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The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures

The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures

Autorzy
Wydawnictwo Taylor & Francis Ltd
Data wydania 17/07/2020
Liczba stron 880
Forma publikacji książka w miękkiej oprawie
Poziom zaawansowania Dla profesjonalistów, specjalistów i badaczy naukowych
Język angielski
ISBN 9781138542204
Kategorie Film, telewizja i radio
342.30 PLN (z VAT)
$77.00 / €73.39 / £63.71 /
Produkt na zamówienie
Dostawa 3-4 tygodnie
Ilość
Do schowka

Opis książki

The award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. The Visual Effects Society (VES) tasked the original authors to update their areas of expertise, such as AR/VR Moviemaking, Color Management, Cameras, VFX Editorial, Stereoscopic and the Digital Intermediate, as well as provide detailed chapters on interactive games and full animation. Additionally, 56 contributors share their best methods, tips, tricks, and shortcuts developed through decades of trial and error and real-world, hands-on experience.





This third edition has been expanded to feature lessons on 2.5D/3D Compositing; 3D Scanning; Digital Cinematography; Editorial Workflow in Animated and Visual Effects Features; Gaming updates; General Geometry Instancing; Lens Mapping for VFX; Native Stereo; Real-Time VFX and Camera Tracking; Shot/Element Pulls and Delivery to VFX; Techvis; VFX Elements and Stereo; Virtual Production; and VR/AR (Virtual Reality / Augmented Reality).





A must-have for anyone working in or aspiring to work in visual effects, The VES Handbook of Visual Effects, Third Edition covers essential techniques and solutions for all VFX artists, producers, and supervisors, from pre-production to digital character creation, compositing of both live-action and CG elements, photorealistic techniques, and much more. With subjects and techniques clearly and definitively presented in beautiful four-color, this handbook is a vital resource for any serious VFX artist.

The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures

Spis treści

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 Photograph





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 Milestone





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





2D 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





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





2D 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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