Filmic Experimentation in the Flying Dutchman
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Shadow Matting and Compositing
Shadow Matting and Compositing Yung-Yu Chuang1 Dan B Goldman1,3 Brian Curless1 David H. Salesin1,2 Richard Szeliski2 1University of Washington 2Microsoft Research 3Industrial Light and Magic (a) Foreground scene (b) Background scene (c) Blue screen composite (d) Our method (e) Reference photograph Figure 1 Sample result from our matting and compositing algorithm for shadows. Given a foreground element photographed against a natural background (a), we seek to matte the element and its shadow and then composite it over another background (b). Using a blue screen (not shown) to extract the shadow, followed by conventional matting and compositing, we obtain a result (c) with double darkening of the existing shadow and without proper warping of the cast shadow. The results of our new shadow matting and compositing method (d) compare favorably with an actual photograph (e). Note the correct dimming of the specular highlight, the convincing geometric deformation, and the seamless matte edges where the foreground and background shadows meet. Abstract Traditional approaches to matting include blue-screen mat- In this paper, we describe a method for extracting shadows from ting [Smith and Blinn 1996] and rotoscoping [Wright 2001]. The one natural scene and inserting them into another. We develop former requires filming in front of an expensive blue screen un- physically-based shadow matting and compositing equations and der carefully controlled lighting, and the latter requires talent and use these to pull a shadow matte from a source scene in which the intensive user interaction. Recently developed matting algorithms shadow is cast onto an arbitrary planar background. We then acquire [Ruzon and Tomasi 2000; Chuang et al. -
Alpha and the History of Digital Compositing
Alpha and the History of Digital Compositing Technical Memo 7 Alvy Ray Smith August 15, 1995 Abstract The history of digital image compositing—other than simple digital imple- mentation of known film art—is essentially the history of the alpha channel. Dis- tinctions are drawn between digital printing and digital compositing, between matte creation and matte usage, and between (binary) masking and (subtle) mat- ting. The history of the integral alpha channel and premultiplied alpha ideas are pre- sented and their importance in the development of digital compositing in its cur- rent modern form is made clear. Basic Definitions Digital compositing is often confused with several related technologies. Here we distinguish compositing from printing and matte creation—eg, blue-screen matting. Printing v Compositing Digital film printing is the transfer, under digital computer control, of an im- age stored in digital form to standard chemical, analog movie film. It requires a sophisticated understanding of film characteristics, light source characteristics, precision film movements, film sizes, filter characteristics, precision scanning de- vices, and digital computer control. We had to solve all these for the Lucasfilm laser-based digital film printer—that happened to be a digital film input scanner too. My colleague David DiFrancesco was honored by the Academy of Motion Picture Art and Sciences last year with a technical award for his achievement on the scanning side at Lucasfilm (along with Gary Starkweather). Also honored was Gary Demos for his CRT-based digital film scanner (along with Dan Cam- eron). Digital printing is the generalization of this technology to other media, such as video and paper. -
Chapter 1: Mattes and Compositing Defined Chapter 2: Digital Matting
Chapter 1: Mattes and Compositing Defined Chapter 2: Digital Matting Methods and Tools Chapter 3: Basic Shooting Setups Chapter 4: Basic Compositing Techniques Chapter 5: Simple Setups on a Budget Chapter 6: Green Screens in Live Broadcasts Chapter 7: How the Pros Do It one PART 521076c01.indd 20 1/28/10 8:50:04 PM Exploring the Matting Process Before you can understand how to shoot and composite green screen, you first need to learn why you’re doing it. This may seem obvious: you have a certain effect you’re trying to achieve or a series of shots that can’t be done on location or at the same time. But to achieve good results from your project and save yourself time, money, and frustration, you need to understand what all your options are before you dive into a project. When you have an understanding of how green screen is done on all levels you’ll have the ability to make the right decision for just about any project you hope to take on. 521076c01.indd 1 1/28/10 8:50:06 PM one CHAPTER 521076c01.indd 2 1/28/10 8:50:09 PM Mattes and Compositing Defined Since the beginning of motion pictures, filmmakers have strived to create a world of fantasy by combining live action and visual effects of some kind. Whether it was Walt Disney creating the early Alice Comedies with cartoons inked over film footage in the 1920s or Ray Harryhausen combining stop-motion miniatures with live footage for King Kong in 1933, the quest to bring the worlds of reality and fantasy together continues to evolve. -
Travelling Mattes
colow-is an optical printing process which employs strips of motion picture film, bearing photographic silhouettes which altern- ately obscure and reveal foreground and background images during successive printing operation. The Dunning-Pomeroy self- TRAVELLING MATTES In the late 1920's, a technique was introduce film industry by which actors could be photogr stage, and their images simultaneously combined with background actlon previously photographed elsewhere. The system was de- SINCE the earliest days of the motion picture industry, technicians veloped first by C. Dodge Dunning, and later by Roy J. Pomeroy, have sought a practical way in which to combine a shot of an actor, and was widely employed until the perfection of background photographed on the sound stage, with a background scene, photo- projection. graphed elsewhere. Such a process would provide superior sound The technique required the use of a production camera with a recording conditions for the simulation of exterior scenes. It would high-qual~tyintermittent movement which was capable of ta!4ng allow for the convenient and economical incorporation of visual de- two strips of film in bi-pack. Into this camera was loaded a bleached tail which had been recorded in distant locales. It would provide for and orange-dyed master positive of the background scene, in c6n- the photography of hazardous action with relative safety. It would tact with a panchromatic negative raw stock. Light from the acting give us the means with which to manufacture an infi~tevariety of area in front of the camera passed through the base and emulsion of unlikely or fantastic composites. -
Ronn Brown Representation: Ellen Ann Mersereau, Esq
Ronn Brown www.ronnbrown.com Representation: Ellen Ann Mersereau, Esq. [email protected] (323) 461-3316 Seeking freelance: VFX Consulting, Art Direction, Matte Painting, & Matte Painting Supervision QUALIFICATIONS SUMMARY Film and Television Production: • 25+ years experience in the Film Industry working on films, television and special projects • In-depth knowledge how to conceive projects from inception to completion • Visual Effects and Animation features experience, both in staff and freelance capacities • Calm, focused and collaborative guiding artist to a common goal • Uphold studios standards, working relationships and other objectives • Art Director for Feature Film, Television and Virtual Reality projects Administration and Communication: • Supervised both large and small crews for 10+ years • Bid, prioritize and organized workloads to meet strict deadlines • Trained and supported staff and kept teams on target • and maintained strong working relationships with all levels of stakeholders • Lead reviews for director and supervisor notes !1 of !4 Technical Proficiencies: • Thorough knowledge of how 3D programs, Card and geometry projections and animated Cameras work to creative dynamic shots • 26+ years Adobe Photoshop experience • Other software: Adobe After Effects, Cinema 4D, Foundry Nuke, proprietary software at different studios • Proprietary production tracking programs and have used Shotgun for a project recently • Current focus on conceptual design and color theory for a feature project I’m currently leading Strengths -
Brief History of Special Effects in Film Early Years, 1890S
Digital Special Effects 475/492 Fall 2006 Brief History of Special Effects in Film Early years, 1890s. • Birth of cinema -- 1895, Paris, Lumiere brothers. Cinematographe. • Earlier, 1890, W.K.L .Dickson, assistant to Edison, developed Kinetograph. • One of these films included the world’s first known special effect shot, The Execution of Mary, Queen of Scots, by Alfred Clarke, 1895. Georges Melies • Father of Special Effects • Son of boot-maker, purchased Theatre Robert-Houdin in Paris, produced stage illusions and such as Magic Lantern shows. • Witnessed one of first Lumiere shows, and within three months purchased a device for use with Edison’s Kinetoscope, and developed his own prototype camera. • Produced one-shot films, moving versions of earlier shows, accidentally discovering “stop-action” for himself. • Soon using stop-action, double exposure, fast and slow motion, dissolves, and perspective tricks. Georges Melies • Cinderella, 1899, stop-action turns pumpkin into stage coach and rags into a gown. • Indian Rubber Head, 1902, uses split-screen by masking areas of film and exposing again, “exploding” his own head. • A Trip to the Moon, 1902, based on Verne and Wells -- 21 minute epic, trompe l’oeil, perspective shifts, and other tricks to tell story of Victorian explorers visiting the moon. • Ten-year run as best-known filmmaker, but surpassed by others such as D.W. Griffith and bankrupted by WW I. Other Effects Pioneers, early 1900s. • Robert W. Paul -- copied Edison’s projector and built his own camera and projection system to sell in England. Produced films to sell systems, such as The Haunted Curiosity Shop (1901) and The ? Motorist (1906). -