Visual effects in film and TV 2

Not scheduled

Subject guarantor:

Antonín WEISER

Name of lecturer(s):

Jakub JEŽEK, Antonín WEISER

Learning outcomes of the course unit:

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

Mode of study:

Lecture with practical examples

Prerequisites and co-requisites:

Completing lectures by Ing.Hřebačky - Digital Workflow1.

Ing. Bernas - Colorimetrics,visual effects in film and TV I. - Teaching assist. .J.Ježek, doc. Mgr. A.Weiser

Courses: Teaching assist. .J.Ježek - SkatchUP and Frame Forge.

Course contents:

This course is linked to lectures in „VISUAL EFFECTS IN FILM AND TV I+II.“ The lecturer presents 3D techniques in the film and TV industries using film examples from around the world and from the lecturer's own cameraman experience. Preparations of a project with VFX scenes with the basics of workflow in production and post-production. Along with lectures there are practical tasks „VFX exercise“ in the department studio in LP and the LDK workshops. Students complete exercises independently under the guidance of Teaching assist. J.Ježek and Doc. A. Weiser.

Instruction is through presentation and screening of examples for all VFX techniques covered.

Topic:

1. DEVICES IN PRE-PRODUCTION

1. SHOOTING PLAN - CAMERA SCHEMATIC

2. CG PREVIEW

1. TECHNIQUES

(A) ANIMATIC

(B) PRE-LIGHTING

2. DEVICES

A) SKETCH UP - USEFUL FOR PRO STORYBOARDING ALSO

B) FRAME FORGE

C) MAYA

D) BLENDER

3. ANIMATION

A) CHARACTERS

B) OBJECTS

C) CAMERA

D) LIGHTS

2. PRODUCTION

1. ROLE OF THE VFX SUPERVISOR

2. KEY TECHNOLOGY

A) CYCLORAMA

B) BACKDROP

3. TRACK INDICATORS

A) CAMERA TRACKING

B) OBJECT TRACKING

4. HDRI DATA

5. REFERENCE DATA

6. LIDAR SCANNING

7. LIGHTING TECHNOLOGY

3. SPECIAL SHOOTING TECHNOLOGY

1. HIGH-SPEED / SLOW-MOTION

A. DATA FLOW

B. lIGHT FLICKERING COMPENSATION

2. TIME-LAPSE

C. DATA FLOW

D. EXPOSURE DIFFERENCE

3. TILT-SHIFT

4. MACRO AND MICROSCOPIC CINEMATOGRAPHY

5. STOP-MOTION ANIMATION

4. PRODUCTION METHODS IN POST-PRODUCTION

1. REPEATED POST-PRODUCTION WORKFLOW

2. DEVICES FOR NLE EDITING

3. R&D

A. PRODUCING DEVICES FOR PIPELINE - ORGANIZING DATA IN A PROJECT

B. DEVICES FOR 3D

C. DEVICES FOR 2D

5. PRACTICAL EFFECTS

1. FRONT AND REAR PROJECTION - USEFUL KEY LOCATIONS

2. PYROTECHNICS

A. GUNS AND BULLETS

B. FIRE

C. EXPLOSIONS

3. SHATTERING

D. BUILDINGS

C. OBJECTS

4. ROBOTICS

A. ANIMATRONIC FIGURES

B. REMOTE CONTROLLED PROPS

5. MODELS, DUMMIES AND MINIATURES

A. TECHNIQUES

1. SHUFTAN PROCESS

2. PHOTO CUT-OUT

B. PARAMETERS INFLUENCING MODEL PRODUCTION

1. MOVEMENT SPEED

2. SCALE

3. MATERIALS

4. SCALE OF SURFACE TEXTURE

5. OPTICAL PARAMETERS OF THE SELECTED LENS

C. TYPES OF MODELS AND MINIATURES

6. ATMOSPHERIC EFFECTS

7. PRODUCING ELEMENTS FOR POST-PRODUCTION

1. MULTIPLYING CROWDS

2. EXPLOSIONS

8. MAKE-UP

1. TRADITIONAL PROCESSES

2. CUT WOUNDS

3. LARGE TISSUE

4. ATD

6. MOTION TRACKING

1. PRINCIPLE AND USE

2. CONTEMPORARY PROCEDURES

3. PRACTICAL EXERCISE

7. DI (DIGITAL IMAGING) - COLOR GRADING

1. GRADING SYSTEMS

A. HARDWARE SYSTEMS

1. BASELIGHT

2. QUANTEL PABLO

3. NUCODA

B. SOFTWARE SYSTEMS

1. DA VINCI RESOLVE - PRACTICAL WORK IN DL

2. ADOBE SPEEDGRADE CS6

3. APPLE COLOR

4. FINAL CUT

2. PRACTICAL GRADING

A. PRIMARY AND SECONDARY COLOR CORRECTION

B. POTENTIAL AND LIMIS OF DIGITAL IMAGE COLORING

C. POTENTIAL STYLIZATION OF AN IMAGE AND ITS DEVICES

8. 2D PRODUCTION

1. ROTO & PAINT

A.RETOUCHING

B. ROTOSCOPING GUISES - PREPARATIONS FOR COMPOSITING

2. COMPOSITING

A. HISTORY - PREDECESSORS - OPTICAL COPIERS, AIR IMAGE

B. HISTORICAL COMPOSITION TECHNIQUES

C. DIGITAL COMPOSITION

1. KEY TECHNOLOGY

A. PRIMATE

B. KEYLIGHT

C. LUMA

D. CHROMA

E. ULTIMATE

2. MANNER OF ASSEMBLING IMAGE ELEMENTS

3. TRANSFORMATION

4. WARPING / MORPHING

5. CHROMATIC ABBERATIONS

6. BOKEN FOCUSSING

7. MOTION BLUR

8. OBJECTIVE DEFORMATION

9. COLOR SAMPLING

10. FILM GRAIN - GRAIN / NOISE

11. ANIMATION PARAMETERS

3. DIGITAL MATTE PAINTING - DRAWING COMPLETION

A. HISTORICAL PROCEDURES

B. SNOW

C. DAY AND NIGHT

D. DIGITAL ENVIRONMENT

E. PERSPECTIVE TRICKS

9. REPETITION - PREPARATION OF EFFECTS PROJECTS

1. PLANNING

2. ANALYSIS

3. PROPOSAL CREATION

4. PRECISE CHARACTERISTICS

5. TECHNOLOGICAL REHEARSALS

6. BUDGET

7. ORGANIZATION OF PRODUCTION

8. PIPELINE

9. ON-SET SUPERVISOR

10 SHOOTING RECORDING

11. PLANNING POST-PRODUCTION

12. MANAGEMENT AND CONTROL OF PRODUCTION

Recommended or required reading:

Richard Rickitt „The History and Technique Special effects“,

Steve Wright „ Digital Compositing for Film and Video“, First edition

Steve Wright „Digital Compositing for Film and Video“, Second Edition

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:

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Further information:

No schedule has been prepared for this course

The subject is a part of the following study plans:

• Cinematography - 1718 (required subject)