VFX & SFX Visual effect & Special effect
อ.เชาวนันท์ ขุนดํา หลักสูตรเทคโนโลยีมัลติมีเดียและแอนิเมชัน สํานักวิชาสารสนเทศศาสตร์ มหาวิทยาลัยวลัยลักษณ์ VFX & SFX topic
1 Introduction
2 VFX Categories
3 VFX Type
4 Special Effect
5 VFX & SFX Software 6 Application & Example
2 Introduction
3 4 Post-production
• Post-production is, in fact, many different processes grouped under one name. These typically include:-
– Editing the picture / television program
– Writing, (re-)recording, and editing the soundtrack.
– Adding visual special effects - mainly computer-generated imagery (CGI) and digital copy from which release prints will be made (although this may be made obsolete by digital-cinema technologies).
– Transfer of film to Video or Data with a telecine and Color grading.
5 Visual fx Vs Special fx
• “Visual Effects" is referring to digital post-production and "special effects" referring to on-set mechanical effects and in-camera optical effects.
• Special effects are created during shooting, and Visual effects are done in post.
6 Special fx
1. Mechanical effects 2. Optical Effects
7 Mechanical effects
• They are also called as practical or physical effects and are usually accomplished during the live-action shooting • The use of- – mechanized props, scenery, – scale models, Pyrotechnics – Atmospheric Effects: • creating physical wind, • rain, fog, snow, clouds etc
8 Optical effects
• Optical effects are done by manipulating the camera and lighting which in turn will make your scene look different than what it looks like to the naked eye.
• This could involve working with camera lenses, types of lighting, or camera movements that give a certain look to the shot.
• The special effects supervisor is in charge of making the creative decisions and works directly with the director on set to achieve what he/she wants.
9 VFX & SFX topic
1 Introduction
2 VFX Categories
3 VFX Type
4 Special Effect
5 VFX & SFX Software 6 Application & Example
10 Categories
• Visual effects may be divided into at least four categories: – Matte paintings and stills – Live-action effects – Digital animation – Digital effects
11 Matte painting and stills
• digital or traditional paintings or photographs which serve as background plates for keyed or rotoscoped elements.
12 Live – action effects
• keying actors or models through bluescreening and greenscreening.
13 Digital animation
• modeling, computer graphics lighting, texturing, rigging, animating, and rendering computer-generated 3D characters, particle effects, digital sets, backgrounds.
14 Digital effects
• Digital effects (commonly shortened to digital FX or FX) are the various processes by which imagery is created and/or manipulated with or from photographic assets. Digital effects often involve the integration of still photography and computer generated imagery (CGI) in order to create environments which look realistic, but would be dangerous, costly, or simply impossible to capture in camera. FX is usually associated with the still photography world in contrast to visual effects which is associated with motion film production.
15 VFX & SFX topic
1 Introduction
2 VFX Categories
3 VFX Type
4 Special Effect
5 VFX & SFX Software 6 Application & Example
16 VFX type
VFX can be separated into: • Compositing • Matte painting • Rotoscopy • Rig and Wire Removal • Camera Tracking and Match Moving • Animation
17 Compositing
• Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene.
• Live-action shooting for compositing is variously called "chroma key", "blue screen", "green screen" and other names. Today, most, though not all, compositing is achieved through digital image manipulation. Pre-digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century; and some are still in use.
18 Chroma key
• chroma keying can be done with backgrounds of any color that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from most human skin colors. No part of the subject being filmed or photographed may duplicate a color used in the background.
19 Chroma key
20 Compositing
21 Compositing
Four images of the same subject with original backgrounds removed and placed over a new background.
22 Compositing
23 24 Matte painting
• A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is nonexistent in real life or would otherwise be too expensive or impossible to build or visit.
• Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage. At its best, depending on the skill levels of the artists and technicians, the effect is "seamless" and creates environments that would otherwise be impossible to film. In the scenes the painting part is static and movements are integrated on it.
25 26 Matte painting of Star Wars: storm trooper
27 http://scifi.stackexchange.com/questions/51337/where-did- they-find-the-storm-troopers-for-the-original-star-wars- trilogy-movies
28 Rotoscopy
• Rotoscoping is an animation technique in which animators trace over live-action film movement, frame by frame, for use in animated films.
• Originally, pre-recorded live-action film images were projected onto a frosted glass panel and re-drawn by an animator.
• This projection equipment is called a rotoscope, although this device has been replaced by computers in recent years. In the visual effects industry, the term rotoscoping refers to the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.
29 Rotoscopy
The artist is drawing on a transparent easel, onto which the movie projector at the right is throwing an image of a single film frame.
30 Rotoscopy
http://www.usatoday.com/life/movies/news/2006-08-01-rotoscoping_x.htm
31 Wire Removal
In an action movie there can be literally hundreds of wire removal shots. A production technique called a “wire gag” is used where the talent is rigged up with wires to either assist him to leap over a tall building with a single bound or as a safety feature to save him from certain death.
32 Wire Removal
• Whenever you are trying to remove an item from a shot, a background frame must be created for the area covered by the offending item.
• This background frame with the item removed is called the “clean plate.”
33 Rig Removal
• A close cousin of wire removal is rig removal. A rig is any kind of device used on the set to hold up an item up for filming.
• After the rig has done its job, it must then be removed from the scene. It is usually rigid like a rod or pole.
34 Rig Removal
The city fathers were unwilling to cut the light down and the director simply had to have this particular camera position to get his shot. The solution – rig removal.
35 Rig Removal
36 Camera Tracking and Match Moving
• In cinematography, match moving is a cinematic technique that allows the insertion of computer graphics into live-action footage with correct position, scale, orientation, and motion relative to the photographed objects in the shot.
• Camera tracking is the process of matching the movement of the CG camera to the movement of the camera used in the live-action footage. As a result, it is a crucial part of all visual effects shots.
• Match moving is primarily used to track the movement of a camera through a shot so that an identical virtual camera move can be reproduced in a 3D animation program. When new animated elements are composited back into the original live-action shot, they will appear in perfectly-matched perspective and therefore appear seamless.
37 Camera Tracking and Match Moving
38 VFX & SFX topic
1 Introduction
2 VFX Categories
3 VFX Type
4 Special Effect
5 VFX & SFX Software 6 Application & Example
39 Special Effect Techniques
• Shading Lighting Rendering (SLR): • Dynamics system: – Soft/Rigid bodies – Particles – Fluid – nMesh – nCloth • Other Effect: – Fire – Smoke
40 Shading Lighting Rendering
41 Soft/Rigid bodies
42 Soft/Rigid bodies
43 Particles
44 Particles
45 Fluid
46 Fluid
47 nMesh
48 nMesh
49 nCloth
50 nCloth
51 Fire
52 Fire
53 Smoke
54 Smoke
55 VFX & SFX topic
1 Introduction
2 VFX Categories
3 VFX Type
4 Special Effect
5 VFX & SFX Software 6 Application & Example
56 VFX & SFX software list
• 3D modeling, Texture, Animation: – Autodesk MAYA – 3Ds Max – LightWave • Composition, SLR, Motion graphic: – Adobe After Effect – Adobe Photoshop – NukeX – Cinema4D • Effect Software : – Houdini – RealFlow • Game Engine : – Unity3D
– Unreal Engine 57
Autodesk MAYA
This animation package also features a host of VFX tools, including nParticles.
You can create a whole range of effects with the program and it has bi-direction interaction with nCloth and nHair, meaning that the particles can affect the cloth/hair and vice versa, completely simultaneously.
The Fluid Effects tool is also powerful and comes with a wide range of presets: including clouds, smoke, snow, steam, fog, nuclear explosions, flames, lava, mercury, mud and much more – so you’re really able to start one step ahead.
58 Autodesk MAYA
59 Autodesk MAYA
60 http://www.cgmeetup.net/home/3d-printing-revolutionizing-special-effects/ 3Ds Max
An industry-standard for modeling, animation and rendering, this tool doesn’t make effects too complicated, enabling you to concentrate on what matters.
There are many additions to the MassFX unified system of simulation solvers in the 2014 edition, with one highlight being a new mCloth module.
This includes tearable fabric and support for dynamic ragdoll hierarchies.
The program has increased compatibility with After Effects and Photoshop, with the ability to perform simple compositing within the software using a schematic, node-based interface.
61 3Ds Max
62 3Ds Max
63 LightWave
LightWave certainly packs a lot of tools under the hood. Your 3D rigid-body dynamics can be handled by Bullet, which can be accessed directly from the Layout and used with the Fracture tool to collapse buildings and create explosions.
64 Adobe After Effect
Motion graphics and interactive design are two things the program does well, while visual effects and compositing are certainly possible too. There’s a whole host of effects plug-ins that are compatible, including those from Red Giant
Software and Digieffects, and the software offers a 3D camera-tracker with the ability to include raytraced, extruded text and shape layers in 3D space.
65 Adobe After Effect
66 Adobe After Effect
67 Adobe Photoshop
A complete rendered image is made up of various individual layers called render elements. Each element corresponds to a specific property such as illumination, shadow, reflection and refraction. By rendering out each of these elements as a separate image file
VRayDiffuseFilter VRayRawGlobalIllumination VRayRawLighting VRayReflection VRayRefraction VRaySelfIllumination VRaySpecular http://www.workshop.mintviz.com/tutorials/compositing-the-v-ray- render-elements-using-adobe-photoshop/ 68 Adobe Photoshop
69 Adobe Photoshop
70 Adobe Photoshop
71 Nuke Get quality results with NUKE’s industry-leading color management, linear processing and floating point accuracy
Work more efficiently with cutting-edge toolsets and user presets, multiple rendering options, efficient UI, 3D workspace, gizmos, multi- channel workflow and scanline architecture
An intuitive, easy-to-navigate nodal structure supports easy script sharing and automation to save you time and effort Work collaboratively with the help of tools including groups, backdrop nodes, sticky notes and precomps
Integrate NUKE seamlessly into your workflow with its major operating system compatibility, low hardware requirements, centralized studio deployment options and Python API
Work faster with advanced GPU acceleration that speeds up the interactive processing of the core NUKE nodal toolset
72 Nuke
73 Nuke
74 Cinema4D
CINEMA 4D MoGraph toolset, motion graphics artists can sink their teeth into a palette of powerful tools that make it easy to create everything from flying logos to abstract effects.
Clone numerous objects and create extruded text with just a few simple clicks. Add Effectors to the mix and put everything in motion, and much more - often without creating a single keyframe! All this is perfectly integrated into CINEMA 4D and offers a fast and easy workflow. All functions are completely interactive and non- destructive.
75 Cinema4D
76 Houdini
Houdini FX combines superior performance and dramatic, ease-of-use to deliver a powerful and accessible 3D experience to VFX artists creating feature films, commercials or video games.
Houdini is perfect for Visual Effects artists and technical directors with its particle and dynamics environment. Houdini FX includes a complete toolset for studios that want to use it for other tasks such as lighting, animation or procedural modeling.
77 Houdini Houdini
78 RealFlow
RealFlow is a standalone fluid-simulation package designed to create anything from a single drop of water to a massive tidal wave.
For the smaller simulations you can use RealFlow’s grid/particle solver, called Hybrido, to generate and control millions of particles.
For your smaller water needs, there’s the SPH (Smoothed Particle Hydrodynamics) solver, which enables you to create an enormous amount of detail, because each particle can be seen as a point in 3D space with its own properties, like velocity, position and mass.
79 RealFlow
80 RealFlow
81 RealFlow
82 Unity3D
UNITY PHYSICS Unity contains powerful 3D physics engine NVIDIA® PhysX® Physics. Create immersive and visceral scenes with clothes and hair that blow in the wind; tires that screech and burn; walls that crumble; glass that shatters, and weapons that inflict major damage!
83 Unity3D
UNITY SPECIAL EFFECTS Choose from myriad full-screen post-processing effects to add those crucial brushstrokes that transform your game into a refined, high-polish product. In Unity 4 Depth Of Field and Motion blur are optimized for DirectX 11, and key improvements where made to Edge Detection, Bloom, Vignetting, Tonemapping, and Color correction using 3D texture lookups.
84 Unreal Engine
Visuals to the limit on PC, Console, and VR with custom lighting, shading, VFX and cinematic systems. Unreal Engine 4 makes the most of consoles and high end PCs and has passed certification for Xbox One and Playstation 4. Create attention-getting visuals for architectural visualizations, simulations, digital films and more.
85 Unreal Engine
86 Unreal Engine
87 VFX & SFX topic
1 Introduction
2 VFX Categories
3 VFX Type
4 Special Effect
5 VFX & SFX Software
6 Application & Example
88 Making of Disney’s Frozen
http://www.cgmeetup.net/home/making-of-disneys-frozen-snow-simulation/ 89 Frozen Behind the Scenes
Snow is a challenging natural phenomenon to visually simulate. While the graphics community has previously considered accumulation and rendering of snow, animation of snow dynamics has not been fully addressed. Additionally, existing techniques for solids and fluids have difficulty producing convincing snow results.
90 91 92 93 94 Making of Transformer4
95 96 97 98 99 100 47 Ronin Vfx Breakdown
101 102 103 Making of Nissan Juke Treadmill
104 105 106 107 Making of ADN in Unity
ADN provides 3D scanning and reconstructed character data (“digital doubles”) for the film industry. By building a custom skin shader, their data was easily plugged into Unity 5’s physically based shading system to achieve the result we are showing.
108 109 110 Further reading
• The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures, Jeffrey A. Okun & Susan Zwerman, Publisher: Focal Press 2010 • T. Porter and T. Duff, "Compositing Digital Images", Proceedings of SIGGRAPH '84, 18 (1984). • The Art and Science of Digital Compositing (ISBN 0-12-133960-2) • McClean, Shilo T. (2007). Digital Storytelling: The Narrative Power of Visual Effects in Film. The MIT Press. ISBN 0-262-13465-9. • Mark Cotta Vaz; Craig Barron: The Invisible Art: The Legends of Movie Matte Painting. San Francisco, Cal.: Chronicle Books, 2002; ISBN 0-8118-3136-1 • Peter Ellenshaw; Ellenshaw Under Glass - Going to the Matte for Disney • Richard Rickitt: Special Effects: The History and Technique. Billboard Books; 2nd edition, 2007; ISBN 0-8230-8408-6. • Patel, Mayur (2009). The Digital Visual Effects Studio: The Artists and Their Work Revealed. ISBN 1-4486-6547-7. • http://www.cgmeetup.net/home/animation -and-visual-effects/behind-the-scenes/
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