Department of Media Sciences Anna University, Chennai
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bounty Jumpers
1 BOUNTY JUMPERS by GUY WINTHROP as told to ALEX COX and DICK RUDE FIFTH DRAFT (c) 1997 2 NEAR KERNSTOWN, VIRGINIA, 1862 EXT DUSK TITLE: MARCH 1862. KERNSTOWN. A UNION FORCE UNDER JAMES SHIELDS HAS DEFEATED "OLD BLUE LIGHT", A.K.A. "STONEWALL", JACKSON. TONIGHT, "OLD BLUE LIGHT" COUNTERATTACKS. MATTE PAINTING. 5,000 campfires signal the presence of the Army of the Potomac. The air is damp and the fires smoulder. SHEET LIGHTNING flickers, briefly illuminating drawn-up wagons and artillery, and the thick forests of the Shenendoah Mountains beyond. UNION ENCAMPMENT EXT DUSK COLONEL W.W. BELKNAP rides a white horse through the camp. CAPTAIN BIERCE is at his side. BELKNAP is 24 years old, straight-backed with a mane of yellow hair. Spare, almost frail-looking, clean-shaven save for sideburns at the curve of his jaws, he is correctly dressed in every detail. BIERCE is almost 50 and bespectacled. He has a rubber ponchothrown over his uniform and rides a plain dun horse. BELKNAP surveys the MEN of the 6th Illinois Volunteers trooping into camp. Their feet sink into the churned-up MUD. They are exhausted. Their weapons are slung over their shoulders or carried in their hands. BELKNAP The Army is cowardly tonight. BIERCE The Army is WET tonight, Colonel Belknap. Wet and cold. And yes, it doesn't want to end up like that -- He indicates a corpse lying in a pool of yellow water. 3 Its face and clothing are covered with mud. Several wagons have rolled over it. BELKNAP Disgraceful. (calls to two passing MEN) You! You! The MEN turn and look up at BELKNAP on his horse. -
Digital Compositing Is an Essential Part of Visual Effects, Which Are
Digital compositing is an essential part of visual effects, which are everywhere in the entertainment industry today—in feature fi lms, television commercials, and even many TV shows. And it’s growing. Even a non- effects fi lm will have visual effects. It might be a love story or a comedy, but there will always be something that needs to be added or removed from the picture to tell the story. And that is the short description of what visual effects are all about— adding elements to a picture that are not there, or removing something that you don’t want to be there. And digital compositing plays a key role in all visual effects. The things that are added to the picture can come from practically any source today. We might be add- ing an actor or a model from a piece of fi lm or video tape. Or perhaps the mission is to add a spaceship or dinosaur that was created entirely in a computer, so it is referred to as a computer generated image (CGI). Maybe the element to be added is a matte painting done in Adobe Photoshop®. Some elements might even be created by the compositor himself. It is the digital compositor that takes these dis- parate elements, no matter how they were created, and blends them together artistically into a seam- less, photorealistic whole. The digital compositor’s mission is to make them appear as if they were all shot together at the same time under the same lights with the same camera, and then give the shot its fi nal artistic polish with superb color correction. -
Vfx World Article
xRez Studio Explores Depth of Gigapixel Imagery for Visual Effects Production xRez Studio is continuing to further the art and science behind panoramic gigapixel photography by recently launching a visual effects division, offering a production methodology for creating state-of-the-art, high-resolution virtual backgrounds for visual effects work. Taking gigapixel photography beyond an academic research topic and into a real production environment, xRez Studio provides gigapixel shooting expertise, efficient post-production of the images, photogrammetry of image elements, very high resolution high dynamic range acquisition, and 3D animation sourced from the images. The xRez photographic process generates extremely high-resolution images up to 150,000 pixels wide, far surpassing feature film standards and 900 times larger than an IMAX frame. Gigapixel imagery refers to the amount of pixels or effective detail in an image, with one gigapixel being comprised of over 1,000 mega pixels. A standard digital camera produces around 10 megapixels, but the typical 2 to14 gigapixel image created by the xRez production process contains anywhere from 100 to 1000 times greater resolution. In their methodology, a gigapixel image is created from a mosaic of anywhere from 300 to 800 overlapping images that are unified to form one complete, massive image that is astoundingly rich in texture and minute detail. xRez Studio has recently completed an unprecedented library of over 270 gigapixel images of 34 major US cities for licensing as backgrounds by the visual effects field (a new version of a scenic backing or matte painting service). The shots in the collection were taken from a variety of dramatic urban vantage points, which can provide the foundation for virtual cinematography, modification of weather, light, or even the character of the space when applied to visual effects work. -
2020 Croner Animation Position Grids.Xlsx
Survey Position Grids STORY / VISUAL DEVELOPMENT ANIMATION Family 200 210 220 230 240 250 260 280 300 Production TV Animation / Character Visual Character Level Story Design / Art Pre-Visualization Modeling Layout Shorts Design Development Animation Direction Executive Management 12 Head of Production Management Generates and Manages the Creates the look Creates characters Creates and Creates sequences of Creates, builds and Creates 3D layouts. Defines, leads and 14 Head of Animation Studio develops story ideas, animation process of and artistic to meet established presents concepts shots that convey the maintains models Translates sketches into 3D executes major 16 Top Creative Executive sequences, an animated deliverables to vision for the and designs for the story through the of story elements, layouts and shot sequences character animation storyboards, television or short film meet the artistic, production, production, including application of traditional including and scenes. May create for productions, elements and production, ensuring creative and including look, character, sets, filmmaking principles in characters, sets and scenes. including personality Brief Job Family Descriptions enhancements that the creative aesthetic vision of personality, lighting, props, key a 3D computer graphics environments, Determines camera and animation style. throughout desires, as well as a production. movement, art. Creates plan environment. elements, sets, placement, blocks production. production expression. views and blue structures. characters, -
A Process of Seamlessly Replacing Cg Elements Into Live-Action Footage
1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- A PROCESS OF SEAMLESSLY REPLACING CG ELEMENTS INTO LIVE-ACTION FOOTAGE Jin Zhi Duncan of Jordanstone College of Art & Design, United Kingdom Abstract: This research focused on inserting a computer-generated element into live-action footage and replacing unwanted existing objects in the footage. In addition, creating a realistic and seamless visual representation in the field of digital compositing. The purpose of this paper is to cover a detailed working process of digital compositing in order to clarify the production process and provide a clear idea for those entry-level artists to improve an overall understanding of the digital compositing and visual effects and hopefully inspire further collaboration and participants particularly between academia and industry. Key Words: Digital compositing, CG elements, Realistic, Visual effects Introduction Along with the increase of digital compositing in feature films, the role of digital compositors has become of unprecedented importance. Compositors thus sit at the core of most image manipulation pipelines. In order to meet the needs of the visual effects industry, universities, art and film schools have established relevant professional courses in recent years. Nevertheless, current educational concepts still need to promote a sound scientific understanding in order to steer entry- level visual effects artists in the right direction. This study has addressed several main factors from the perspective of theory and practice. As a general discussion, the research briefly outlines the historical perspectives of digital compositing, and continues to investigate the current situation of the digital compositing and visual effects industry. -
Shot Notes Pg 1/5 Vimeo.Com/Bencampanaro/2018Reel 0:05 - S.W.A.T
BEN CAMPANARO visual effects compositor shot notes pg 1/5 vimeo.com/bencampanaro/2018reel 0:05 - S.W.A.T. - Record Label I replaced the label of this spinning record with text artwork provided by production. Planar tracks were combined with simple expressions to stabilize the working space. Unique composites were built for each light direction in the plate, and mixed between with expressions sampling shifts in luminance. 0:09 - The Tick - Pushing the SUV (3 cuts) For these CG vehicle shots, I combined VRay AOVs, RGB-lit smoke and spark renders, a scuffed street surface painting, stock smoke elements, and outsourced actor roto to build the final sequence. Careful attention was given to the balance of practical and CG shadows, and re- texturing in comp to add irregularity to the SUV’s surface. 0:15 - Limitless - Head Replacement Part of a "heightened-reality" montage, I isolated the lead actor’s head from a green screen plate and swapped it with the body of a professional guitarist. Stabilization, spline warps, and reconstruction of the collar and hood helped blend the seams. 0:19 - Scorpion - Sinkhole Opens With roto help from several artists, I projected a ground replacement matte painting over this plate, then integrated CG object renders from VRay, and Mantra renders of crumbling surface animation. Multiple layers of stock dust and mortar explosions helped add detail. 0:23 - Scorpion - Alligator Close-up For this hero shot, our alligator was rendered full-body. In comp, I projected the empty plate onto a high-poly plane, displacing it with the actual waves from the footage. -
New Mode of Cinema V1n1
New Mode of Cinema: How Digital Technologies are Changing Aesthetics and Style Kristen M. Daly, Columbia University, New York Abstract This article delves intrinsically into how the characteristics of digital cinema, its equipment, software and processes, differ from film and therefore afford new aesthetic and stylistic modes, changing the nature of mise-en-scène and the language of cinema as it has been defined in the past. Innovative filmmakers are exploring new aesthetic and stylistic possibilities as the encumbrances of film, which delimited a certain mode of cinema, are released. The article makes the case that the camera as part of a computer system has enabled a more cooperative relationship with the filmmaker going beyond Alexandre Astruc’s prediction of the camera-pen (camére-stylo) to become a camera-computer. The technology of digital cinema makes the natural indexicality of film and the cut simply options amongst others and permits new forms of visual aesthetics not premised on filmic norms, but based on other familiar audiovisual forms like video games and computer interface. Voir le résumé français à la fin de l’article ***** “We see in them, if you like, something of the prophetic. That’s why I am talking about avant-garde. There is always an avant-garde when something new takes place . .” (Astruc, 1948, 17) In this article, I will examine some of the material qualities and characteristics of the equipment, software and processes of digital cinema production and propose how these afford a new aesthetics and style for cinema. Of course, many styles are available, including the status quo. -
Greatest Year with 476 Films Released, and Many of Them Classics, 1939 Is Often Considered the Pinnacle of Hollywood Filmmaking
The Greatest Year With 476 films released, and many of them classics, 1939 is often considered the pinnacle of Hollywood filmmaking. To celebrate that year’s 75th anniversary, we look back at directors creating some of the high points—from Mounument Valley to Kansas. OVER THE RAINBOW: (opposite) Victor Fleming (holding Toto), Judy Garland and producer Mervyn LeRoy on The Wizard of Oz Munchkinland set on the MGM lot. Fleming was held in high regard by the munchkins because he never raised his voice to them; (above) Annie the elephant shakes a rope bridge as Cary Grant and Sam Jaffe try to cross in George Stevens’ Gunga Din. Filmed in Lone Pine, Calif., the bridge was just eight feet off the ground; a matte painting created the chasm. 54 dga quarterly photos: (Left) AMpAs; (Right) WARneR BRos./eveRett dga quarterly 55 ON THEIR OWN: George Cukor’s reputation as a “woman’s director” was promoted SWEPT AWAY: Victor Fleming (bottom center) directs the scene from Gone s A by MGM after he directed The Women with (left to right) Joan Fontaine, Norma p with the Wind in which Scarlett O’Hara (Vivien Leigh) ascends the staircase at Shearer, Mary Boland and Paulette Goddard. The studio made sure there was not a Twelve Oaks and Rhett Butler (Clark Gable) sees her for the first time. The set single male character in the film, including the extras and the animals. was built on stage 16 at Selznick International Studios in Culver City. ight) AM R M ection; (Botto LL o c ett R ve e eft) L M ection; (Botto LL o c BAL o k M/ g znick/M L e s s A p WAR TIME: William Dieterle (right) directing Juarez, starring Paul Muni (center) CROSS COUNTRY: Cecil B. -
Glossary 7 8 9 1120 180-Degree Rule from One Cut to Another, the Camera May Not Cross an Imaginary Line Drawn 1 Behind the Characters
1EEEE 2 1113 4 1115 1116 7 8 9 1110 1 2 3 4 5 6EEE Glossary 7 8 9 1120 180-degree rule From one cut to another, the camera may not cross an imaginary line drawn 1 behind the characters. 2 3 90-degree rule The camera may never be placed 90 degrees facing the subject, but rather set 4 off the center to give an illusion of depth. 5 actualités Events filmed as they were happening, events that would be happening even if the 6 camera weren’t there. 7 8 ambient sound See room tone and world tone below: the sound added to a sequence to provide 9 aural atmosphere. 1130 1 anamorphic process The camera lens “squeezes” an image onto the film. When unsqueezed by 2 the projector lens, the ratio of the image is 1:2.35. Panavision was the most common proprietary 3 anamorphic process. 4 aspect ratio The relationship of screen width to height. There are four ratios. “Standard” ratio 5 existed from the early 1930s through the early 1950s and is 1:1.3. Two wide-screen ratios are 6 1:1.6 and 1:1.85. Anamorphic wide screen (CinemaScope, Panavision) is 1:2.35. 7 8 aura Critic Walter Benjamin’s term for the uniqueness of a work of art which is lost when, as in 9 film, it is mechanically reproduced. 1140 1 auteur Originally French but now a universal term for the film director who realizes a personal 2 style in his or her films. 3 auteur theory This analyzes film based on the idea that the director is the creative force. -
3D Compositing and Visual Effects ITP 360X (3 Units)
3D Compositing and Visual Effects ITP 360x (3 Units) Fall 2010 Objective Advanced techniques for 3D animation and visual effects development; including 3D pre-visualization, match moving, dynamics, multi-pass rendering, and digital compositing. Concepts Camera and advanced photographic applications for 3D including: Camera tracking and match moving, high dynamic range image making, image based lighting, and global illumination. Advanced materials, lighting, and rendering techniques. Multi-pass rendering and node based compositing. Film, video, and chroma-keying for 3D. Pre-visualization and pipeline planning techniques. 3D asset creation, photorealistic texturing, and asset management. Color correction, optical effects, and advanced compositing. In addition to a series of weekly assignments, students will apply their knowledge to a final capstone project. Prerequisites ITP 215x Instructor Lance S. Winkel Contacting the E-mail: [email protected] Instructor Tel: 213.740.9956 Office Hours Varies by semester Lab Assistants TBA Class Meeting 3 hours / week. Lecture and hands on lab combined. Course The course material will be structured around a series of projects. Structure Each project will extend over several weeks with assignments / progress checks due each week. See the Grading criteria below. The anticipated Course Outline contains a weekly breakdown of the lecture material and assignment due dates. Required Digital Lighting and Rendering (2nd Edition) (Paperback) Textbooks Jeremy Birn, (ISBN: 978-0321316318) Compositing Visual Effects -
Visual Effects Storyboards
JOHN CARPENTER'S Scene # r- trfrr- L^/.V^t^ 141 Panel 5 Non-Visual Effects Shot DESCRIPTION The Wilshire Canyon- Plissken looks around- sunken cars and canyon behind him EFFECTS TO BE Practical per discussions 10124 ADDED LENGTH # of frames of actual cut ELEMENT COMMENTS Platel- Background Shoot date: (Live action) Plate 2- Green Screen Shoot date: (Live action) Additional Elements Shoot dates: Matte painting cGt Board approved by: Date: tugt95 JOHN CARPENTER'S Scene # 141 Panel I Lt$ lN L*k rr-:Gc" €rÄ-€---r DESCRIPTION The Wilshire Canyon- Crumbling skyline off in the distance. Plissken walks into frame EFFECTS TO BE Matte painting of crumbling skyline to Plissken plate ADDED LENGTH # of frames of actual cut ELEMENT COMMENTS Platel- Background Plissken on Wilshire set Shoot date: Vista 12114 (Live action) Plate 2- Green Screen Shoot date: (Live action) Additional Elements Shoot dates: Matte painting Crumbling Wilshire skyline/ extend canyon CGI Board approved by: Date: rU6t95 JOHN CARPENTER'S Scene # rr- - trf L^f -- Vt 141 Panel 12 4 EOGC caf?*, i 8l/t/f/Å/e ?,41& DESCRIPTION The Wilshire Canyon-A buggy comes along - EFFECTS TO BE Practical per discussions 10124 ADDED LENGTH # of frames of actual cut ELEMENT COMMENTS Platel- Background Shoot date: (Live action) Plate 2- Green Screen Shoot date: (Live action) Additional Elements Shoot dates: Matte painting cGr Board approved by: Date: tugt95 :--.,--.--.=-...::_ 7\@ / *rL,1/< ,'-Oy' DESCRIPTION The Wilshire Canyon- POV - 25 foot tsunami comes down canyon EFFECTS TO BE Partial set with water plate, matte painting of canyon and ADDED buildings, wave elements and CG water enhancements LENGTH # of frames of actual cut ELEMENT COMMENTS Plate 1- Background Partial canyon set M water Shoot date: Ref. -
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).