Note: page numbers in bold indicate tables; those in italic indicate figures.
Abel, Robert 358
Robert Abel & Associates 358
absolute luminance levels 620
The Abyss 50
Academy Color Encoding Specification 552–4, 553, 554
Academy Color Encoding System (ACES) 238–9, 238n, 550–8; benefits of 551–2; color space encoding with 552–4, 553, 554; components of 550–1; defined 550; for desktop color management 617, 617–18; preparations for using 557–8; purpose of 550; viewing of 555, 555–7, 556
Academy Density Exchange (ADX) density encoding 551, 623
Academy printing density (APD) 622
A/C (accommodation/convergence) breakdown 448–9
accelerometers 393
accommodation/convergence (A/C) breakdown 448–9
accuracy with stereo 3D 510–11
ACES see Academy Color Encoding System (ACES)
acne blemish removal 834
acquisition/shooting 77–384; of CG-animated content in live-action features 926–7; clean plates in 177–83; digital cinematography in 232–54; “dirty” 682; front and rear projections systems for 93–6; greenscreen and bluescreen photography in 97–138; high-speed photography and filming elements in 287–96; lidar scanning and acquisition in 152–64; lighting data in 165–77; of live-action plates to be used in VFX 261–72; miniatures in 330–84; monster sticks in 183–9; motion control in 297–311; of motion/still photographic textures for mapping onto CG 311–18; onset animation capture (witness cam) in 189–93; on-set data acquisition in 139–52; photographic reference in 220–6; real-time visual effects and camera-tracking in 193–200; rebidding during 12; rules, setup, and testing in 227–32; shooting elements for compositing in 272–87; special effects in 83–92; stop-motion 318–30; triangulation in 201–20; VFX photography in 254–60; working on set in 77–83
acquisition software for motion capture 415
acrylic for miniature fabrication 346
action(s), in Massive Prime 842
action/adventure games 860
action games 860
action miniatures 353
action models 335
action pacing 36
action props 89
action set pieces 90
active glasses 516
active markers 407
active optical motion capture 391, 391–2
actor(s): as elements 281–2; for motion capture 390, 397; prepping for scanning of 161; prepping for witness camera of 191–2; previs use by 55
actor enhancements 832–5; of eyes 832–3; on-set tracking and capture considerations for 832; re-projection for 835; silhouette changes as 834; 3D techniques for 833–4; 2D techniques for 834; 2.5D techniques for 834
Actor solver 421
actor survey for facial motion capture 424–6
The Adjustment Bureau 47
administrative brain trust for animated film 910
Adobe After Effects 631, 839, 840
Adobe Photoshop: in digital element creation 835; and Enzo 3D paint 845–6; and matte painting 713; project files in 572; for texturing 845; and 3D Studio Max 839, 840
Adobe RGB imaging encoding 606–9, 607–9; and CIE XYZ colorimetry and CIE chromaticity coordinates 610, 610–11; and gamut clipping 614; and ICC color management architecture 615, 616
Adobe TIFF 572
ADR (automated dialogue replacement) 930, 930n
adventure games 861
The Adventures of Tintin 70, 73
ADX (Academy Density Exchange) density encoding 551, 623
aerial perspective in 2D to 3D conversion 490, 491
aerial plates: for live-action plate photography 269–70; tracking markers with 145
Afterworks 776
agents in Massive Prime 842
agile development 874
A.I. Artificial Intelligence 196, 351
AI (artificial intelligence) system in crowd control 831
Aladdin 915
ALE (Avid log exchange) files with 3D editorial process 520
Alembic format 837
ALEXA XT Studio & Plus camera 248
Alfred system 968
aliasing 583–4, 583–5; avoiding 586–7, 587; impact on MTF of 585, 586
alignment issues with native 3D photography 481–2
all-CG shots 636
alpha review in game development 875
alpha testing 559–60, 958; in game development 875
alternative sports games 860
Alvin and the Chipmunks 186, 924–6
The Amazing Spider-Man 3
ambient occlusion 800
American Society of Cinematographers Color Decision List (ASC CDL) 251
analog process and MTF losses 591–2, 592
anamorphic format 545
Andersson, Russ 840
angle dangle for triangulation 202
angle finder for triangulation 202
angle of view for live-action plate photography 261–2
angular parallax 454
angular subtense of color stimulus 620
animated film management 909–22; audience previews in 922; building brain trusts for 910–12; building core creative team for 912–13; business affairs in 910; completion bonds in 915; editorial workflow in 642–56; of facilities and environment 916–21; human resources in 911–12; managing change in 920; managing event of film in 921–2; managing expectations in 915–16; and personal style 909; of post-production 921; of production 917–18; production brain trust for 919–20; production finance in 910–11; research, training, and development in 914; staffing up for production in 916–17; storyboarding and reels in 913; subcontractors in 918–19; technology in 920–1; working with studio in 914–16; writing and visual development in 913–14
animatics 641, 641n, 893; storyboard 904, 913
animation 881–931; breakdown drawing in 895; budgeting and bidding for 885–6; CG 900–2; character 893, 900, 905; of cloth and hair 890; complete (full, feature) 881–4, 895–7; crowd 905; definitions of 893; to dialogue and sound cues 930; effects 890–1, 895, 900, 906; in-betweens in 895; key posing for 895; layout and set dressing for 889, 905; lighting and compositing for 891–2, 906; limited 895–7; in live-action features 923–31; modeling, texturing, and articulation (rigging) for 887–8, 905, 930–1; in ones or twos 895; post-production for 906; pre-production for 886–8; production design and look development for 905; in scene assembly 972–3; shot finaling, rendering, and cleanup for 895, 906; spongy 896; stop-motion 897–9; storyboard animatics and previs for 904, 913; straight ahead 895; style of 896–7; technical considerations with 907–9; techniques for 893–902; traditional (2D, cel) 893–7; vs. visual effects 881–92; working across multiple facilities with 980
animation blocking 60
animation capture, on-set 189–93
animation cycles for replication 829–30
animation editorial department: during animation stage 653–5, 653–5; crew staffing and structure of 644–7, 646; editorial workflow in 642–56; involvement with production stages of 647–55; during layout stage 650–3, 651, 652; during storyboard stage 647–50, 649
animation pipelines 882–4, 885, 885; CG 901, 902–9
animation project, defined 881–4
animation rigs and rigging 727–30, 728; vs. animation blocking 59–60; for CG animation 905, 925; defined 59n; for feature animation 887–8, 905, 930–1
animation stage of feature animation 653–5, 653–5
Animation Supervisor, on set 77
animation team 889–90; for CG-animated content in live-action features 928–9 animatronics unit, credits/titles for 997
anisotropic model 789
anisotropic surface characteristics: of feather 762, 762n; of fur coat 747–8, 747n
antialiasing in shaders 816, 816–17
AOVs (arbitrary output variables) in 2D scene assembly 976, 977
APD (Academy printing density) 622
aperture sizes and HD sensor sizes 244–5, 245, 246
Apocalypto 282
Apple Final Cut Pro 518, 631, 648
Apple iChat software 183
Apple iPhone 863
arbitrary output variables (AOVs) in 2D scene assembly 976, 977
archiving 961
area light in computer graphics 797, 797
area maps 743
Arete 775
arithmetic coding 564
armature for stop-motion 322
Arri Alexa digital camera 116; for 3D capture 514
Arri ALEXA EV/Plus camera 248
Arri ALEXA M camera 248
ARRICAM ST camera 249
Arri 416 + HS camera 288, 289, 290
art department 17–18; lidar scanning for 155; previs use by 53–4
art director 17
articulated mattes 692
articulation: for animation production 887–8, 930–1; for CG animation 905; in stop-motion animation 897–8
articulation rig in scene assembly 971
artificial intelligence (AI) system in crowd control 831
artistic requirements translated into technical specifications 940–1
artistic skill level with stereo 3D 511
artist loading schedule for animated film 911
ASA rating of digital camera 235
as-built surveys 155
ASC CDL (American Society of Cinematographers Color Decision List) 251
ASCII files for motion control data 302–3
aspect ratio 545
asset creation with general geometry instancing 767–8
asset tracking 962–70; assets needing to be tracked in 965; building systems for 968–70; commercial systems for 966–8; defined 962–5; by inclusion 964; by reference 965; system requirements for 965–6
assistant directors, previs use by 55
Assistant Production Manager for animated film 919–20
Associate Producer for animated film 919
atmospheric smoke with miniatures 381–2
attention to detail with stereo 3D 510–11
attributes added to particles 776, 778
audience previews of animated films 915–16, 922
audio with facial motion capture 436
AutoCad 371
Autodesk Softimage 839
automated dialogue replacement (ADR) 930, 930n
automated machine vision 466, 466n
automated work, hand vs. 41
automatic 2D to 3D conversion 503
autopaint for occluded surface reconstruction 497
Avatar 37, 70, 73, 443, 881, 882, 923–4
The Aviator 331, 338, 338, 340, 362
Avid log exchange (ALE) files with 3D editorial process 520
Avid off-line editor 457
Backdraft 347
backface culling 754
background(s) (BGs): composite of person in front of 44–5; for element photography 277; panoramic 312–13; processed 104
background (BG) plates 93, 630, 630n
background (BG) quality for live-action plate photography 263
backing, illumination and reflections from 125–9, 128, 129
backing brightness and f-stop 110, 110–12, 111
backing color selection 116–18, 117
backing types and lighting 118–22, 119, 121
backing uniformity and screen correction 100–2, 100–3
backup system 961; for CG animation 908
Bambi 915
baseline, camera pan angle relative to 211, 211–14
baseline location in triangulation 206, 207, 208
Bay, Michael 882
Bayer mosaic pattern sensor layout 240–1
beating waves 584
Beaucam 269
Beauty and the Beast 915
beauty light pass for miniatures 357
behavioral solvers 423; for facial motion capture 438
behavior(s) in crowd generation 831
Beier, Thad 268
believability of digital models 717
“Believe” commercial campaign 357
bend sensors for motion capture 396–7
Ben-Hur 695
Beowulf 470, 470, 540, 752, 753, 883
best frame in projection matte painting 709–10, 710
beta testing 958, 959; in game development 875
BGs See background(s) (BGs)
bid(s) and bidding 9–11; for animation production 885–6; fixed 7; rebidding during shooting 12; rebidding in post-production 12; reviewing 11; and timeline 10–11
bidirectional reflectance distribution function (BRDF) 789
bidirectional surface distribution function (BSDF) 791
Bioshock 850
The Birds 75
Bissell, Jim 50
bit depth in 3D compositing 818–20, 819
black backgrounds for element photography 277–8
black box tests 958
black level matching in CG compositing 824–5
black points in 3D compositing 819
Blackton, J. Stewart 893
blemish removal 834
blend shape deformer for facial rigging 432
Blinn lighting model 808
blood effects 90
bloop light in motion control system 304
BlueArc 967
blue channel 98
blueprints 18
Blue-ray DVD format 549
blue region of film spectrum 672
bluescreen 44–5; compositing with 669–76; front-lit 674; historical notes on 669–76; peak transmission of 672; seams of 674; self-illuminated 674, 674n
bluescreen keying software, clean plates for 183
bluescreen photography 97–138; Alpha channel in 99, 99, 103; backing materials for 105–6; backing types and lighting for 118–22, 119, 121; backing uniformity and screen correction with 100–2, 100–3; cameras for 134–6; choice of green vs. 116–18, 117; color correction with 98; composite in 99, 99, 104; compositing software for 137–8; controlling spill light with 129–30; environmental bounce light for 124–5; exposure for 110, 110–12, 111; eye protection for 109–10; “fixing it in post” with 104; floor shots and virtual sets in 122–3; foreground lighting for 123–9, 126, 128, 129; function of backing in 98; illuminators for 106–10, 108; levels for digital original photography in 114–16, 115, 116; lighting of virtual sets in 130–2, 131; negative scanning and digital conversion of 98–9, 99; on-set preview for 133–4; overview of 97–8; processed foreground in 103–4; recommended specifications and practices for 104–10; setting screen brightness for 112–16, 113, 115, 116; shooting aperture for 125, 126; software functions with 99, 99; tracking markers in 132–3, 133; TV monitors in 123; underwater 136; white card method for screen balancing in 112–14, 113; worked with cinematographer on 136
bluescreen projection: advantages of 94–5; camera-mounted light source for 96; disadvantages of 95; equipment for 96; retroreflective material for 96; set lighting conditions for 96
Blue Sky 881
blurring pass 684
BodyPaint 3D 845
bokeh with texture acquisition 316, 316n
Boujou 841
bounce light 93–4, 103–4; environmental 124–5
braiding of digital hair 752–3, 753
brain editor in Massive Prime 842–3
brain trusts for animated films 910, 919–20
brass etching for miniature fabrication 347
BRDF (bidirectional reflectance distribution function) 789
breadbox 252
breakaways 90; miniature 383–4
breakdown drawing in animation 895
breakdown of accommodation and convergence 448–9
Brevig, Eric 543
Broken Arrow 358
Brown, Garrett 271
Bruce Almighty 99, 129, 129, 133
BSDF (bidirectional surface distribution function) 791
B-splines 719, 719n; texturing and surfacing of 738
Buckaroo Banzai 286
Buckley, Buck 321
budgets and budgeting 6–14; for animation production 885–6; ballpark (rough, initial) 7–8; bidding in 9–11; contracts in 11; fixed 7; for game development 872; “handle” length in 6; keeping down 12–14; monitoring of 12; more detailed 8–9; for motion capture 388, 389; for plate photography 10; rebidding during shooting in 12; rebidding in post-production in 12; reviewing bids in 11; for temp screenings 11; on time-and-materials basis 7; and visual effect shot design 32; and visual effect technique 39
Bullet Collision Detection and Physics library 776
bullet hits 90
bundle adjustment for motion capture 415
The ‘Burbs 37
Burton, Tim 319, 321, 330, 540
business affairs for animated film 910
Butler, Larry 666
buy-in 959
cable overhead flying rigs 91
cable systems for live-action plate photography 271–2
Calcium solver 422
CalColor 109
calibration in motion capture 408, 415–17, 417
calibration object for motion capture 415
California Missions 696
call sheets 78
camera(s): for bluescreen or greenscreen photography 134–6; for gathering lighting data 173–5, 174; grayscale 411–12; helmet mounted 434, 434–6, 435; high-definition (HD) 191; for high-speed photography 287–91, 288, 289; locked-down 295–6; locked-off 179–80; for miniatures 374–6, 375; MiniDV video 281; for motion control 309; multiplane 901; nodally mounted 303, 303n; for 3D capture 514; see also digital cameras; virtual camera; witness camera
camera-agnostic system 314
camera alignment in on-set stereography 486
camera angle(s): road speed related to 267–8; in visual effect shot design 33
camera angle projection 75
camera array 254–6; design of shot using 257; evolution of 255, 256; future of 260; history of 254, 255; low cost methods of simulating 260; postprocessing with 260; shoot day with 258–9; special techniques with 259–60; technicians for 258; uses for 256
camera assistant 19
camera cars 265; safety issues with 265–6
camera chart 988
camera color analysis gamuts 611
Camera Control center 251
camera department 18–19; previs use by 53–4
camera format for element photography 279–81
camera formulas 989
camera handoff in motion capture 408
camera height in triangulation 209, 210
camera layout in scene assembly 972
camera motion: and screen correction 102; in visual effect shot design 36; and visual effect technique 40
camera-mounted light source for front projection 96
camera move data, import and export of 301–2
camera operator 19
camera pan angle relative to baseline 211, 211–14
camera position for live-action plate photography 261, 263–4
camera projection techniques with matte painting 705–6
camera raw colors, color image encoding for 608–9, 609
camera setup for motion capture 414
camera stabilization with live-action plate photography 266–7
camera stacking 257
camera/subject positional information 201–2, 205–6
camera tilt: for live-action plate photography 262; in triangulation 209, 210
camera-tracking: lidar scanning for 156–7; real-time visual effects and 193–200
Cameron, James 50, 73, 881, 882
Canon EOS C300 camera 249
Canon EOS C500 camera 248
canopy, reflection with 127
Canto Cumulus 967
capacitive sensors for motion capture 396
car(s): crashing 90; picture 89; scanning of 161–2
“cardboard cutout” effect in stereoscopic 3D 464
car effects 89
Carpenter, Loren 844
Cars 914
cartoon physics 902
Casino 710
cast shadows 824
cathode-ray tube (CRT) displays 237, 238, 238n
cathode-ray tube (CRT) recording 604
Catmull, Edwin 737
Catmull-Clark surfaces, texturing and surfacing of 737–8
CCC See Composite Components’ Company (CCC)
CCD (charge-coupled device) sensors 242
CCT (correlated color temperature) 620, 620n
CDL (Color Decision List) 251, 619
ceilings, foreground miniature 342, 343
CG-animated content in live-action features 923–31; animating to dialogue and sound cues in 930; budgeting and bidding for 885–6; case studies on 923–6; character and environment interaction in 929–31; cloth and hair in 890; importance of seeing characters projected and with textures in 930–1; layout and set dressing in 889, 905; lighting and compositing in 891–2, 906; management of 888, 907; modeling, texturing, and articulation (rigging) in 887–8, 905, 930–1; pipelines for 882–4, 885, 885, 901, 902–9; planning for 923–6; shooting footage in 926–7; 3D modeling phase of 887; tracking footage properly in 927–8; working with animation team in 928–9; working with riggers in 928
CG animation: advantages of 44; technology for 900–2
CG animation pipeline 902–9; for CG-animated content in live-action features 882–4, 885, 885, 901, 902–9; character animation, character simulation, and crowds in 905; effects animation and simulation in 906; layout and set dressing in 905; lighting and compositing in 906; modeling, texturing, and articulation (rigging) in 905; postproduction in 906; production design and look development in 905; production management in 907; shot finaling, rendering, and cleanup in 906; storyboard animatics and previs in 904; technical considerations in 907–9
CG camera projection with matte painting 705–6
CG characters: lidar scanning for 156; in visual effect shot design 37
CG compositing 822, 822–6, 826
CG crowds 828
CG models 18; working across multiple facilities with 979–80
CG sets, matte painting with 706–9, 708
change notes 640
channels, red, green, and blue 98
character animation 893, 900, 905
character builds in 2D to 3D conversion 492, 492n
character design in visual effect shot design 37
character identification, real-time motion capture for 439
character input for previs 69–70
character integration, real-time motion capture for 440
character interaction for CG-animated content in live-action features 929
character setup needs for digital modeling 724
character simulation 905
charge-coupled device (CCD) sensors 242
cheating: in third dimension 506, 509; with virtual 3D photography 476–7; in visual effect technique 41–2
checkerboard calibration in motion capture 417
Chicken Little 540
chip size in digital cameras 242
Christmas Carol 443
chroma, luminance and 564–6, 565
chroma images 237, 239–40, 564–6, 565
Chromakey Green fabric 105, 120, 130n, 924
chroma paints 933
chroma screens 139, 143–4, 671, 674
chromaticity, defined 610
chromaticity coordinates 610, 610
chromaticity diagram 553; RGB triangles on 611–12
chrome spheres: for gathering lighting data 168–72, 170, 171; for on-set data acquisition 151–2
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe 759, 759
The ChubbChubbs 716
CIE (Commission Internationale d’Éclairage), XYZ colorimetry and chromaticity coordinates of 610, 610
CineForm codec 518
CineForm toolset 518
cinematic sequences for games 877–9
cinematographer 18–19, 18n; in greenscreen or bluescreen photography 136
cinematography: color space in relation to 236, 236–7; see also digital cinematography
Cineon file format 569
Cineon format 600, 622, 623, 951
Cineon Printing Density (CPD) 551, 622–3
cineSpace system 618
Cinesync 59
Cine-tal 618
CircleVision 268
circular polarization 516
Clark, Jim 737
cleaning for motion capture 420–1
clean plates 177–83; alternatives to 181, 182; for CG-animated content in live-action features 926; changes affecting usefulness of 179; defined 177, 634n; examples of uses of 177–8, 178; focus of 179; length of 179; locked-off camera for 179–80; moving camera for 180–1; other issues with 181; other uses for 182–3; post-processing of 181–2; for screen correction 101, 101–2; shooting of 178–81; synthetic 102, 102–3
cleanup: for animation 895, 906; for CG animation 906
client servicing approach for digital modeling 725
“clip” 114
clipping 234
clock as reference material 187
Clockit Synchronizer 191
cloning 693
Closed Beta in game development 875
Close Encounters of the Third Kind 41, 286
cloth: in animation production 890; digital lighting of 789
cloth simulation needs for digital modeling 724–5
cloud elements 286
clouds of smoke with miniatures 382
clumping of digital hair 752–3, 753
CMOS (complementary metal-oxide semiconductor) sensors 242
Codex for 3D capture 514
Coffin, Dave 609
collapsing of miniatures 347, 354–5, 355
collision geometry for particle systems 157
color analysis gamuts 611
color bias in foreground lighting 125
color conversion from camera data to ACES 554, 554
color correction: in compositing 680–1; in digital intermediate 627–8; with greenscreen and bluescreen photography 98; with native 3D photography 481–2; on-set 252; with virtual 3D photography 476
color cues in desktop color management 620, 620n
Color Decision List (CDL) 251, 619
colored spheres for gathering lighting data 168–72, 170, 171
color encoding system see Academy Color Encoding System (ACES)
color fidelity for recording 604
color grading 626–9; stereoscopic 523–5
color image encodings 606–14; camera color analysis gamuts in 611; for camera raw colors 608–9, 609; CIE XYZ colorimetry and CIE chromaticity coordinates in 610, 610; display reproduction gamuts in 612, 612–13; gamut clipping, gamut warnings, and gamut mapping in 614; hierarchy for 606–9, 607–9; primaries and white points in 610–11, 610–12; RGB triangles on chromaticity diagram in 611–12; transcoding vs. color rerendering in 613
colorist, 3D 513
color keying 680
color management 606–25; ACES for 617, 617–18; camera color analysis gamuts in 611; CIE XYZ colorimetry and CIE chromaticity coordinates in 610, 610; color image encoding hierarchy in 606–9, 607–9; commercial packages for 618; densitometric color spaces and data metrics in 622–3, 623; at desktop 614–21; digital color image encodings and digital cameras in 606–14; display reproduction gamuts in 612, 612–13; film at desktop in 625, 625; film reproduction gamut in 624, 625; film scanners as image capture devices in 624; film unbuilding and film building in 624; and film workflows 621–5; gamut clipping, gamut warnings, and gamut mapping in 614; guidelines for 606; ICC architecture for 614–15, 615; primaries and white points in 610–11, 610–12; RGB triangles on chromaticity diagram in 611–12; spectral conditions underlying densitometric data metrics in 621–2, 622; transcoding vs. color rerendering in 613
color pollution 683
color representation in 3D compositing 817–18
color rerendering 613
color sampling, calculus of 237–8
color space 235–6; in relation to cinematography 236, 236–7
color space conversion 237
color space encoding 552–4, 553, 554
color subsampling: issues of 239–40; schemes of 240; in sensors 240–1
Color team needs for digital modeling 725
combing of digital hair/fur 749, 749–51, 750, 752–3, 753
Commando Cloth for element photography 278
commercial packages: for color management 618; for digital hair/fur 759; vs. in-house development 954–6; in production workflow implementation 956–8; for task and asset tracking 966–8
Commission Internationale d’Éclairage (CIE), XYZ colorimetry and chromaticity coordinates of 610, 610
complementary metal-oxide semiconductor (CMOS) sensors 242
complete animation 881–4; limited vs. 895–7; see also animation
completion bonds for animated film 915
completion guaranty for animated film 915
complexity and visual effect technique 39
component checkpoints 958
composite(s) and compositing: for animation 891–2, 906; CG 822, 822–6, 826; color correction in 680–1; deep 687–9; degraining in 684; depth 824–5, 826; digital 679–90; edge blending in 686; edge wrap in 686; elements for 272–87; extractions in 681; with film vs. digital 676–8; in greenscreen and bluescreen photography 99, 99, 104, 669–76; history of 666–78; image capture for 679–80; image projection in 687; with incorrect exposure 683; lighting modulation in 685; of live action elements 679–90; with matte painting 711–12; with motion blur 682–3; optical 666–78; of person in front of background 44–5; plate flashing/spill in 685–6; production of 104; relighting in 685; scene tracking in 689–90; of screen elements in stereoscopic 3D 687; with shooting “dirty” 682; software for 137–8; spill suppression in 683–4; starting 684–5; 3D 817–27; traveling matte technique and 668, 667–9, 668; in 2D scene assembly 976–7; 2.5D 826–7; working across multiple facilities with 980–1; working with special effects on 85
Composite Components’ Company (CCC): fabric backings by 105, 105n; lighting by 107; painted backings by 105n, 106
compositing blends mode formulas 992
compression in motion capture 413
computer disk array 252
Computer Film Company 137
computer-generated see under CG
computer graphics see under CG
conforming, stereoscopic 3D 520–2
connective tissue in 2D to 3D conversion 500
consolidation 636
constraint-based solvers 421
constraints for rigid-body dynamics 781–2
construction materials for miniature fabrication 346–51, 347, 348, 350
contact lenses 22
contact shadows 824
contingencies in production workflow design 949–52
continuity in visual effect shot design 31
contracts 11
contrast: for element photography 281; and resolution 574–5, 575
contrast viewing glass 124
control hairs 746, 749, 749–51, 750
control with native 3D photography 484
conventional still cameras for gathering lighting data 173–5, 174
convergence 447–9, 448, 449; in on-set stereography 487; in virtual 3D photography 472–3, 473
convergence-based stereo 466–7
convergence changes 524
Cook, Robert 844
coordinator, on set 77
Coraline 320, 321, 323, 324, 326, 327, 473
core mechanics of game 849
correlated color temperature (CCT) 620, 620n
cosmetic skin cleanup 834
cosmic crud 34
cost: of iterations and changes during game production 852, 852; of native 3D photography 478–9; of recording 605–6; of scanning 602–3
costumes 21
CPD (Cineon Printing Density) 551, 622–3
crane cars 266
cranes in motion control system 305, 305–6
crashing cars 90
creative changes with native 3D photography 482
creative team for animated film 910, 912–13
creature(s), on-set data acquisition for 145–8, 146, 147
creature design in visual effect shot design 37
creature models, texturing and surfacing of 736
critique in animated film management 920
crossed parallax 449
crowd animation in scene assembly 973
crowd control system 831
crowd generation 827–31; animation cycles for replication in 829–30; artificial intelligence for 831; behaviors and crowd control in 831; in CG animation 905; computer-generated 828; dynamic motion synthesis in 830; keyframe animation in 830; live-action replication for 827–8; mesh density for 829; modeling for replication in 828–9; motion capture in 830; particles in 831; sprites for 828; variation in 829
CRT (cathode-ray tube) displays 237, 238, 238n
CRT (cathode-ray tube) recording 604
Cumulus 967
The Curious Case of Benjamin Button 704
curling of digital hair 752–3, 753
curve ramps 637
cut, defined 7n
cutaway shot 653
cut points 653
cut-scenes: defined 877; design and production process for 878–9; game engine–rendered 878; pre-rendering of 877–8; replay sequences as 877
cutting room, VFX Editor of 633–6, 635
cyberscanning, on-set data acquisition via 148
Dale, Phil 323
DAM (digital asset management) see asset tracking
Dante’s Peak 376, 376–7, 771, 771
The Dark Knight 269, 281n, 363, 368, 832
dark sets, tracking markers with 145
data acquisition, on-set 139–52
data-centric workflow for stereo media 522
Data Collectors, on set 77
data management with stereo 3D 511–12
data plan in triangulation 208, 209, 214
data tracking for animated films 918
data workflow, stereo 3D 523–4
data wranglers: camera report from 140–2; on set 77
The Day after Tomorrow 150, 844
Daylight 129
day-lit backings 119, 119–22, 121
Dazian Tempo fabric 105
DCC (digital content creation) tools 866–7
D-Cinema (digital cinema) 233
DCM (digital cinema master) stereo deliverables 516, 525
debris effects: with miniatures 276, 346, 362–3, 367; in 3D 507
debris elements 285; and projection system 93
DeepMerge stream 688
deep rasters 823
DeepToImage stream 688
defocusing 586
deformation rigging 730, 730–2
deformers for facial rigging 432–3
degraining 684
degrees of freedom in motion capture 401–2
deliverables: with full CG-animated feature 904; with lidar scanning 153, 157, 158; in production workflow analysis 935–6; in production workflow design 947, 952; in production workflow implementation 958, 959–60; in requirements analysis 937, 938, 941, 944–5; with stereoscopic 3D 513, 520, 521, 525, 526–7
delivery 961
Demoskoff, Brian 330
dense stereo reconstruction (DSR): for facial actor survey 427, 427–8, 428; for motion capture 395–6
densitometer 673
densitometric data metrics: color spaces and 622–3, 623; spectral conditions underlying 621–2, 622
densitometric encoding 551
department heads for animated film 919
depth continuity in 2D to 3D conversion 495
depth detail with native 3D photography 483
depth generation in 2D to 3D conversion 495–6
depth index in 2D to 3D conversion 500
depth information in CG compositing 824–5, 826
depth maps 524
depth of field (DOF): formulas for 990; with miniatures 341, 364–5, 375, 375–6; for motion capture 409; of 35mm monoplanar sensor cameras vs. 2/3-inch three-chip sensor cameras 244–5; in visual effect shot design 35
depth script 461
depth sense 448
descenders 91
design deliverables 952
design sculpt 720
design visualization (d-vis) 47–8, 53
desktop color management 614–21; ACES for 617, 617–18; caveats for 619–21; commercial packages for 618; ICC architecture for 615–16, 616; intersection of on-set practices with 618–19
detail: with native 3D photography 483; with stereo 3D 510–11; in visual effect shot design 34
dev beta in game development 875
development deliverables 959–60
development of 3D movies 538–41
DI see digital intermediate (DI)
dialogue, animating to 930
difference mattes, clean plates for 183
diffuse maps 741
diffuse response 785
digital actors, visual effects artists with 661
digital asset management (DAM) see asset tracking
digital blue 671
digital cameras: ACES with 238–9, 238n; ASA rating of 235; for bluescreen or greenscreen photography 135; CCD vs. CMOS sensors for 242; chip size in 242; color sampling with 237–8; color space with 235–7, 236; color subsampling in 239–41; comparison of 248–9; dynamic range of 233–4; frame rates for 242–4; HD sensor sizes in 244–5, 245, 246; highlight headroom of 234–5; high-speed 288, 289, 290; lenses for 246–7; noise in 234, 234n; recording system for 252–4; red channel focus in 245––246; resolution with 241–2; sensitivity of 235; tethering of 252–3
digital capture formats 546
digital cinema (D-Cinema) 233
digital cinema master (DCM) stereo deliverables 516, 525
digital cinematography 232–54; ASC color decision list for 251; camera comparison chart for 248–9; CCD vs. CMOS sensors for 242; chip size in 242; color space in 235–41, 236; defined 233; dynamic range in 233–4; film camera aperture size and HD sensor sizes in 244–5, 245, 246; frame rates for 242–4; highlight headroom in 234–5; lenses for 246–7; look management with 247–52; recording system for 252–4; red channel focus in 245–246; resolution in 241–2; scene files in 254; sensitivity and ASA ratings in 235; visual effects artists with 661–2, 662
digital color image encodings 606–14; camera color analysis gamuts in 611; for camera raw colors 608–9, 609; CIE XYZ colorimetry and CIE chromaticity coordinates in 610, 610; display reproduction gamuts in 612, 612–13; gamut clipping, gamut warnings, and gamut mapping in 614; hierarchy for 606–9, 607–9; primaries and white points in 610–11, 610–12; RGB triangles on chromaticity diagram in 611–12; transcoding vs. color rerendering in 613
digital compositing 679–90; color correction in 680–1; deep 687–9; degraining in 684; edge blending in 686; edge wrap in 686; extractions in 681; history of 679; image capture for 679–80; and image projection 687; with incorrect exposure 683; lighting modulation in 685; with motion blur 682–3; optical vs. 676–8; plate flashing/spill in 685–6; relighting in 685; scene tracking for 689–90; shooting “dirty” and 682; spill suppression in 683–4; start of 684–5; in stereoscopic 3D 687
digital content creation (DCC) tools 866–7
digital conversion with greenscreen and bluescreen photography 98–9, 99
Digital Dailies 250
digital DLP projectors 95
digital double 792; in deformation rigging 731; for digital hair/fur 756, 757; in digital lighting 792–3; in pre-production 6
digital elements 715–846; CG prosthetics and actor enhancements as 831–5; crowd generation and simulation techniques for 827–31; digital modeling of 715–26; dynamics and simulation techniques for 771–6; feathers as 760–6; general geometry instancing for 766–70; hair/fur as 746–60; lighting of 784–807; particles as 776–81; rigging and animation rigging for 726–33; rigid-body dynamics for 781–4; shaders for 807–17; texturing and surfacing of 734–45; 3D compositing for 817–27; 3D products, systems, and software for 835–46, 836
digital environments, visual effects artists with 661
digital extensions, visual effects artists with 661
digital feathers 760–6; examples of 760–1, 761; hair vs. 764–6, 765; interpenetration of 764–5, 765; modeling of 762–3, 763; and morphology of real feathers 761–2, 762; similarities between hair and 763–4
digital file transport 547
Digital Green fabric 105, 105n, 120, 130n
Digital Green paint 105n, 106, 120
digital hair/fur 746–60; in animation production 890; challenges of 746–8; characters interacting with 758; combing and styling of 749, 749–51, 750, 752–3, 753; commercial software packages for 759; control (guide, key) hairs in 746; examples of 746, 747; feathers vs. 764–6, 765; generation process for 748, 748–52; guard hair in 746; interaction of light with 746; interaction of other objects with 746; interpolation of 750, 750–1; look development for 748–51, 749, 750; movement of 746, 752; procedural effects for 754–6, 755; reference photography for 756, 757; render times and optimizations for 754; shot work for 751–2; similarities between feathers and 763–4; static 751; thin objects moving through 758, 758; time and cost of creating 756–8; transitioning between hair styles in same shot with 758–9, 759; visual aliasing with 746
digital image, defined 559
digital intermediate (DI) 626–9; defined 592–3; in digital lighting 795; for games 857–8
digital intermediate (DI) workflow: MTF losses in 592, 592–4, 593–5; stereoscopic 513–27
digitalization with greenscreen and bluescreen photography 98–9, 99
digital lighting 784–807; ambient occlusion in 800; case study of 786–8, 787; creating light sources from environment maps in 801–2; direct 796–7, 797; goals of 791–4; imagebased 794, 799–800; photographed reflections in 798, 798–9; physically based rendering in 802–4, 803; physically derived shading models for 789–90; physically plausible rendering in 804–5; vs. reality 784–6, 785; reflection occlusion in 800; reflections in 797–8; rendering occlusion in 800, 801; shadows in 799; subsurface 790–1, 791; technologies for 796; texture mapping in 788–9; volumetric effects in 805–6, 806; work flow for successful creative 794–5
digital light processing (DLP) projectors 95
digital models and modeling 715–26; believability vs. realness with 717; of characters 715, 716; character setup needs for 724; client servicing approach to 725; cloth simulation needs for 724–5; color and lighting needs for 725; data types in 717–20; development of 720–4; environmental 716–17; freeform digital sculpting for 720–1; hard surface/mechanical 716, 717; importance of 715–16; NURBS in 719, 720, 726; from photogrammetric data 722–4, 723; polygons in 718, 719, 725–6; for production pipeline 724–5; of props 716; from scanned 3D information 721–2; subdivision surfaces in 719; texture painting needs for 724; from 2D imagery 721; types of 716–17; voxels in 720
digital photography: on-set data acquisition via 148–9; screen balancing for 114–16, 115, 116
Digital Picture Exchange (DPX) density 622–3, 622n
Digital Picture Exchange (DPX) format 546, 546n, 569, 979
digital production workflow 835–7, 836
digital sculpting, free-form 720–1
digital sensors, dynamic range of 234
digital sequences, visual effects artists with 662–3
digital sets, visual effects artists with 661
digital tape recorder 252, 253
digital unit, credits/titles for 994–5
digital video (DV) format 549
digital world, miniatures in 368, 368–72, 370
Dimensional Imaging 4D system 427, 428
direct 3D camera rig 472
direct constraint for facial motion capture solving 437
direct drive for facial motion capture solving 436–7
direct lighting in computer graphics 796–7, 797
direct light sources created from environment maps 801–2
director: of animated film 912–13; guidelines on designing visual effects shots for 28–9; on-set work of 78–9; previs use by 51–2; working with 14–17
director of photography (DP, DOP) 18–19, 18n; for high-speed photography 292; in on-set work 78–9; previs use by 54–5
direct photography of environment for gathering lighting data 172–3
direct references during preproduction 24
“dirty” shooting 682
discrete wavelet transform 563–4
Disney: building brain trusts at 910; facilities and environment at 916; previs at 49, 50; reflections from backing by 128–9
Walt Disney Animation Studios: Ptex format of 571; storyboarding at 913
displacement mapping 742, 801, 810
displacement shaders 808–10, 810
display fireworks 89
display reproduction gamuts 612, 612–13, 621
District 9 37
dither 234
divergence 453
divergent parallax 449
DLP (digital light processing) projectors 95
DNG Converter 609
documentation in production workflow design 952
DOF see depth of field (DOF)
dollhouse scale 338
Donkey Kong 860
DOP(s) (dynamic operators) 776
DOP (director of photography) see director of photography (DP, DOP)
dope sheets for animation 894–5, 894n
double exposures (DXs) 279
doubling in 2D to 3D conversion 502
downconverter 279n
DP see director of photography (DP, DOP)
DPX (Digital Picture Exchange) density 622–3, 622n
DPX (Digital Picture Exchange) format 546, 546n, 569, 979
drones 270
DSR (dense stereo reconstruction): for facial actor survey 427, 427–8, 428; for motion capture 395–6
dulling spray 127
Dunn, Linwood 666
dust effects with miniatures 367
dust elements 285
Dutch angle in triangulation 209, 210
duvetyne for element photography 278
DVCPRO-HD 253
DVD format 549
DV (digital video) format 549
d-vis (design visualization) 47–8, 53
DXs (double exposures) 279
Dykstra, John 357
dynamic calibration in motion capture 416–17, 417
dynamic motion synthesis in crowd generation 830
dynamic operators (DOPs) 776
dynamic range 233–4; with panoramic backgrounds 312; for recording 604; in 3D compositing 818–20, 819
dynamics 771–6; rigid-body 781–4
Dynamics 776
dynamic temporal offset for 2D to 3D conversion 504
Eastman 5242 606
edge blending 686
edge detection algorithms 674
edge enhancement feature 680
edge key 681
edge loops 725
edge ringing artifacts 680
edge wrap 686
edit decision list (EDL) for 3D 520
editing systems, 3D 518–20, 519
editor(s), previs use by 56
Editorial Coordinator for feature animation 645–6
editorial department 24–5; for feature animation 642–56
Editorial Manager for feature animation 645
editorial processes, 3D 518–20, 519
Editorial Production Assistant for feature animation 646
editorial workflow in feature animation 642–56
EDL (edit decision list) for 3D 520
Edlund, Richard 429
E-fan (effects fan) 86, 380, 380n
effect enhancement 85
effects animation 890–1, 895, 900, 906
effects fan (E-fan) 86, 380, 380n
effects simulation 906
8-bit color 238
Ekman, Paul 729
Electric Iris 845
Electronic Entertainment Expo (E3) 864
electronics in miniatures 349–50
elements 272–87; actors and props as 281–2; backgrounds for 276–7; camera format considerations for 279–80; cheating with 275–6; clouds as 286; defined 272–3; determining needs for 275; dust, debris, and breaking glass as 285–6; explosions as 282–3; flames as 283, 283–4; generic vs. shot-specific 274; goo and lava as 286–7; with high-speed photography 294–5; line-up with 277–9, 278; smoke and fog as 286; special effects for 84, 85–7; in stereo 3D 275n, 510; stock footage for 273; types of 273; underwater 285; water splashes, swirls, and streams as 284; see also digital elements
End of Days 332
Endorphin 830
end-to-end modeling 956
enterprise class computing networking 961
Entertainment Partners 966
environment(s): for animated film 916; for games 854–6, 856, 857; in stop-motion animation 898–9
environmental bounce light 124–5
environmental input for previs 69
environmental references 166
environment interaction for CG-animated content in liveaction features 929
environment maps, light sources created from 801–2
Erland, Jonathan 105n
E3 (Electronic Entertainment Expo) 864
The Execution of Mary Queen of Scots 2
“exploded” images 49
explosions 89, 282–3; with miniatures 354–5, 382–3, 383
exposure: for greenscreen shot 110, 110–12, 111; incorrect 683
exposure sheets for animation 894–5, 894n
EXR format 546, 546n, 550, 979
extensions: digital 661; lidar scanning for 155–6; twodimensional flat 705
exterior scenes, matte painting of 705
extractions 681
extreme action in 3D 481
extrinsic parameters in motion capture 415, 416
eye convergence with reference materials 189
eye-line reference 80
fabric backings 105
face markers 399–400, 426–7, 434
face replacements 85
FACES format 571
facial acquisition 433–6, 434, 435
Facial Action Coding System (FACS) 425, 729
Facial Action Coding System (FACS) neutralization 426
facial actor survey 424–6; hardware for 426–30, 427–9; stabilization of 425–6
facial motion capture 423, 423–38; audio with 436; dense stereo reconstruction for 427, 427–8, 428; face paste for 433–4; facial acquisition for 433–6, 434, 435; facial actor survey for 424–6; facial rigging for 431–3; hardware for 426–30; helmet mounted camera based 434, 434–6, 435; laser scanners for 428; light stage for 429, 429–30; markers for 399–400, 426–7, 434; multi camera 435–6; reference data for 430; resources for 442; single camera 435; solving in 436–8; statistical data for 430–1; structured light for 428–9
facility(ies): for animated film 916; credits/titles for 993–5; visual effects 636–40, 639; working across multiple 977–81
FACS (Facial Action Coding System) 425, 729
FACS (Facial Action Coding System) neutralization 426
Fantastic Four: Rise of the Silver Surfer 186
The Fast and the Furious 107, 268
FCP (Final Cut Pro) 518, 631, 648
F-Curve editor 839
feathers see digital feathers
feature animation 881–4; limited vs. 895–7; see also animation
feature checkpoints 958
feature detection in motion capture 413
feature identification in motion capture 413
Ferrand, Deak 708
fiber optic sensors for motion capture 396
field of view (FOV): for motion capture 405–6; in previs 63; in triangulation 212, 212–14, 213
15/70 3D IMAX 467
50i format 243
fighting games 860
The Fighting Temptations 270
file-based workflows 253
file formats 546–7, 567–72; Cineon 569; DPX 546, 546n, 569, 979; EXR 546, 546n, 550, 979; for games 853, 853–4, 854; HDR 572; IIF/FACES 571; JPEG 569–70; OpenEXR 546, 546n, 550, 570–1; Photoshop project 572; Ptex 571; Radiance picture 572; RAW and DNG 568, 568–9; tagged image 572
fill light 124, 125; for miniatures 357
film as carrier of information 582, 582–3
film camera aperture sizes and HD sensor sizes 244–5, 245, 246
film grain 672n
FilmLight Ltd 618
film look, painting with 744
film negatives for bluescreen or greenscreen photography 134–5
film-out 547, 547n; in CG animation 901; see also recording
film pixels per height and width 582, 582–3, 988
film projectors 95
film reproduction gamut 624, 625
film stock choices 546
film workflows, bringing color management to 621–5, 622, 623, 625
filters and filtration: for bluescreen or greenscreen photography 135–6; for motion capture 410
final(s) and finaling 641–2, 641n; for CG animation 906; deadline for 11; for games 875
Final Cut 59
Final Cut Pro (FCP) 518, 631, 648
Final Fantasy: The Spirits Within 882, 883
final layout for animation 889
Fincher, David 50
Fire Brigade 3
fire effects 89; with miniatures 354–5, 366–7, 378–81, 379, 380
fire elements 283, 283–4; with high-speed photography 294–5
fireworks 89
1st unit 81
first assistant director (1st AD) 22–3, 27; in on-set work 78–9
First Assistant Editor for feature animation 645
first-party approval in game development 875
first-party games 854
first-person shooter (FPS) games 852, 860
fish-eye lenses: for gathering lighting data 173, 174; for stereoscopic 3D 464; for texture acquisition 317–18
5235 film 677
5245 film 677
5274 film 677
5277 film 677
5293 film 677
5298 film 677
fixed bids 7
“fix it in post” 104, 139; for stereo 3D 457–8
fix requests 964
FK (forward kinematics) 727
Flair motion control software 308
flames 283, 283–4; with miniatures 354–5, 366–7, 379–81
flares: with native 3D photography 484; in third dimension 510
flash memory cards 252
Fleischer, Max 690
Fleischer Brothers 897
flickerless electronic ballasts 106, 106
The Flintstones 897
floating point numbers 559, 820
floating windows 454–7, 456, 465–6, 474–5
floor effects 2
floor shots and virtual sets 116, 122–3
fluorescent lighting 106–9, 108
flying effects 90
flying rigs for stop-motion 322
foam core reference materials 185, 185n, 186, 187–8
focal length: for motion capture 408; with native 3D photography 482
focal length equivalency chart 988
focal length equivalency of 35mm monoplanar sensor cameras vs. 2/3-inch three-chip sensor cameras 245, 245
focus pass for miniatures 357
fog effects 286
foliage, tracking markers with 145 “forced gravity” with miniatures 366
forced perspective miniatures 339–44, 340–3, 374
foreground lighting 123–9; color bias in 125; environmental bounce light in 124–5; illumination and reflection from backing in 125–30, 126, 128, 129; local color in 125; to match background 123–4; and shooting aperture 125, 126
foreground miniatures 339–42, 341–3
anamorphic 545; Blue-ray DVD 549; capture 545–6; digital video 549; for element photography 279–81; 50i 243; 50p 243–4; file 546–7, 567–72;
full-color digital 546; IMAX 545, 545n; latitude-longitude (lat-long) 798, 799; raw 164; remeshed 164; 60i 243; 60p 243–4; stereo 3D designing for multiple release 466–8; Super 35 545, 545n; target 547; texturized 164; 30p 243; 25p 243; widescreen 545
For the Birds 760
For the Term of His Natural Life 697
forward kinematics (FK) 727
4:1:0 scheme 240
4:1:1 scheme 240
4:2:0 scheme 240
4:2:1 scheme 240
4k resolution 547–50; appearance of 2k vs. 591, 591–5, 592, 593, 593–5; for scanning 601
4k+ systems 573–99; aliasing in 583–6, 583–7; appearance of 4k vs. 2k in 591, 591–5, 592, 593, 593–5; film as carrier of information in 582, 582; modulation transfer function with 58, 579–81, 580; MTF cascading in 588, 588–9, 589; resolution with 573–8, 574–7; scanning with 582–3, 587, 587, 588, 589–90, 590; sharpness with 578–9, 579; visual perception limitations with 595–9, 596, 598
FOV (field of view): for motion capture 405–6; in previs 63; in triangulation 212, 212–14, 213
Fox 50
fps (frames per second) 243
FPS (first-person shooter) games 852, 860
frame rates 242–4; for element photography 280; for motion capture 411
frames per second (fps) 243
framing in visual effect shot design 33
Freeform 3D 720
free-form digital sculpting 720–1
frequency sweep 584; luminance along 586
Fresnel equations 788
front projection systems 93–6; advantages of 94–5; disadvantages of 95; equipment for 96
frosty breath 87
frozen surfaces 87
f-stops: dynamic range measured in 233; and foreground lighting 125, 126; for motion capture 409; screen brightness and 110, 110–14, 111, 113; for texture
The Fugitive 93
Fuji 64 daylight film 135
FujiFilm, film unbuilding and building with 624
Fuji intermediate stock 606
Fuji RDI 594
full animation 881–4; limited vs. 895–7; see also animation
full-color digital format 546
Fuller’s earth for smoke effects with miniatures 382
full-scale stand-in model 146, 146, 185
FumeFX 776
fur see digital hair/fur
FX Dust for smoke effects with miniatures 382
game(s) 847–79; action 860; action/adventure 860; adventure 861; alternative sports 860; cost of iterations and changes during production of 852, 852; digital intermediate and post effects for 857, 857–8; environments for 854–6, 856, 857; fighting 860; file formats for 853, 853–4, 854; vs. films 847–58, 848; first-party 854; first-person shooter 852, 860; gameplay (core mechanics) of 849; limitations of 850–1, 851; and machinima films 858; massively multiplayer online 853, 861; most important aspect of 848–9, 849; narrative storytelling in 849–50, 850; object of 869–70; platform 860; prototyping or previs for 856, 869–70; puzzle 861; racing 861; real-time rendering for 858, 858; real-time strategy 853, 861; role-playing 853, 859; serious 861; sim 853; sports 853, 860; third-party 854; third-person shooter 852; transmedia production design techniques for 854–8; 2D 853; types of 852–3, 859–61; virtual world 861
game cinematic sequences 877–9; design and production process for 878–9; game engine–rendered 878; localization of 878; noninteractive scene (cut-scene) 877–8; pre-rendering of 877–8; replay 877
Game Developers Conference (GDC) 864
game development 868–76; agile 874; budget for 872; digital content creation tools for 866–7; finaling phase of 875; game document in 871–2; idea in 868–9; level editor in 867; manufacturing phase of 876; marketing phase of 876; phases of 874–6; pipeline for 865, 873–4; post-production in 857–8, 858, 876; pre-production phase of 874; production phase of 875; prototyping or previs for 856, 869–70; software packages for 866–7; target audience in 869; team for 872–3; technical knowledge 866; visual style in 870–1
game engines 864–8; CG applications and 867; common 867–8; defined 864; level editor in 867; noninteractive scenes rendered by 878; vs. software development kits 864–5; software packages for 866–7; technical knowledge for 866; used to make films 858; working with 865–6
gameplay 849
game production pipeline 865, 873–4
game reviews 875
GAMfloor 106
gaming techniques for previs 71
gamut clipping 614
gamut mapping 614
gamut of colors 237
gamut warnings 614
gap filling for motion capture 419–20, 420
“garage band” 53
GDC (Game Developers Conference) 864
Gemini for 3D capture 514
general geometry instancing 766–70, 767; asset creation with 767–8; shot considerations with 769–70; world building with 768, 768–9
generational loss 561
geometric mesh data in scene assembly 971
Gertie the Dinosaur 893
G-Force 474, 475, 476, 758, 924–6
ghost busting 523
giant screen venues 467
Gill, Jim 254
Gilliam, Terry 369
glare in desktop color management 619
glasses, active vs. passive 516, 525
global illumination 807
global optimization solvers 422, 422
go-motion photography 326; motion control systems for 307, 307n
Goodman, Ron 270
The Good Shepherd 371
grain: compositing of 824; of film 672n; 2D to 3D conversion with 498–9
grain management for occluded surface reconstruction 497
Gran Torino 832
gravity with rigid-body dynamics 781
grayscale camera for motion capture 411–12
Great American Market 106
green channel 98
greenscreen 44–5; compositing with 673–74; front-lit 674; special effects and 84, 90
greenscreen element, applying positional data to 214–16, 215, 216
greenscreen keying software, clean plates for 183
greenscreen photography 97–138; Alpha channel in 99, 99, 103; backing materials for 105–6; backing types and lighting for 118–22, 119, 121; backing uniformity and screen correction with 100–2, 100–3; cameras for 134–6; choice of blue vs. 116–18, 117; color correction with 98; composite in 99, 99, 104; compositing software for 137–8; controlling spill light with 129–30; environmental bounce light for 124–5; exposure for 110, 110–12, 111; eye protection for 109–10; “fixing it in post” with 104; floor shots and virtual sets in 122–3; foreground lighting for 123–9, 126, 128, 129; function of backing in 98; illuminators for 106–10, 108; levels for digital original photography in 114–16, 115, 116; lighting of virtual sets in 130–2, 131; negative scanning and digital conversion of 98–9, 99; on-set preview for 133–4; overview of 97–8; processed foreground in 103–4; recommended specifications and practices for 104–10; setting screen brightness for 112–16, 113, 115, 116; shooting aperture for 125, 126; software functions with 99, 99; tracking markers in 132–3, 133; TV monitors in 123; underwater 136; white card method for screen balancing in 112–14, 113; worked with cinematographer on 136
greenscreen projection: advantages of 94–5; camera-mounted light source for 96; disadvantages of 95; equipment for 96; retroreflective material for 96; set lighting conditions for 96
greenscreen suit 21
grey spheres for gathering lighting data 168–72, 170, 171
grouping in 2D scene assembly 977
guard hair 746
guide feathers 764
guide hairs 746, 749, 749–51, 750
gyroscope stabilizers 267, 269
gyros for motion capture 393, 394
hair see digital hair/fur
hairstyles and styling 21–2; combing and 749, 749, 752–3, 753; transitioning between 758–9, 759
Half-Life 2 849
Halo 858
Hammerhead Productions 268
hand-in-frame technique for slating 229
handles: defined 629n; length of 6, 629; in scanning 602
hand work, automated vs. 41
hanging miniatures 339–42, 341–3
Hannah Montana 540
hard surface models and modeling 716, 717; texturing and surfacing of 734–6
Harryhausen, Ray 899
HA (high-availability) servers 960–1
Hatch FX 708
HD see high-definition (HD)
HDCAM 253
HDCAM SRW1 for 3D capture 514
HDR-Cam Light Probe System 318
HDR file format 572
HDRI see high dynamic range imaging (HDRI)
Heat Shield filter material 109
height in visual field in 2D to 3D conversion 490, 491
helicopter(s), miniature radio-controlled 270
helicopter-mounted gyro-stabilized balls 269
Hellboy 2 708
helmet mounted camera (HMC) based performance capture 434, 434–6, 435
helper rigs for stop-motion 322
Jim Henson Company 70
“hero” geometry 768
Heynacher, Erich 581
Heynacher integral 580, 581, 580
HFR (high frame rate) projects 526
high-availability (HA) servers 960–1
high-definition (HD): in cinema 233; in television 233
high-definition (HD) camera as witness camera 191
high-definition (HD) sensor sizes and film camera aperture sizes 244–5, 245, 246
high-definition (HD) survey 153
high dimensional mapping for facial motion capture solving 438
high dynamic range imaging (HDRI): defined 694n; for onset data acquisition 152; in plate stitching 694; for textures 311, 311n
high frame rate (HFR) projects 526
high-speed photography 287–96; application of 293–5; cameras for 287–91, 288, 289; defined 287; Director of Photography for 292; elements in 294–5; lighting for 292–3; locking down of camera in 295–6; of miniatures 362–8, 363, 365; post-production for 296; technicians for 291–2; technique of 295; video assist for 296
Hillcoat, John 120
HIT (horizontal image translation) 450–1, 451, 452, 473, 525
Hittle, Tim 329
HMC (helmet mounted camera) based performance capture 434, 434–6, 435
HMI lighting 109; for high-speed photography 292–3
The Hobbit 526
The Hobbit: An Unexpected Journey 3, 244
The Hobbit: The Desolation of Smaug 244
home video deliverables, 3D 526
honeywagon 81
horizontal image translation (HIT) 450–1, 451, 452, 473, 525
horizontal parallax 518–19, 519
horizontal window violations 532–3, 533
horopter 448
Hotel Transylvania 768
Houdini software 776, 807, 815, 815, 837–8, 957
HR (human resources) smanagement for animated film 911–12
Hugo 354
Hulk 844
human resources (HR) management for animated film 911–12
Humorous Phases of Funny Faces 893
The Hunger Games 48
Huntin’ 338
Huston, Paul 708
hybrid approaches for facial motion capture solving 438
hyperfocal distance, formula for 990
IA (interaxial) separation 450, 487, 507, 518
IBK (Image-Based Keyer) 138, 681
IBL (image-based lighting) 794, 799–800
IBMC (Image Based Motion Capture) 189–93
ICC (International Color Consortium) color management architecture 615–16, 616
ICE (Interactive Creative Environment) 839
iChat software 183
IIF (Intuit Interchange Format) 571
IK (inverse kinematics) 727
IK (inverse kinematics) handle 421, 421
illumination and illuminators: from backing 125–9, 128, 129; global 807; for greenscreen and bluescreen photography 106–10, 108; incident 785; radiant 785; see also lighting
ILM See Industrial Light & Magic (ILM)
image(s), working across multiple facilities with 979
Image-Based Keyer (IBK) 138, 681
image-based lighting (IBL) 794, 799–800
Image Based Motion Capture (IBMC) 189–93
image capture: and compositing 679–80; film scanners as devices for 624
image compression 558–67; contrast masking in 566–7, 567; image encoding for 559–60; lossless 560, 561–4; lossy 560–1, 564–7; luminance and chroma in 564–6, 565; run-length encoding for 561–2; still 560–7; transforming pixel distribution in 562–3; variable-length bit sequences in 562; visually lossless 561
image engineering 50
image manipulation see post-production
image projection in compositing 687
image quality with native 3D photography 483–4
image segmentation in 2D to 3D conversion 494, 494–5
image sensor for motion capture 410–12
image separation 507
image sharpening in third dimension 508
image stability with scanning 600–1
image storage farm for CG animation 908
Imagica Japan 138
IMAX format 467, 517, 545, 545n
implicit depth cues in 2D to 3D conversion 490, 490–1
importance sampling 802
importing in scene assembly 974
in-betweens in animation 895
Inception 355
incident illumination 785
inclinometer for triangulation 202
indirect constraint for facial motion capture solving 437
Industrial Light & Magic (ILM): Alembic format of 837; composites done on optical printers at 670–1, 673; greeblies of 971n; in-house vs. off-the-shelf software at 954–5; matte painting by 701, 713; OpenEXR format of 570, 979n; previs division of 50; simulations by 775; use of motion control in stop-motion by 326
inertial motion capture 392–4, 393
infinity parallax 449
ingestion 961
in-house development vs. commercial packages 954–6
in-house requirements vs. service bureau 943–5
inner key 681
input device transforms 554, 614
input(s) for motion capture 413–14
input plates in 2D scene assembly 976
input profile 614
Interactive Creative Environment (ICE) 839
interactive games see games
interactivity with special effects 84
interaxial (IA) separation 450, 487, 507, 518
intercutting with 3D 465
interim user checkpoints 958
interior scenes, matte painting of 705
interlayer effect 134
International Color Consortium (ICC) color management architecture 615–16, 616
interocular separation 449, 450, 507, 518
interpolation of digital hair/fur 750–1
interposition 455
interpupillary separation 449, 450, 507, 518
intrinsic parameters in motion capture 415, 416
Intuit Interchange Format (IIF) 571
inventory for animated films 917–18
inverse kinematics (IK) 727
inverse kinematics (IK) handle 421, 421
inverse procedure 75
Invictus 832
iPhone 863
isolation of objects in 2D to 3D conversion 494, 494, 500–1
iterative closest point in facial actor survey 426
JAK Films 50
James, Oliver 137
Jason and the Argonauts 899
jet-powered fans 86
jitter in real-time visual effects 195
Johnston, Ollie 893
joint(s) for facial rigging 432
joint placement for motion capture 401
Journey to the Center of the Earth 120, 540, 543
Judge Dredd 50
Jumbotron screens 95
“jump cut” technique 2
Jungle Software 966
Jurassic Park 505
Katz, Steven 75
“keyers” 137
key feathers 764
key frames: in CG animation 900; in crowd generation 830, 830n; in motion control 298; in rotoscoping 691
key hairs 746, 749, 749–51, 750
keyhole shots 361
Keykode 629n
Keylight 137
key lighting for animation 891
key posing for animation 895
King Kong 899
Kino Flo 107
Knowing 662
Kodak: AIMs for 667–9; Cineon format of 600, 622, 623, 951; DPX format of 569, 623; film emulsions of 676; and film unbuilding and building 624; and ILM values 673–74; key numbers of 629, 629n
Kodak 2238 film 677
Kodak 5245 film 677
Kodak 5274 film 677
Kodak 5277 film 677
Kodak 5293 film 677
Kodak 5298 film 677
Kodak/Panavision Preview System 133
Kodak Panchromatic Separation Film 5235 677
Kodak SO202 film 677
Kodak SO214 film 677
Kodak Vision 2: 50-speed daylight film 135, 263; 100T and 200T films 134
Kodak Vision 3 5219 film 622
Kroyer, Bill 49
Kuper motion control software 308
labeling for motion capture 419
labor unions on animated films 912
Lakota Green Matte material 105
Lambert, Paul 138
Lambert diffuse shading 785, 786, 787, 787, 808
landscapes, miniatures 352
large-area emissive displays 96
large screens, visual perception limitations for 595–9, 596, 598
laser-based recording 604
laser cutting for miniature fabrication 347
laser level for triangulation 203
laser scanners and scanning: for digital modeling 721–2; for facial actor survey 428; on-set data acquisition via 149–50, 159, 160
Last Passenger 93
The Last Stand 72
latitude-longitude (lat-long) format 798, 799
layering in 2D scene assembly 977
layout 689; for animation 889, 905; for feature animation 650–3, 651, 652; 3D 689
LCD (liquid-crystal display) projectors 95; for stereoscopic viewing 517
Lead Editor for feature animation 644
The League of Extraordinary Gentlemen 337
least squares surface fitting for facial motion capture solving 437–8
LED(s) (light emitting diodes) in active optical motion capture 391, 391–2
LED (light-emitting diode) screens 95
Leighton, Eric 326
Lempp, Wolfgang 137
lens: for digital cinematography 246–7; for motion capture 407–10; periscope 361, 361n; for stereoscopic 3D 463–4
lens angle 990
lens artifacts in third dimension 510
lens chart 988
lens distortion charts for on-set data acquisition 150–1, 151
lens distortion grids for texture acquisition 317
lens distortion in real-time visual effects 195
lens flare with live-action plate photography 268
lens formulas 989
lens magnification in real-time visual effects 195
level editor 867
level of detail (LOD) 754
level set with rigid-body dynamics 783
levitation 91
lidar 153
lidar scanning and acquisition 149–50, 152–8; by art departments 155; for collision geometry 157; for digital modeling 722, 723; equipment available for 154; eye safety with 154; for matchmoving 156–7; practical realities of 157–8; for previsualization 154–5; principles of 153; process of 153–4; for set extension 155–6; for 3D CG characters 156; in visual effects 154
Life of Pi 3
lift, in motion control systems 305
light(s): miniature 349–51, 350; in reality vs. computer graphics 784–6, 785
lightbox as reference material 186
light emitting diode(s) (LEDs) in active optical motion capture 391, 391–2
light-emitting diode (LED) screens 95
lighting: for animation 891–2, 906; backing types and 118–22, 119, 121; fluorescent 106–9, 108; foreground 123–9; for front projection 96; for high-speed photography 292–3; image-based 794, 799–800; key 891; for live-action plate photography 262; in scene assembly 973; stills for textures and 317–18; for stop-motion 324–5; of virtual sets 130–2, 131; see also digital lighting
lighting data 165–77; colored and reflective spheres for 168–72, 170, 171; conventional still cameras for 173–5, 174; defined 166; direct photography of entire environment for 172–3; false savings with 165; gathering of 165; goals of 165–7; lighting diagram combined with photographs and/or video for 167; reference shooting considerations for 175–7; scanner or survey equipment for 167–8
lighting diagram combined with photographs and/or video 167
lighting keys for animation 891
lighting layers, multiple 822–3
lighting modulation 685
lighting reference stills 80
lighting team needs for digital modeling 725
light sources created from environment maps 801–2
light stage for facial actor survey 429, 429–30
light surround in desktop color management 620
linear polarization 516
line of sight with real-time motion capture 440
line-up for element photography 278–80, 279
line-up information 631, 637–8
linking in scene assembly 974–5
Linux platform 957
The Lion King 914, 922 liquid-crystal display (LCD) projectors 95; for stereoscopic viewing 517
live-action elements, compositing of 679–90
live-action features, CG-animated content in 923–31
live-action plate photography 261–72; air to air 270–1; angle of view for 261–2; background quality for 263; believability of 272; cable systems for 271–2; camera cars for 265–6; camera position (station point) for 261; camera tilt for 262; case study on 264–5; lighting considerations for 262; with moving plates 263; panoramic rigs for 268–9; precautions with 268; purpose-built crane cars for 266; road speed in 267–8; scouting camera positions for 263–4; vibration and camera stabilization in 266–7; on water 269–70
live-action replication for crowd generation 827–8
live-action rigs for motion control 303
live-action set, flexibility and time on 40
live performances, real-time motion capture for 440
localization of noninteractive scenes 878
locked-down camera for highspeed photography 295–6
locked-in sync 632
locked-off camera, shooting clean plate with 179–80
LOD (level of detail) 754
logarithmic (log) representation 817–18
Lola Visual Effects 834
look and visual effect technique 40
look development (look-dev) 792; in CG animation 905; for digital hair/fur 748–51, 750, 751
look management for digital cinematography 247–52, 248–9
Look Management System 247, 250
look-up table (LUT): in ACES 555, 557, 5516; in color management 619, 625, 627–8; in digital intermediate 627; in on-set look management 250; in RealD mastering 525
Lord of the Rings 775, 831, 842, 908–9
lossless compression 560, 561–4
lossy compression 560–1, 564–7
Lucas, George 49
luma keys 98
luminance along frequency sweep 586
luminance levels in desktop color management 620
luminance maps 743
luminance masks 98
LUT see look-up table (LUT)
Luxor Live 50
LZ77 coding 564
LZW coding 564
Maas, Jan 327
McCay, Winsor 893
machinima films 858
MACHTECH 107
Macmillan, Tim 254
magic in visual effect shot design 32–3
main unit 81
mandrill 20
Mantra 837
manufacturing phase of game development 876
The Man Who Would Be King 703
MAPP gas for fire with miniatures 380
maps and mapping: area 743; bump 741–2, 809, 809; camera 739–40, 812; defined 811; depth 524; diffuse 741; displacement 742, 801, 810; environment 801–2; gamut 614; luminance 743; material designation 743; morph 829; for on-set 3D scanning 164; photographic reflection 798, 798–9; photon 804; planar 811–12; projection 739, 811–13, 812; specularity 742; spherical 812; stereo disparity 524, 525; texture 317, 317n, 788, 788–9; UV 811, 812; volumetric 740
maquettes 185, 185n, 925, 925n
marker(s) 406–7; active 407; defined 385, 406; for facial actor survey 426–7; passive 406; passive retroreflective 406–7; placement on body of 398–9, 400; placement on face of 399–400; with real-time motion capture 441; redundancy of 399
marker-based performance capture 434
marker masks 400
marketing of games 876
mask(s), marker 400
Mass Effect 849
Massive Jet 843
massively multiplayer online (MMO) games (MMOG) 853, 861
Master Image 3D system 467, 517
matchmovers and matchmoving 689, 933–4; lidar scanning for 156–7; on set 77; in 2D to 3D conversion 500
material(s) 807; for animation production 887–8
material designation maps 743
matte(s) 626; articulated 692; formulas for 989; garbage 692–3, 692n; premultiplied 821, 822; pulling of 820–1, 820n; in 3D compositing 820–1; traveling 668, 667–9, 668
matte color replacement 674
matte paintings 17, 695–712; basic skills and tricks of the trade for 702–6, 703, 704; camera projection techniques for 705–6; defined 696; for exterior scenes 705; finding best frame for 709–10, 710; for interior scenes 705; with miniatures and computer-generated sets 706–9, 707, 708; need for creative compositing with 711–12; on-set supervision for 699–702, 701; pioneers and history of 696–9, 697, 698; projection 706–9, 708; purpose of 695, 695; re-projected photo survey for 711; 3D 712–14; for two-dimensional flat extensions 705; with virtual 3D photography 477; visualizing shot in pre-production for 699
matte pass for miniatures 357
Matte World Digital 698, 704, 710
Max 957
Maxon 845
Maya 838; with cable systems 272; and Massive Prime 843; and Mental Ray 843; with miniatures 333, 352, 360, 371; in post-production 192; Renderman for 844; shaders with 807, 814, 815; software package of 957; in 3D scene assembly 971, 974; for tracking 964; in virtual studio technology 942
Maya 2010, MatchMover Pro in 840
Maya 2013 838
Maya Dynamics 776
Maya Fluid Effects 838
Maya Fur 838
Maya Nucleus 838
Maya Software Renderer 837
measuring tapes for triangulation 202
mechanical devices in miniatures 349
mechanical effects 19, 89–90; with miniatures 353–6
mechanical slop in stop-motion 325, 325n
Medal of Honor Airborne 857
Media Composer 633
media consolidation 636
meeting with director and producer 15
Meet the Robinsons 540
MEMs (microelectromechanical sensors) 392–4
merging in scene assembly 974
mesh deformation in motion capture 402
mesh density for crowd generation 829
MetaFuse 518
metals for miniature fabrication 347
Michelson, Harold 75
microelectromechanical sensors (MEMs) 392–4
Microsoft Project 966
Microsoft Windows and 3D Studio Max 839
Microsoft Xbox 360 849n, 862–3
middleware 865
The Mighty Quinn 271
milestone reviews in game development 875
militaria scale 338
Miller, Alvah 133
miniature(s) 330–84; action 353; advantages and disadvantages of 331–3; breakaways with 383–4; camera for 374–6, 375; categories of 335; collapsing of 347, 354–5, 355; defined 330–1; depth of field with 341, 364–5, 375, 375–6; design and integration within film of 334; in digital world 368, 368–72, 370; execution of planning for 333–4; explosions with 354–5, 382–3, 383; fire effects with 354–5, 366–7, 378–81, 379, 380; “forced gravity” with 366; forced perspective 339–44, 340–3, 374; formulas for 987; hanging (foreground) 339–42, 341–3; high-speed photography of 362–8, 363, 365; in-camera compositing with full-scale live-action actors of 339–42, 340–3; matte painting with 706–9, 707; mechanical effects with 353–6, 354, 355; with mixed scales 344; motion control with 307, 356–62, 357, 358, 362; mule of 353; nodal pans and tilts with 343; photographic continuity with 334; practical effects with 353–6, 354, 355; previs with 359–60; pyrotechnics with 89, 347–8, 365, 365–6; rain effects with 377–8; reasons for using 330–1, 331, 332; scale considerations with 374; scale determinations for 335–9, 336–8; shooting locations and conditions for 355–6; shrinking reality with 372–3; smoke effects with 367–8, 381–2; special effects for 372–84; water effects with 354, 367, 376, 376–7
miniature fabrication 344–52; aging in 351–2; basic standard tools for 352; construction materials for 346–51, 347, 348, 350; paint process in 351, 351–2; previsualization and 352; scale and purpose requirements in 344–6, 345
miniature landscapes 352
miniatures unit, credits/titles for 996–7
mini-cut 59
MiniDV video cameras 281
Mishima, Kaz 138
Mistika 519
mixed scales with miniatures 344
MMOG (massively multiplayer online games) 853, 861
MMO (massively multiplayer online) games 853, 861
MoCap see motion capture (MoCap)
MOCAP Design 434
moco see motion control (moco)
model(s) and modeling: for animation production 887, 905, 930–1; decomposition into components of 971–3; during pre-production 24; for replication 828–9; working across multiple facilities with 979–80; see also digital models and modeling; miniatures
model editing and texturing 745
model storage farm for CG animation 908
models unit, credits/titles for 996–7
model train scale 338
Modo 957
modulation transfer function (MTF) 241, 579–81; aliasing effect on 585, 586; calculation of 589, 589–90; cascading of 588–90, 588–90; defined 579; in 4k scan 589; and Heynacher integral 580, 580, 581; scanner 588
modulation transfer function (MTF) losses: in 4k DI workflow 592–4, 593, 593–5; in photochemical lab 591, 591–2, 592
moiré 584
molded miniatures 349
Mole Richardson Company 380n
monitoring of budget and schedule 12
monitor reproduction gamuts 612, 612–13, 621
Monkeybone 329
Monsters, Inc. 921
monster sticks 183–9, 184, 186
morph maps 829
mosaic pattern sensor layouts 240–1
Motion Analysis 422
motion blur 682–3; compositebased 823–4; correction with paint of 693
Motionbuilder 421
motion capture (MoCap) 385–445; active optical 391, 391–2; actor considerations with 390, 397; audio with 436; bend sensors for 396–7; budget for 388, 389; camera handoff in 408; in crowd generation 830; data quality with 389; defined 385–6, 386; degrees of freedom in 401–2; dense stereo reconstruction 395–6; entry point for 387–8; environment for 390; facial 423–38; field of view for 405–6; gauging needs and constraints for 389–90; image based 189–93; inertial 392–4, 393; joint placement for 401; look of 386–7; marker masks for 400; marker placement on body for 398–9, 400; marker placement on face for 399–400; mesh deformation in 402; passive retroreflective optical 385, 390–1; postprocessing of 443; preparation for 397–404; in previs 69–70; real-time 390, 438–41, 439; resources for 442–3; rigging for 401–2, 728; rightness for project of 386–8; rotoscoping and 897; scalability with 390; shot list for 402–4; structured light 394–5; technical specifications for 387; technology for 388–97; tiles in 403–4; turnaround time with 389; types of things captured by 390; and Virtual Production 443–5; wireless nonvideo 190
motion capture (MoCap) animation 897–9
motion capture (MoCap) hardware 404, 404–14; filter as 410; image sensor as 410–12; inputs/outputs as 413–14; lenses as 407–10; markers as 385, 406–7; onboard processor as 412–13; setup of 414; strobe as 405–6
motion capture (MoCap) software 414–23; for acquisition 415; for calibration 415–17, 417; for cleaning 420–1; for gap filling 419–20, 420; for labeling 419; for post-processing 418; for reconstruction 418–19; for solving 421–3, 422
motion capture (MoCap) suits 398
motion capture (MoCap) unit, credits/titles for 995
motion capture (MoCap) volume 414
motion control (moco) 297–311; camera types for 309; for clean plates 180; data in 302–3; dealing with production for 310–11; defined 297–9; for import and export of camera move data 301–2; key frames in 298; with miniatures 307, 356–62, 357, 358, 362; for multiple-pass photography 299–300; for performance choreography 299; for scaling 300–1; software for 308–9; in stop-motion 325–6, 326; sync and phase in 309–10; uses of 297; Waldos in 298, 298, 298n
motion control (moco) systems 303–7; big cranes as 306, 306; live-action rigs as 303; model/miniature/stop-motion rigs as 307, 308; motors and sound in 307; pan/tilt head on track as 304–5; pan/tilt heads as 304; purpose-built rigs as 307; robotic 306–7; small crane on track as 305, 305–6
motion control (moco) unit, credits/titles for 996
motion graph 830
motion perspective in 2D to 3D conversion 490, 491
Motion Picture Marine 269
motion tiling 314, 314–16, 315
motion tracking equipment with real-time visual effects 197
motion tracking suit 21
motion vectors 560
motors for motion control systems 304n, 307
The Movies Game 858
moving camera, shooting clean plate with 180–1
moving plates 263
MTF see modulation transfer function (MTF)
Mudbox 720
mule of miniature 353
Multicam 255
multiplane camera for CG animation 901
multiple camera rigs for virtual 3D photography 469–71, 470, 471
multiple component files in 2D scene assembly 977
multiple facilities, working across 977–81
multiple lighting layers 822–3
multiple-pass photography, motion control for 299–300
Muro, James 271
MySQL 968
naming conventions in production workflow design 950–1
narrative storytelling in games 849–50
NAS (network attached storage) system 967–8, 970
Nayar, Shree K. 788
Need for Speed Most Wanted 856, 857
Need for Speed SHIFT 858
negative parallax 450, 453–4, 460, 500
negative scanning with greenscreen and bluescreen photography 98–9, 99
NetApp 967
Nettman Vector Vision rig 270–1
network attached storage (NAS) system 967–8, 970
network for CG animation 908
NextLimit 776
Nichols, Mike 262
The Nightmare Before Christmas 319, 321, 321, 540, 898
night shoots, tracking markers with 145
Nintendo DS 863
NIS sequences see noninteractive scene (NIS) sequences
nodal head for tiled stills 313, 313n
nodally mounted camera 303, 303n
nodal pans with miniatures 343
nodal point for triangulation 201, 204, 204–5, 204n
noise: compositing of 824; in digital cameras 234, 234n; in real-time visual effects 195
noise patterns, procedural 814, 814
noncharacter deformation 733
noncolor information, encoding of 559–60
noninteractive scene (NIS) sequences: defined 877; design and production process for 878–9; game engine–rendered 878; localization of 878; prerendering of 877–8; replay sequences as 877
nonlinear deformers 732
Non-Uniform Rational B-Spline (NURBS) 719, 720; for digital hair/fur 749; engineering aspects for 726; texturing and surfacing of 738
normalized specular response 805
normalizing 627
North by Northwest 505
Northcutt, Brett 698
Nuke IBK 138
NUKE software 524
NURBS see Non-Uniform Rational B-Spline (NURBS)
Nvidia 844
Oblivion 93
O’Brien, Willis 899
occluded surface reconstruction (OSR) in 2D to 3D conversion 496–7, 501–2
occlusion: ambient 800; in motion capture 399, 399n; reflection 800; rendering of 800, 801; in 2D to 3D conversion 490, 490
Ocula 519
ODE (Open Dynamics Engine) 776
ODTs (Output Device Transforms) 551, 555, 556
off-screen in stereoscopic design 460
1:85 ratio 545
One Pair 760
oner 38
ones, animation in 895
OnLive 862
on-set 3D scanning 158–64; defined 158; delivery format for 164; how to get most out of 159; post-production of 162–4; prepping actors for 161; of props or cars 161–2; review of 162, 163; systems for 159–61, 160
on-set animation capture 189–93
on-set color correction 252
on-set data acquisition 139–52; from camera report 140–2, 143; via cyberscanning 148; from digital photos 148–9; HDRI and chrome balls in 151–2; lens distortion charts in 150–1, 151; via lidar/laser scanning 149–50; props for actors in 145–8, 146, 147; from tracking markers 143–5, 144
on-set depth with native 3D photography 483
on-set issues with native 3D photography 480–1
on-set look management 250
on-set preview composites 133–4
on-set stereography 484–9; overview of 484–5; pre-production for 485–6, 486; second units with 489; on the set with 486–8, 488; visual effects with 489
on-set supervision for matte painting shots 699–702, 701
on-set tracking and capture considerations for actor enhancements 832
on-set work 77–83; crew for 77; dressing for 78; guidelines for 81=83; typical process of 78–81
Open Beta in game development 875
Open Dynamics Engine (ODE) 776
OpenEXR format 546, 546n, 550, 570–1
Open Graphics Library (OpenGL) 720, 720n
optical compositing 666–78; bluescreen in 669–76; digital vs. 676–8; history of 666; traveling matte technique in 668, 667–9, 668
optical low pass 586
optical overexposure 678
optical printer 632
optical technique, history of 666
optical underexposure 678
Optic Green Tempo Fabric 105
optimizations for digital hair/fur 754
Oren, Michael 788
Oren-Nayar shading 788
original concepts in visual effect shot design 32
“orthogonality” of statistical models 431
orthographic imagery 721, 721n
OSR (occluded surface reconstruction) in 2D to 3D conversion 496–7, 501–2
OSX platform 957
outer key 681
Out of the Ink Well 690
Output Device Transforms (ODTs) 551, 555, 556
output(s) for motion capture 413–14
overhead track system 91
Oz: The Great and Powerful 3
pacing in visual effect shot design 36
paint(s) and painting: digital 693–5; in miniature fabrication 351, 351–2; motion blur correction with 693
painted backings 106
paints and painting; see also matte paintings
paint tools for occluded surface reconstruction 497
Panchromatic Separation Film 5235 677
Panic Room 50
panoramic rigs for live-action plate photography 268–9
Panoscan system 314
pans with miniatures 343
pan/tilt head on track in motion control system 304–5
pan/tilt heads of motion control systems 304
Panum’s fusional area 448
“parade mode” 114
paradoxical window effect 474–5
parallax 448–9, 449, 507; angular 454; horizontal and vertical 518–19, 519; positive and negative 450, 453–4, 460, 500
parallax budget 452–3; floating windows and 454–7, 456
parallel mini-cut 59
parallel ray light in computer graphics 797, 797
parametric surfaces 811
ParaNorman 323
partial turnover 635
particle(s) 776–81; attributes added to 776, 778; birth of 778; creating effects with 779, 779–81, 780; in crowd control 831; defined 776, 777; in motion 777–8; uses of 777
particle board for miniature fabrication 347
particle systems: collision geometry for 157; defined 776
The Passion of Christ 281
passive markers 406
passive retroreflective markers 406–7
passive retroreflective optical motion capture 385, 390–1
patches and patching: in NURBS 719; in projection matte painting 709
path tracing 803
pattern matching for occluded surface reconstruction 497
PC games 863
PCS (Profile Connection Space) 615–16, 616
PDI/Dreamworks 775
PDM (Production Department Manager) for animated film 919–20
Pedersen, Con 358
Peel Solver 422
peg-registered paper 690, 690n
pendulum rig 91
Pendulum Studio 391
Perfect Horizon head 269
A Perfect Storm 775
performance capture 70, 385; helmet mounted camera based 434, 434–6, 435; marker-based 434; rotoscoping and 897
performance capture animation 897–9
performance capture unit, credits/titles for 995
performance choreography, motion control for 299
Perlin, Ken 814
Perlin noise function 814
personal space with stereoscopic window 528, 530–2, 536–7, 537
perspective mismatch 276
Peter Pan rig 91
Phantom Flex camera 249
Phantom HD Gold camera 249
Phantom Miro camera 249
PhaseSpace Capture Volume 391
phasing: in motion control 309–10; of witness camera 191
Phong lighting 785, 786, 787, 787, 808
photochemical lab, MTF losses in 591, 591–2, 592
photogrammetric data for digital modeling 722–4, 723
photographic-based scanning for digital modeling 722
photographic reference 220–6; how to proceed with 221–3, 222; shooting video as 223–6
photographic reflection map 798, 798–9
photography, director of see director of photography (DP, DOP)
PhotoModeler 723
photon mapping 804
photorealism in visual effect shot design 31–2
Photorealistic Renderman (PRMan) 844–5
photo references, on-set data acquisition via 148–9
Photoshop See Adobe Photoshop
Photo-Sonics 1VN Super 16 camera 288, 289
Photo-Sonics 4C camera 288, 288–9, 289
Photo-Sonics 4ER camera 288, 289
Photo-Sonics 4ML camera 288, 289
Photo-Sonics Action Master camera 288, 289
Photo-Sonics Action Master S-16 3000 camera 288, 289
Physbam 775
physically based rendering 802–4, 803
physically plausible rendering 804–5
physical model, advantages of 44
physics solvers 423
PhysX 776
picture editor 630
piezoelectric sensors for motion capture 396
ping-ponging 692
pin registration 291
pipeline: animation 882–4, 885, 885; CG animation 902–9; production 724–5, 937
Pirates of the Caribbean 505
Pirates of the Caribbean: Dead Man’s Chest 492
Pirates of the Caribbean: On Stranger Tides 473
Pirates of the Caribbean series 908–9
Pixar Animation Studio: Alfred system of 968; building brain trusts at 910; full animation projects of 881; layout at 889; R&D at 954–5
pixel(s), required scanning 988
pixelation method for stop-motion animation in live-action features 927, 927n
pixel displacement for 2D to 3D conversion 497–8, 503
pixel distribution, transformation of 562–3
Pixel Farm 841
pixel parallax budget in 2D to 3D conversion 495
pixel repeat in 2D to 3D conversion 502
pixel resolution 988
pixel shifting for 2D to 3D conversion 497–8, 503
planar cue 455
planning during pre-production 23
plasma screens 95
plasters for miniature fabrication 347
plastic backings 106
plate(s): aerial 145, 269–70; background (BG) 93, 630, 630n; defined 10, 177n, 261; moving 263; synchronous 314, 314–16, 315; in 2D scene assembly 976; see also clean plates
plate features 762
plate photography 10, 10n; live-action 261–72
Plate Supervisor, on set 77
platformer 860
platform games 860
platforms in production workflow implementation 956–8
PlayStation 2 (PS2) 863
PlayStation 3 (PS3) 862
PlayStation Portable (PSP) 863
Plexiglas aircraft “bubble” canopies, reflection with 127
plumb bob and line for triangulation 203
plywood for miniature fabrication 347
plywood reference materials 185, 187
PM (Production Manager) for animated film 919
“pointing finger” method of reference photography 221, 222
point light in computer graphics 796, 797
The Polar Express 540, 716–17, 746, 747
polarization 516
polygon(s) 718, 719; engineering aspects for 725–6; texturing and surfacing of 737
polygon count and placement for on-set 3D scanning 164
Pong 849
pop-through for stop-motion 328
The Poseidon Adventure 94, 844
positive parallax 450, 453–4, 460, 500
post-generated in-between camera frame interpolation 257
Postgres 968
post-processing: of camera raw color encoding 609; of clean plates 181–2; and edge spill 684; for games 857–8, 858, 876; for motion capture 418; of motion capture 443; with photogrammetric data 722–3; of simulation data 775; software for 414–15
post-production 545–714; Academy Color Encoding System (ACES) in 550–8; for animated films 921; of array shot 260; for CG animation 906; characteristics of good visual effects artist in 663–6; color management in 606–25; communication with artists in 656–63; compositing of live action elements in 679–90; defined 5; digital intermediate in 626–9; editorial workflow in feature animation in 642–56; film scanning in 599–603; “fixing it in” 104, 139; flexibility in 40; 4k+ systems theory basics for motion picture imaging in 573–99; for high-speed photography 296; history of compositing in 666–78; image compression/file formats for 558–73; matte paintings/creative environments in 695–712; with native 3D photography 481–3; of on-set 3D scanning 162–4; rebidding in 12; recording in 603–6; resolution and image format considerations in 545–50; rotoscoping and paint in 690–5; for stereo 3D 457–8, 513–27; 3D matte painting in 712–14; for 3D movies 542–3; VFX editorial in 629–42; for witness cameras 192–3
post-trigger work with high-speed photography 295
potentiometers for motion capture 396
power of 10 shots in visual effect shot design 37–8, 37n
power windows 626
practical effects 219; with miniatures 353–6
practical light pass for miniatures 357
precap 73
pre-compositing (precomps) 334, 334n, 630–1
premultiplied mattes 821, 822; formula for 989
preparation see pre-production/preparation
pre-production/preparation 5–75; advanced techniques for previs in 68–74; for animation 886–8; applications of previs in 51–7; breaking down script (budgeting) in 6–14; camera angle projection in 75; cautions and suggestions for good practice in 61–8; defined 5; designing visual effects shots in 27–38; development of previs techniques in 49–51; for games 874; by on-set stereographer 485–6; overview of 5–6; postvis in 57–61; previs in 45–8; production departments in 17–27; for 3D movies 541–2; for 2D to 3D conversion 491–2; visual effects techniques in 38–45; visualizing matte painting shot in 699; working with director and producer in 14–17
pre-rendering of noninteractive scenes 877–8
pre-trigger work with high-speed photography 295
previs: advanced techniques of 68–74; for animation 904, 913; applications of 51–7; camera input for 70–1; in CG animation 900, 904; character input for 69–70; “commandments” of 67–8; defined 45–8, 47; digital 48, 48, 49–50; environmental input for 69; excessive cost for 62–3; financial disconnects with 64; for games 856, 869–70; gaming techniques for 71; history and background of 49–51; key concepts of 46; lidar scanning in 154–5; lighting 71–2; and miniatures 352, 359–60; not enough room for creativity with 65–6; not used to potential 66; on-set 47, 71, 72; passing work on from 66–8; perils of 61–6; personnel disconnects with 63–4; practical and technical disconnects with 64–5; role of VFX Supervisor in 68; rough “saddle-back” 62–3; special effects in 85; for stereoscopic 3D 461–2; subgenres of 46–8, 47, 48; technical 47, 47; 3D stereo 73; too many choices for 63; for 2D to 3D conversion 491–2; used by actors 55; used by assistant directors 55; used by camera and art departments 53–4; used by directors 51–2; used by directors of photography 54–5; used by editors 56; used by producers 52–3; used by special effects coordinators and stunt coordinators 55; used by VFX Producers 56–7; used by VFX Supervisors 56; used by writers 51; virtual 50, 73–4; in visual effect shot design 30
primaries in digital color image encoding 610–11, 610–12
prime lenses: for motion capture 409; for texture acquisition 313, 316, 316n
PRMan (Photorealistic Renderman) 844–5
probe lens 361
procedural effects: for digital hair/fur 754–6, 755; in scene assembly 972
procedural noise patterns 814, 814
procedural shaders 813–14, 814
processor for motion capture 412–13
ProCyc 106
producers: of animated films 909; previs use by 52–3; working with 14–17
production: of CG-animated content in live-action features 926–9; credits/titles for 993; defined 5; for games 875; texture painting in 744–5; of 3D movies 538–44
production brain trust for animated film 910, 919–20
Production Co-Coordinator for animated film 919–20
production department(s) 17–27; camera 18–19; editorial 24–5; locations 25–7; makeup 21–2; meeting of 27; production 22–3; production design 17–18; special effects 19–20; stunts 20; visual effects 23–4; wardrobe 21
Production Department Manager (PDM) for animated film 919–20
production design department 17–18
production designer 17
production design in CG animation 905
production finance for animated film 910–11
production management for animated films 907, 917–18
Production Manager (PM) for animated film 919
production meeting 27
production pipeline: modeling for 724–5; production workflow and 937
production workflow analysis 934–45; from artistic requirements into technical specifications in 940–1; balancing individual vs. group requirements in 941–3; defined 934–5; delivery points in 935–6; example of 936–7; level of detail in 935–7; minimum set of deliverables in 944–5; and pipeline 937; to production workflow design 946–8; requirements analysis in 937–43; service bureau vs. in-house requirements in 943–5; subdeliverables in 935–6
production workflow design 946–52; deliverables in 952; designing for contingencies in 949–52; designing to scale in 948–9; documentation in 952; to implementation 953–60; naming conventions in 950–1; from production workflow analysis to 946–8; redundancies in 949; training in 952
production workflow implementation 953–60; building vs. purchasing for 954–6; deliverables in 959–60; platforms and packages for 956–8; from production workflow design to 953–4; testing during 958
Profile Connection Space (PCS) 615–16, 616
Project 966
projection mapping 739, 811–13, 812
projection matte paintings 706–9, 708
projection screens for stereoscopic viewing 517
projectors: digital DLP 95; film 95; LCD 95
Pro Matte plastic material 106
prop(s): action 89; for actors 145–8, 146, 147; as elements 281–2; interaction of CG-animated content in live-action features with 929; modeling of 716; scanning of 161–2
propane for fire with miniatures 380
property master 17
prosthetics, CG 835
prototyping for games 856, 869–70
PS2 (PlayStation 2) 863
PS3 (PlayStation 3) 862
PSP (PlayStation Portable) 863
Ptex file format 571
puffs of smoke with miniatures 382
puppet(s) for stop-motion 322–3
purpose-built rigs for motion control 307
puzzle games 861
pyrotechnics 87–9; with miniatures 89, 347–8, 365, 365–6
pyrotechnic smoke 88
query joins 970
QuickTimes 547
racing games 861
Radiance picture file 572
radiant illumination 785
The Rag Place 105
“rainbirds” 284
rain deflectors for live-action plate photography 268, 269–70
rain effects: with miniatures 377–8; special effects for 85–6
rain mats 86
rain rigs 86
rain windows 86
random jitter in real-time visual effects 195
range of colors 237
range of depth in 2D to 3D conversion 495
raw format for on-set 3D scanning 164
RBD see rigid-body dynamics (RBD)
RCS (revision control system) 968; for scene assembly 973
R&D see research and development (R&D)
RDBMS (relational database management system) 968–9, 970
ready-to-run agents in Massive 843
RealFlow 776
reality in visual effect shot design 32–3
realness: of digital models 717; of 2D to 3D conversion 504–5
Real Steel 443
real-time camera tracking 445
real-time motion capture 390, 438–41, 439; for character identification 439; for character integration 440; limitations of 440–1; line of sight with 440; for live performances 440; markers with 441; solving with 441; technologies for 441; uses of 390, 439–40; for virtual cinematography 439–40; visualization with 441
real-time strategy (RTS) games 853, 861
real-time visual effects 193–200; benefits of 194; camera tracking for 194–5; challenges and set up for 198–9; defined 193; future for 200; main applications of 194; “near” 200; possible recorded variations with 199; practical considerations for 197–8; successful system for 198; technical issues with 195–6; technology for 196–7; vs. virtual cameras 193; vs. visual effects in post-production 193, 195
Reardon Studios 862
rear projection systems 93–6; advantages of 93–4; disadvantages of 94; equipment for 95
reconstruction for motion capture 418–19
recording 603–6; approaches to 604; defined 603; estimating cost of 605–6; requirements for 604
recording media for 3D capture 514
recording system for digital cameras 252–4
red channel 98
RedOne Epic camera 248, 288, 289; for 3D capture 514
Red Planet 127
Red Scarlet camera 249
redundancy: of markers 399; in production workflow design 949
Red vs. Blue 858
Reel EFX 254
reel lock in CG animation 904
Reel Steel 74
Reese, Jerry 49
reference data for facial motion capture 430
Reference Input Capture Device (RICD) 554
reference materials 183–9; for characters smaller than human size 186; clock as 187; for creature that is very close or small 186–7; eye convergence with 189; foam core as 185, 186, 187–8; for human-sized CD characters 186; lightbox as 186; maquette as 185; monster stick as 183–5, 184; plywood 185, 187; during pre-production 24; tips on shooting 187–9; ultralight aircraft as 185–6; for visual effects artists 659–60
reference photography 220–6; for digital hair/fur 756, 757; how to proceed with 221–3, 222; shooting video for 223–6
reference plates see clean plates
Reference Rendering Transform (RRT) 551, 555, 556
reference shooting considerations for gathering lighting data 175–7
reference spheres 634n
reference transforms 551
referencing in scene assembly 974–5
reflection(s): from backing 125–9, 128, 129; in computer graphics 797–8; with native 3D photography 484; photographed 798, 798–9; simulated 798; specular 785, 797; 2D to 3D conversion with 498; with virtual 3D photography 476–7
reflection occlusion 800
reflective spheres for gathering lighting data 168–72, 170, 171
reflectometer 789
Regelous, Stephen 842
relational database management system (RDBMS) 968–9, 970
relative scene exposure values 554
relative size in 2D to 3D conversion 490, 490
relighting 685
remeshed format for on-set 3D scanning 164
renderer 784
render farm for CG animation 908
rendering 784; for CG animation 906; defined 843; energy conservation in 805; of occlusion 800, 801; physically based 802–4, 803; physically plausible 804–5; 3D software for 843–5
Renderman 807, 815, 837, 844–5, 971
render time for digital hair/fur 754
Renderworld 775
repeatable camera head for clean plates 180
repeatable remote head for motion control systems 304n
replacement in stop-motion animation 898
replay sequences 877
replication: animation cycles for 829–30; live-action 827–8; modeling for 828–9
re-projected photo survey 711
re-projection for actor enhancements 835
re-projection mapping workflow for 2D to 3D conversion 497–8, 499–502
requirements analysis 937–43; from artistic requirements into technical specifications in 940–1; balancing individual vs. group requirements in 941–3; components of 938; defined 937; example of 938–9; minimum set of deliverables in 944–5; service bureau vs. in-house requirements in 943–5
research and development (R&D): for animated film 914; during pre-production 23; of visual effect techniques 40; working across multiple facilities with 981
Resident Evil 5 850
resolution: in acquisition/shooting 241–2; contrast and 574–5, 575; with digital cameras 578; for element photography 281; with 4k+ systems 573–8, 574–7; of human eye 596, 596–7; with large-screen projection 597, 598; limit of 575, 577; for motion capture 410–11; with panoramic backgrounds 312; post-production considerations on 547–50; for recording 604; for scanning 601–2; and sharpness 578–9, 579; spatial frequency and 574–5, 575; test pattern for 573–8, 574–7; of witness camera 191
results-driven 3D camera rig 472
resume/credit list 14
retinal disparity 448, 448, 454
retroreflection 787
retroreflective curtain approach 680
retroreflective material for front projection 96
Return of the Jedi 49
revision control system (RCS) 968; for scene assembly 973
REYES rendering algorithm 844
RGB color space 236, 236–7, 607, 608
RGB imaging encoding 606–9, 607–9
RGB triangles on chromaticity diagram 611–12
RICD (Reference Input Capture Device) 554
Ride Film 50
rig(s) and rigging 19–20, 726–33; animation 59–60, 59n, 727–30, 728, 905; of CG-animated content in live-action features 928; for CG animation 905, 925; character 727–9; clean up of 733; defined 726–7; deformation 730, 730–2; facial 729–30; for feature animation production 887–8, 930–1; for motion capture 401–2, 728; noncharacter 730, 733; to prepare for simulations 730, 733; removal of 85, 694; in shot modeling 733
right triangles, formulas for 991
rigid bodies in motion capture 420, 420
rigid-body dynamics (RBD) 781–4; constraints for 781–2; creation of 781–2; defined 781; gravity with 781; level set with 783; other issues with 783; potential problems with 782; tricks for working with 784
rigid body solvers 421
rigid points in facial actor survey 426
rim light pass for miniatures 357
ring lights for motion capture 405–6
“rip-o-matics” 49
Rising Sun Research 618
Ritter fans 86
Mark Roberts Motion Control 308
robotic motion control systems 306–7
Robots 881
rockets, specialized effects 89
Rodnunsky, Jim 271
Roger Rabbit 186
role-playing games (RPG) 853, 859
roll axis in real-time visual effects 195
rollout 959
ROSCO 109
rotoscoping 690–3; in animation 897; approaches and techniques for 691; articulated mattes in 692; automated 691; in digital intermediate stage 626; to fix matte problems 675; of foreground image 45; garbage mattes in 692–3; history of 690; stereoscopic 524, 691–2
rough layout in CG animation 900
RPG (role-playing games) 853, 859
RRT (Reference Rendering Transform) 551, 555, 556
RTS (real-time strategy) games 853, 861
rules for acquisition/shooting 227–32, 228
safety: camera car 265–6; descenders for 91; with explosions 282, 382–3; with lidar scanning 154; with miniatures 373, 384; on-set 83; with real-time visual effects 198; with smoke, fire, and pyrotechnics 87, 88, 284, 378–9, 381, 382; with special effects 2, 19, 92; with stop-motion animation 326; visual effects to increase 2, 3
Sanctum 3D 486
scalability with motion capture 390
scale(s) and scaling: for miniatures 335–9, 336–8, 374; motion control for 300–1; in stereoscopic 3D 463–4; in third dimension 509–10; in triangulation 217, 217; in visual effect shot design 34
scaled images in visual effect shot design 35
scanned 3D information, digital modeling from 721–2, 723
scanner(s) and scanning 599–603; defined 599; estimating cost of 602–3; file format for 600; for gathering lighting data 167–8; as image capture devices 624; image stability with 600–1; need for 599, 599n; process of 600; resolution for 601–2; and storage 602
A Scanner Darkly 884
scanner transmission sensor output, scene colorimetry and 624
scene(s): in ballpark budget 7; defined 7n
scene assembly 971–7; 3D 971–5; 2D 976–7
scene colorimetry and scanner transmission sensor output 624
scene files 254
scene referred color image data 609
schedule, monitoring of 12
Schuman, Chuck 120
Scotchlite tape 406
Scott, Anthony 319
“scrap” material, rough sequences of 25
screen balancing 110, 110–12, 111; for digital original photography 114–16, 115, 116; white card method for 112–14, 113
screen brightness: and f-stop 110, 110–12, 111; setting of 112–16, 113, 115, 116
screen correction, backing uniformity and 100–2, 100–3
screen space in stereoscopic design 460
screen surround, manipulation of 474, 474–6, 476
script: for animated film 913; breaking down of 6–14
scrums 874
sculpted miniatures 348
sculpting, free-form digital 720–1
SDKs (software development kits) 808, 864–5
seams of bluescreen 674
2nd unit 81
Second Assistant Editor for feature animation 645
Second Editor for feature animation 644
second units, on-set stereography with 489
sensitivity: of digital camera 235; for motion capture 412
sequence(s): in CG animation 903–4; defined 7n; in more detailed budget 8–9; in visual effect shot design 35
sequenced electro-photographs 254, 255
serious games 861
service bureau requirements, in-house vs. 943–5
servo motors for motion control systems 307
set, impact of native 3D photography on 480
set director 17
set dressing: for CG animation 905; in scene assembly 972
set effects 90
set extension, lidar scanning for 155–6
set lighting conditions for front projection 96
set rigging 90
setup for acquisition/shooting 227–32
SFX see special effects (SFX)
SGO Mistika 519
shader(s) and shading 807–17; in animation packages 814–15, 815; antialiasing considerations with 816, 816–17; bump and displacement 808–10, 809, 810; custom 815–16; defined 807–8; implementation of 807–8; Lambert diffuse 785, 786, 787, 787; map-based 810–13, 812; Oren-Nayar 788; procedural 813–14, 814; uses of 807
shading machinery 807
shading models 808; physically derived 789–90
shading system 807
shadows: cast 824; in computer graphics 799, 824; contact 824; with hanging miniatures 341–2; lighting for holding 130–1, 131; lighting to eliminate 132; and screen correction for non-uniform backing 100–2, 100–3; with virtual 3D photography 476
shared shots in 2D to 3D conversion 493
shared workflows in 2D to 3D conversion 493
sharpness with 4k+ systems 578–9, 579
shooting see acquisition/shooting
shooting conditions for miniatures 355–6
shooting locations for miniatures 355–6
shot(s): actual requirements of 40; in ballpark budget 7–8; defined 7n, 630; editing within 630–1; length of 39; in more detailed budget 8; number of 39; power of 10 37–8, 37n; see also visual effect shot(s)
shot changes, VEX editing with 640–1
shot finaling for CG animation 906
shot list for motion capture 402–4
Shotmaker 265
shot modeling 733
shot production, visual effects artists in 660–1
shot sheet of scanning 162, 163
shot storage farm for CG animation 908
shot work with digital hair/fur 751–2
Shrek 775
shrinking reality with miniatures 372–3
shutter angle for element photography 280–1
shutter for motion capture 411
Shutter Island 370
SI-2K camera for 3D capture 514
Side Effects 776
side-screen projection 93
signed distance field with rigid-body dynamics 783
silhouette changes 834
silver halide crystals 672, 672n
sim games 853
simplicity in visual effect shot design 36
Simpson, George Gaylord 579
simulated reflections 798
simulations 771, 771–6, 772; animation rigs to prepare for 730, 733; appropriate uses of 773; creation of 772; important considerations with 774–5; in layers 784; particles for 776–81; planning and preparation for 775; rigid-body dynamics for 781–4; in scene assembly 972–3; software solutions for 775–6; tricks and cheats with 773–4
Simulcam 445
Sin City 883
16-bit floating-point RGB formats 238–9
60i format 243
skin cleanup 834
Skycam 271
“skyhook” 271
skylight source 124
Slim 971
Smallville 48
Smith, Alvy Ray 103
smoke effects 87–9, 286; with miniatures 367–8, 381–2
smoke pass for miniatures 357
SMPTE (Society of Motion Picture and Television Engineers) 676n
smudge/drag tool 693
The Smurfs 767
S/N equation 234
snow, special effects for 86–7
SO214 film 677
Society of Motion Picture and Television Engineers (SMPTE) 676n
soft body dynamics 779
Softimage Creative Environment 776, 839
soft split shots 299
software development kits (SDKs) 808, 864–5
software functions with greenscreen and bluescreen photography 99, 99
software integration for CG animation 908
Software Renderer 837
solar lights in computer graphics 797, 797
solid-state media for 3D capture 514
solid-state recording decks 252
solver(s) and solving: behavioral 423; constraint-based 421; for facial motion capture 436–8; global optimization 422, 422; for motion capture 421–3, 422; physics 423; with real-time motion capture 441; rigid body 421; in simulations 772
solver operators (SOPs) 837
Sony F3 camera 249; for 3D capture 514
Sony F5 camera 249; for 3D capture 514
Sony F55 camera for 3D capture 514
Sony F55 w/RS camera 248
Sony F65 digital camera 116, 248; for 3D capture 514
Sony HDCAM-SR 253
Sony Imageworks 837
Sony PlayStation 2 863
Sony PlayStation 3 862
Sony PlayStation Portable 863
Sony SR-R4 recorder 248
SOPs (solver operators) 837
sound cues, animating to 930
source perspective in 2D to 3D conversion 492–3
Spacecam 270
space-suit faceplates, reflection with 127
spark effects 88
spatial frequency and resolution 574–5, 575
spatial scaling, motion control for 300–1
special effects (SFX) 83–92; defined 2, 8n, 83; design and planning of 85; for elements (rain, wind, snow, ice) 84, 85–7; enhancement of 85; flying wire rigs and stunts for 90–1; history of 83–4; mechanical 89–90; for miniatures 372–84; safety with 92; for smoke, fire, and pyrotechnics 87–9; in storyboards and previs 85; 3D software for 842–3; visual effects in service to 84–5; working with 84
special effects (SFX) coordinators, previs use by 55
special effects (SFX) department 19–20
Special Effects (SFX) Supervisor 84
special effects (SFX) unit, credits/titles for 996
specialized effects rockets 89
special photographic effects 275n
spectral conditions underlying densitometric data metrics 621–2, 622
specularity maps 742
specular response, normalized 805
speedboats, live-action plate photography on 269
speed in visual effect shot design 34–5
spheres for gathering lighting data 168–72, 170, 171
spherical mapping 812
Spider-Man 271
Spider-Man 3 723
Spielberg, Steven 73
“spill” 103
spill bounce 683
spill light 93–4; controlling 129–30
spinning disk spray deflectors 269
splines 690, 690n; texturing and surfacing of 738
splinter unit 81
spongy animation 896
sports games 853, 860; alternative 860
spotlight in computer graphics 796–7, 797
Spottiswoode, Nigel 474
Spottiswoode, Raymond 474
spray deflectors for live-action plate photography 269–70
sprites 774, 774n; for crowd generation 828
Spy Kids 3D: Game Over 540, 883
squibs 88
stabilization of facial actor survey 425–6
staffing for animated film 916–17
Starship Troopers 50
Star Trek II: The Wrath of Khan 844
Star Trek IV: The Voyage Home 701
Star Trek: The Motion Picture 75
Star Wars: Attack of the Clones 50, 348, 350, 831
Star Wars prequels 881, 882, 883
Star Wars: Revenge of the Sith 50
Star Wars: The Phantom Menace 50, 186, 276, 281, 828, 831, 834
static calibration in motion capture 417
static hair 751
static models 335
station point: for live-action plate photography 261; in triangulation 208, 208
statistical data for facial motion capture 430–1
statistical model for facial motion capture 431
statistics on 3D movie production 540–1
stepper motors for motion control systems 304n, 307
stereo; see also under stereoscopic
stereo camera rig 472, 481, 507–8
stereo disparity maps 524, 525
stereo ghosting 523
stereography, on-set 484–9, 486, 488
stereo jump cut 465
stereo media workflows 522
stereopsis 448
stereoscopic; see also under stereo
stereoscopic color grading 523–5
stereoscopic cue 455
stereoscopic design 458–68; aesthetic of scale in 463–4; avoiding painful 3D with 462–3; creative use of depth in 458–61; cutting for 3D in 464–6; emerging grammar of 3D in 458; floating window in 465–6; immersion-based vs. convergence-based 466–7; lens choices in 463–4; less is more in 460–1; for multiple release formats 466–8; practical storytelling in 3D in 461; previsualization for 461–2; screen space in 460; stereo window in 459–60; theater space in 460
stereoscopic digital intermediate workflow 513–27; data workflow in 523–4; geometry and correction of undesirable binocular disparity in 525–6; milestones in 513–15; projection screens for stereoscopic viewing in 517; RealD mastering considerations in 525; stereoscopic 3D conforming in 520–2; 3D editorial process for 518–20, 519; 3D stereo deliverables in 526; 2D vs. 3D grading in 524–5; viewing 3D dailies in 515–16
stereoscopic image pair 537, 537
stereoscopic rotoscoping 524, 691–2
stereoscopic 3D 447–544; accommodation and convergence in 447–9, 448, 449; aesthetic of scale for 463–4; avoiding painful 462–3; breaking the mask in 475–6, 476; color grading for 524–5; compositing screen elements in 687; conforming process for 520–2; creative use of depth in 458–61; cutting for 464–5; data workflow for 523–4; deliverables in 526; depth range in 452–3; designing for multiple release formats with 466–8; elements for 275n; emerging grammar of 3D in 458; “fix it in post” for 457–8; floating windows in 454–7, 456, 465–6, 474–5; framing chart for 474, 475; geometry and correction of undesirable binocular disparity in 525–6; how 3D works in 447–58; immersion-based vs. convergence-based 466–8; implementing convergence in 472–3, 473; interaxial separation in 450; lens choices for 463–4; manipulating screen surround in 474, 474–6, 476; multiple camera rigs for 469–71, 470, 471; native 3D photography vs. 2D to 3D conversion in 477–84; on-set stereography in 484–9; parallax budget in 452–3; parallax in 448–9, 449; positive and negative parallax in 453–4; post-production for 457–8, 513–27; practical storytelling in 461; previsualization for 461–2; process milestones for 513–15, 514; producing movies in three dimensions in 538–44; projection screens for viewing 517; RealD mastering considerations with 525; screen space in 460; stereoscopic design in 458–68; stereoscopic digital intermediate workflow in 513–27; stereoscopic visual effects in 505–12; stereoscopic window in 459–60, 527–38; theater space in 460; 3D camera rig for 472, 481; 3D editorial processes for 518–20, 529; toe-in vs. horizontal image translation in 450–1, 451; 2D to 3D conversion in 489–505; viewing dailies for 515–16; virtual 3D photography in 468–77
stereoscopic 3D conforming 520–2
stereoscopic viewing, projection screens for 517
stereoscopic visual effects 505–12; accuracy and attention to detail with 510–11; artistic skill level for 511; data management for 511–12; with photographed elements 510; prepping for 506–7; shooting of 507–10
stereoscopic window 459–60, 527–38; creation of 537, 537–8; dynamic 528, 528–30; as frame in front of screen 529; overhead view of 529, 530; personal space with 528, 530–2, 536–7, 537; placement logic for 535, 535–7, 536; placement of 530, 530–2; 2D vs. 527, 527; violations of 532–5, 533–4; world space with 528, 529, 530, 536–7, 537
still cameras for gathering lighting data 173–5, 174
still image compression 560–7; contrast masking in 566–7, 567; lossless 560, 561–4; lossy 560–1, 564–7; luminance and chroma in 564–6, 565; run-length encoding for 561–2; transforming pixel distribution in 562–3; variable-length bit sequences in 562; visually lossless 561
still photographs: for textures and lighting 317–18; tiled 313–14
stock footage for elements 273
stop-motion animation 897–9; articulation in 897–8; CG vs. 899; environments in 898–9; in live-action features 927; replacement in 898; surface gauges in 898
stop-motion models 899n
stop-motion photography 318–30; evolution of 319, 319–21; evolution of shot in 328–9; good moves to make at beginning of 330; lighting for 324–5; native 3D 478; preparation before shooting of 322–3, 323; setting up shooting space for 323–5, 324; time required for 321, 321–2; useful caveats for 326–8, 327; use in visual effects of 329, 329–30, 330; use of motion control in 325–6, 326
stop-motion rigs for motion control 307, 308
stop-motion unit, credits/titles for 997
storage of scanned film data 602
storyboards: in feature animation 647–50, 649, 904, 913; and special effects 85; in visual effect shot design 29–30
story reels 649; in animation 49, 894; and CG 900; history of 49; and post-production 921
straight ahead animation 895
straight shooter lens 361
“street date” 876
strobe for motion capture 405–6
Strobe Tracking System 133
structured light: for facial actor survey 428–9; for motion capture 394–5
structured light scanning 159, 160; for digital modeling 722
Stuart Little 715, 716, 749, 749, 757
studio for animated film 914–16
stunt coordinators, previs use by 55
stunt department 20
stunt team as props for actors 147–8
stuttering with motion tiling 316
subcontractors for animated films 918–19
subdeliverables in production workflow 935–6
subdivision surfaces 719
subsurface scattering 790–1, 791
Super Mario Brothers 860
surface(s) and surfacing 734–45; bump maps in 741–2; camera mapping for 739–40; of Catmull-Clark surfaces 737–8; in CG animation 900–1; creation of 740–3; of creature models 736; diffuse maps in 741; displacement maps in 742; film look for 744; finding or making source 741; of hard surface models 734–6; importance of 734; luminance maps in 743; material designation maps in 743; in model editing 745; other map-driven effects in 743–4; of polygons 737; prepping model for 738–40; procedural 743–4; in production 744–5; projection mapping for 739; pure painting of 740–1; from source 740; specularity maps in 742; of splines and NURBS 738; types of geometry and 737–8; UV layout for 738–9; volumetric mapping for 740
surface fitting for facial motion capture solving 437–8
surface gauges 319, 319–20; in stop-motion animation 898
surface parameterization 811
surface relaxing 813
surfactants 377
survey equipment for gathering lighting data 167–8
Sweeney, Pat 345
swing in motion control systems 305
switchers 137
Syflex 776
synchronization: in motion control 309–10; of witness camera 191
synchronous plates 314, 314–16, 315
tagged image file format (TIFF) 572
tape-based recording systems 252, 253
tape-based workflow for stereo media 522
tape deck 252
target format 547
target perspective in 2D to 3D conversion 492–3
task definitions 969
task tracking 962–70; building systems for 968–70; commercial systems for 966–8; defined 962–5; system requirements for 965–6; tasks needing to be tracked in 963
Taylor, David ‘Mickey’ 488
TD (Technical Director) 957, 957n
team: animation 889–90; creative 910, 912–13; for game development 872–3
Technical Director (TD) 957, 957n
technical specifications, artistic requirements translated into 940–1
technicians: for camera array 258; for high-speed photography 291–2; for VFX photography 258
technology for animated films 920–1
Technoprops 435
temporal filling for occluded surface reconstruction 497
temporal offset for 2D to 3D conversion 504
temporal scaling, motion control for 300–1
temp screenings 11
Temps Mort 255
10,000 BC 61, 61, 144, 146, 146–8, 147
Terminator Salvation 345
Tesselator system 314
testing: during development 958; during pre-production 23
test shots for acquisition/shooting 229–32, 231
tethering of digital camera 252–3
texture(s) and texturing 734–45; acquisition of 311–18; for animation production 887–8, 900–1, 905, 930–1; bump maps in 741–2; camera mapping for 739–40; of Catmull-Clark surfaces 737–8; for CG-animated content in live-action features 930–1; creation of 740–3; of creature models 736; diffuse maps in 741; for digital modeling 724; displacement maps in 742; film look for 744; finding or making source 741; of hard surface models 734–6; importance of 734; luminance maps in 743; material designation maps in 743; in model editing 745; motion tiling and synchronous plates for 314, 314–16, 315; other map-driven effects in 743–4; for panoramic backgrounds 312–13; of polygons 737; practical considerations with 316–17; prepping model for 738–40; procedural 743–4; in production 744–5; projection mapping for 739; pure painting of 740–1; in scene assembly 971–2; from source 740; specularity maps in 742; of splines and NURBS 738; stills for 317–18; 3D software for 845–6; tiled stills for 313–14; types of geometry and 737–8; UV layout for 738–9; volumetric mapping for 740; working across multiple facilities with 980
texture mapping 317, 317n; in digital lighting 788, 788–9
texturized format for on-set 3D scanning 164
theater space in stereoscopic design 460
Thermo-Key 680
third dimension: prepping for 506–7; shooting of 507–9; visual effects in 509–10
third-party games 854
third-person shooter games 852
30p format 243
Thomas, Frank 893
3:1:1 scheme 240
3Ality 525
3D: ability to assess while shooting 480–1; avoiding painful 462–3; cutting for 464–6; emerging grammar of 458; extreme action in 481; practical storytelling in 461; see also stereoscopic 3D
3D capture: cameras for 514; media for 514
3D CG characters, lidar scanning for 156
3D cinema 447–58; accommodation and convergence in 447–9, 448, 449; depth range in 452–3; “fix it in post” for 457–8; floating windows in 454–7, 456; interaxial separation in 450; parallax budget in 452–3; parallax in 448–9, 449; positive and negative parallax in 453–4, 460; toe-in vs. horizontal image translation in 450–1, 451
3D-Coat 721
3D colorist 513
3D compositing 817–27; bit depth and dynamic range in 818–20, 819; of CG images 822, 822–6, 826; color representation in 817–18; mattes in 820–1
3D computer model 835
3D editorial processes 518–20, 519
3D enhancement techniques 833–4
3D home video deliverables 526
3D layout 689
3D material, availability of 479–80
3D modeling phase for animation production 887, 905, 930–1
3D movie production 538–44; development in 538–41; experience of 543–4; post-production in 542–3; pre-production in 541–2; production stage of 542; rules for 539–41; statistics on 540–1; what to look for in 541–3
3D photography, virtual 468–77
3D plates 157
3D printing 323
3D special effects software 842–3
3D stereo deliverables 515, 516
3D stereo previs 73
3D Stereoscopic Production Company 525
300 883
THX 618
THX 1138 492
TIFF (tagged image file format) 572
tiles and tiling: for clean plate 181; in motion capture 403–4; in NURBS 719, 719n; for panoramic backgrounds 312–13, 312n; of stills 313–14; traffic 315
tilts with miniatures 343
time-and-materials basis 7
time and visual effect technique 39
timecode generator with witness camera 191
time-lapse method for stop-motion animation in live-action features 927
Timeslice 255
Time Slicing 255
Tintin 443
Titan AE 50
Titanic 775
tonal range 676
tools for miniature fabrication 352
Top Gun 492
Toy Story 915
track(s) and tracking: of CG-animated content in live-action features 927–8; in motion control systems 305; task and asset 962–70; 3D 840–3
tracking markers: in greenscreen or bluescreen photography 132–3, 133; on-set data acquisition from 143–5, 144; set up of 79; for visual effects in third dimension 509
traffic tiles 315
training: for animated film 914; in production workflow design 952
transcoding 613
transmedia production design techniques for games 854–8
transparency(ies): 2D to 3D conversion with 498; with virtual 3D photography 476–7
transport of digital files 547
trapezoidal distortion 451, 451, 452
traveling matte technique 668, 667–9, 668
travelling matte shots 97
triangulation 201–20; applying positional data to greenscreen element in 214–16, 215, 216; background and greenscreen plates in 205, 206; baseline location in 206, 207, 208; camera field of view in 212; camera pan angle relative to baseline in 211, 211–14; camera/subject positional information in 201–2, 205–6; data plan in 208, 209, 214; for live-action plate photography 264; nodal point for 201, 204, 204–5, 204n; recording of camera height, tilt, and Dutch angle in 209–11, 210; scaling in 217, 217; station point in 208, 208; station point relative to baseline in 211, 211, 212; tool kit for 202, 202–3, 203; tutorial on 205–20; with uneven ground level 217–20, 218 –20; viewfinder center in 214, 214
tristimulus values 610
Tron 49
Tropic Thunder 3
Truelight system 618
The Truman Show 698
tuning in game development 875
turnarounds 925
TV monitors in greenscreen and bluescreen photography 123
25p format 243
24p video shot 43n
twin shots, motion control for 299
two(s), animation in 895
2:35 ratio 545
2:40 ratio 545
2238 film 677
2D depth cues, visual analysis of 490, 490–1
2D enhancement techniques 834
2D flat extensions, matte painting of 705
2D games 853
2D imagery, digital modeling from 721
2D to 3D conversion 489–505; automatic 503; depth creation preparation for 490; depth generation in 495–6; dynamic temporal offset for 504; with grain 498–9; image segmentation in 494, 494–5; main stages of 493–7; major approaches to workflow in 497–8; native 3D photography vs. 477–84; occluded surface reconstruction in 496–7; other workflows for 503–4; pixel displacement for 497–8, 503; pre-production and previs for 491–2; “realness” in 504–5; with reflections 498; re-projection mapping workflow for 497–8, 499–502; shared shots/shared workflows in 493; source and target perspective in 492–3; in special cases 498–9; temporal offset for 504; with transparencies 498; visual analysis of 2D depth cues in 490, 490–1
2D tracking 43n
2.5D enhancement techniques 834
2.5D tracking 43n
2k resolution 547–9; appearance of 4k vs. 591, 591–5, 592, 593, 593–5
2001: A Space Odyssey 358
UAV (Unmanned Aerial Vehicles) 270
UI (user interface): for facial rigging 433; and production workflow design 947–8
Ultimate Arm 266
Ultimatte AdvantEdge software 102, 137–8
Ultimatte Chroma-Key paints 106
Ultimatte extraction tools 681
Ultimatte Roto Screen Correction 102, 102–3
Ultimatte Screen Correction software 101
ultralight aircraft as reference materials 185–6
Uncharted 2: Among Thieves 850
unconstrained 3D camera rig 472
underwater elements 285
underwater photography, greenscreen 136
uneven ground level, triangulation with 217–20, 218–20
unit tests 958
Unmanned Aerial Vehicles (UAV) 270
unwrapping methods 813
upres 549
user interface (UI): for facial rigging 433; and production workflow design 947–8
UV editing 726
vacuum formed miniatures 348–9
Vanilla Sky 276
variable-length bit sequences 562
variation in crowd generation 829
velour background for element photography 277
velvet background for element photography 277
vergence 447
vertical window violations 533–4, 534
VFX see visual effects (VFX)
vibration with live-action plate photography 266–7
video assist for high-speed photography 296
video assist operator 80
video cameras 281
video games see games
video tap 196, 196; in element photography 278
Video Ultimatte Preview 118, 134
video village 80
viewfinder center in triangulation 214, 214
view frustum culling 754
viewing-angle dependencies in desktop color management 619–20
viewing environment 247
viewing glass, contrast 124
virtual 3D photography 468–77; ability to assess while shooting with 480–1; ability to use special rigs with 481; availability of 3D material for 479–80; breaking the mask in 475–6; cost of 478–9; creative changes with 482; defined 468; of extreme action 481; faithful representation of on-set depth with 483; fine level of control with 484; flares, reflections, and other anomalies with 484; floating windows in 474, 474–5; image quality issues with 483–4; impact on set of 480; impact on visual effects processes of 482; implementing convergence in 472–3, 473; level of detail with 483; manipulation of screen surround in 474, 474–6, 476; multiple camera rigs for 469–71, 470, 471; on-set issues with 480–1; overall issues with 478–80; post-production issues with 481–4; pros and cons of 468–9; special cases for 476–7; 3D camera rig for 472; vs. 2D to 3D conversion 477–84; two eyes as insurance with 483
virtual axes for motion control data 302
virtual camera 70, 445; pros and cons of 468–9; vs. real-time visual effects 193
Virtual Cinematography 255, 445; real-time motion capture for 439–40
Virtual Production 1, 73–4, 443–5
virtual production space 53, 74
virtual sets 97; floor shots and 122–3; lighting of 130–2, 131
virtual studio technology 933–4
virtual worlds 861
Vision2: 50-speed daylight film 135, 263; 100T and 200T films 134
Vision3 5219 film 622
Vision Research 290
visual aliasing with digital hair/fur 746
visual development for animated film 913
visual effects (VFX): defined 1–2; full animation vs. 881–92; with on-set stereography with 489; real-time 193–200; reasons to use 3; and special effects 2; stereoscopic 505–12
visual effects (VFX) artists: communication with 656–63; and digital actors 661; and digital cinematography 661–2, 662; and digital sequences 662–3; and digital sets, environments, and extensions 661; guidance for 656–7; qualities of good 663–6; reference and perspective for 659–60; in shot production 660–1; working globally with 658–9; working with teams of 657–8
visual effects (VFX) data path 227–9, 228
visual effects (VFX) department 23–4
Visual Effects (VFX) Editor 24–5, 629–42; cutting room 633–6, 635; editing within shot (pre-compositing) by 630–1; and final renders 641–2; historical background of 631–3; responsibilities of 629–30; and shot changes 640–1; visual effects facility 636–40, 639
visual effects (VEX) operators (VOPs) 837
visual effects (VFX) photography 254–60; camera array for 254–6, 255, 256; design of array shot in 257–8, 259; future of 260; post-processing for 260; shoot day with 258–9; special techniques for 259–60; technicians for 258
visual effects (VFX) physical production unit, credits/titles for 995–6
visual effects (VFX) processes, impact of native 3D photography on 482
Visual Effects (VFX) Producer: ballpark budget by 7–8; previs use by 56–7; on set 77, 78–9
visual effects (VFX) references 80
visual effects (VFX) shot(s): objective of 30; oner 38; power of 10 37–8, 37n; sequence of 35
visual effects (VFX) shot design 27–38; action pacing in 36; budget and 32; camera angles in 33; camera motion in 36; CG characters in 37; concept art in 31; continuity in 31; creature and characters design in 37; depth of field in 35; detail in 34; framing in 33; guidelines for directors on 28–9; objective of shot in 30; oner in 38; original concepts in 32; photorealism in 31–2; power of 10 shots in 37–8, 37n; previs in 30; reality and magic in 32–3; scaled images in 35; scale in 34; sequence of shots in 35; simplifying in 36; speed in 34–5; storyboards in 29–30
Visual Effects (VFX) Showrunner 967
Visual Effects (VFX) Supervisor: previs use by 56; role in previs of 68; on set 77, 78–81
visual effects (VFX) techniques 38–45; actual shot requirements and 40; additional suggestions for determining 40–5; advantages of CG 44; advantages of physical model 44; balance of 42; breakdown to simplest requirements for 41; budget and 39; budgeting time and money for testing of 41; camera motion and 40; cheating on 42–3; complexity and 39; to composite person in front of background 44–5; considerations for 39–40; end result of 42; flexibility and time on live-action set and 40; flexibility in post-production and 40; hand vs. automated 42; length of shots and 39; look and 40; number of shots and 39; overzealous problem solving with 42; research and development of 41; review of other films and alternatives for 41; thinking outside box for 41; thinking pre-digital for 41; time and 39; tradeoffs in 43–4
visual filters for games 858
visual intensity, window placement and 536
visualization with real-time motion capture 441
visually lossless compression 561
visual perception limitations for large screens 595–9, 596, 598
visual style in game development 870–1
Vlahos, Petro 138
Petro Vlahos technique: for eliminating shadow 132; for holding shadow 130–1, 131
voice tracks, animating to 930 volumetric lighting effects 805–6, 806
volumetric mapping 740
VOPs (visual effects operators) 837
voxels 720
Waldos in motion control 298, 298, 298n
wand calibration in motion capture 416–17, 417
wardrobe department 21
Ward’s anisotropic model 789
War of the Worlds 695
Wassel, Mike 268
water, live-action plate photography on 269–70
water effects with miniatures 354, 367, 376, 376–7
water elements 284
water splashes 284
water tank 128, 128–9, 129, 284
Waterworld 775
waveform monitor 112, 114–16, 115, 116
Weingartner, Mark 269
Welles, Orson 49
white box tests 958
white card method for screen balancing 112–14, 113
white points 110, 111; in digital color image encoding 610–11, 610–12; in 3D compositing 819
Who Framed Roger Rabbit 882, 896, 915
widescreen format 545
Wii 862
Wilcam W7 VistaVision camera 288, 289
Wilcam W9 VistaVision camera 288, 289
Williams, Peter 327
Willow 708
wind effects 86
window(s): floating 454–7, 456, 465–6, 474–5; power 626; rain 86; stereoscopic 459–60, 527–38; 2D 527, 527; virtual 456, 456
window placement 530, 530–2; logic of 535, 535–7, 536
Windows platform 957
window violations 532–5, 533–4
wireless nonvideo motion capture 190
witness camera 79, 79n, 189–93; actor preparation for 191–2; crew preparation for 192; factors affecting 190–2; position and setup of 190; post-production for 192–3; resolution of 191; synchronization and phasing of 191; in 3D enhancement 833, 833n; time code and 191
wood for miniature fabrication 346–7
workflow see production workflow
world building 444; with general geometry instancing 768, 768–9
World of Warcraft 861
world space with stereoscopic window 528, 529, 530, 536–7, 537
wrap deformers for facial rigging 433
wrap method for facial motion capture solving 437
Wratten No. 89 blue filter 113
Wratten No. 99 green filter 113
wrinkle removal 834
writers, previs use by 51
writing for animated film 913
The X-Files: Fight the Future 383, 383
Xsens capture suit 393
x-sheets for animation 894–5, 894n
XSI 957
XYZ color space 235
YCbCr encoding 237
Y’CbCr encoding 237
Yeatman, Hoyt 318
YPbPr encoding 237
Yuricich, Richard 315
Zbrush 720
Zemecki, Robert 470
zoom lens for motion capture 409
Zoopraxiscope 254
Z-screen polarizer 525
Z space 73