Buch, Englisch, 916 Seiten, Format (B × H): 178 mm x 254 mm
Industry Standard VFX Practices and Procedures
Buch, Englisch, 916 Seiten, Format (B × H): 178 mm x 254 mm
ISBN: 978-1-032-85369-7
Verlag: Taylor & Francis Ltd
The award-winning VES Handbook of Visual Effects remains the most comprehensive guide to visual effects techniques and best practices available. This edition has been updated to the latest industry techniques, technologies, and workflows. The Visual Effects Society’s (VES) original authors have updated their areas of expertise, including AR/VR, AI, Color Management, Cameras, VFX Editorial, Digital Intermediate processes, interactive games, and full animation. These 95 experts share their best methods, tips, tricks, and shortcuts developed through decades of trial-and- error and real-world, hands-on experience.
This Fourth Edition is updated to include and reflect the evolving and expanded techniques, and adds new sections including evolving technologies such as AI and virtual production.
A must-have for anyone working in or aspiring to work in visual effects, The VES Handbook of Visual Effects, Fourth Edition, covers essential techniques and solutions for all VFX artists, producers, and supervisors. With subjects and techniques clearly and definitively presented in beautiful four-color, this handbook is a vital resource for any serious visual effects artist.
Zielgruppe
Postgraduate, Professional Reference, and Professional Training
Autoren/Hrsg.
Fachgebiete
- Mathematik | Informatik EDV | Informatik Professionelle Anwendung Digitales Video
- Geisteswissenschaften Kunst Fotografie Spezielle Techniken in der Fotografie
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmproduktion, Filmtechnik
- Mathematik | Informatik EDV | Informatik Professionelle Anwendung Digitale Animation
- Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Installations-, Aktions-, Computer- und Videokunst
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Animationsfilme, Zeichentrickfilme
Weitere Infos & Material
COMING SOON - John Knoll
CHAPTER 1: INTRODUCTION - Michael Fink, VES
What is a Visual Effect?
What is a Special Effect?
Art and Technology
CHAPTER 2: PRE-PRODUCTION/PREPARATION
Overview - Scott Squires, VES
Breaking Down a Script - Budgeting - Scott Squires, VES
Ballpark Budget
More Detailed Budgets
Bidding
Plate Photography
Temp Screenings
Reviewing Bids
Contracts
Rebidding during Shooting
Rebidding in Post
Monitoring the Budget and Schedule
Keeping the Budget Down
Examples of Script and Shot Breakdowns - Susan Zwerman, VES, Jeffrey A. Okun, VES
Breakdowns
Production Breakdowns
Generating a VFX Breakdown: The First Pass
Working with the Director and Producer - Scott Squires, VES
Demo Reel
The Meeting
Moving Forward
Production Departments - Scott Squires, VES
Production Design
Camera
Working with the Cinematographer - Bill Taylor, ASC, VES
Special Effects - Scott Squires, VES
Stunts
Wardrobe
Makeup
Production
Visual Effects
Editorial
Locations
Production Meeting
Designing Visual Effects Shots - Scott Squires, VES
Guidelines for Directors
Storyboards
Previs
Objective of the Shot
Concept Art
Continuity
Photorealism
Original Concepts
Budget
Reality and Magic
Camera Angles
Framing
Scale
Detail
Speed
Scaled Images
Depth of Field
Sequence of Shots
Camera Motion
Less is More
Action Pacing
CG Characters
Creatures and Character Design
Powers of 10 Shots
Visual Effects Techniques - Scott Squires, VES
Technical Considerations
Additional Suggestions for Determining Techniques
Development of Previs Techniques - Mat Beck, Stephanie Argy
History and Background
New Potent Techniques
Artificial Intelligence (AI)
What is Previs and Other Forms of Visualization? - Hamilton Lewis
What is Previs?
Different Types of Visualization and When to Use Them
Visualization: The New Essential
The Application of Previs: Who Benefits and How? - J. Todd Constantine
The Benefits of Previs
Project Types
Post Visualization - Scott Hankel
What is Post-Visualization?
Why Use Postvis?
Who Does Postvis?
Cautions and Suggestions for Good Practice - Mat Beck
The Perils of Previs!
Passing the Work On
The Role of the VFX Supervisor in Previs
Previsualization: Advanced Techniques - Christopher Ferriter
Introduction
Benefits of Visualization
Advanced Techniques
Camera Angle Projection - Steven D. Katz
Introduction by Bill Taylor, ASC, VES
Drawing What the Lens Sees
Techvis - Christopher Ferriter
What is Techvis?
How is Techvis used?
Advancements in Techvis
Emerging Techniques and Trends
Essential Data Captured in Techvis
Real Time Engines and Their Previs Applications in VFX - Ryan McCoy Introduction Pre-Production Applications Production Applications Pipeline Advantages
Real Time Engines and Their Application in Animation - Ryan McCoy Traditional 3D Pipeline Real-Time Pipeline
CHAPTER 3: ACQUISITION / SHOOTING
Working on Set - Scott Squires, VES
Common Types of Special Effects - Gene Rizzardi
What are Special Effects?
A Brief History of Special Effects
The Special Effects Supervisor
Working with the Visual Effects
Visual Effects in Service to SFX
Special Effects Design and Planning
Storyboards and Previs
The Elements: Rain, Wind, and Snow and Ice
Smoke, Fire, and Pyrotechnics
Mechanical Effects
Flying Wire Rigs and Stunts
Safety
Greenscreen and Bluescreen Photography - Bill Taylor, ASC, VES
Best Practices and Otherwise
Overview
Function of the Backing
Negative Scanning and Digital Conversion
Backing Uniformity and Screen Correction
The Alpha Channel
The Processed Foreground
The Composite
Recommended Specifications and Practices
How to Expose a Greenscreen Shot, and Why
Setting Screen Brightness
Choosing the Backing Color
Floor Shots, Virtual Sets
Foreground Lighting
Controlling Spill Light
Lighting Virtual Sets
Tracking Markers
On-Set Preview
Cameras for Bluescreen or Greenscreen Photography
Underwater Photography
On-Set Data Acquisition - Karen Goulekas
Camera Report
Tracking Markers
Props for the Actors
Cyberscanning
Digital Photos
LiDAR/Laser Scanning
Lens Distortion Charts
HDRI and Chrome Balls
LiDAR Scanning and Acquisition - Alan Lasky
On-Set 3D Scanning Systems - Joshua DeHerrera Types of Technology LiDAR Photogrammetry Prop Scanners
Lighting Data - Charles Clavadetscher, Jeffrey A. Okun, VES Gathering Lighting Data
Using Conventional Still Cameras Reference Shooting Considerations
Beware of False Savings!
Clean Plates - Scott Squires, VES Shooting the Clean Plate Locked-Off Camera Moving Camera Other Issues Post-Process Alternates without Clean Plates Other Uses for Clean Plates
Monster Sticks - Scott Squires, VES
On-Set Animation Capture: Witness Cam (IBMC) - Joel Hynek Wireless Non-Video Motion Capture Factors Affecting Witness Cameras Dealing with the Data in Post-Production
Camera Tracking for Real-Time Visualization - Joe Lewis Introduction
Camera Department: Pre-Production and Cooperation
Camera Tracking Strategies in an LED Volume
Emerging, Innovation and Mature Technology
Triangulation As a Method of Recording Camera Data - Stuart Robertson Camera/Subject Positional Information Basics: The Toolkit Basics: Nodal Point
Photographic Reference - Charles Clavadetscher How to Proceed Shooting Video as a Reference
Rules, Setup, and Testing - Charles Clavadetscher Do a Complete Test Shot! Why Run Through Example or Test Shots?
Digital Cinematography - David Stump, ASC, Marty Ollstein, David Reisner, W. Thomas Wolf Digital Definitions High Dynamic Range (HDR) Camera / Lens Metadata Camera Tracking Look Management The Recording System
VFX Photography - Eric Swenson The Camera Array
Designing an Array Shot
Technicians
Shoot Day
Special Techniques
Post
The Future
Filming Live-Action Plates to be Used in VFX - Bill Taylor, ASC, VES Camera Position (Station Point) Angle of View Lighting Considerations Camera Tilt Background Quality Moving Plates Scouting the Camera Positions A Case Study Camera Cars Camera Car Safety Issues Purpose-Built Crane Cars Vibration and Camera Stabilization Road Speed Precautions Panoramic Rigs On the Water Air to Air Cable Systems
Shooting Elements for Compositing - Mark H. Weingartner What Is an Element? Stock Footage Types of Elements Generic versus Shot-Specific Elements Determining Element Needs Cheating Backgrounds Black Backgrounds Line-Up Camera Format Considerations Assorted Methods for Shooting Elements
High-Speed Cinematography and Filming Elements - Jim Matlosz Cameras Technicians Director of Photography Lighting
Moving the Camera Video Assist Post
Supervising Motion Control - Mark Weingartner What is Motion Control? Performance Choreography Multiple-Pass Photography Scaling Import and Export of Camera Move Data The Data Types of Motion Control Systems Motion Control Software Camera Types Sync and Phase Dealing with Production
Acquisition of Motion / Still Photographic Textures for Mapping onto CG - Mark Weingartner Panoramic Backgrounds Tiled Stills Motion Tiling and Synchronous Plates Practical Considerations Stills for Textures and Lighting
Stop-Motion - Pete Kozachik, ASC Evolution of Stop-Motion Photography The Time Required to Shoot in Stop-Motion Preparation before Shooting Setting up a Shooting Space for Stop-Motion Use of Motion Control in Stop-Motion Useful Caveats Evolution of a Shot Use of Stop-Motion in Visual Effects
CHAPTER 4: PERFORMANCE AND MOTION CAPTURE
Defining Motion Capture / Performance Capture - Demian Gordon, Nathan Camp, John Root
How Motion Capture is Used Across the Industry - Demian Gordon, Nathan Camp, John Root
Is Motion Capture Right for a Project? – Demian Gordon, Nathan Camp, John Root, Tracy McSherry The Mocap Look
Visual Storytelling and Aesthetic Production Planning Performance Technology and Approach Aligning Needs vs. Wants Optical Motion Capture Motion Capture for Virtual Production Motion Capture for Animation
Production Planning Scenarios for Motion Capture – Demian Gordon, Nathan Camp, Rhea Aylin Fischer,
and John Root Subject Matter of the Shoot Performance and Actor Considerations Real-Time Presentation
Subjects Being Captured Volume Size and Build Syncing Hardware and Software
Rigging and Retargeting for Motion Capture
Shot List
Client or Vendor Delivery
Optical Motion Capture – Nathan Camp, Demian Gordon, John Root
Technical and Approach
Entry Point
Budget
Hardware
Software
Inertial Motion Capture - Rhea Aylin Fischer, Ted O’Brien ,John Root, and Demian Gordon
Use Cases
Technology and Approach
Entry Point
Budget
Hardware
Software
Motion Capture for Virtual Production - Nathan Camp, Ted O'Brien
Use Cases
Technology and Approach
Entry Point
Budget
Hardware
Software
Hand Capture Demian Gordon, Rhea Aylin Fischer, Tracy McSherry. John Root, Use Cases Advantages and Disadvantages Technology and Approach Budget
Facial Motion Capture – John Root, Demian Gordon, Gareth Edwards, and Oleg Alexander Use Cases Markerset
Lighting
Facial Hair
Advantages and Disadvantages
Entry Point
Budget
Facial Actor Survey Actor Survey - Hardware
Applying AI
Volumetric Capture / Considerations for Production - Wardrobe, Hair, Makeup, and Blocking - Christina Heller, Skylar Sweetman, Mari Young
CHAPTER 5: VIRTUAL PRODUCTION AND AI TOOLS IN VISUAL EFFECTS
Virtual Production - Addison Bath
What is Virtual Production
How is Virtual Production Used?
Note from the Editors: – Jeffrey A. Okun, VES, Susan Zwerman, VES, Susan Thurmond O’Neal
Capturing Surfaces with Photogrammetry to Create Assets - Luis Cataldi Introduction Core Principles of Photogrammetry Applied Principles of Image Capture for Photogrammetry Capture Methods and Workflows Final Thoughts
Photogrammetry and LiDAR Sets for Virtual Production - Tripp Topping Optimization
The Use of AI in Visual Effects - Lucien Harriot
Introduction
Overview of Generative Artificial Intelligence (GenAI)
Applications of GenAI in Visual Effects
Impact on Visual Effects Processes
Limitations, Challenges, and Ethical Considerations
Future Developments in GenAI
Embracing GenAI as a Tool for Innovation
Summary of Techniques for NeRFs and 3D Gaussian Splatting - Mike Seymour Introduction
Overview of NeRFs and Gaussian Splatting Neural Radiance Fields (NeRF) 3D Gaussian Splatting NeRFs and 3DGS in Combination with Other AI Limitations, Challenges, and Ethical Considerations
Summary of AI Techniques Used in Visual Effects - Steve Wright
A Brief History
AI for Compositing
Image Enhancement
Visual Effects
Other Features
Adapting to a World with AI
CHAPTER 6: POST-PRODUCTION / IMAGE MANIPULATION
Resolution and Image Format Considerations - Scott Squires Formats Transport Resolution
Academy Color Encoding System (ACES) - Bill Baggelaar, Annie Chang, Steve Tobenkin Overview Using ACES in Visual Effects Workflows ACES Color Space Encoding Compatibility
Image Compression/File Formats for Post-Production - Florian Kainz, Piotr Stanczyk Image Encoding Still Image Compression Other Lossless Compression Methods File Formats
Color Management - Joseph Goldstone The Three Guidelines Digital Color Image Encodings and Digital Cameras Color Management at the Desktop OpenColorIO
Digital Intermediate - Tashi Trieu Introduction to Digital Intermediates The Colorist Tools of the Trade Emerging Technologies Grading with Mattes Communicating Color Through the Visual Effects Pipeline Visual Effects Plate Grading The Evolution of Color Grading
Shot/Element Pulls and Delivery to VFX - David H. Tanaka Introduction The Lab “Production” Is to “Lab” as The Merge The Handoff VFX Editorial The Select The Pull
VFX Editorial – Greg Hyman, David H. Tanaka Editing within a Shot: The Art of Precompositing (Precomp) How It Came To Be Modern Day Tracking and Disseminating of Information As the Shot Changes Wrapping It Up
Editorial Workflow in Feature Animation - David H. Tanaka Introduction Editorial Crew Staffing and Structure Editorial Involvement with Feature Animation Production Stages
Communication With Artists - Eric Durst Starting Working with Teams Working Globally Reference and Perspective Shot Production Communicating with Artists in Other Departments Completion
Compositing of Live-Action Elements - Steve Wright
Overview
Green/Blue Screen Capture
Pre-Processing the Green Screen
Garbage Mattes
Keying Strategies
Motion Blur and Depth of Field
Spill Suppression
Grain Management
Rotoscoping
Post-Composite Processing
3D Compositing
Inspecting the Comp
Rotoscoping and Paint - Marshall Krasser, Sandy Houston Rotoscoping Digital Painting and Plate Reconstruction
Deep Compositing - Steve Wright
What is a Deep Image?
Complex Depth Interactions
The Depth Compositing Edge Problem
The Re-rendering Problem
Deep Compositing and Live Action
Matte Painting/Creative Environments - Craig Barron, VES, Deak Ferrand, John Knoll, and Robert Stromberg
Matte Paintings: Art of the Digital Realm
What Is a Matte Painting? Matte Painting - Pioneers and History
Visualizing the Matte Painting Shot in Pre-Production
On-Set Supervision for Matte Painting Shots
Basic Skills and Tricks of the Trade
Miniatures and Computer-Generated Sets
Finding the Best Frame
Re-Projected Photo Survey
The Need for Creative Compositing
Digital Environments - Robert Stromberg
Reimagining Artistic Roles in Film: The Rise of the “Environment and Creation Artists”
Virtual Production and Game Engine Technology
Future of the Environment Creation Artist and AI
The Power of Curiosity in Creativity and Innovation
CHAPTER 7 - DIGITAL ELEMENT CREATION
Digital Modeling - Kevin Hudson Overview: The Importance of Modeling Types of Modeling Model Data Types Development of Models Modeling for a Production Pipeline Engineering Aspects for Polygons Engineering Aspects for NURBS
Rigging and Animation Rigging - Steve Preeg Rigging: What is It? Animation Rigging Deformation Rigging
What Makes a Good Rig for Animation – Felix Balbas Introduction User and Uses Technical Aspects Technology Restrictions New Technologies
Texturing and Surfacing - Ron Woodall The Importance of Texture Painting Hard Surface Models Creature Models Types of Geometry: Their Problems and Benefits Prepping the Model to Be Painted Texture Creation Various Other Map-Driven Effects Texture Painting in Production Model Editing
Digital Hair/Fur - Armin Bruderlin, Francois Chardavoine Hair Generation Process General Issues and Solutions
Digital Feathers - Armin Bruderlin, Francois Chardavoine Morphology of Real Feathers Modeling Digital Feathers Similarities between Hair and Feathers Differences between Hair and Feathers
General Geometry Instancing - Armin Bruderlin, Francois Chardavoine Asset Creation World Building Shot Considerations
Dynamics and Simulation - Craig Zerouni, Judith Crow How is a Simulation Created? When is Simulation Appropriate? Tricks and Cheats Important Considerations Planning and Preparation Software Solutions: A Broad Overview of Current Options
Particles - Craig Zerouni What are Particle Systems? The Next Step The Birth of Particles Creating Effects
Rigid Body Dynamics - Craig Zerouni How Rigid-Body Dynamics are Created Potential Problems Other Issues Tricks for Getting It Done
Digital Lighting - Andrew Whitehurst Light in Reality and in Computer Graphics Case Study of Reality Compared with Simple CG Simulation Visual Sophistication through Texture Mapping Physically Derived Shading Models Beneath the Surface Goals of Lighting in Visual Effects Work Flow for Successful Creative Digital Lighting The Technologies of Lights in Computer Graphics Direct Lighting: Source to Surface to Camera Reflections Photographed Reflections Shadows Image-Based Lighting Rendering Occlusion Ambient Occlusion Reflection Occlusion Creating Light Sources from Environment Maps Physically Based Rendering Physically Plausible Rendering Volumetric Lighting Effects
Shader Basics - Derek Spears What are Shaders? Shading Models Bump and Displacement Map-Based Shaders Procedural Shaders Shader Design Anti-aliasing Considerations
2D Compositing - Matt Leonard 2D File Formats Image Quality: Color Bit Depth and Concatenation Log vs. Linear Low Dynamic Range and High Dynamic Range Images Mattes and Pre-Multiplied Alpha Working with Rendered CG Elements Integration Techniques
2.5D Compositing - Matt Leonard Z-Depth Compositing Adding Depth of Field Adding Motion Blur Relighting
3D Compositing - Matt Leonard Working with 3D Data in a Compositor Pan and Tile Camera Projections Set Extensions Coverage Mapping Cubical Camera Setup 3D Mattes 3D Retouch and Cleanup Adjusting Camera Moves Particles Deep Compositing
Crowd Generation and Simulation Techniques - John Knoll Live-Action Replication Sprites Computer-Generated Crowds Modeling for Replication Variation Mesh Density Animation Cycles for Replication Motion Capture Keyframe Animation Dynamic Motion Synthesis Behaviors and Crowd Control
CG Prosthetic and Actor Enhancements - John Knoll On-Set Tracking and Capture Considerations Eye Enhancements 3D Techniques 2D Techniques 2.5D Techniques Silhouette Changes Re-Projection
3D Products, Systems and Software - Richard Kidd Digital Element Creation Process 3D Graphics Software 3D Tracking Special Effects Rendering Texturing
CHAPTER 8 – INTERACTIVE GAMES
Overview – David Johnson, VES
How the Gaming Industry and Film/TV Industries are different - David Johnson, VES
Publishers and Developers v. Film/Television Studios and VFX Facilities – David Johnson, VES
Game and TV/Film Converging with Virtual Production and Cinematics - David Johnson, VES
Game Engines and Real-Time Rendering - David Johnson, VES Runtime Component
Unreal vs. Unity
Disciplines and Job Titles - David Johnson, VES Game Design Engineering Production Test Art The Art Director Concept Art Environment Artists Texture Artist Characters Hard Modeling Props Lighting Baked vs. Dynamic Lighting vs. Raytracing Shadows Effects System Effects Environmental FX Breakables Destruction Tech Artist Animation UI
Real Time Shaders and Materials - David Johnson, VES
Optimization and Runtime Budgets - David Johnson, VES
Performance Analysis and Profiling - David Johnson, VES CPU vs. GPU bound
Technical Terminology - David Johnson, VES User Calibration Latency “Game Mode” on Televisions HDR10 PBR – Physically Based Rendering FBX Mip Mapping Filtering Texel Screen Space Ambient Occlusion Level of Detail Vertex Shaders and Fragment Shaders
AR/VR - David Johnson, VES
Future of Gaming - David Johnson, VES On-Demand Rendering, Cloud Distribution and Ray Tracing
Fast Drives, Nanite and Lumen
Fluid Simulations
AI
CHAPTER 9 – COMPLETE ANIMATION
What Is An Animation Project? - Stephan Vladimir Bugaj Full Animation vs Visual Effects
Difference Between Visual Effects and Animation - Rob Bredow Production Pipelines Production
Animation Techniques - Frank Gladstone Traditional Animation Stop-Motion Computer Graphic Technology
Considerations for a Full CG-Animated Feature Pipeline - Stephan Vladimir Bugaj CG Feature Animation Pipeline
Managing an Animated Film - Don Hahn Film Management and Personal Style Building Brain Trusts Building the Core Creative Team Writing and Visual Development Working with a Studio Facilities and Environment Managing the Event
The Production Process: An Animator’s Perspective - Lyndon Barrois Working on CG-Animated Content in Live-Action Features Planning the Process Production Character and Environment Interaction
CHAPTER 10 – VISUAL EFFECTS WORKFLOWS
Analysis of a Production Workflow - Stephan Vladimir Bugaj From Workflow to Pipeline Service Bureau versus In-House Requirements
Design of a Production Workflow – Dan Rosen From Analysis to Design
Deploying a Production Workflow - Stephan Vladimir Bugaj From Design to Implementation
Tracking Assets - Stephan Vladimir Bugaj What is Task and Asset Tracking? Commercial Task and Asset Tracking Systems Building Task Asset Tracking Systems
Scene Assembly - Stephan Vladimir Bugaj 2D Scene Assembly 3D Scene Assembly (Compositing)
Working Across Multiple Facilities – Scott Squires, VES Images Models Texturing Animation Compositing R&D
Version Control Software - Jase Lindgren, Katie Cole Introduction to Version Control Version Control Uses in Virtual Production Version Control Set-Up
CHAPTER 11 – VR / AR (VIRTUAL REALITY / AUGMENTED REALITY)
A Note from the Editor Prelude to Virtual Reality & Augmented Reality – Jeffrey A. Okun, VES
Pre-Production for VR/AR - Chris Edwards
Production for VR/AR - Grant Anderson
Post-Production for VR/AR - Dave Franks
Editorial Post-Production for VR/AR - John Grod How to Direct the Viewer? The Post-Process Nonlinear Editorial, Timelines and Edits World Lock and Forced Perspective
Types of Head-Mounted and Handheld Displays - Bernard Mendiburu Identifying the Computer-Mediated Realities State of the Art in VR Photonic Technologies
State of the Art in VR Hardware Technologies
State of the Art in VR Software Technologies
Using an HMD for Visual Effects Production
Choosing an HMD for Visual Effects Production
Hemispheres and Domes - John Grod Games Mechanics Are What it is All About Overcoming Doubt and Preconceived Notions Dome Projections The Future of Domes
The Evolution of Domes: The MSG Sphere - Phillip Galler
Uses of VR - John Grod Enterprise Narrative Storytelling
Future of VR and AR - Ben Grossmann This is Just the Beginning
Immersive Experiences Make Use of Advanced Visual Effects Technology - Philip Galler What are Immersive Experiences? Visual Effects’ Impact on Immersive Experiences Content Creation for Immersive Experiences Challenges for Delivering Content for Immersive Experiences Wearables and the Future of Immersive Experiences
Acknowledgments
Appendix A: Charts and Formulas
Appendix B: Glossary
Index
