Real-time camera tracking, 172–177

Real-time motion capture, 384–386

alternate technologies, 385–386

definition of, 384

game rendering technology, 385

limitations of, 384–386

line of sight, 384

markers, 384–385

solving, 385

uses of, 384

visualization, 385

Real-time strategy games, 719

Rear projection, 6, 93–96

advantages of, 94

background, 223

disadvantages of, 94

equipment for, 95

Rebidding, 23

Recording, 509–512

approaches for, 510

cost estimations for, 511–512

definition of, 509

film-out requirements, 510–511

laser-based, 510

recorders used in, 512

re-recordings, 511

Red Camera, 171

Red channel focus, 214–215

RED ONE, 210, 443

Red vs. Blue, 716

Reese, Jerry, 56

Reference materials

description of, 34, 47

eye-line, 82, 83, 134f, 163, 164

image of, 168

photographs, 195–199

plywood, 167

shooting of, 167

video as, 197–199

Reference model, for creatures, 165

Reference plate, 99

Reference rendering transform, 522

Reference spheres, 537

Referencing, 820, 821

Reflection maps, 662f, 663f, 666

Reflection occlusion, 666–667

Reflections

from aircraft canopy, 114

from backing, 114–115

from chrome spheres, 154

convergence breaks caused by, 569

description of, 650

photographed, 663

specular, 662

2D-to-3D conversion, 422

virtual 3D photography, 413

water, 116f

Reflective spheres, for lighting data capture, 152–154

Reflectometer, 654

Relighting, 567

Renderer, 650

Rendering

computer-generated animation, 755, 760

definition of, 650, 704

physically based, 668–670

software for, 704–705

Rendering occlusion, 665–667

Replacement, 752

Re-projected photo survey, 588–589

Re-projection, 697

Re-projection mapping, 421–425

Requirements analysis, 787–789, 793

Rescaling, 44

Research and development, 34, 826

Resident Evil, 709

Resolution

data storage after, 508

definition of, 510

description of, 211–212, 240, 266, 359

film-out and, 510

4k, 483–490, 483f, 508

of human eye, 503–504

in large theaters, 504–505, 504f, 505f

modulation transfer function, 488–489, 489f, 495–497, 495f

scanning, 507–508

2k, 467, 468, 508

Retroreflective curtain approach, 563

Retroreflective markers, 355–356

Retroreflective material, 96

Return of the Jedi, 56

Revision control, 812, 815, 819

RGB, 207, 208–477, 476f, 513, 514, 517

RGBA, 207

Rig removal, 86, 93, 572–573

Rigging, 601–607. See also specific rigs

animation, 601–607

character, 603

computer-generated animation, 276

definition of, 601, 697

deformation, 605f

facial, 378–381, 604

motion capture, 345

noncharacter, 604

Right eye, as mono master, 443–444

Right triangles, 833

Rigid bodies, 367–368

Rigid-body dynamics, 646–649

Rigid-body solvers, 368–369, 638

Ritter fans, 87

Road speed, of camera cars, 228

Robert Abel & Associates, 11

Robots, 737

Rockets, 90

Rodnunsky, Jim, 231

Roger Rabbit, See Who Framed Roger Rabbit

Role-playing games, 718

Rollout, 806

Rollover cannons, 90

Rotoscoping, 53, 423, 445, 530, 558, 569–571, 751

Rotovision cameras, 270f

Run takes, 540

Run-length encoding, 473

“Saddle-back” previs, 67

Safety

camera cars, 226–227

explosions, 332

fire, 328

on-set, 85, 93

pyrotechnics, 88–89

special effects, 92–93

Samson and Delilah, 8

Scale

depth affected by, 420

of hard surface models, 609

of miniatures, 289–292, 290f–292f

perception of, 420f

shot design considerations, 43

3D, 401–402

Scaled images, 44

Scaling, 256–257

Scanner Darkly, A, 739

Scanners

description of, 507

image capture using, 528

laser, 597

Scanning

cost estimations for, 509

cyberscanning, 135–136

definition of, 506

digital models created from, 597–598

indications for, 506

lidar. See Lidar scanning

maquettes for, 597

negative, 122–123

photographic-based, 597

post-production, 467

purpose of, 506

resolution for, 507–508

setup fees for, 509

structured light, 146f

3D. See 3D scanning

transport of film during, 507

Scanning pixels, 830t

Scene

blocking, 80–81

breaking down, 818

definition of, 19

Scene assembly, 817–823

3D, 817–821

2D, 821–823

Scene files, 221

Scene tracking, 573–574

Scott, Anthony, 274f

Screen correction, 98–103, 100f, 123

Screen space, 399

Screen surround, 410–413

Script, 766

Scrums, 732

2nd unit, 83

Self-illuminated blue screens, 557

Sensitivity, 206, 360–361

Sequence

coding of, 130

definition of, 19, 757

digital, 550

location-specific, 36

prevising of. See Previs

shot assignment in, 20

shot design considerations, 44

Serkis, Andy, 338

Service bureaus, 792–794

Servo motors, 262, 302

Set(s)

computer graphics recreation of, 28, 29

computer-generated imagery applications, 142

digital, 548

lidar/laser scanning of, 137

lighting conditions, 96

motion capture, 346

post-production creation of, 579

shadows on, 99, 100

Set decorator, 28

Set dressing, 758–759, 818

Set extensions

computer-generated imagery used to create, 142

lidar scanning of, 142–143

miniatures for, 272, 584–585

re-projected photo survey, 588–589

shots involving, 580

Set rigging, 91

Shaders

antialiasing in, 680–681, 680f

basics of, 672–681

bump and displacement by, 673–675

definition of, 672–673

design of, 679–680

map-based, 675–677

object shape affected by, 672

procedural, 678

Shading

bump, 673–675, 675f

description of, 650, 653–655, 672

Lambert, 650–652, 651f, 652f

layers of, 686

models of, 673, 679

workflow for, 784

Shadow(s)

Baked in, 272, 277f

compositing techniques for, 413

description of, 99, 110f

eliminating of, 117–118

hanging miniatures, 293

holding of, lighting procedure for, 117

lighting procedures for, 117–118

Shadow maps, 664

Sharpening, 121

Sharpness, 483–490

Shooting

for capturing light data, 156–158

of clean plates, 159–160

computer-generated characters in live-action features, 777–779

locations for, 80

of miniatures, 308

rebidding during, 23

of reference materials, 167

schedule for, 33

Shooting stop, 103–105

Shot(s)

assigning of, in sequence, 20

ballpark budget and, 19

changes to, 542–544

cut sequence review of, 24

definition of, 19

editing within, 533–534

elements specific to, 234, 537

evaluative questions for, 545–546

guesstimating the number of, 19, 23

length of, 48

number of

guesstimating the, 19, 23

visual effects techniques based on, 48

objective of, 38, 40

oner, 46

production of, 548

rating of, 19

review of, 548, 549f

set-extension, 580

spreadsheet listing of, 19

stop-motion, 282–283

temp screening of, 22

test, 201–204

titling of, 540

turnover of, 536

“V” designation of, 81–82, 129

virtual, 110–111, 539

Shot design, 37–47

action pacing in, 45

budget considerations, 41

camera angle considerations, 42

camera motion, 44–45

concept art for, 40

continuity in, 40

depth of field, 44

detail, 43

framing, 42–43

guidelines for directors, 38

objective of shot considerations, 40

oner, 46

photorealism, 41

powers of 10

shot, 46

previs, 39

reality considerations, 42, 48

scale considerations, 43

scaled images, 44

sequence considerations, 44

simplicity in, 45

speed, 43–44

storyboards, 38–39

Shot modeling, 607

Shot sheet, 148, 149f

Shotlist, 346

Shrek, 641

Shutter, 360

Shutter angle, 240

Side-by-side rig, 430

SIGGRAPH, 12, 574

Signal-to-noise ratio, 205

Signed distance field, 648

Silhouette matte, 123f

Silver halide crystals, 556

Simplicity, in shot design, 45

Simulations, 637–642

appropriateness of, 639

cheats and tricks for, 640

cloth, 599–600, 637, 654

computer-generated animation, 759

creation of, 638–639

definition of, 637

dynamic, 605, 607

efficiency considerations for, 640, 641

low-resolution, 640

planning and preparation of, 641

rigid-body dynamics, 646–649

software for, 641–642

Sin City, 739

Single-camera nodal tiling, 270

Sinking of miniatures, 306

16-bit floating-point file format, 209

16mm, 495t, 830t

60i, 212

60p frame rate, 213

Skate, 710

Skinning, 272

Skip stops, 156

Skycam, 231

Skylight, 113

Slate

head, 201

information on, 197

tail, 201, 202

test shots, 203

Slate numbers, 130

“Slit-scan” images, 9, 10

Slop, 279

Smith, Alvy Ray, 10

Smoke

creation of, 88–90, 245

“dirty” shooting, 565

miniatures, use of, 317–318

particles, 645f

pyrotechnic, 89, 317–318

Smoke pass, 309

SMPTE, 444, 447, 560

SMPTE RP-180, 526

Snow, 87–88

Sobel matte, 568, 569

“Sodium vapor” process, 7

Soft body dynamics, 645

Soft split shots, 256

Softimage, 700–701

Software

compositing, 125–127

freeform digital sculpting, 596

motion control, 264

nonuniform backings corrected with, 99

rendering, 704–705

simulation, 641–642

special effects, 703–704

texturing, 705–706

3D graphics, 699–701

3D tracking, 702–703

Software development kit, 673, 723

Solvers, 341, 343, 368–370, 638

Solving, 368–370, 385

Sony PSP, 721

Spacecam, 230

Spatial frequency, 484, 492

Spatial resolution, 120

Special effects, 1–2

definition of, 2, 20, 85

designing of, 86

examples of, 2

fire, 88–90, 307, 328–330, 329f

history of, 85

ice, 87–88

mechanical, 90–91

planning of, 86

previs for, 86–87

pyrotechnics, 88–90, 93, 241

rain, 87–88, 243

safety concerns, 92–93

smoke, 88–90

snow, 87–88

software for, 703–704

storyboards for, 86–87

types of, 85–93

visual effects and, 20, 30, 86

wind, 87–88

wire flying, 91–92

Special Effects Coordinators, 60

Special Effects Department, 30

Special Effects Supervisor, 85

Spectral condition defining density, 525

Spectral conditions, 525–526, 526f

Specular highlights, 569

Specular reflections, 662

Specularity maps, 615–616

Speed, 43–44

Spheres, for lighting data capture, 152–154

Spherical mapping, 676

Spider-Man, 232

Spider-Man 3, 598f

Spielberg, Steven, 75

Spill, 124, 566

Spill light, 94, 116

Splines, 570, 611

Split-diopter, 165

Sports games, 719

Spotlight, 660, 661f

Spottiswoode, Nigel, 411

Spottiswoode, Raymond, 411

Sprites, 440, 640, 691

Spud, 167

Spy Kids 3D: Game Over, 460, 739

Spydercam, 232

Squibs, 89

sRBG-encoded imagery, 517

Stabilization, 376–377

Staffing, 769

Star Trek: The Motion Picture, 9, 76

Star Trek II: The Wrath of Khan, 11, 705

Star Trek IV: The Voyage Home, 580f

Star Wars

Attack of the Clones, 57, 300f, 302f, 694

Episode IV, A New Hope, 3, 9, 11, 56, 309, 562

Phantom Menace, The, 57, 166, 235, 240, 691, 693, 694, 697

Revenge of the Sith, 57

Starship Troopers, 57

Static calibration, 365

Static models, 288

Station point, 183f, 186f, 190f, 223

Stereo

convergence-based, 404–405

immersion-based, 404–405

synchronization of, 401

Stereo camera rigs, 430

Stereo disparity maps, 445

Stereo space, 429

Stereo window, 398

Stereographer, 414

Stereopsis, 388

Stereoscopic 3D. See 3D

Stereoscopic window, 448–458, 448f, 449f

definition of, 449

horizontal violations, 453

how to create, 457–458, 457f

location of, 451, 452f

overhead views of, 450–454, 450f, 451f, 454f

personal space, 449f, 450f, 453f, 457

placement of, 455–457, 455f, 456f

vertical violations, 453–455, 455f, 456f

violations, 453–455

world space, 449f, 457

Still cameras

background tiles shot with, 268

lighting data capture using, 153, 154–156

Still images

compression of, 471–478

chroma, 475–477, 476f

contrast masking, 477–478, 477f

lossless, 472, 474–475

lossy, 472, 475

luminance, 475–477, 476f, 494f

pixel distribution, 474

run-length encoding, 473

variable-length bit sequences, 473–474

for lighting, 272–273

practical considerations for, 268–269

for textures, 272–273

tiled, 268–269

Stock footage, 233

Stokes, Trey, 12

Stop-motion, 273–284

armature, 276

articulation, 752

caveats regarding, 280–282

environments, 753

evolution of, 274–275

getting started on project, 284

interior set used in, 278f

lighting for, 279

live-action film use of, 753

motion control in, 279–280

motion control rigs for, 263–264

overhead grids in, 278

pixelation, 778

preparation before shooting, 276–277

replacement, 752

shooting footage, 778–779

shooting space for, 277–279

shots in, 282–283

stage sizes for, 277, 278f

support rigs used in, 277f

time required to shoot in, 275–276

in visual effects, 283

website about, 284

Stopping it down, 357

Storage area network, 444

Storyboard(s)

animated, 67

computer-generated animation, 758

concept art with, 40

description of, 20

history of, 748–749, 766

previs versus, 66–67

at production meeting, 37

purpose of, 86

shot design using, 38–39

special effects use of, 86–87

Storyboard artist, 39

Straight ahead animation, 749, 752–753

Strobe, 354–355

Structured light, 337

Structured light scanning, 146f

Stuart Little, 591, 592f, 622f, 628

Stuart Little 2, 632f, 634

Studio, 767–768

Stunt coordinators, 60

Stunt department, 30–31

Subcontractors, 771

Subdivision surfaces, 595

Subpixel accuracy, 433

Subsampling, 209–211

Substitution shots, 4

Subsurface scattering, 655f

Sunlight, 112

Super 16mm, 495t, 830t

Super 35mm, 465, 491, 495t, 830t

Superman, 6

Support rigs, 277f

Surface assets, 811

Surface gauge, 274, 753

Surface parameterization, 675

Surface tension of water, 326, 327

Surfacing, 812

Surfactants, 327

Sutherland, Ivan, 10

Sync block, 542

Synchronization

of motion control cameras, 264–265

stereo, 401

of witness cameras, 170

Synchronous motors, 5, 8

Synchronous plates, 269–271

Syntheyes, 702

T pose, 348

Tail slate, 201, 202

Tape-based workflow, 443

Task planning and tracking, 809, 812

Tech scout, 36

Technical Director, 804

Technical previs, 54, 68

Temp screenings, 22

Temporal filling, 417

Temporal offset, 426

dynamic, 427

Temporal scaling, 256

10,000 BC, 65f, 132f, 134f, 135f

Terminator 2, 12

Terminator Salvation, 297f, 298f

Tesselator system, 269

Tessellation, 595

Test shots, 201–204

Testing, 199–204

Texture(s)

acquisition of, 266–273

in animation versus live-action visual effects, 742–743

computer-generated characters, 782

creation of, 614–616

diffuse maps, 614

motion tiling, 269–271

panoramic backgrounds, 267–268

practical considerations for, 271–272

procedural, 617

projection of, 677f

skinning of miniatures with, 272

from source, 614

stills, 268–269

Texture artist, 608

Texture maps, 614–617, 653f, 676f 678

Texture painting

backups, 618

camera mapping, 613

creature models, 610

digital models and modeling, 599

hard surface models, 608–610

importance of, 608

map-driven effects, 614–617

prepping for, 612–613

production considerations, 617–618

projection mapping, 612–613

in 2D, 612

UV layouts, 612

volumetric mapping, 613

Texturing

computer-generated animation, 759

differences across facilities, 825

polygons, 610–611

software for, 705–706

Theater space, 398–399, 405

Thermo-Key, 563

Thief of Baghdad, 5

Third-person games, 712, 713

35mm, 213, 214, 465, 830t

4-perf, 541f, 542, 555

30p frame rate, 213

Three-chip digital cameras, 213

3D compositing, 681–690

bit depth, 682–684, 683f

color representation, 681–682

computer graphics, 685–689, 685f

mattes, 684–685

3D computer-generated characters, 143

3D graphics

art department’s use of, 28

game engines versus, 724–725

lighting in, 698

software for, 699–701

3D layout, 573

3D scanning, 145–150

actor preparation for, 147–148

cars, 148

laser-based systems for, 146f

post-production, 149–150

props, 148

review of results, 148, 149f

structured light-based systems for, 146f

3D scene assembly, 817–821

3D stereo colorist, 435

3D stereo previs, 75

3D stereoscopy, 387–396

accommodation, 387–388

binocular disparity, 446–447

box office success of, 460

camera rig, 409–413

breaking the mask, 412–413, 412f

construction of, 410

convergence implementation in, 409–410, 410f

implementation strategies for, 409

screen surround, 410–413

cameras, 435f

capture media, 436f

“cheats” in, 413

circular polarization, 437

compositing screen elements in, 569

conforming, 441–444

convergence, 387–388, 388f

cutting for, 403–404

dailies, 436–439

data workflow, 444–445

deliverables, 447–448

depth budget, 391–392

depth in, 75, 397–400, 402

design of, 396–405

digital intermediate workflow

conforming, 441–444

dailies, 436–439

data-centric workflow, 443

description of, 434–448

projection screens, 438–439

tape-based workflow, 443

editorial processes, 439–441

education about, 459–460

experiences associated with, 463

financial considerations, 460

fix it in post, 396

floating windows, 393–396, 395f, 410–411

ghost busting, 444

horizontal image translation, 390–391, 391f

IMAX, 405

immersion-based stereo, 404–405

interaxial separation, 388–390

intercutting for, 403

lenses used in, 402

linear polarization, 437

milestones in, 435–436

mono master, 443–444

movie production, 458–464

development stage, 458–461

difficulties associated with, 458

post-production stage, 463–464

pre-production stage, 462

production stage, 462

multiple release formats, 404

orthostereo condition, 404

pacing of, 403

painful, 400–401

parallax. See Parallax

parallax budget, 391–392

photographed elements

artistic skill level, 433

attention to detail, 433

description of, 432

subpixel accuracy, 433

presentation technology for, 404

previsualization of, 400

RealD mastering, 446

reasons for using, 463–464

scale, 401–402

screen space, 399

stereoscopic window, 448–458, 448f, 449f

definition of, 449

horizontal violations, 453

how to create, 457–458, 457f

location of, 451, 452f

overhead views of, 450–454, 450f, 451f, 454f

personal space, 449f, 450f, 453f, 457

placement of, 455–457, 455f, 456f

vertical violations, 453–455, 454f, 455f

violations, 453–455

world space, 449f, 457

storytelling in, 399–400

theater space, 398–399, 405

toe-in, 390–391, 390f

2D versus 3D grading, 445–446

2D-to-3D conversion, 414–427

artistic phases of, 416–421

automatic conversion, 426

depth, 414–416, 415f

description of, 414

dynamic temporal offset, 427

element isolation, 416–417

flexibility of, 420

live-action, 414

minor workflows, 426, 427

occluded surface reconstruction, 416–418

pixel displacement, 421, 425

reflections, 422

re-projection mapping, 421–425

techniques for, 406

temporal offset, 426

transparencies, 422

2D depth cues, 415–416, 415f

workflows, 421

vertical misalignment, 401

virtual, 406–409

advantages and disadvantages of, 406–407

definition of, 406

multiple-camera rigs, 407–409

special cases for, 413

visual effects, 427–434

data management, 433–434

prepping for the third dimension, 429

shooting the third dimension, 430–431

3D Studio Max, 701

3D tracking software, 702–703

300, 739

Threshold value, 360

TIFF, 482

Tiled stills, 268–269

Tiles, 347

Tiling systems, 269

Time

allocation of, 47

motion capture, 346

Timecode, 170, 533

Time-of-flight technologies, 338

Titan AE, 57

Titanic, 641

Toe-in, 390–391, 390f, 410f

Topographical maps, 615

Tora! Tora! Tora!, 6

Toy Story, 768

Trackers, 341, 343

Tracking, 507, 779

Tracking markers, 81, 84, 118, 128, 131–133, 132f

Traffic tiles, 270

Training, 800

Trajectory fitting, 366

Transcoding, 518–519

Transformers, 588, 737

Transit, 81

Translucent backings, 109

Transparency, 413, 422

Transparent actor, 162

Transport of files, 467

Trapezoidal distortion, 390f

Traveling matte, 97, 551–554, 551f, 552f

Triangulation, 177–194

camera/subject positional information, 178, 181

baseline, 182–183, 182f, 183f, 184f, 186f, 192f

camera height, tilt, and dutch angle information, 185

camera pan angle relative to baseline, 186–189

camera position triangulation, 184–185

data plan, 184–185, 184f, 190f, 191f

greenscreen application of, 189–191, 190f

scaling, 191

station point, 183f, 186f, 190f

uneven ground level, 192–194

tool kit for, 178f, 179f

visual effects nodal point, 178, 180–194,180f

Triple-I, 10

Tristimulus values, 516

Tron, 11, 12, 56

Tropic Thunder, 3

Trucking shot, 426

Truman Show, The, 577f

Trumbull, Doug, 9, 56, 310

Trunnion guns, 89

Turbulence, 329, 643

Turnover, 536, 538

25p frame rate, 213

24p, 51

24p frame rate, 212

2:1 data plan, 191f

2:35/2:40 ratio, 465

2.5D, 51

2.5D compositing, 689–690

Two-dimensional flat extensions, 583

2D scene assembly, 821–823

2D tracking, 51

2D-to-3D conversion, 414–427

artistic phases of, 416–421

automatic conversion, 426

depth, 414–416

description of, 414

dynamic temporal offset, 427

element isolation, 416–417

flexibility of, 420

live-action, 414

minor workflows, 426, 427

occluded surface reconstruction, 416–418

pixel displacement, 421, 425

reflections, 422

re-projection mapping, 421–425

techniques for, 406

temporal offset, 426

transparencies, 422

2D depth cues, 415–416, 415f

workflows, 421

2k

description of, 467, 468

digital intermediate workflow, 500–502

4k versus, 498–502, 501f

resolution of, 467, 468, 508

2/3-inch sensor cameras, 214

2001: A Space Odyssey, 6, 9, 10, 310

2012, 58, 637, 638f

Ultimatte AdvantEdge, 100, 126

Ultramarine blue, 555, 556

Ultraviolet light, 7

Uncanny valley, 46

Uncharted 2: Among Thieves, 709

Underexposure, 105f, 561

Underwater photography, 124–125, 244

Unit production managers, 233

Universal topology, 377–378

UV editing, 601

UV layouts, 612, 788

UV mapping, 676

“V,” 82, 129

Vacuum forming, of miniatures, 301

Van Helsing, 166, 241, 245

Vanilla Sky, 236

Variable-length bit sequences, 473–474

Vector graphics, 11

Veevers, Wally, 9

Velour, 237

Velvet, 237

Vertical parallax, 391, 440f

Vertigo, 10

Video

frame rate for, 198

as reference, 197–199

synchronization of, 198

Video assist, 253

Video village, 82

View frustum, 677

View frustum calling, 626

Viewfinder center, 188f, 189f

Viewing-angle dependencies, 524

Virtual assets, 811

Virtual camera, 406

Virtual production previs, 75–76

Virtual production space, 59, 76

Virtual sets

camera motion in, 755

cameras for, 173

lighting of, 117–118, 754

Virtual shots, 110–111, 539

Virtual space, 72

Virtual studio, 783–784

Virtual windows, 395f

Virtual worlds, 720

VistaVision, 234, 240, 262f, 269f, 542, 555

Visual effects, 1–2

animation versus, 740–747

cost-effectiveness of, 3

creation of, 3

definition of, 2, 20

full animation versus, 737–740

future of, 14

history of, 4–13

lighting, 656–658

methods of adding, 2

pipeline, 739

real-time, 172, 173

reasons for using, 2–3

special effects and, 20, 30, 86

stop-motion in, 283

techniques for. See Visual effects techniques

Visual effects artists, 14

Visual effects companies

bidding by, 20–21

contracts with, 23

Visual effects crew

eye protection for, 103

members of, 79

witness camera preparation of, 171

Visual effects data collectors, 29

Visual effects department, 33–34

Visual effects editing

description of, 533

digital revolution effects on, 535

history of, 535

optical printer for, 535

shot changes, 542–543

wrapping it up, 543–544

Visual Effects Editor

in cutting room, 536–539

description of, 34–35

information tracking and dissemination by, 536–542

responsibilities of, 533

tools used by, 534

visual effects facility, 539–542

Visual effects facilities

media consolidation, 539

multiple, working across, 823–826

visual effects editor of, 539–542

Visual effects nodal point, 178, 180–194, 180f

Visual Effects Producer

budget preparation by, 19

previs use by, 61

responsibilities of, 79

Visual effects references, 81

Visual Effects Supervisor

creative suggestions to director by, 27

Director of Photography interactions with, 29, 204

Director or Producer meeting, 26

1st Assistant Director and, 33

planning by, 33

previs use by, 61, 71–72

responsibilities of, 79

special effects lead and, 30

Visual effects techniques, 47–53

balancing of, 50

considerations in selecting

budget, 47, 50

complexity, 48

flexibility, 48

length of shots, 48

number of shots, 48

time, 47

examples of, 51–53

Visual filters, 716

Visual horizon, 194

Visually connected elements, 416f

Visually lossless compression, 472

Visuals of games, 728–731

Vlahos, Petros, 7, 117–118, 127

Volume, 347, 582

Volumetric lighting, 670–671, 671f

Volumetric mapping, 613

Voxels, 593, 595

Wahrman, Michael, 12

Waldo, 12, 73, 255

WALL-E, 737, 738

Walt Disney Studio, 7

Wand calibration, 364, 365f

War of the Worlds, 573

Wardrobe department, 31–32

Wassel, Mike, 229

Watchmen, 329f, 591

Water

deflection of, from lens, 230

live-action plate filming on, 229–230

miniatures incorporation of water effects, 306, 317–318, 326f

rainfall on, 244

splashes, swirls, and streams of, 243–244

surface tension of, 326, 327

Water reflections, 116f

Waterworld, 641

Wedge, 554

Weingartner, Mark, 229

Welles, Orson, 8

Westworld, 11

Wheatstone, Charles, 436

White card method, 106–107, 106f

White points, 516f

White-lit backings, 103

Whitlock, Albert, 4–5, 576, 582f

Whitney, John Sr., 10–12

Whitted, Turner, 10

Who Framed Roger Rabbit, 166, 738, 751, 768

Wide lens, 402

Wii, 720

Williams, Peter, 281f

Willow, 12, 585f

Wind, 87–88

Wire flying, 91–92

Wireless nonvideo motion capture, 169

Witness cameras, 169–172

actor preparation, 171

in computer-generated prosthesis generation, 696

crew preparation, 171

definition of, 81, 169, 696

factors that affect, 170–171

phasing of, 170

positioning of, 170

post-production handling of data, 171

resolution of, 171

setup of, 170

synchronization of, 170

3D information gathered using, 169

time code for, 170

Workflow. See Production workflow

World coordinate system, 376

World of Warcraft, 719

World space, 449f, 457

Wrap deformers, 379

Wray, Fay, 6

Xbox 360, 721

X-Files: Fight the Future, The, 307f, 332f

X-Men, 2

XY tracking, 51

YCbCr, 208

Y’CbCr, 208–210

Yeatman, Hoyt, 273

Young Sherlock Holmes, 12

Yuricich, Matthew, 574, 575f

Yuricich, Richard, 270

YUV, 121

Zero parallax, 389f

Zero-gravity explosions, 242

Z-screen polarizer, 446

Z-space, 415, 419, 421