- Front Cover
- Half Title
- Title Page
- Copyright
- Contents
- About the VES
- Foreword
- Chapter 1 Introduction
- Chapter 2 Pre-Production/Preparation
- Overview
- Breaking Down a Script—Budgeting
- Working with the Director and Producer
- Production Departments
- 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
- What is Previs?
- Development of Previs Techniques
- The Applications of Previs: Who Benefits From it and How?
- Postvis
- Cautions and Suggestions for Good Practice
- The Future of Previs: Advanced Techniques
- Camera Angle Projection
- 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 Supervisor
- 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
- Front and Rear Projection Systems for Visual Effects
- Greenscreen and Bluescreen Photography
- Function of the Backing—Green, Blue, or Red
- Fabric and Paint
- Backing Uniformity and Screen Correction
- How to Expose a Greenscreen Shot and Why
- Setting Screen Brightness
- Floor Shots, Virtual Sets
- Foreground Lighting
- Controlling Spill Light
- Lighting Virtual Sets
- Tracking Marks on the Screen
- On-Set Preview
- Camera for Bluescreen or Greenscreen Photography
- Negative Scanning and Digital Conversion
- The Processed Foreground
- Underwater Photography
- Working with the Cinematographer
- The Alpha Channel
- Compositing Software
- On-Set Data Acquisition
- Lidar Scanning and Acquisition
- On-Set 3D Scanning Systems
- Lighting Data
- Clean Plates
- Monster Sticks
- On-Set Animation Capture: Witness Cam
- Real-Time Matchmoving and Camera-Tracking Data
- Triangulation as a Method of Recording Camera Data
- Camera/Subject Positional Information
- Photographic Reference
- Rules, Setup, and Testing
- Digital Cinematography
- 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
- High-Speed Photography and Filming Elements
- Supervising Motion Control
- Acquisition of Motion/Still Photographic Textures for Mapping onto CG
- Stop-Motion
- What are Miniatures?
- Forced Perspective Miniatures
- The Fabrication of Miniature Effects
- The Incorporation of Mechanical, Practical, and Pyrotechnic Effects with Miniatures
- Photography of Miniature Effects: Motion Control
- Photography of Miniature Effects: High-Speed Photography
- The Use of Miniatures in the Digital World
- Special Effects for Miniatures
- Chapter 4 Performance and Motion Capture
- Chapter 5 Stereoscopic 3D
- How 3D Works
- Stereoscopic Design
- Virtual 3D Photography
- The 3D Camera Rig
- 2D to 3D Conversion
- Depth Creation Preparation
- Visual Analysis of 2D Depth Cues
- Main Artistic Stages of 2D-to-3D Conversion
- Major 2D-to-3D Conversion Workflows
- Special Cases
- Transparencies
- Reflections
- Re-Projection Mapping Method Workflow
- Pixel Displacement or Pixel Shifting
- Minor 2D-to-3D Conversion Workflows
- Automatic Conversion
- Temporal Offset
- Dynamic Temporal Offset
- Is “Real” Always Right?
- 3D Stereoscopic Visual Effects
- 3D Stereo Digital Intermediate Workflow
- Stereoscopic 3D Process Milestones
- Viewing 3D Dailies
- Projection Screens for 3D Stereoscopic Viewing
- 3D Editorial Processes
- 3D Stereoscopic Conforming
- Data Workflow
- 2D versus 3D Grading
- 3D Stereo RealD Mastering Considerations
- Geometry and Correction of Undesirable Binocular Disparity
- 3D Stereo Deliverables
- Stereoscopic Window
- Producing Movies in Three Dimensions
- Chapter 6 Post-Production/Image Manipulation
- Resolution and Image Format Considerations
- Image Compression/File Formats for Post-Production
- 4k+ Systems Theory Basics for Motion Picture Imaging
- Film Scanning and Recording
- Color Management
- Digital Intermediate
- VFX Editorial
- Communication with Artists
- The History of Compositing
- Compositing of Live-Action Elements
- 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
- Chapter 7 Digital Element Creation
- Digital Modeling
- Rigging and Animation Rigging
- Texturing and Surfacing
- Digital Hair/Fur
- Digital Feathers
- Dynamics and Simulation
- Particles
- Rigid-Body Dynamics
- 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
- Negative Lights
- Reflections
- Photographed Reflections
- Shadows
- Image-Based Lighting
- Rendering Occlusion
- Ambient Occlusion
- Reflection Occlusion
- Average Light Direction Vectors: Bent Normals
- Creating Light Sources from Environment Maps
- Physically Based Rendering
- Volumetric Lighting Effects
- Shader Basics
- 3D Compositing
- Crowd Generation and Simulation Techniques
- CG Prosthetics and Actor Enhancements
- 3D Products, Systems, and Software
- Chapter 8 Interactive Games
- Chapter 9 Complete Animation
- Chapter 10 Other Workflow Considerations
- Acknowledgments
- Appendix A: Charts and Formulas
- Appendix B: Credits/Titles to Be Submitted in Accordance with VES Guidelines
- Appendix C: Glossary
- Index
- 2 Pre-Production/Preparation
- 3 Acquisition/Shooting
- 5 Stereoscopic 3D
- 6 Post-Production/Image Manipulation
- 7 Digital Element Creation
The VES Handbook
of Visual Effects
Industry Standard VFX Practices and Procedures
Edited By
Jeffrey A. Okun
Susan Zwerman
Co-Editors:
Scott Squires
Toni Pace Carstensen
Kevin Rafferty
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AMSTERDAM • BOSTON • HEIDELBERG • LONDON |
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Focal press is an imprint of Elsevier |
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