Production/Preparation
3 Acquisition/Shooting
5 Stereoscopic 3D
6 Post-Production/Image Manipulation
7 Digital Element Creation

Content preview from Visual Effects Society Handbook

INTRODUCTION

Michael Fink, Jacquelyn Ford Morie

The art of visual effects involves nothing less than making words into pictures, technology into art, and magic into reality. Artists and technicians who create this magic have labored throughout the history of moving imagery, always working in service of the story, the director’s vision, and the cinematographer’s art. This book, and its accompanying online version, is meant to be an exhaustive source that clearly describes and explains the techniques we use in the incredibly creative process of visual effects.

It is important to keep in mind that film may have been the first moving image medium that employed visual effects, but as new technologies developed—animation, video, games, the ...

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Visual Effects Society Handbook

by Susan Zwerman, Jeffrey A. Okun, Susan Zwerman, Jeffrey A. Okun, Susan Zwerman

INTRODUCTION

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.