![TE EXTC-B Page 18
or green background, while compositing software replaces only the
designated blue or green color with weather maps.
Physicalcompositing:
In physical compositing the separate parts of the image are placed together
in the photographic frame and recorded in a single exposure. The
components are aligned so that they give the appearance of a single image.
The most common physical compositing elements are partial models and
glass paintings.
Partial models are typically used as set extensions such as ceilings or the
upper stories of buildings. The model, built to match the actual set but on a
much smaller scale, is hung in front of the camera, aligned so that it appears
to be part of the set. Models are often quite large because they must be
placed far enough from the camera so that both they and the set far beyond
them are in sharp focus.[1]
Glass shots are made by positioning a large pane of glass so that it fills
the camera frame, and is far enough away to be held in focus along with the
background visible through it. The entire scene is painted on the glass,
except for the area revealing the background where action is to take place.
This area is left clear. Photographed through the glass, the live action is
composited with the painted area. A classic example of a glass shot is the
approach to Ashley Wilkes’ plantation in Gone with the Wind. The
plantation and fields are all painted, while the road and the moving figures
on it are photographed through the glass area left clear.
A variant uses the opposite technique: most of the area is clear, except for
individual elements (photo cutouts or paintings) affixed to the glass. For
example, a ranch house could be added to an empty valley by placing an
appropriately scaled and positioned picture of it between the valley and the
camera.
CGI animation:
Computer-generated imagery (CGI) is the application of computer graphics
to create or contribute to images in art, printed media, video games, films,
television programs, commercials, videos, and simulators. The visual scenes
may be dynamic or static, and may be two-dimensional (2D), though the](https://image.slidesharecdn.com/vfx-151001183742-lva1-app6891/85/Visual-effects-VFX-18-320.jpg)
![TE EXTC-B Page 19
term "CGI" is most commonly used to refer to 3D computer graphics used
for creating scenes or special effects in films and television. They can also
be used by a home user and edited together on programs such as Windows
Movie Maker or iMovie.
The term 'CGI animation' refers to dynamic CGI rendered as a movie.
The term virtual world refers to agent-based, interactive environments.
Computer graphics software is used to make computer-generated imagery
for films, etc. Availability of CGI software and increased computer speeds
have allowed individual artists and small companies to produce professional-
grade films, games, and fine art from their home computers. This has
brought about an Internet subculture with its own set of global celebrities,
clichés, and technical vocabulary. The evolution of CGI led to the
emergence of virtual cinematography in the 1990s where runs of the
simulatedcamera are not constrained by the laws of physics.
Static images and landscapes
Not only do animated images form part of computer-generated imagery,
natural looking landscapes (such as fractal landscapes) are also generated via
computer algorithms. A simple way to generate fractal surfaces is to use an
extension of the triangular mesh method, relying on the construction of some
special case of a de Rham curve, e.g. midpoint displacement.[1] For instance,
the algorithm may start with a large triangle, then recursively zoom in by
dividing it into four smaller Sierpinski triangles, then interpolate the height
of each point from its nearest neighbors.[1] The creation of a Brownian
surface may be achieved not only by adding noise as new nodes are created,
but by adding additional noise at multiple levels of the mesh.[1] Thus a
topographical map with varying levels of height can be created using
relatively straightforward fractal algorithms. Some typical, easy-to-program
fractals used in CGI are the plasma fractal and the more dramatic
faultfractal.
A large number of specific techniques have been researched and
developed to produce highly focused computer-generated effects — e.g. the
use of specific models to represent the chemical weathering of stones to
model erosion and produce an "aged appearance" for a given stone-based
surface.[3]
CartoonPixar movies:
Not only do animated images form part of computer-generated imagery,
natural looking landscapes (such as fractal landscapes) are also generated via
computer algorithms. A simple way to generate fractal surfaces is to use an
extension of the triangular mesh method, relying on the construction of some](https://image.slidesharecdn.com/vfx-151001183742-lva1-app6891/85/Visual-effects-VFX-19-320.jpg)
![TE EXTC-B Page 20
special case of a de Rham curve, e.g. midpoint displacement.[1] For instance,
the algorithm may start with a large triangle, then recursively zoom in by
dividing it into four smaller Sierpinski triangles, then interpolate the height
of each point from its nearest neighbors.[1] The creation of a Brownian
surface may be achieved not only by adding noise as new nodes are created,
but by adding additional noise at multiple levels of the mesh.[1] Thus a
topographical map with varying levels of height can be created using
relatively straightforward fractal algorithms.](https://image.slidesharecdn.com/vfx-151001183742-lva1-app6891/85/Visual-effects-VFX-20-320.jpg)
![TE EXTC-B Page 23
Special effects are traditionally divided into the categories of optical
effects and mechanical effects. With the emergence of digital filmmaking a
distinction between special effects and visual effects has grown, with the
latter referring to digital post-production while "special effects" referring to
mechanical and optical effects.
Mechanical effects (also called practical or physical effects) are usually
accomplished during the live-action shooting. This includes the use of
mechanized props, scenery, scale models, animatronics, pyrotechnics and
atmospheric effects: creating physical wind, rain, fog, snow, clouds, etc.
Making a car appear to drive by itself and blowing up a building are
examples of mechanical effects. Mechanical effects are often incorporated
into set design and makeup. For example, a set may be built with break-
away doors or walls to enhance a fight scene, or prosthetic makeup can be
used to make an actorlook like a non-human creature.
Optical effects (also called photographic effects) are techniques in which
images or film frames are created photographically, either "in-camera" using
multiple exposure, mattes, or the Schüfftan process, or in post-production
using an optical printer. An optical effect might be used to place actors or
sets against a different background.
Since the 1990s, computer generated imagery (CGI) has come to the
forefront of special effects technologies. It gives filmmakers greater control,
and allows many effects to be accomplished
more safely and convincingly and—as technology improves—at lower
costs. As a result, many optical and mechanical effects techniques have been
superseded by CGI.
The science fiction boom
Through the 1950s and 60s numerous new special effects were developed
which would dramatically increase the level of realism achievable in science
fiction films. The pioneering work of directors such as Pavel Klushantsev
would be used by major motion pictures for decades to come.[citation needed]
If one film could be said to have established a new high-bench mark for
special effects, it would be 1968's 2001: A Space Odyssey, directed by
Stanley Kubrick, who assembled his own effects team (Douglas Trumbull,
Tom Howard, Con Pedersen and Wally Veevers) rather than use an in-house
effects unit. In this film, the spaceship miniatures were highly detailed and
carefully photographed for a realistic depth of field. The shots of spaceships
were combined through hand-drawn rotoscopes and careful motion-control
work, ensuring that the elements were precisely combined in the camera – a
surprising throwback to the silent era, but with spectacular results.
Backgrounds of the African vistas in the "Dawn of Man" sequence were](https://image.slidesharecdn.com/vfx-151001183742-lva1-app6891/85/Visual-effects-VFX-23-320.jpg)
![TE EXTC-B Page 25
Blue is generally used for both weather maps and special effects because
it is complementary to humanskin tone. The use of blue is also tied to the
fact that the blue emulsion layer of film has the finest crystals and thus good
detail and minimal grain (in comparison to the red and green layers of the
emulsion.) In the digital world, however, green has become the favored
color because digital cameras retain more detail in the green channel, and it
requires less light than blue. Green not only has a higher luminance value
than blue, but also in early digital formats, the green channel was sampled
twice as often as the blue, making it easier to work with. The choice of color
is up to the effects artists and the needs of the specific shot. In the past
decade, the use of green has become dominant in film special effects. Also,
the green background is favored over blue for outdoor filming where the
blue sky might appear in the frame and could accidentally be replaced in the
process. Although green and blue are the most common, any color can be
used. Red is usually avoided due to its prevalence in normal human skin
pigments, but can be often used for objects and scenes which do not involve
people. For example, in John Pizzarelli's song Birthday Emotions from the
Sesame Street television series, painting backgrounds made by Gerri Brioso
are used as a live-action film sequence while the kids such as the Italian-
American siblings are jumping through the air and celebrating one of their
birthday parties.
a ring of bright LEDs around the camera lens. This requires no light to
shine on the background other than the LEDs, which use an extremely small
amount of power and space unlike big stage lights, and require no rigging.
This advance was made possible by the invention of practical blue LEDs in
the 1990s, which also allow for emerald green LEDs.
There is also a form of color keying that uses light spectrum invisible to
human eye. Called Thermo-Key, it uses infrared as the key color, which
would not be replaced by background image during postprocessing.[10][11]
Jefferson Airplane used chroma-key background in their performance of
"White Rabbit" on "The Smothers Brothers Comedy Hour" to create
psychedelic colors. Futher use of green screens and blue screens as Green
and blue Backdrops which would be explained further.
Processing a green backdrop & Blue Backdrop :
Virtual television studio with green-screen technique.](https://image.slidesharecdn.com/vfx-151001183742-lva1-app6891/85/Visual-effects-VFX-25-320.jpg)
![TE EXTC-B Page 26
Green is currently used as a backdrop more than any other color because
image sensors in digital video cameras are most sensitive to green, due to the
bayer pattern allocating more pixels to the green channel, mimicking the
human eye's increased sensitivity to green light.[6] Therefore, the green
camera channel contains the least "noise" and can produce the cleanest
key/matte/mask. Additionally, less light is needed to illuminate green, again
because of the higher sensitivity to green in image sensors.[7] Bright green
has also become favored since a blue background may match a subject's eye
color or common items of clothing suchas jeans.
Before digital chroma keying, bluescreening was accomplished using
film. The camera color negative was printed onto high-contrast black and
white film, using either a filter or the color sensitivity of the black and white
film to limit it to the blue channel. Assuming this film was a negative it
produced clear where the blue screen was, black elsewhere, except it also
produced clear for any white objects (since they also contained blue).
Removing these spots could be done by a suitable double-exposure with the
color positive, and many other techniques. The end result was a clear
background with an opaque shape of the subject in the middle. This is called
a 'female matte', similar to an 'alpha matte' in digital keying. Copying this
film onto another high-contrast negative produced the opposite 'male matte'.
The background negative was then packed with the female matte and
exposed onto a final strip of film, then the camera negative was packed with
the male matte was double-printed onto this same film. These two images
combined together creates the final effect.
Blue was preferred as a backdrop before digital keying became
commonplace because of the existence of high contrast film that was
sensitive only to the blue color.
Major factors :
The most important factor for a key is the color separation of the foreground
(the subject) and background (the screen) – a blue screen will be used if the
subject is predominately green (for example plants), despite the camera
being more sensitive to green light.
In analog color TV, color is represented by the phase of the chroma
subcarrier relative to a reference oscillator. Chroma key is achieved by
comparing the phase of the video to the phase corresponding to the
preselected color. In-phase portions of the video are replaced by the alternate
background video.
In digital color TV, color is represented by three numbers (red, green,
blue intensity levels). Chroma key is achieved by a simple numerical](https://image.slidesharecdn.com/vfx-151001183742-lva1-app6891/85/Visual-effects-VFX-26-320.jpg)
Visual effects(VFX)
- 1. TE EXTC-B Page 1
- 2. TE EXTC-B Page 2 LOKMANYA TILAK COLLEGE OF ENGINEERING, KOPARKHAIRNENAVI MUMBAI Guided by: Prof.G.Geetha Members: Sr.No Name of members Roll no Sign 1 Sameer Sharma 25 2 Rohit Jaiswal 22 3 Prashant Yadav 37 4 Suchita Sarjine 30 5 Sohail Mulla 29
- 3. TE EXTC-B Page 3 FORWARDING LETTER Respected Mrs. GEETA We are glad to inform you that our groups of TE/B-2 Branch EXTC has Completed the report on topic “VISUAL EFFECTS (VFX ) ” under your guidance. We would like to take this occasion to express our sincere gratitude towards you for support and encouragement extended to us in preparing this report. We hope that our report matches your expectations. Yours sincerely TE/B-2 EXTC BRANCH
- 4. TE EXTC-B Page 4 PREFACE We present to you our report on a very interesting topic, “VISUAL EFFECTS (VFX)”. This Report is based on VFX technology and latest application and its future Scope.This report presents the research, finding and recommendation resulting from the project .The objective was to compile and synthesized information on status of present latest application of VFX technology available in today movie industry. This report has benefitted from the significant input and collaboration of partners of our group that comprised and gathered various informative data from available sources.
- 5. TE EXTC-B Page 5 ACKNOWLEDGEMENT We would like to express our deep gratitude to our B.C.E teacher MS.GEETA Mam , who guided us throughout this report work. It is because of her that we got the basic idea for preparing the Report. Also, we would like to thank the Librarians for co-operating with us and allowing us to take the needful information required through different magazines as well as internet. Lastly we would like to express our gratitude towards all the members of our Team for collection the information in least possible time and thus giving us more time for compilation and completion of our Report. We indeed very grateful to our Team for all the support they have shown towards the completion of Report.
- 6. TE EXTC-B Page 6 SYNOPSIS AIM: To study the objectives and importance of visual effects and the enhancement of movie tehnology through VFX METHODOLOGY: After discussing the title we divided a group according to the chapters and collected information from internet verified technology and their uses from all courses & diploma school. Visited companies and learned how things actually works.We divided the Questions framed on the topic to other member and noted their response and knowledge about the same. Result: It was found that among members of the others groups around 50% was aware about this topic. Actual Discussion: Chapter 1 gives information regarding match moving,blue and screen their disadvantage and how to overcome also about mattepainting. Chapter 2 gives information regarding compositing which means combining two images into one and create illusion. Chapter 3 provide information regarding animation 2D/3D technology and also about cartoonpixar movies. Chapter 4 gives information regarding rotoscoping,editing facial expression & Rigging Chapter 5 regarding all VFX courses diploma and Companies(Red Chillies) Conclusion: We successfully studied VFX application and Indious Status in todays VFX world.
- 7. TE EXTC-B Page 7 TABLE OF CONTENTS : Contents FORWARDING LETTER ...............................................................................................3 PREFACE........................................................................................................................4 ACKNOWLEDGEMENT.................................................................................................5 SYNOPSIS......................................................................................................................6 COPYRIGHT...................................................................................................................8 INTRODUCTION............................................................................................................9 HISTORY......................................................................................................................11 SPECIAL EFFECT (SFX):.............................................................................................13 Video games............................................................................................................ 13 Early development...................................................................................................14 Match moving ................................................................................................................16 Compositing:..................................................................................................................17 Physical compositing:.....................................................................................................18 CGI animation:...............................................................................................................18 Cartoon Pixar movies:.......................................................................................... 19 Rotoscoping & Rigging :...............................................................................................21 Blue screen/Green screen:...............................................................................................24 Processing a green backdrop & Blue Backdrop :...............................................................25 Major factors :........................................................................................................ 26 Clothing:.................................................................................................................. 27 APPLICATIONS OF VISUAL EFFECTS.......................................................................28 Typical applications: ............................................................................................... 29 APPENDIXA.................................................................................................................31 APPENDIX B................................................................................................................32 BIBLIOGRAPHY ..........................................................................................................37
- 8. TE EXTC-B Page 8 COPYRIGHT copyright ©2015 All rights reserved. No part of this report may be reproduced in any form, by Photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner.
- 9. TE EXTC-B Page 9 INTRODUCTION In filmmaking, visual effects (abbreviated VFX) are the processes by which imagery is created and/or manipulated outside the context of a live action shot. Visual effects involve the integration of live-action footage and generated imagery to create environments which look realistic, but would be dangerous, expensive, impractical, or simply impossible to capture on film. Visual effects using computer generated imagery have recently become accessible to the independent filmmaker with the introduction of affordable and easy-to use animation and compositing software. It Can be further categorized as : Visual effects may be divided into at least four categories: 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. 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. Sometimes It is also Mistaken as Special effects (SFX) which is not true just a hoax we will discuss about in later on in the upcoming slides .. Through Visual effects we can modify and come up with the following details.. Conceptart Character design 3D modelling Shader and texture development Digital sculpting Realistic lighting and rendering Visual effects integration
- 10. TE EXTC-B Page 10 A Still Image From a Hollywood Movie Spider Man- 3 Depicting Incredible use of VFX ..
- 11. TE EXTC-B Page 11 HISTORY There is not much to talk about the History of VFX as such as it is not an individual effort But there were some companies which can be given the credit of initiating the work of finding the visual effects and promoting it on a large scale. It was not until 1930 That world knew anything about VFX .The main role in acquainting the world with this beautiful boon was given by the Americans. .Later on European and many other nations came forward in promoting visual effects. And in this way it reached various south American and Asian nations successively… However America & Britain rule the world in using VFX in the world. Talking about Asian nations VFX Then spread Its roots in JAPAN, CHINA, KOREA and INDIA.. With Time Visual effects progressed a lot in India. The History of VFX in Indian Films dates back to the silent era. At the same time as hollywood films were experimenting and executing VFX, India had also closely followed and caught on. Dada Saheb Phalke's silent movie Kaliamardhan in the year 1919 is one such example with amazing work. Later came Telugu cinema like Pathala Bhairavi and Maya Bazaar which took VFX to greater heights. With the advent of Computer Graphics in hollywood in the 1970s Indian films yearned to similar work and in the 1980s India's first Computer graphics facilities came up led by Prasad Video Digital which later gave birth to Prasad EFX who imported the first film scanners and recorders to India and thus pioneered the digital image revolution in India. The recent film "Krrish" had Hollywood VFX supervisor Craig Mumma and was completely executed in India by Prasad EFX. And films like Magadheera , Eega from director Rajamouli also the best examples of VFX in Indian Films and his recent outing Baahubali took VFX of Indian Films to next level. If your jaw dropped on seeing the latest James Bond film Skyfall, the credit doesn't go just to Q, but also to visual effects (VFX) artists from India who ensured that the film's many spectacles had audiences in thrall. Yes, today, many Indian VFX and animation studios are working on Hollywood films . Due to all this India is now matching Toes with Advanced VFx nations like America & UK..
- 12. TE EXTC-B Page 12 An image showing the use of SFX from the movie 2012 Image Depicting the SFX From an Oscar winning FILM HARRY POTTER-DEATHLY HALLOWS 2..
- 13. TE EXTC-B Page 13 SPECIAL EFFECT (SFX): SFX often mistook as Visual Effect, will be explained in following stanzas: SFX is the market-leading sci-fi, fantasy and horror magazine. Covering genre entertainment in all its forms: TV, movies, comics, books, games, merchandise and more. SFX is the market-leading sci-fi, fantasy and horror magazine. Definition of SFX :(1) See self-extracting archive. (2) (Special eFfECTS) Graphics techniques that are applied to images and movies in order to simulate a real or imaginary event. Video games The principles involved with modern video game sound effects (since the introduction of sample playback) are essentially the same as those of motion pictures. Typically a game project requires two jobs to be completed: sounds must be recorded or selected from a library and a sound engine must be programmed so that those sounds can be incorporated into the game's interactive environment. In earlier computers and video game systems, sound effects were typically produced using sound synthesis. In modern systems, the increases in storage capacity and playback quality has allowed sampled sound to be used. The modern systems also frequently utilize positional audio, often with hardware acceleration, and real-time audio post-processing, which can also be tied to the 3D graphics development. Based on the internal state of the game, multiple different calculations can be made. This will allow for, for example, realistic sound dampening, echoes and doppler effect. Historically the simplicity of game environments reduced the required number of sounds needed, and thus only one or two people were directly responsible for the sound recording and design. As the video game business has grown and computer sound reproduction quality has increased, however, the team of sound designers dedicated to game projects has likewise grown and the demands placed on them may now approach those of mid-budget motion pictures.
- 14. TE EXTC-B Page 14 Early development In 1856, Oscar Rejlander created the world's first "trick photograph" by combining different sections of 30 negatives into a single image. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume.From 1910 to 1920, the main innovations in special effects were the improvements on the matte shot by Norman Dawn. During the 1920s and 30s, special effects techniques were improved and refined by the motion picture industry. Many techniques—such as the Schüfftan process— Live special effects Live special effects are effects that are used in front of a live audience, mostly during sporting events, concerts and corporate shows. Types of effects that are commonly used include: flying effects, laser lighting, Theatrical smoke and fog, CO2 effects, pyrotechnics, confetti and other atmospheric effects such as bubbles and snow The development of color photography required greater refinement of effects techniques. Color enabled the development of such travelling matte techniques as bluescreen and the sodium vapour process. Many films became landmarks in special-effects accomplishments: Forbidden Planet used matte paintings, animation, and miniature work to create spectacular alien environments. In The Ten Commandments, Paramount's John P. Fulton, A.S.C., multiplied the crowds of extras in the Exodus scenes with careful compositing, depicted the massive constructions of Rameses with models, and split the Red Sea in a still-impressive combination of travelling mattes and water tanks. Ray Harryhausenextended the art of stop-motion animation with his special techniques of compositing to create spectacular fantasy adventures such as Jason and the Argonauts (whose climax, a sword battle with seven animated skeletons, is considered a landmark in special effects Note that Our Topic is Visual Effects and not Special Effects. SFX are things like pyrotechnics, rain and snow. Visual Effects (VFX) are the optical tricks that are used, including projection, green-screen, miniatures, etc...
- 15. TE EXTC-B Page 15 A Still Image From Life Of Pi Showing the magic of VFX A vibrant VFX image from the film Prometheus 2
- 16. TE EXTC-B Page 16 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. The term is used loosely to describe several different methods of extracting camera motion information from a motion picture. Sometimes referred to as motion tracking or camera solving, match moving is related to rotoscoping and photogrammetry. Match moving is sometimes confused with motion capture, which records the motion of objects, often human actors, rather than the camera. Typically, motion capture requires special cameras and sensors and a controlled environment (although recent developments such as the Kinect camera have begun to change this). Match moving is also distinct from motion control photography, which uses mechanical hardware to execute multiple identical camera moves. Match moving, by contrast, is typically a software-based technology, applied after the fact to normal footage recorded in uncontrolled environments with an ordinary camera. 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. As it is mostly software-based, match moving has become increasingly affordable as the cost of computer power has declined; it is now an established visual-effects tool and is even used in live television broadcasts as part of providing effects such as the virtual yellow-down-line in American football. 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. The term is used loosely to describe several different methods of extracting camera motion information from a motion picture. Sometimes referred to as motion tracking or camera solving, match moving is related to rotoscoping and photogrammetry. Match moving is sometimes confused with motion capture, which records the motion of objects, often human actors, rather than the camera. Typically, motion capture requires special cameras and sensors and a controlled environment (although recent developments such as the Kinect camera have begun to change this). Match
- 17. TE EXTC-B Page 17 moving is also distinct from motion control photography, which uses mechanical hardware to execute multiple identical camera moves. Match moving, by contrast, is typically a software-based technology, applied after the fact to normal footage recorded in uncontrolled environments with an ordinary camera. Calibration The second step involves solving for 3D motion. This process attempts to derive the motion of the camera by solving the inverse-projection of the 2D paths for the position of the camera. This process is referred to as calibration. To explain further: when a point on the surface of a three dimensional object is photographed its position in the 2D frame can be calculated by a 3D projection function. We can consider a camera to be an abstraction that holds all the parameters necessary to model a camera in a real or virtual world. Therefore a camera is a vector that includes as its elements the position of the camera, its orientation, focal length, and other possible parameters that define how the camera focuses light onto the film plane. Exactly how this vector is constructed is not important as long as there is a compatible projection function . 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. Basic procedure All compositing involves the replacement of selected parts of an image with other material, usually, but not always, from another image. In the digital method of compositing, software commands designate a narrowly defined color as the part of an image to be replaced. Then the software replaces every pixel within the designated color range with a pixel from another image, aligned to appear as part of the original. For example, one could record a television weather presenter positioned in front of a plain blue
- 18. TE EXTC-B Page 18 or green background, while compositing software replaces only the designated blue or green color with weather maps. Physicalcompositing: In physical compositing the separate parts of the image are placed together in the photographic frame and recorded in a single exposure. The components are aligned so that they give the appearance of a single image. The most common physical compositing elements are partial models and glass paintings. Partial models are typically used as set extensions such as ceilings or the upper stories of buildings. The model, built to match the actual set but on a much smaller scale, is hung in front of the camera, aligned so that it appears to be part of the set. Models are often quite large because they must be placed far enough from the camera so that both they and the set far beyond them are in sharp focus.[1] Glass shots are made by positioning a large pane of glass so that it fills the camera frame, and is far enough away to be held in focus along with the background visible through it. The entire scene is painted on the glass, except for the area revealing the background where action is to take place. This area is left clear. Photographed through the glass, the live action is composited with the painted area. A classic example of a glass shot is the approach to Ashley Wilkes’ plantation in Gone with the Wind. The plantation and fields are all painted, while the road and the moving figures on it are photographed through the glass area left clear. A variant uses the opposite technique: most of the area is clear, except for individual elements (photo cutouts or paintings) affixed to the glass. For example, a ranch house could be added to an empty valley by placing an appropriately scaled and positioned picture of it between the valley and the camera. CGI animation: Computer-generated imagery (CGI) is the application of computer graphics to create or contribute to images in art, printed media, video games, films, television programs, commercials, videos, and simulators. The visual scenes may be dynamic or static, and may be two-dimensional (2D), though the
- 19. TE EXTC-B Page 19 term "CGI" is most commonly used to refer to 3D computer graphics used for creating scenes or special effects in films and television. They can also be used by a home user and edited together on programs such as Windows Movie Maker or iMovie. The term 'CGI animation' refers to dynamic CGI rendered as a movie. The term virtual world refers to agent-based, interactive environments. Computer graphics software is used to make computer-generated imagery for films, etc. Availability of CGI software and increased computer speeds have allowed individual artists and small companies to produce professional- grade films, games, and fine art from their home computers. This has brought about an Internet subculture with its own set of global celebrities, clichés, and technical vocabulary. The evolution of CGI led to the emergence of virtual cinematography in the 1990s where runs of the simulatedcamera are not constrained by the laws of physics. Static images and landscapes Not only do animated images form part of computer-generated imagery, natural looking landscapes (such as fractal landscapes) are also generated via computer algorithms. A simple way to generate fractal surfaces is to use an extension of the triangular mesh method, relying on the construction of some special case of a de Rham curve, e.g. midpoint displacement.[1] For instance, the algorithm may start with a large triangle, then recursively zoom in by dividing it into four smaller Sierpinski triangles, then interpolate the height of each point from its nearest neighbors.[1] The creation of a Brownian surface may be achieved not only by adding noise as new nodes are created, but by adding additional noise at multiple levels of the mesh.[1] Thus a topographical map with varying levels of height can be created using relatively straightforward fractal algorithms. Some typical, easy-to-program fractals used in CGI are the plasma fractal and the more dramatic faultfractal. A large number of specific techniques have been researched and developed to produce highly focused computer-generated effects — e.g. the use of specific models to represent the chemical weathering of stones to model erosion and produce an "aged appearance" for a given stone-based surface.[3] CartoonPixar movies: Not only do animated images form part of computer-generated imagery, natural looking landscapes (such as fractal landscapes) are also generated via computer algorithms. A simple way to generate fractal surfaces is to use an extension of the triangular mesh method, relying on the construction of some
- 20. TE EXTC-B Page 20 special case of a de Rham curve, e.g. midpoint displacement.[1] For instance, the algorithm may start with a large triangle, then recursively zoom in by dividing it into four smaller Sierpinski triangles, then interpolate the height of each point from its nearest neighbors.[1] The creation of a Brownian surface may be achieved not only by adding noise as new nodes are created, but by adding additional noise at multiple levels of the mesh.[1] Thus a topographical map with varying levels of height can be created using relatively straightforward fractal algorithms.
- 21. TE EXTC-B Page 21 Some Images Depicting ROTOSCOPING & RIGGING IN MOVIES.. ROTOSCOPING RIGGING Rotoscoping & Rigging :
- 22. TE EXTC-B Page 22 Rotoscoping is a vital process within the visual effects pipeline. Whether you need to take out elements from live-action footage or bring elements in, you need to have a strong understanding of this very important technique. This article will give you an understanding of rotoscoping and its use, as well as some helpful tips when rotoscopingfor your next piece of footage. In its more traditional use, rotoscoping meant tracing over live action footage frame by frame for use in animated films. That way the animator could get very realistic movements by tracing over the actor in the scene. You can kind of think of it as today’s motion capture. In visual effects, however, the process, although similar, has a different purpose. Rotoscoping for VFX is used to create a matte or mask for an element so it can be extracted out to place on a different background, masked out so colors can be changed or any other set of reasons. The rotoscoping artist (or roto artist for short) will trace an object using a set of tools within the compositing software to create a new alpha channel for a specific part of an image sequence or video. Unlike computer generated imagery that can easily add an alpha channel to its images, footage taken directly from a camera has no alpha data so the roto artist will need to manually create that alpha by tracing over the elements within the video. A rotoscoping artist will need to create different shapes around an object and animate those shapes to match the movement on each frame. Depending on the complexity of the shot, the process of rotoscoping can take hours or even days to complete. The use of blue and green screens can make the process of compositing different elements into a scene much easier, but not every shot can take advantage of blue or green screens, so rotoscoping still plays a large role in the production of visual effects. Because you can find rotoscoping used in just about every movie and television show that utilizes visual effects, it’s no surprise that roto artists are a vital role within the VFX pipeline. There are many different compositing applications that have the tools needed to begin rotoscoping. Rotoscoping is an art form in itself so mastering it will not be something done overnight, but the following tutorials will give you a strong foundation in creating good rotoscoping data: Your First Day of Rotoscoping in NUKE, Introduction to Rotoscoping in After Effects, and Introduction to Rotoscoping in Fusion.The illusions or tricks of the eye used in the film, television, theatre, video game, and simulator industries to simulate the imagined events in a story or virtual world are traditionally called special effects (often abbreviated as SFX, SPFX, or simply FX).
- 23. TE EXTC-B Page 23 Special effects are traditionally divided into the categories of optical effects and mechanical effects. With the emergence of digital filmmaking a distinction between special effects and visual effects has grown, with the latter referring to digital post-production while "special effects" referring to mechanical and optical effects. Mechanical effects (also called practical or physical effects) are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery, scale models, animatronics, pyrotechnics and atmospheric effects: creating physical wind, rain, fog, snow, clouds, etc. Making a car appear to drive by itself and blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break- away doors or walls to enhance a fight scene, or prosthetic makeup can be used to make an actorlook like a non-human creature. Optical effects (also called photographic effects) are techniques in which images or film frames are created photographically, either "in-camera" using multiple exposure, mattes, or the Schüfftan process, or in post-production using an optical printer. An optical effect might be used to place actors or sets against a different background. Since the 1990s, computer generated imagery (CGI) has come to the forefront of special effects technologies. It gives filmmakers greater control, and allows many effects to be accomplished more safely and convincingly and—as technology improves—at lower costs. As a result, many optical and mechanical effects techniques have been superseded by CGI. The science fiction boom Through the 1950s and 60s numerous new special effects were developed which would dramatically increase the level of realism achievable in science fiction films. The pioneering work of directors such as Pavel Klushantsev would be used by major motion pictures for decades to come.[citation needed] If one film could be said to have established a new high-bench mark for special effects, it would be 1968's 2001: A Space Odyssey, directed by Stanley Kubrick, who assembled his own effects team (Douglas Trumbull, Tom Howard, Con Pedersen and Wally Veevers) rather than use an in-house effects unit. In this film, the spaceship miniatures were highly detailed and carefully photographed for a realistic depth of field. The shots of spaceships were combined through hand-drawn rotoscopes and careful motion-control work, ensuring that the elements were precisely combined in the camera – a surprising throwback to the silent era, but with spectacular results. Backgrounds of the African vistas in the "Dawn of Man" sequence were
- 24. TE EXTC-B Page 24 combined with soundstage photography via the then-new front projection technique. Scenes set in zero-gravity environments were staged with hidden wires, mirror shots, and large-scale rotating sets. The finale, a voyage through hallucinogenic scenery, was created by Douglas Trumbull using a new technique termed slit-scan. The 1970s provided two profound changes in the special effects trade. The first was economic: during the industry's recession in the late 1960s and early 1970s, many studios closed down their in-house effects houses. Many technicians became freelancers or founded their own effects companies, sometimes specializing on particular techniques (opticals, animation, etc.). The second was precipitated by the blockbuster success of two science fiction and fantasy films in 1977. George Lucas's Star Wars ushered in an era of science-fiction films with expensive and impressive special-effects. Effects supervisor John Dykstra, A.S.C. and crew developed many improvements in existing effects technology. They developed a computer- controlled camera rig called the "Dykstraflex" that allowed precise repeatability of camera motion, greatly facilitating travelling-matte compositing. Degradation of film images during compositing was minimized by other innovations: the Dykstraflex used VistaVision cameras that photographed widescreen images horizontally along stock, using far more of the film per frame, and thinner-emulsion filmstocks were used in the compositing process. The effects crew assembled by Lucas and Dykstra was dubbed Industrial Light and Magic, and since 1977 has spearheaded most effects innovations. That same year, Steven Spielberg's film Close Encounters of the Third Kind boasted a finale with impressive special effects by 2001 veteran Douglas Trumbull. In addition to developing his own motion-control system, Trumbull also developed techniques for creating intentional "lens flare" (the shapes created by light reflecting in camera lenses) to provide the film's undefinable shapes of flying saucers. The success of these films, and others since, has prompted massive studio investment in effects-heavy science-fiction films. This has fueled the establishment of many independent effects houses, a tremendous degree of refinement of existing techniques, and the development of new techniques . But the Visual effect would not be possible without Blue screens and Green Screens.Which is Explained Further. Bluescreen/Greenscreen:
- 25. TE EXTC-B Page 25 Blue is generally used for both weather maps and special effects because it is complementary to humanskin tone. The use of blue is also tied to the fact that the blue emulsion layer of film has the finest crystals and thus good detail and minimal grain (in comparison to the red and green layers of the emulsion.) In the digital world, however, green has become the favored color because digital cameras retain more detail in the green channel, and it requires less light than blue. Green not only has a higher luminance value than blue, but also in early digital formats, the green channel was sampled twice as often as the blue, making it easier to work with. The choice of color is up to the effects artists and the needs of the specific shot. In the past decade, the use of green has become dominant in film special effects. Also, the green background is favored over blue for outdoor filming where the blue sky might appear in the frame and could accidentally be replaced in the process. Although green and blue are the most common, any color can be used. Red is usually avoided due to its prevalence in normal human skin pigments, but can be often used for objects and scenes which do not involve people. For example, in John Pizzarelli's song Birthday Emotions from the Sesame Street television series, painting backgrounds made by Gerri Brioso are used as a live-action film sequence while the kids such as the Italian- American siblings are jumping through the air and celebrating one of their birthday parties. a ring of bright LEDs around the camera lens. This requires no light to shine on the background other than the LEDs, which use an extremely small amount of power and space unlike big stage lights, and require no rigging. This advance was made possible by the invention of practical blue LEDs in the 1990s, which also allow for emerald green LEDs. There is also a form of color keying that uses light spectrum invisible to human eye. Called Thermo-Key, it uses infrared as the key color, which would not be replaced by background image during postprocessing.[10][11] Jefferson Airplane used chroma-key background in their performance of "White Rabbit" on "The Smothers Brothers Comedy Hour" to create psychedelic colors. Futher use of green screens and blue screens as Green and blue Backdrops which would be explained further. Processing a green backdrop & Blue Backdrop : Virtual television studio with green-screen technique.
- 26. TE EXTC-B Page 26 Green is currently used as a backdrop more than any other color because image sensors in digital video cameras are most sensitive to green, due to the bayer pattern allocating more pixels to the green channel, mimicking the human eye's increased sensitivity to green light.[6] Therefore, the green camera channel contains the least "noise" and can produce the cleanest key/matte/mask. Additionally, less light is needed to illuminate green, again because of the higher sensitivity to green in image sensors.[7] Bright green has also become favored since a blue background may match a subject's eye color or common items of clothing suchas jeans. Before digital chroma keying, bluescreening was accomplished using film. The camera color negative was printed onto high-contrast black and white film, using either a filter or the color sensitivity of the black and white film to limit it to the blue channel. Assuming this film was a negative it produced clear where the blue screen was, black elsewhere, except it also produced clear for any white objects (since they also contained blue). Removing these spots could be done by a suitable double-exposure with the color positive, and many other techniques. The end result was a clear background with an opaque shape of the subject in the middle. This is called a 'female matte', similar to an 'alpha matte' in digital keying. Copying this film onto another high-contrast negative produced the opposite 'male matte'. The background negative was then packed with the female matte and exposed onto a final strip of film, then the camera negative was packed with the male matte was double-printed onto this same film. These two images combined together creates the final effect. Blue was preferred as a backdrop before digital keying became commonplace because of the existence of high contrast film that was sensitive only to the blue color. Major factors : The most important factor for a key is the color separation of the foreground (the subject) and background (the screen) – a blue screen will be used if the subject is predominately green (for example plants), despite the camera being more sensitive to green light. In analog color TV, color is represented by the phase of the chroma subcarrier relative to a reference oscillator. Chroma key is achieved by comparing the phase of the video to the phase corresponding to the preselected color. In-phase portions of the video are replaced by the alternate background video. In digital color TV, color is represented by three numbers (red, green, blue intensity levels). Chroma key is achieved by a simple numerical
- 27. TE EXTC-B Page 27 comparison between the video and the preselected color. If the color at a particular point on the screen matches (either exactly, or in a range), then the video at that point is replaced by the alternate background Clothing: Girl wearing blue clothing in front of green screen. A chroma key subject must avoid wearing clothes which are similar in color to the chroma key color(s) (unless intentional e.g. wearing a green top to make it appear that the subject has no body), because the clothing may be replaced with the background video. An example of intentional use of this is when an actor wears a blue covering over a part of his body to make it invisible in the final shot. This technique can be used to achieve an effect similar to that used in the Harry Potter films to create the effect of an invisibility cloak. The actor can also be filmed against a chroma-key background and inserted into the background shot with a distortion effect, in order to create a cloak that is marginally detectable. Difficulties emerge with blue screen when a costume in an effects shot must be blue, such as Superman's traditional blue outfit. In the 2002filmSpider-Man, in scenes where both Spider-Man and the Green Goblin are in the air, Spider-Man had to be shot in front of the green screen and the Green Goblin had to be shot in front of a blue screen. The color difference is because Spider-Man wears a costume which is red and blue in color and the Green Goblin wears a costume which is entirely green in color. If both were shot in front of the same screen, parts of one character would be erased from the shot. Occasionally, a magenta background is used, as in some software applications where the magenta or fuchsia is sometimes referred to as "magic pink". Some Images Showing The magic Of Visual Effects And Their Importance in the Movies….
- 28. TE EXTC-B Page 28 Academy and OscarAward Winning film For BestVFX AVATAR A Famous Scene from a BollywoodFilm KICK “BAAHUBALI” APPLICATIONS OF VISUAL EFFECTS
- 29. TE EXTC-B Page 29 We all Know that Visual Effects Have Great Applications in the field of Cinema. In fact we can’t imagine watching movies without Visual effects. There are various Tools & Softwares which make this Incredible Thing VFX possible Some of the most Important and famous are as Follows..: 1. Maya - very extensive VFX tool. 2. Blender 3d - An open source. Demonstrating its power with a series of small films. 3. AdobeAfter Effects - very widely used and easy to use. Other than Cinema There are many other Applications of VFX Listed below: Disguising tracking marks with rotoscopingand effects Preparing footage for motion tracking Planar motion tracking a face in mocha Applying tracking data to artwork in After Effects Fine-tuning motion tracking curves in After Effects Animating text and graphic elements Applying color and light effects Batch rendering the final comp Some Typical Applications Are given below.. : Typical applications: In television studios, blue or green screens may back news-readers to allow the compositing of stories behind them, before being switched to full- screen display. In other cases, presenters may be completely within compositing backgrounds that are replaced with entire “virtual sets” executed in computer graphics programs. In sophisticated installations, subjects, cameras, or both can move about freely while the computer- generated imagery (CGI) environment changes in real time to maintain correct relationships between the camera angles, subjects, and virtual “backgrounds.”
- 30. TE EXTC-B Page 30 Virtual sets are also used in motion pictures filmmaking, some of which are photographed entirely in blue or green screen environments; as for example in Sky Captain and the World of Tomorrow. More commonly, composited backgrounds are combined with sets – both full-size and models – and vehicles, furniture, and other physical objects that enhance the “reality” of the composited visuals. “Sets” of almost unlimited size can be created digitally because compositing software can take the blue or green color at the edges of a backing screen and extend it to fill the rest of the frame outside it. That way, subjects recorded in modest areas can be placed in large virtual vistas. Most common of all, perhaps, are set extensions: digital additions to actual performing environments. In the film Gladiator, for example, the arena and first tier seats of the Roman Colosseum were actually built, while the upper galleries (complete with moving spectators) were computer graphics, composited onto the image above the physical set. For motion pictures originally recorded on film, high-quality video conversions called “digital intermediates” are created to enable compositing and the other operations of computerized post production. Digital compositing is a form of matting, one of four basic compositing methods. The others are physical compositing, multiple exposure, and background projection.
- 31. TE EXTC-B Page 31 APPENDIXA 1.By which process imagery is created and manipulated with Photographic assets ? A.Rotoscope B.SFX C.Digital effects D.Photography 2. Rear Projection is also known as? A.Photography B.Process shots C.Front Projection effect D.Distant analysis 3.In which movie the 1st use of Rear Projection is see? A.Marnie B.Flying down to rio C.North by north west D.Liliom 4.During which activity, mechanical effect is use? A.Live action Shooting B.Prosthtic makeup C.Virtual world D.none of these 5.In 1856 who created the world first trick photograph A.Alfred clerk B.Norman dawn C.Jules verne D.Oscar rejlander 6.Schufflan process was removed by which techniques? A.Mattepainting B.Incumara effect C.Optical printer D.Stop trick 7.Which movie establish a new high bench mark for special effect? A.space odyssesy B.Down of man C.Cloz encounter of third kind D.Star wars 8.Prosththic makeup also known as? A.Fx prosthesis B.Distant analysis C.Simulation D.Fx 9.A negative mold is created by which cement? A.pop B.Gypsum C.Limestone D.Graphite 10.The use of prosthtic makeup to create wound of trouma is called as? A.latex B.Silicon C.Gelatin D.moulage
- 32. TE EXTC-B Page 32 ANSWERS 1.C 2.A 3.C 4.A 5.D 6.D 7.A 8.A 9.B 10.D
- 33. TE EXTC-B Page 33 APPENDIX B 1.WHAT IS VFX? 2.CGI is used for what? 3.which main technique used in filmmaking? interfacing 2d elements interfacing 3d elements computer generating imagery all of these computer technology embedded system mechanical work none of these composting motion matching blue screen/green screen rotoscoping
- 34. TE EXTC-B Page 34 4.Blue screen/Green screen is used for what purpose? 5.Who introduce VFX? 6.The first all CGI visual effect shot was in young Sherlock Holmes. motion capaturing to change background wall painting to copy and paste image Abdul kalam Albert Einstein Max Fleischer Pranav Mistry TRUE FALSE don’t know none of these
- 35. TE EXTC-B Page 35 7.The maximum use of VFX is used in which bollywood movie? 8.Which company in India provide VFX technology? 9.Which software is used in VFX? Ra-one Bahubali Krissh 3 Cartoon Ramayan prana Studioes Dharma production Red chilliey TATA PLC Maya MATLAB PI-spice
- 36. TE EXTC-B Page 36 10.Who was the first country to introduced the VFX & Ranks top of the list in using VFX? India USA CHINA UK
- 37. TE EXTC-B Page 37 BIBLIOGRAPHY We Took References from certain Websites to For Fetching ImagesAnd Information Which are Enlisted as follows.. : Www.wikipedia.com www.visualeffectssociety.com www.motionvfx.com And There Were also some books which helped us as a source of information and Google images .