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Index
Cover Half Title Title Page Copyright Page Contents COMING SOON … CHAPTER 1: INTRODUCTION
First, Some Ground Rules Now, the Introduction Why Use Visual Effects?
CHAPTER 2: PRE-PRODUCTION/PREPARATION
Overview Breaking Down a Script – Budgeting
Ballpark Budget More Detailed Budgets Bidding Plate Photography Temp Screenings Reviewing Bids Contracts Rebidding during Shooting Rebidding in Post Monitoring the Budget and Schedule Keeping the Budget Down
Working with the Director and Producer
Demo Reel The Meeting Moving Forward
Production Departments
Production Design Camera Working with the Cinematographer Special Effects Stunts Wardrobe Makeup Production Visual Effects Editorial Locations Production Meeting
Designing Visual Effects Shots
Guidelines for Directors Storyboards Previs Objective of the Shot Concept Art Continuity Photorealism Original Concepts Budget Reality and Magic Camera Angles Framing Scale Detail Speed Scaled Images Depth of Field Sequence of Shots Camera Motion Less Is More Action Pacing CG Characters Creatures and Character Design Powers of 10 Shots
Visual Effects Techniques
Technique Considerations Additional Suggestions for Determining Techniques
Development of Previs Techniques
History and Background
What is Previs and Other Forms of Visualization?
What is Previs? Different Types of Visualization and When to Use Them Visualization: The New Essential
The Application of Previs: Who Benefits and How?
The Benefits of Previs Project Types
Post-Visualization
What is Post-Visualization? Why Use Postvis? Who Does Postvis?
Cautions and Suggestions for Good Practice
The Perils of Previs! Passing the Work On The Role of the VFX Supervisor in Previs
Previs: Advanced Techniques
Visualization Usefulness VR as a Tool Visualization in Engine Render in Engine Visualization in Real Time AR as a Tool
Camera Angle Projection Introduction
Drawing What the Lens Sees
Techvis
What Is Techvis? Who is Techvis for?
Virtual Production
What is Virtual Production? How is Virtual Production Used?
CHAPTER 3: ACQUISITION/SHOOTING
Working on Set Common Types of Special Effects
What are Special Effects? A Brief History of Special Effects The Special Effects Coordinator Working with the Visual Effects Visual Effects in Service to SFX Special Effects Design and Planning Storyboards and Previs The Elements: Rain, Wind, and Snow and Ice Smoke, Fire, and Pyrotechnics Mechanical Effects Flying Wire Rigs and Stunts Safety
Greenscreen and Bluescreen Photography
Best Practices and Otherwise Overview Function of the Backing Negative Scanning and Digital Conversion Backing Uniformity and Screen Correction The Alpha Channel The Processed Foreground The Composite Recommended Specifications and Practices How to Expose a Green Screen Shot, and Why Setting Screen Brightness Choosing the Backing Color Floor Shots, Virtual Sets Foreground Lighting Controlling Spill Light Lighting Virtual Sets Tracking Markers On-Set Preview Cameras for Blue Screen or Green Screen Photography Underwater Photography
On-Set Data Acquisition
Camera Report Tracking Markers Props for the Actors Cyberscanning Digital Photos Lidar/Laser Scanning Lens Distortion Charts HDRI and Chrome Balls
Lidar Scanning and Acquisition On-Set 3D Scanning Systems
Types of Technology Lidar Photogrammetry Prop Scanners
Lighting Data
Gathering Lighting Data Beware of False Savings! Using Conventional Still Cameras Reference Shooting Considerations
Clean Plates
Shooting the Clean Plate Locked-Off Camera Moving Camera Other Issues Post-Process Alternates without Clean Plates Other Uses for Clean Plates
Monster Sticks On-Set Animation Capture: Witness Cam (IBMC)
Wireless Non-Video Motion Capture Factors Affecting Witness Cameras Dealing with the Data in Post-Production
Camera Tracking for Real-Time Visualization
Camera Tracking Pre-Production The Camera Department Prior to Shooting Current Tracking Systems in Use
Triangulation As a Method of Recording Camera Data
Camera/Subject Positional Information Basics: The Toolkit Basics: Nodal Point
Photographic Reference
How to Proceed Shooting Video as a Reference
Rules, Setup, and Testing
Do a Complete Test Shot! Why Run Through Example or Test Shots?
Digital Cinematography
Digital Definitions High Dynamic Range (HDR) Lens Metadata Look Management The Recording System
Lens Mapping for VFX VFX Photography
The Camera Array Designing an Array Shot Technicians Shoot Day Special Techniques Post The Future
Filming Live-Action Plates to be Used in VFX
Camera Position (Station Point) Angle of View Lighting Considerations Camera Tilt Background Quality Moving Plates Scouting the Camera Positions A Case Study Camera Cars Camera Car Safety Issues Purpose-Built Crane Cars Vibration and Camera Stabilization Road Speed Precautions Panoramic Rigs On the Water Air to Air Cable Systems
Shooting Elements for Compositing
What Is an Element? Stock Footage Types of Elements Generic versus Shot-Specific Elements Determining Element Needs Cheating Backgrounds Black Backgrounds Line-Up Camera Format Considerations Assorted Methods for Shooting Elements
High-Speed Photography and Filming Elements
Cameras Technicians Director of Photography Lighting Application Locking Down the Camera Video Assist Post
Supervising Motion Control
What is Motion Control? Performance Choreography Multiple-Pass Photography Scaling Import and Export of Camera Move Data The Data Types of Motion Control Systems Motion Control Software Camera Types Sync and Phase Dealing with Production
Acquisition of Motion/Still Photographic Textures for Mapping onto CG
Panoramic Backgrounds Tiled Stills Motion Tiling and Synchronous Plates Practical Considerations Stills for Textures and Lighting
Stop-Motion
Evolution of Stop-Motion Photography The Time Required to Shoot in Stop-Motion Preparation before Shooting Setting up a Shooting Space for Stop-Motion Use of Motion Control in Stop-Motion Useful Caveats Evolution of a Shot Use of Stop-Motion in Visual Effects
CHAPTER 4: PERFORMANCE AND MOTION CAPTURE
What is Motion Capture? Is Motion Capture Right for a Project?
The Mocap Look Technical Specifications Entry Point Budget
Which Technology is Right for a Project?
Gauging a Project’s Needs and Constraints Passive Retroreflective Optical Active Optical Inertial Structured Light Dense Stereo Reconstruction Bend Sensors
Preparing for Motion Capture
Actors Motion Capture Suits Marker Placement – Body Marker Placement – Face Rigging for Motion Capture Shot List Technology Considerations
Hardware
The Strobe Markers Lenses Filter Image Sensor Onboard Processor Inputs/Outputs Setup
Software
Acquisition Calibration Post-Processing Reconstruction Labeling Gap Filling Cleaning Solving Motion Capture
Facial Motion Capture
Facial Actor Survey Actor Survey – Hardware Reference Data Statistical Data Facial Rigging Facial Acquisition Audio Facial Motion Capture Solving
Real-Time Motion Capture
Real-Time Uses Real-Time Limitations Alternate Technologies
Motion Capture Resources Virtual Production
World Building Previsualization On-Set Visualization Virtual Cinematography
CHAPTER 5: STEREOSCOPIC 3D
How 3D Works
Accommodation and Convergence Interaxial Separation Toe-in Versus Horizontal Image Translation Parallax or Depth Budget Positive and Negative Parallax Floating Windows Fix It in Post
Stereoscopic Design
The Emerging Grammar of 3D Creative Use of Depth Previsualization Avoiding Painful 3D The Aesthetic of Scale Cutting for 3D Designing for Multiple Release Formats Immersion-Based versus Convergence-Based Stereo
Native Stereo
Pre-Production On-Set Stereography in the Visual Effects Process Stereography for Finishing HFR as a Solution for Better 3D Movies
VFX Elements and Stereo
Introduction – How VFX Elements are Used Native Stereo Content Mono Capture – Packaged Script and Element Deliveries Mono Capture – Hybrid Approach for Stereo Delivery Mono Capture – Full CG Approach for Stereo Delivery Creating Depth – Layout and Stereography Stereo Camera – Depth Wedges Stereo Compositing Requesting a Full CG Stereo Render Mid-Production VFX Production Tasks
2D to 3D Conversion
Depth Creation Preparation Visual Analysis of 2D Depth Cues Pre-Production and Previs for Conversion Source and Target Perspective Shared Shots/Shared Workflows Main Stages of 2D-to-3D Conversion Major 2D-to-3D Conversion Workflows Special Cases Re-projection Mapping Workflow Pixel Displacement or Pixel Shifting Other 2D-to-3D Conversion Workflows Is “Real” Always Right? 2D-to-3D Conversion Management
Stereoscopic Visual Effects
Prepping for the Third Dimension Shooting the Third Dimension Visual Effects in the Third Dimension Photographed Elements Accuracy and Attention to Detail Artistic Skill Level Data Management
Stereoscopic Digital Intermediate Workflow
Stereoscopic 3D Process Milestones Viewing 3D Dailies Projection Screens for Stereoscopic Viewing 3D Editorial Processes Data Workflow Applying the 3D Grade 3D Stereo Deliverables 3D Home Video Deliverables
Stereoscopic Window
The Stereoscopic Window Placement of the Window in Relation to the 3D Scene Window Violations Window Placement Logic How to Create a Stereoscopic Window
Producing Movies in Three Dimensions
Development – Getting the Green Light Production – What to Look Out For
CHAPTER 6: POST-PRODUCTION/IMAGE MANIPULATION
Resolution and Image Format Considerations
Formats Transport Resolution
Academy Color Encoding System (ACES)
ACES Components ACES Benefits ACES Color Space Encoding Viewing ACES Preparations for Using ACES
Image Compression/File Formats for Post Production
Image Encoding Still Image Compression Other Lossless Compression Methods File Formats
Color Management
The Three Guidelines Digital Color Image Encodings and Digital Cameras Color Management at the Desktop Bringing Color Management to Film Workflows
Digital Intermediate Shot Element Pulls and Delivery to VFX
Introduction The Lab “Production” Is to “Lab” as … The Merge The Handoff VFX Editorial The Select The Pull
VFX Editorial
Editing within a Shot: The Art of Precompositing (Precomp) How It Came to Be Modern Day Tracking and Disseminating of Information As the Shot Changes Wrapping It Up
Editorial Workflow in Feature Animation
Introduction Editorial Crew Staffing and Structure Editorial Involvement with Feature Animation Production Stages
Communication with Artists
Starting Working with Teams Working Globally Reference and Perspective Shot Production Communicating with Artists in Other Departments Completion
Compositing of Live-Action Elements
Modern Digital Compositing Scene Tracking
Rotoscoping and Paint
Rotoscoping Digital Painting and Plate Reconstruction
Matte Paintings/Creative Environments
Matte Paintings: Art of the Digital Realm What Is a Matte Painting? Matte Painting Pioneers and History Visualizing the Matte Painting Shot in Pre-Production On-Set Supervision for Matte Painting Shots Basic Skills and Tricks of the Trade Miniatures and Computer-Generated Sets Finding the Best Frame Re-Projected Photo Survey The Need for Creative Compositing
3D Matte Painting
CHAPTER 7: DIGITAL ELEMENT CREATION
Digital Modeling
Overview: The Importance of Modeling Types of Modeling Model Data Types Development of Models Modeling for a Production Pipeline Engineering Aspects for Polygons Engineering Aspects for NURBS
Rigging and Animation Rigging
Rigging: What is It? Animation Rigging Deformation Rigging
Texturing And Surfacing
The Importance of Texture Painting Hard Surface Models Creature Models Types of Geometry: Their Problems and Benefits Prepping the Model to Be Painted Texture Creation Various Other Map-Driven Effects Texture Painting in Production Model Editing
Digital Hair/Fur
Hair Generation Process General Issues and Solutions
Digital Feathers
Morphology of Real Feathers Modeling Digital Feathers Similarities between Hair and Feathers Differences between Hair and Feathers
General Geometry Instancing
Asset Creation World Building Shot Considerations
Dynamics and Simulation
How is a Simulation Created? When is Simulation Appropriate? Tricks and Cheats Important Considerations Planning and Preparation Software Solutions: A Broad Overview of Current Options
Particles
What are Particle Systems? The Next Step The Birth of Particles Creating Effects
Rigid-Body Dynamics
How Rigid-Body Dynamics are Created Potential Problems Other Issues Tricks for Getting It Done
Digital Lighting
Light in Reality and in Computer Graphics Case Study of Reality Compared with Simple CG Simulation Visual Sophistication through Texture Mapping Physically Derived Shading Models Beneath the Surface Goals of Lighting in Visual Effects Work Flow for Successful Creative Digital Lighting The Technologies of Lights in Computer Graphics Direct Lighting: Source to Surface to Camera Reflections Photographed Reflections Shadows Image-Based Lighting Rendering Occlusion Ambient Occlusion Reflection Occlusion Creating Light Sources from Environment Maps Physically Based Rendering Physically Plausible Rendering Volumetric Lighting Effects
Shader Basics
What are Shaders? Shading Models Bump and Displacement Map-Based Shaders Procedural Shaders Shader Design Anti-aliasing Considerations
2D Compositing
2D File Formats Image Quality: Color Bit Depth and Concatenation Log vs. Linear Low Dynamic Range and High Dynamic Range Images Mattes and Pre-Multiplied Alpha Working with Rendered CG Elements Integration Techniques
2.5D Compositing
Z-Depth Compositing Adding Depth of Field Adding Motion Blur Relighting
3D Compositing
Working with 3D Data in a Compositor Pan and Tile Camera Projections Set Extensions Coverage Mapping Cubical Camera Setup 3D Mattes 3D Retouch and Cleanup Adjusting Camera Moves Particles Deep Compositing
Crowd Generation and Simulation Techniques
Live-Action Replication Sprites Computer-Generated Crowds Modeling for Replication Variation Mesh Density Animation Cycles for Replication Motion Capture Keyframe Animation Dynamic Motion Synthesis Behaviors and Crowd Control
CG Prosthetics and Actor Enhancements
On-Set Tracking and Capture Considerations Eye Enhancements 3D Techniques 2D Techniques 2.5D Techniques Silhouette Changes Re-Projection
3D Products, Systems, and Software
Digital Element Creation Process 3D Graphics Software 3D Tracking Special Effects Rendering Texturing
CHAPTER 8: INTERACTIVE GAMES
Overview How the Gaming Industry and Film/TV Industries are different Game Engines and Real-Time Rendering
Runtime Component
Disciplines and Job Titles
Game Design Engineering Production Test Art The Art Director Concept Art Environment Artists Texture Artist Characters Hard Modeling Props Lighting Baked vs. Dynamic Lighting Shadows Effects System Effects Environmental FX Breakables Destruction Tech Artist Animation UI
Real Time Shaders and Materials Pre-Rendered Cinematics vs. Real Time Visuals Optimization and Runtime Budgets Performance Analysis and Profiling
CPU vs. GPU bound
Technical Terminology
User Calibration Latency “Game Mode” on Televisions HDR10 PBR – Physically Based Rendering FBX Mip Mapping Filtering Texel Screen Space Ambient Occlusion Level of Detail Vertex Shaders and Fragment Shaders
AR/VR Future of Gaming
On-Demand Rendering, Cloud Distribution and Ray Tracing
CHAPTER 9: COMPLETE ANIMATION
What Is An Animation Project?
Full Animation versus Visual Effects
Difference Between Visual Effects and Animation
Production Pipelines Production
A Survey and History of Animation Techniques
Traditional Animation Stop-Motion Computer Graphic Technology
Considerations for a Full CG-Animated Feature Pipeline
CG Feature Animation Pipeline
Managing an Animated Film
Film Management and Personal Style Building Brain Trusts Building the Core Creative Team Writing and Visual Development Working with a Studio Facilities and Environment Managing the Event
The Production Process: An Animator’s Perspective
Working on CG-Animated Content in Live-Action Features Planning the Process Production Character and Environment Interaction
CHAPTER 10: GENERAL WORKFLOW CONSIDERATIONS
Virtual Studio Technology Analysis of A Production Workflow
From Workflow to Pipeline Service Bureau versus In-House Requirements
Design of a Production Workflow
From Analysis to Design
Deploying a Production Workflow
From Design to Implementation
Infrastructure Tracking Assets
What is Task and Asset Tracking? Commercial Task and Asset Tracking Systems Building Task and Asset Tracking Systems
Scene Assembly
3D Scene Assembly 2D Scene Assembly (Compositing)
Working Across Multiple Facilities
Images Models Texturing Animation Compositing R&D
CHAPTER 11: VR/AR (VIRTUAL/AUGMENTED REALITY)
A Note from the Editors Prelude to Virtual Reality & Augmented Reality Pre-Production for VR/AR Production for VR/AR Post-Production for VR/AR Editorial Post-Production for VR/AR
How to Direct the Viewer? The Post-Process Nonlinear Editorial, Timelines and Edits World Lock and Forced Perspective
Types of Head-Mounted and Handheld Displays
What are the HMD and the “VR Presence”? Electronical Designs of HMDs and their Respective Performances Optical Designs of HMDs and their Respective Usages Image Quality Factors in VR HMD Displays
Hemispheres and Domes
Game Mechanics Are What it is All About Overcoming Doubt and Preconceived Notions Dome Projections The Future of Domes
VR/AR Tracking Displays Uses of VR
Enterprise Narrative Storytelling
Future of VR and AR
This is Just the Beginning
Acknowledgments Appendix A: Charts and Formulas Appendix B: Credits/Titles to Be Submitted in Accordance with VES Guidelines Appendix C: Glossary Index
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