Visual effects in film and TV 1

Display Schedule

Subject guarantor:

Antonín WEISER

Name of lecturer(s):

Jakub JEŽEK, Antonín WEISER

Learning outcomes of the course unit:

To introduce students to the basics of digital post-production VFX technology. Those completing the course will understand the basic principles of how to prepare and complete a project with VFX scenes.

Mode of study:

lecture with instructed practical

Prerequisites and co-requisites:

Basic orientation in digital post-production technology

Course contents:

This course is intended as a basic introduction to the techniques and technology used in the creation of contemporary VFX shots. This covers an analysis of the story, a visual emphasis and support of the drama situation. An introduction from the viewpoint of the use of VFX effects, their creation using the most diverse devices and evaluation. The lecturer presents basic VFX techniques in film and TV using film examples from around the world and the lecturer's own cameraman experience. Preparation of a project with VFX scenes and the basic workflow in production and post-production. Instruction is through presentation and screening of examples for all VFX techniques covered. Also through practical exercises in the studio and shooting a foundation for VFX and its development in LDK.

1. SIGNIFICANCE AND DIVISION OF FILM EFFECTS

REQUIREMENTS OF vfx

STORY ANALYSIS AND VISUAL DEVELOPMENT IN RELATION TO VFX.

2. BASIC CONCEPTS OF EFFECTS TERMINOLOGY

EFFECTS RECORDING

EFFECTS SHOOTING

VFX - VISUAL EFFECTS - ALL DELIVERED IN POST-PRODUCTION

PARTICULAR EFFECTS - (SPECIAL EFFECTS) SFX SPECIAL EFFECTS

DIGITAL TECHNOLOGY 2D - 3D

3. DIGITAL TECHNOLOGY - 2D BASIC

1. ROTOSCOPING - MANUAL ANIMATING, VECTOR MASKS

2. KEYING - PRESENTING SPECIAL COLORS IN THE SHOT ON A GUISE

3. TRACKING - ANALYSIS OF A SHOT FOR MOVEMENT IN AN IMAGE

4. COMPOSITING - ASSEMBLING VARIOUS EFFECTS INTO THE SHOT

5. EXAMPLES OF INDIVIDUAL TECHIQUES

4. DIGITAL TECHNOLOGY - 3D BASIC

1. PRODUCTION OF 3D EFFECTS

2. PRODUCTION OF 3D MODELS

3. PRODUCTION OF 3D SCENES

4. DIGITAL COMPOSITION WITH A 3D CAMERA

5. FILM PROJECT WITH EFFECTS SCENES PRODUCTION

1. PREPARATION FOR PROJECT PRODUCTION

1. SCREENPLAY

2. TECHNICAL SCRIPT

3. GRAPHIC PROPOSAL, PRECISE CHARACTERISTICS, CONCEPTS

4. STORYBOARD

5. CG STORYBOARD - WITH CAMERA MOVEMENT PLAN

6. CAMERA SCHEMATIC

7. TECHNOLOGY ANALYSIS

8. BEGINNING OF MODELLING FOR POST-PRODUCTION (ALSO USEFUL IN THE PREVIEW)

9. CG ANIMATIC - PREVIEW

10. CG PRE-LIGHT

11. BACKGROUND, PROPS AND COSTUME PRODUCTION

12. TECHNICAL REHEARSALS

13. PYROTECHNICAL REHEARSALS

A) EXPLOSIONS

B) DESTRUCTION

C. REFERENCE EFFECTS REHEARSALS AND SHOTS

14. SELECTION OF CAMERA TECHNOLOGY

A) LENS SELECTION

B) CAMERA SELECTION AND TEST

C. IMAGE AND EXPOSURE TESTS

D) SELECTS OF RECORDING AND REPOSITORY

E) COMMUNICATION WITH VFX PERSONNEL AND ON-LINE POST-PRODUCTION

F) SELECTION OF CAMERA EQUIPMENT

G) MOVEMENT TECHNOLOGY FOR CAMERAS: ROLLING, SHOULDER, CRANE, DRONE

15) SELECTION OF LIGHTING TECHNOLOGY

16) PLANNING PRACTICAL EFFECTS

17) BUDGET

18) PRODUCTION ORGANIZATION

19) PIPELINE

20) ON-SET SUPERVISOR

21) RECORDING - SHOOTING

22) PLANNING POST-POSTPRODUCTION

23) PRODUCTION MANAGEMENT AND CONTROL

2. TECHNOLOGICAL PREPARATIONS OF 2D AND 3D VFX POST-PRODUCTION TASKS

REPETITION IN RELATION TO INSTRUCTION IN DIGITAL WORKFLOW - ING.HŘEBAČEK

1. PARAMETERS OF DATA FLOW

1. VIDEO AND IMAGE FORMATS

2. CODECS

3. FRAME RATE

4. SPACING

A. INTERLACE

B. PROGESSIVE

5. CHROMA SUBSAMPLING

6. COLOR SPACES AND THEIR MANAGEMENT

A. LUT - CREATION OF ONE'S OWN LUT (SOFTWARE 3D LUT CREATOR

B. REFERENCE COLOR SPACE

C. WORKING COLOR SPACE

D. ORIGINAL COLOR SPACE

E. IMAGE PROCESSING SYSTEM IS-100

7. BIT RATE

2. PRIMARY IMAGE DATA - RAW VS OTHERS

1. DEBAYERING (DEMOSAICING)

2. INTERPRETATION OF THE DIGITAL IMAGE FROM THE CAMERA

3. INTERPRETATION VS IMAGE DEGRADATION

4. DIGITAL CAMERA SHOT PARAMETERS

A. SELECTION OF SHOTS ACCORDING TO DATA FLOW PARAMETERS

B. CAMERA SELECTION

1. SENSORS AND THEIR PARAMETERS

A. BAYER MASK

B. RESOLUTION

C. PRACTICAL SENSITIVITY

D. SENSITIVITY TO DAY AND ARTIFICIAL LIGHTING

2. IMAGE AND EXPOSURE TESTS - OBJECTIVE AND SUBJECTIVE EVALUATION OF IMAGE QUALITY

3. DATA PREPARATION FOR SHOOTING - PRODUCTION

1. SHOTS FROM THE PREVIEW

2. PRELIGHT AND SHOOTING PLANS

3. CONCEPTS

4. MOTION CAPTURE

4. WORK ON LOCATION

1. MOTION CAPTURE

2. PREPARATIONS FOR DAILY WORK PROJECTIONS - DAILIES

3. ON-SET GRADING

4. METADATA

5. TRANSFER OF PRIMARY IMAGE DATA FROM PRODUCTION

1. METADATA

2. FOR NLE EDITING

3. FOR MATCH GRADING

4. FOR CG PRODUCTION

6. FINAL MASTER DATA PRODUCTION

1. DCP FOR CINEMAS

7. LUT - GENERATED IMAGE PROFILE

1. FOR PRODUCTION

2. FOR EQUIPMENT MONITORING

3. SHOOTING - PRODUCTION

1. SUPERVISION OF KEYING TECHNOLOGY

2. HDRI DATA COLLECTION

4. POST-PRODUCTION

1. NLE EDITING - AVID, PREMIERA

2. CG PRODUCTION

1. R&D

A) DEVICE PRODUCTION FOR THE PIPELINE - ORGANIZING PROJECT DATA

B) 3D DEVICES

C) 2D DEVICES

2. TRACKING

A) CAMERA TRACKING

B) PLANAR TRACKING

C) OBJECT TRACKING

D) MOTION CAPTURE

3. 3D

A) LAYOUT

B) MODELLING

C) TEXTURING

D) RIGGING / SETUP

E) ANIMATION

F) VFX

G) LIGHTING

H) RENDERING

4. 2D

A) ROTO AND PAINT - RETOUCHING AND ROTOSCOPING

B) COMPOSITING

5. DI - COLOR CORRECTION.

Recommended or required reading:

Richard Rickitt „The History and Technique Special effects"

Jon Gress „Digital visual effects & compositing“, 2015

Assessment methods and criteria:

Credit is awarded based on participation in lectures and classes, graded credit takes place individually in a test and interview; topic questions, explanation of processes in particular examples

Grading: level of knowledge and orientation in the study.

Course web page:

Note:

----

Schedule for winter semester 2017/2018:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed
Thu	room 226 Room No. 226 (Lažanský palác) WEISER A. 09:00–11:25 (přednášková par. 1)
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Thu	09:00–11:25	Antonín WEISER	Room No. 226 Lažanský palác		přednášková par. 1

Schedule for summer semester 2017/2018:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Cinematography - 1718 (required subject)