VISUAL EFFECTS NOW and THEN Deepak Sharma
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Overview of History of Irish Animation
Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal. -
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. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
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. -
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. -
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. -
California Institute of the Arts
Ismael Sanz-Pena ismaelsanzpena.com California Institute of the Arts • 2008-11 MFA in Experimental Animation Los Angeles Central Saint Martins School of Arts and Design • 2007-08 Postgraduate Diploma in Character Animation London Thames Valley University • 2004-07 BA(Hons) Digital Animation London • 2018- Maryland Institute College of Art Professor Animation department . • 2016-18 Kansas City Art Institute Assistant Professor Animation department t • 2015/16 Klipp og Lim Media AS Animator Short films, music videos and commercial work . • 2013/14 Promatica AS UX/UI Designer Interface and web design for a marketing and date management software . m • 2011/12 Maryland Institute College of Art University of Maryland, Baltimore County Adjunct Professor Animation and Foundation Departments Visual Arts Department. m • 2008-10 CalArts Arts Partnership Animation Instructor Workshops for High School Students at the Inner City Arts, Los Angeles m • 2008 Lister Community School, London Assistant Teacher at Performing Arts Specialized School m • 2007-08 Chiang Mai University, Thailand Animation Instructor Media Department m • 2016 - Kunstakademiet I Trondheim, guest lecturer, Norway - Høyskolen Kristiania, guest lecturer, Norway. - Norges Kreative Høyskole, guest lecturer, Norway. • 2014 - Norges Kreative Fagskole, guest lecturer, Norway. • 2013 - Lademoen Kunstnerverksteder, workshop, Norway. - Noroff, guest lecturer, Norway. - Diploma, The Visuelt Competition. Oslo, Norway. - Best International Very Short Films Competition: Sommets du Cinema d’Animation, Canada. (2017) - ARTfest Digital, Highly Commended (2017) - Stipend, Norwegian Film Institute (2017) - Stipend, Midtnorsk Film (2017) - British Animation Awards, Public choice (2016) - Film grant, Stipend, Midtnorsk Filmsenter Trondheim (2016) - Artist grant, Tilskudd til Kunstner Trondheim (2015) - Artist grant, Cultiva Ekspress Kristiansand (2013) - Artist grant, Tilskudd til Kunstner Kristiansand (2013) - Full Scholarship to study at the Mahindra United World College of India (02-04). -
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. -
A Cause for Animation: Harry Reade and the Cuban Revolution
A cause for animation: Harry Reade and the Cuban Revolution Max Bannah This thesis is submitted in the Visual Arts Department, Creative Industries Faculty, Queensland University of Technology, in fulfilment of the requirements of the degree of Master of Arts (Research), February 2007. Abstract This monographic study examines the life of the Australian artist Harry Reade (19271998), and his largely overlooked contribution to animation within historical, social, political and cultural contexts of his time. The project constitutes a biography of Reade, tracing his life from his birth in 1927 through to his period of involvement with animation between 1956 and 1969. The biography examines the forces that shaped Reade and the ways in which he tried to shape his world through the medium of animation. It chronicles his experiences as a child living in impoverished conditions during the Great Depression, his early working life, the influence of left wing ideology on his creative development, and his contribution to animation with the Waterside Workers’ Federation Film Unit, in Sydney. The study especially focuses on the period between 1961 and 1969 during which Reade supported the Cuban Revolution’s social and cultural reform process by writing and directing animated films at the Instituto Cubano del Arte e Industria Cinematográficos (Cuban Institute of the Art and Industry of Cinema – ICAIC), in Havana. The thesis argues that Reade played a significant role in the development of Cuban animation during the early years of the Cuban Revolution. Further, his animated work in this cultural sphere was informed by a network of political alliances and social philosophies that were directly linked to his experiences and creative development in Australia. -
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.