Counselors Training on VFX Pro

B S Abhilash

2

Post-productionPost-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.

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.

Special EffectsMechanical effectsOptical Effects

Mechanical EffectsThey 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

Optical EffectsOptical 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.

7

VFXVisual effects may be divided into at least four categories:-

Models: miniature sets and models, animatronics.

Matte paintings and stills: digital or traditional paintings or photographs which serve as background plates for keyed or rotoscoped elements.

Live-action effects: keying actors or models through bluescreening and greenscreening.

Digital animation: modeling, computer graphics lighting, texturing, rigging, animating, and rendering computer-generated 3D characters, particle effects, digital sets, backgrounds.

Visual EffectsRotoscopyRig and Wire RemovalCamera Tracking and Match MovingGreen and Blue Screen & 3D elements to

interact with live actionColor CorrectionMatte Painting

9

Compositing

It is the combining of visual elements from separate sources into single image, often to create the illusion that all those elements are parts of the same scene

10

CompositingCompositing is taking real-life elements with Computer Generated (CG) Element and putting them together - so they seem like they were shot together.  The viewer never suspects something is "not right".

11

VFXVisual effects (commonly shortened to Visual F/X or VFX)

are the various processes by which imagery is created and/or manipulated outside the context of a live action shoot.

Visual effects often involve the integration of live-action footage and computer generated imagery (CGI) in order to create environments which look realistic, but would be dangerous, costly, or simply impossible to capture on film.

They have become increasingly common in big-budget films, and have also recently become accessible to the amateur filmmaker with the introduction of affordable animation and compositing software.

12

VFXA visual effects supervisor is usually involved

with the production from an early stage to work closely with production and the film's director to achieve the desired effects.

"visual effects" refer to digital post-production and "special effects" refer to on-set mechanical effects and in-camera optical effects.

13

Chroma keyingChroma key compositing (or

chroma keying) is a technique for mixing two images or frames together in which a color (or a small color range) from one image is removed (or made transparent), revealing another image behind it.

This technique is also referred to as color keying, color-separation overlay

Chroma keyingIt is commonly used for weather

forecast broadcasts, wherein the presenter appears to be standing in front of a large map, but in the studio it is actually a large blue or green background.

The meteorologist stands in front of a blue screen, and then different weather maps are added on those parts in the image where the color is blue.

15

Chroma KeyingIf the meteorologist

himself wears blue clothes, his clothes will become replaced with the background video.

This also works for greenscreens, since blue and green are considered the colors least like skin tone

16

Chroma Keying

17

Chroma Keying

18

Chroma Keying

19

RotoscopingRotoscoping 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.

20

Rotoscoping

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.

Rotoscopy

Rotoscopy

23

Wire RemovalIn 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.

24

Wire RemovalWhenever 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.”

25

Rig RemovalA 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.

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.

26

Matchmove and Camera TrackingCamera 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.

Despite its importance, it is completely invisible in the final shot.

27

Matchmove and Camera TrackingIf CG elements (the crow in this case) interacts with

objects which are a part of the footage (the branch of a tree), then matchmoving is needed for that object or character.

The CG model of that object or character needs to replicate the movement of the actual object or character.

This is important as it can be used to cast shadows, receive reflection, and is also a very good base for animators to plan out their animation.

28

Matchmove and Camera TrackingThe camera tracking information lets you add 3-D animated effects into live-action footage, such as:

Animated 3-D character insertion (mascots, beasts, flying pixies, you name it). A favorite for commercials.

Vehicle insertion. Aircraft, boats, cars, trucks, spacecraft, things you wish you could get live, but couldn't afford or don't exist.

Architectural Pre visualization (ground level or helicopter)

Virtual set extensions (boy, that's a fancy newsroom!)

Resourceshttp://www.hollywoodcamerawork.us/

trackingplates.html

http://www.cgtantra.com/index.php?option=com_content&task=view&id=267&Itemid=40