The VES Handbook of Visual Effects, 3rd Edition

The VES Handbook of Visual Effects, 3rd Edition Industry Standard VFX Practices and ProceduresBy Susan Zwerman, Jeffrey A. Okun 880 Pages Paperback, ISBN 9781138542204 eBook, ISBN 9781351009409  The award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. The Visual Effects Society (VES) tasked the original authors to update their areas of expertise, such as AR/VR moviemaking, color management, Cameras, VFX Editorial, Stereoscopic and the Digital Intermediate, as well as provide detailed chapters on interactive games and full animation. Additionally, 56 contributors share their best methods, tips, tricks, and shortcuts developed through decades of trial and error and real-world, hands-on experience. This 3rd edition has been expanded to feature lessons on 2.5D/3D Compositing;　3D Scanning; Digital Cinematography; Editorial Workflow in Animated and Visual Effects Features; Gaming updates; General Geometry Instancing; Lens Mapping for VFX;　Native Stereo;　Real-Time VFX & Camera Tracking;　Shot/Element Pulls and Delivery to VFX;　Techvis;　VFX　Elements and Stereo; Virtual Production; and　VR/AR (Virtual Reality / Augmented Reality). A must-have for anyone working in or aspiring to work in visual effects, The VES Handbook of Visual Effects, Third Edition covers essential techniques and solutions for all VFX artists, producers, and supervisors, from pre-production to digital character creation, compositing of both live-action and CG elements, photorealistic techniques, and much more. With subjects and techniques clearly and definitively presented in beautiful four-color, this handbook is a vital resource for any serious VFX artist. Table of ContentsCONTENTSAbout the VESMission StatementForewordChapter 1 IntroductionIntroductionChapter 2 Pre-Production/PreparationOverviewBreaking Down a Script - BudgetingBallpark BudgetMore Detailed BudgetsBiddingPlate PhotographyTemp Screenings Reviewing Bids ContractsRebidding during ShootingRebidding in PostMonitoring the Budget and ScheduleKeeping the Budget DownWorking with the Director and ProducerDemo ReelThe MeetingMoving ForwardProduction DepartmentsProduction Design CameraWorking with the CinematographerSpecial Effects Stunts Wardrobe Makeup Production Visual Effects Editorial LocationsProduction MeetingDesigning Visual Effects ShotsGuidelines for Directors StoryboardsPrevisObjective of the ShotConcept ArtContinuityPhotorealismOriginal Concepts BudgetReality and Magic Camera AnglesFramingScale Detail SpeedScaled ImagesDepth of FieldSequence of Shots Camera MotionLess Is MoreAction PacingCG CharactersCreatures and Character DesignPowers of 10 ShotsVisual Effects TechniquesTechnique ConsiderationsAdditional Suggestions for Determining TechniquesWhat is Previs and Other forms of VisualizationWhat is Previs?Different Types of Visualization and When to Use ThemVisualization: The New EssentialDevelopment of Previs TechniquesHistory and BackgroundThe Applications of Previs: Who Benefits and How?The Benefits of Previs are Twofold:Projects TypesPossible VR sectionPost VisualizationWhat is Post Visualization?Why Use Postvis?Who does Postvis?SummationCautions and Suggestions for Good PracticeThe Perils of Previs!Passing the Work OnThe Role of the VFX Supervisor in PrevisPrevis: Advanced TechniquesVisualization UsefulnessVR as a ToolVisualization in EngineRender in EngineVisualization in RealtimeAR as a ToolConclusionCamera Angle ProjectionDrawing What the Lens SeesTechvisWhat is Techvis?Who is Techvis for?Virtual ProductionWhat is Virtual Production?How is Virtual Production Used?Chapter 3 Acquisition/ShootingWorking on SetCommon Types of Special EffectsWhat Are Special Effects?A Brief History of Special EffectsThe Special Effects SupervisorWorking with the Visual EffectsVisual Effects in Service to SFXSpecial Effects Design and Planning Storyboards and PrevisThe Elements: Rain, Wind, and Snow and IceSmoke, Fire, and PyrotechnicsMechanical EffectsFlying Wire Rigs and StuntsSafetyGreenscreen and Bluescreen PhotographyBest Practices and OtherwiseOverviewFunction of the BackingNegative Scanning and Digital ConversionBacking Uniformity and Screen CorrectionThe Alpha ChannelThe Processed ForegroundThe CompositeRecommended Specifications and PracticesHow to Expose a Green Screen Shot, and WhySetting Screen BrightnessChoosing the Backing ColorFloor Shots, Virtual Sets Foreground LightingControlling Spill LightLighting Virtual SetsTracking MarkersOn-Set PreviewCameras for Bluescreen or Greenscreen PhotographyUnderwater PhotographyCompositing SoftwareOn-Set Data AcquisitionCamera ReportTracking MarkersProps for the ActorsCyberscanningDigital Photos Lidar/Laser ScanningLens Distortion ChartsHDRI and Chrome BallsLidar Scanning and AcquisitionOn-Set 3D Scanning SystemsTypes of TechnologyLidarPhotogrammetryProp ScannersVendor QuestionsLighting DataGathering Lighting DataBeware of False Savings!Using Conventional Still Cameras Reference Shooting ConsiderationsClean PlatesShooting the Clean Plate Locked-Off CameraMoving CameraOther Issues Post-ProcessAlternates without Clean Plates Other Uses for Clean PlatesMonster SticksOn-Set Animation Capture: Witness Cam (IBMC)Wireless Non-Video Motion CaptureFactors Affecting Witness CamerasDealing with the Data in Post-ProductionCamera Tracking for Real Time VisualizationCamera Tracking Pre-ProductionThe Camera DepartmentPrior to ShootingCurrent Tracking Systems in use:Triangulation as a Method of Recording Camera DataCamera/Subject Positional InformationBasics: The Tool KitBasics: Nodal PointPhotographic ReferenceHow to ProceedShooting Video as a ReferenceRules, Setup, and TestingWhy Run Through Example or Test Shots?Digital CinematographyDigital DefinitionsHigh Dynamic Range (HDR)Lens MetadataLook ManagementThe Recording SystemLens Mapping for VFXVFX PhotographyThe Camera ArrayDesigning an Array Shot TechniciansShoot DaySpecial TechniquesPostThe FutureFilming Live-Action Plates to be Used in VFXCamera Position (Station Point)Angle of ViewLighting ConsiderationsCamera TiltBackground QualityMoving PlatesScouting the Camera PositionsA Case StudyCamera CarsCamera Car Safety IssuesPurpose-Built Crane CarsVibration and Camera Stabilization Road SpeedPrecautions Panoramic Rigs On the WaterAir to AirCable SystemsShooting Elements for CompositingWhat Is an Element?Stock FootageTypes of ElementsGeneric versus Shot-Specific Elements Determining Element NeedsCheating BackgroundsBlack Backgrounds Line-UpCamera Format ConsiderationsAssorted Methods for Shooting ElementsHigh-Speed Photography and Filming ElementsHigh-Speed Photography CamerasTechniciansDirector of Photography LightingApplicationLocking Down the CameraVideo AssistPostSupervising Motion ControlWhat Is Motion Control?Performance ChoreographyMultiple-Pass PhotographyScalingImport and Export of Camera Move DataThe DataTypes of Motion Control SystemsMotion Control SoftwareCamera TypesSync and PhaseDealing with ProductionAcquisition of Motion/Still Photographic Textures for Mapping onto CGPanoramic BackgroundsTiled StillsMotion Tiling and Synchronous PlatesPractical ConsiderationsStills for Textures and LightingStop-MotionEvolution of Stop-Motion PhotographyThe Time Required to Shoot in Stop-MotionPreparation before ShootingSetting Up a Shooting Space for Stop-MotionUse of Motion Control in Stop-MotionUseful CaveatsEvolution of a ShotUse of Stop-Motion in Visual EffectsChapter 4 Performance and Motion CaptureWhat is Motion Capture?Is Motion-Capture Right for a Project?The Mocap LookTechnical SpecificationsEntry PointBudgetWhich Technology is Right for a Project?Gauging a Project's Needs and ConstraintsPassive Retroreflective OpticalActive OpticalInertialStructured LightDense Stereo ReconstructionBend SensorsPreparing for Preparing for Motion CaptureActorsMotion Capture SuitsMarker Placement BodyMarker Placement FaceRigging for Motion CaptureShot ListHardwareThe StrobeMarkersLensesFilterImage SensorOnboard Processor Inputs/OutputsSetupSoftwareAcquisition CalibrationPost-Processing Reconstruction LabelingGap Filling CleaningSolving Motion CaptureFacial Motion CaptureFacial Actor SurveyActor Survey-Hardware Reference DataStatistical DataFacial RiggingFacial Acquisition AudioFacial Motion Capture SolvingReal Time Motion CaptureReal Time UsesReal Time LimitationsAlternate TechnologiesMotion Capture ResourcesVirtual ProductionWorld Building Previsualization Onset VisualizationVirtual CinematographyChapter 5 Stereoscopic 3DHow 3D WorksAccommodation and ConvergenceInteraxial SeparationToe-in versus Horizontal Image TranslationParallax or Depth BudgetPositive and Negative ParallaxFloating WindowsFix It in PostStereoscopic DesignThe Emerging Grammar of 3D CreativeUse of Depth PrevisualizationAvoiding Painful 3DThe Aesthetic of Scale Cutting for 3DDesigning for Multiple Release FormatsImmersion-Based versus Convergence-Based StereoNative StereoPre-ProductionOn-SetStereography in the Visual Effects ProcessStereography for FinishingHFR as a solution for better 3D moviesSummaryVFX Elements and StereoIntroduction – How VFX Elements are UsedNative Stereo ContentMono Capture – Packaged script and Element DeliveriesMono Capture – Hybrid Approach for Stereo DeliveryMono Capture – Full CG Approach for Stereo DeliveryCreating Depth – Layout and StereographyStereo Camera – Depth WedgesStereo CompositingRequesting a Full CG stereo Render Mid-ProductionVFX Production TasksSummary2D to 3D ConversionDepth Creation PreparationVisual Analysis of 2D Depth CuesPre-Production and Previs for ConversionSource and Target PerspectiveShared Shots/Shared WorkflowsMain Stages of 2D-to-3D ConversionMajor 2D-to-3D Conversion WorkflowsSpecial CasesReprojection Mapping WorkflowPixel Displacement or Pixel ShiftingOther 2D-to-3D Conversion WorkflowsIs "Real" Always Right?2D-to-3D Conversion ManagementStereoscopic Visual EffectsPrepping for the Third Dimension Shooting the Third DimensionVisual Effects in the Third Dimension Photographed ElementsAccuracy and Attention to Detail Artistic Skill LevelData ManagementStereoscopic Digital Intermediate WorkflowStereoscopic 3D Process Milestones Viewing 3D DailiesProjection Screens for Stereoscopic Viewing3D Editorial ProcessesData WorkflowApplying the 3D Grade3D Stereo Deliverables3D Home Video DeliverablesStereoscopic WindowThe Stereoscopic WindowPlacement of the Window in Relation to the 3D SceneWindow ViolationsWindow Placement LogicHow to Create a Stereoscopic WindowProducing Movies in Three DimensionsDevelopment—Getting the Green LightProduction—What to Look Out for　　　Chapter 6 Post-Production/Image ManipulationResolution and Image Format ConsiderationsFormatsTransportResolutionAcademy Encoding Color System (ACES)ACES ComponentsACES BenefitsACES Color Space Encoding Viewing ACESPreparations for Using ACESImage Compression/File Formats for Post-ProductionImage EncodingStill Image CompressionFile FormatsColor ManagementThe Three GuidelinesDigital Color Image Encodings and Digital Cameras Color Management at the DesktopBringing Color Management to Film WorkflowsDigital IntermediateShot Element Pulls and Delivery to VFXIntroductionThe Lab"Production" Is To "Lab" As…The MergeThe HandoffVFX EditorialThe SelectThe PullVFX EditorialEditing within a Shot: The Art of Pre-Compositing (Precomp)How It Came to BeModern Day Tracking and Disseminating of InformationAs the Shot Changes Wrapping It UpEditorial Workflow in Feature AnimationIntroductionEditorial Crew Staffing and StructureEditorial Involvement with Feature Animation Production StagesCommunication with ArtistsStartingWorking with TeamsWorking GloballyReference and PerspectiveShot ProductionCommunicating with Artists in Other Departments CompletionCompositing of Live-Action ElementsModern Digital CompositingScene TrackingRotoscoping and Paint RotoscopingDigital Painting and Plate ReconstructionMatte Paintings/Creative EnvironmentsMatte Paintings: Art of the Digital RealmWhat Is a Matte Painting?Matte Painting Pioneers and HistoryVisualizing the Matte Painting Shot in Pre-ProductionOn-Set Supervision for Matte Painting ShotsBasic Skills and Tricks of the TradeMiniatures and Computer-Generated SetsFinding the Best FrameRe-Projected Photo SurveyThe Need for Creative Compositing3D Matte PaintingChapter 7 Digital Element CreationDigital ModelingOverview: The Importance of ModelingTypes of ModelingModel Data TypesDevelopment of ModelsModeling for a Production PipelineEngineering Aspects for PolygonsEngineering Aspects for NURBSRigging and Animation RiggingRigging: What Is It?Animation RiggingDeformation RiggingTexturing and SurfacingThe Importance of Texture PaintingHard Surface ModelsCreature ModelsTypes of Geometry: Their Problems and BenefitsPrepping the Model to Be PaintedTexture CreationVarious Other Map-Driven EffectsTexture Painting in ProductionModel EditingDigital Hair/FurHair Generation ProcessGeneral Issues and SolutionsDigital FeathersMorphology of Real Feathers Modeling Digital FeathersSimilarities between Hair and FeathersDifferences between Hair and FeathersGeneral Geometry InstancingAsset CreationWorld BuildingShot ConsiderationsDynamics and SimulationHow Is a Simulation Created?When Is Simulation Appropriate?Tricks and CheatsImportant ConsiderationsPlanning and PreparationSoftware Solutions: A Broad Overview of Current Options　ParticlesWhat Are Particle Systems?The Next StepThe Birth of ParticlesCreating EffectsRigid-Body DynamicsHow Rigid-Body Dynamics Are CreatedPotential ProblemsOther IssuesTricks for Getting It DoneDigital LightingLight in Reality and in Computer GraphicsCase Study of Reality Compared with Simple CG SimulationVisual Sophistication through Texture MappingPhysically Derived Shading ModelsBeneath the SurfaceGoals of Lighting in Visual EffectsWork Flow for Successful Creative Digital LightingThe Technologies of Lights in Computer GraphicsDirect Lighting: Source to Surface to CameraReflectionsPhotographed ReflectionsShadowsImage-Based LightingRendering OcclusionAmbient OcclusionReflection OcclusionCreating Light Sources from Environment MapsPhysically Based RenderingPhysically Plausible RenderingVolumetric Lighting EffectsShader BasicsWhat Are Shaders?Shading ModelsBump and DisplacementMap-Based ShadersProcedural ShadersShader DesignAntialiasing Considerations2D Compositing2D File FormatsImage Quality: Color Bit Depth and ConcatenationLog vs. LinearLow Dynamic Range and High Dynamic Range ImagesMattes and Pre-multiplied AlphaWorking with Rendered CG ElementsIntegration Techniques2.5D CompositingZ-Depth CompositingAdding Depth of FieldAdding Motion BlurRelighting3D CompositingWorking with 3D Data in a CompositorPan and TileCamera ProjectionsSet ExtensionsCoverage MappingCubical Camera Setup3D Mattes3D Retouch and CleanupAdjusting Camera MovesParticlesDeep CompositingCrowd Generation and Simulation TechniquesLive-Action ReplicationSpritesComputer-Generated CrowdsModeling for ReplicationVariationMesh DensityAnimation Cycles for ReplicationMotion CaptureKeyframe AnimationDynamic Motion SynthesisBehaviors and Crowd ControlCG Prosthetics and Actor EnhancementsOn-Set Tracking and Capture ConsiderationsEye Enhancements3D Techniques2D Techniques2.5D TechniquesSilhouette ChangesRe-Projection3D Products, Systems, and SoftwareDigital Element Creation Process3D Graphics Software3D TrackingSpecial EffectsRenderingTexturingChapter 8 Interactive Games - (Revised)OverviewHow the Gaming Industry and Film/TV Industries are differentGame Engines and Real Time RenderingRuntime ComponentDisciplines and Job TitlesGame DesignEngineering:Production:TestArtThe Art Director:Concept ArtEnvironment Artists:Texture Artist:Characters:Hard Modelling:Props:Lighting:EffectsTech ArtAnimationUIReal Time Shaders and MaterialsPre-Rendered Cinematics vs. Real Time VisualsOptimization and Runtime Budgets:Performance Analysis and Profiling:CPU vs. GPU boundTechnical Terminology: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 ShadersAR/VRFuture of GamingOn-demand Rendering, Cloud Distribution and RaytracingChapter 9 Complete AnimationWhat is an Animation Project?Full Animation versus Visual EffectsDifference Between Visual Effects and AnimationProduction PipelinesProductionA Survey and History of Animation TechniquesTraditional AnimationStop-MotionComputer Graphic TechnologyConsiderations for a Full CG-Animated Feature PipelineCG Feature Animation PipelineManaging an Animated FilmFilm Management and Personal StyleBuilding Brain TrustsBuilding the Core Creative TeamWriting and Visual DevelopmentWorking with a StudioFacilities and EnvironmentManaging the EventThe Production Process: An Animator's PerspectiveWorking on CG-Animated Content in Live-Action FeaturesPlanning the ProcessProductionCharacter and Environment InteractionChapter 10 Other Workflow ConsiderationsVirtual Studio TechnologyAnalysis of a Production WorkflowFrom Workflow to PipelineService Bureau versus In-House RequirementsDesign of a Production WorkflowFrom Analysis to DesignDeploying a Production WorkflowFrom Design to Implementation　　InfrastructureTracking AssetsWhat Is Task and Asset Tracking?Commercial Task and Asset Tracking SystemsBuilding Task and Asset Tracking SystemsScene Assembly3D Scene Assembly2D Scene Assembly (Compositing)Working across Multiple FacilitiesImagesModelsTexturingAnimationCompositingR&DChapter 11 VR/AR (Virtual / Augmented Reality)Prelude to Virtual Reality & Augmented RealityPre-Production for VR/ARProduction for VR/ARPost Production for VR/AREditorial Post Production for VR / ARHow to direct the viewer?The post-processNon-Linear Editorial, Timelines & EditsWorld Lock and Forced PerspectiveTypes of Head-Mounted and Handheld DisplaysWhat are the HMD and the "VR Presence"?Electronical Designs of HMDs and their respective performancesOptical Designs of HMDs and their Respective UsagesImage Quality Factors in VR HMD DisplaysHemispheres & DomesGame Mechanics are what it is all aboutOvercoming doubt and preconceived notionsDome ProjectionsThe Future of DomesVR / AR Tracking DisplaysUses of VREnterpriseNarrative StorytellingFuture of VR & ARThis is just the beginningAcknowledgmentsAppendix A: Charts and FormulasAppendix B: Credits/Titles to Be Submitted in Accordance with VESGuidelinesAppendix C: GlossaryIndexBiography Jeffrey A. Okun, VES, is an award winning Visual Effects Supervisor, having worked on a large number of feature films, commercials and television shows and started in the industry in 1976. He is a member and a Fellow of the VES, The Academy of Motion Pictures, Arts and sciences as well as ASC, the Television Academy and the Editor’s guild. He was the chair of the VES for 9 years and 1st vice chair for 16 years, and chair of the L.A. Section for 2 years. He created the VES awards along with Tim McGovern and Kim Lavery. Okun created a visual effects tracking and bidding software in 1992 that is in wide use within the industry today, as well as the revolutionary visual effects techniques dubbed the "PeriWinkle Effect" (an underwater blue screen technique) and the "Pencil Effect" (accurately predicts the final visual effects count and budget).Susan Zwerman, VES has been a member of the VES since 1998. She is a highly respected Visual Effects Producer who has been producing visual effects for more than 25 years. Zwerman is also a well-known seminar leader and author. As Chair of the DGA’s　UPM/AD　VFX Digital Technology Committee, Susan emphasizes the importance of the visual effects teams to DGA members at visual effects seminars organized under her guidance.