Visual effects in film and TV 2

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
304EVEF2 ZK 2 3T English summer

Subject guarantor

Name of lecturer(s)

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.“ Through film examples from world cinema and cameraman practice, the instructor guides students through fundamental VFX techniques in the film and TV industry. There are 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 exercises“ in the department studio in LP and the LDK workshops. Students complete exercises independently under the guidance of Teaching Asst.. J.Ježek and Asst.Prof. A. Weiser.

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

Topics:

  1. DEVICES IN PRE-PRODUCTION

A) SHOOTING PLAN - CAMERA SCHEMATIC

B) CG PREVIEW

1.1 TECHNIQUES

(A) ANIMATIC

(B) PRE-LIGHTING

1. 2. DEVICES

A) SKETCH UP - USEFUL FOR PRO STORYBOARDING ALSO

B) FRAME FORGE

C) MAYA

D) BLENDER

1.3. ANIMATION

A) CHARACTERS

B) OBJECTS

C) CAMERA

D) LIGHTS

  1. PRODUCTION

2.1. ROLE OF THE VFX SUPERVISOR

2.2. KEY TECHNOLOGY

A) CYCLORAMA

B) BACKDROP

2.3. TRACK INDICATORS

A) CAMERA TRACKING

B) OBJECT TRACKING

2.4. HDRI DATA

2.5. REFERENCE DATA

2.6. LIDAR SCANNING

2.7. LIGHTING TECHNOLOGY

  1. SPECIAL SHOOTING TECHNOLOGY

3.1. HIGH-SPEED / SLOW-MOTION

A. DATA FLOW

B. lIGHT FLICKERING COMPENSATION

3.2. TIME-LAPSE

C. DATA FLOW

D. EXPOSURE DIFFERENCE

3.3. TILT-SHIFT

3.4. MACRO AND MICROSCOPIC CINEMATOGRAPHY

3.5. STOP-MOTION ANIMATION

  1. PRODUCTION METHODS IN POST-PRODUCTION

4.1. REPEATED POST-PRODUCTION WORKFLOW

4.2. DEVICES FOR NLE EDITING

4.3. R&D

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

B. DEVICES FOR 3D

C. DEVICES FOR 2D

  1. PRACTICAL EFFECTS

5.1. FRONT AND REAR PROJECTION - USEFUL KEY LOCATIONS

5.2. PYROTECHNICS

A. GUNS AND BULLETS

B. FIRE

C. EXPLOSIONS

5.3. SHATTERING

A. BUILDINGS

B. OBJECTS

5.4. ROBOTICS

A. ANIMATRONIC FIGURES

B. REMOTE CONTROLLED PROPS

  1. MODELS, DUMMIES AND MINIATURES

A) SHUFTAN PROCESS

B) PHOTO CUT-OUT

6.2. PARAMETERS INFLUENCING MODEL PRODUCTION

A) MOVEMENT SPEED

B) SCALE

C) MATERIALS

D) SCALE OF SURFACE TEXTURE

E) OPTICAL PARAMETERS OF THE SELECTED LENS

6.3. TYPES OF MODELS AND MINIATURES

  1. ATMOSPHERIC EFFECTS

A) REFERENCE

B) 3D MODELLING

  1. PRODUCING ELEMENTS FOR POST-PRODUCTION

A). MULTIPLYING CROWDS

B)EXPLOSIONS

  1. MAKE-UP

A) TRADITIONAL PROCESSES

B) CUT WOUNDS

C) LARGE TISSUE

D) ATD

  1. MOTION TRACKING

A) PRINCIPLE AND USE

B) CONTEMPORARY PROCEDURES

C) PRACTICAL EXERCISE

  1. DI (DIGITAL IMAGING) - COLOR GRADING

11.1 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

11.2. PRACTICAL GRADING

A) PRIMARY AND SECONDARY COLOR CORRECTION

B) POTENTIAL AND LIMITS OF DIGITAL IMAGE COLORING

C) POTENTIAL STYLIZATION OF AN IMAGE AND ITS DEVICES

12. 2D PRODUCTION

12.1. ROTO & PAINT

A) RETOUCHING

B) ROTOSCOPING GUISES - PREPARATIONS FOR COMPOSITING

12.2. COMPOSITING

A). HISTORY - PREDECESSORS - OPTICAL COPIERS, AIR IMAGE

B) HISTORICAL COMPOSITION TECHNIQUES

C) DIGITAL COMPOSITION

12.3. KEY TECHNOLOGIES

A). PRIMATE

B). KEYLIGHT

C). LUMA

D). CHROMA

E) ULTIMATE

12.4. MANNER OF ASSEMBLING IMAGE ELEMENTS

A) TRANSFORMATION

B) WARPING / MORPHING

C) CHROMATIC ABBERATIONS

D) BOKEH FOCUSSING

E). MOTION BLUR

F) OBJECTIVE DEFORMATION

G) FILM GRAIN - GRAIN / NOISE

H) ANIMATION PARAMETERS

12.5. DIGITAL MATTE PAINTING - DRAWING COMPLETION

A). HISTORICAL PROCEDURES

B) SNOW

C) DAY AND NIGHT

D) DIGITAL ENVIRONMENT

12.6. PERSPECTIVE TRICKS

A) NODE POINT

B) DEPTH OF FOCUS

  1. REPETITION - PREPARATION OF EFFECTS PROJECTS

A) PLANNING

B) ANALYSIS

C). PROPOSAL CREATION

D) PRECISE CHARACTERISTICS

E) TECHNOLOGICAL REHEARSALS

F) BUDGET

G) ORGANIZATION OF PRODUCTION

H) PIPELINE

I) ON-SET SUPERVISOR

J) SHOOTING RECORDING

K) PLANNING POST-PRODUCTION

L) 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, grade credit takes place individually in a test and interview; topic questions, explanation of processes in particular examples

Grading:

A) 60% lecture attendance

B) level of knowledge and bearing in the field.

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