INDEX
An f following page numbers indicates a figure and t indicates a table.
Abbott, L.B. “Bud,” 6
Abel, Robert, 310
Academy Density Exchange Encoding, 527
Academy printing density, 526
Accelerometer, 336
Acme-Dunn Special Effects Optical Printer, 8
Action miniatures, 305
Action models, 289
Action pacing, 45
Action props, 90
Action set pieces, 91
Action/adventure games, 719
Active appearance models, 375–376
Active markers, 356
Actors
computer-generated enhancements of, 696
digital, 549
digital character interactions with, 135
eye-line references for, 82, 83, 134f, 164
markers on, 171
motion capture. See Motion capture, actors props for, 133, 134f, 135f
shooting of, 241
transparent, 162
witness camera preparation of, 171
Adventures of Tintin, The, 73, 75
Aerial plates, 230
Agile development, 732
Aging of miniatures, 303
A.I.: Artificial Intelligence, 303f
Aircraft
canopy reflections, 114
flying creatures represented using, 166
Aladdin, 768
Aliens, 11
Alpha, 732
Alvin and the Chipmunks, 166, 776–777
AMPAS Image Interchange Framework, 522f, 523, 528
An American in Paris, 8
Angular parallax, 393
Animated films
change in, managing of, 772–773
core creative team for, 765
facilities and environment for creating, 769–773
post-production, 773
producer of, 762
script for, 766
storyboards, 766
studio involvement in, 767–768
technology considerations, 773
visual development of, 766–767
Animated storyboards, 67
Animatic, 543
breakdowns, 749
cel, 748
characters. See Computergenerated characters
cloth and hair, 745
computer graphics use in, 754–756. See also Computer-generated animation
crowd-generation replication, 692
forced perspective in, 408f
ghosting effects in, 445
key lighting in, 746
key posing, 749
keyframed, 640
layout in, 744
live-action films versus, 739
pipeline, 738
proprietary systems, 825
prototypes, 729
stop-motion. See Stop-motion
visual effects versus, 740–747
Animation blocking, 64
Animation capture, on-set, 169–172
wireless nonvideo motion capture, 169
witness cameras. See Witness cameras
Animation rig, 64, 602f, 603, 605
Animation Supervisor, 79
Apocalypto, 241
Arbitrary output variables, 821, 822
Archiving, 808
Area light, 661f
Armature, 276
Art department
animation use of, 746
concept art studies created by, 28
lidar scanning use by, 142
members of, 28
Articulated mattes, 571
Artifacts, 563
Artificial intelligence, 694
Artists
communication with, 545–550, 792
direction and guidance given to, 547
teams, 546
As-built surveys, 142
ASC color decision list, 221, 222
ASC/ADG/VES Joint Technology Subcommittee on Previsualization, 70
ASCII files, 258
Assets
description of, 21
global, 810
surface, 811
virtual, 811
Assistant Directors previs uses by, 60
Associate Producer, 771
Audience previews, 774
Automatic conversion, 426
Avatar, 3, 12, 46, 73, 75, 438, 737, 775–776
Avid Log Exchange file, 441
Backdraft, 300f
Background
foreground lighting to match, 111–112
quality of, for live-action plate filming, 224
shooting elements against, 236–237
Backings
backlit, 109
bluescreen. See Blue screens
brightness balanced with shooting stop, 103–105
color selection, 107–109, 108f
digital-type, 98
foreground lighting affected by, 114–115
function of, 97
greenscreen. See Green screens
spill light on, 116
translucent, 109
types of, 109
white-lit, 103
Backlit backings, 109
Ballpark budget, 19
Bambi, 768
Banding, 683f
Baseline, 182–183, 182f, 183f, 184f, 192f
Batman Returns, 12
Bay, Michael, 737
Bayer pattern mosaic sensor layout, 210
Beating waves, 492
Beauty and the Beast, 768
Bedknobs and Broomsticks, 7
Behavioral model, 381
Behavioral solvers, 370
Beier, Thad, 229
Bent normals, 667
Beta, 732
Bezier, Pierre, 10
BG plate, 537
materials necessary for, 20
rebidding, 23
reviewing of bids, 22
Bidirectional reflectance distribution function, 654
Binary numbers, 471
Bioshock, 709
Birds, The, 76
Bissell, Jim, 56
Black Narcissus, 5
Black-and-white film processing, 554
Blemish removal, 696
Blend shape deformer, 379
Blinn, Jim, 10
Blue bounce, 124
Blue Max system, 6
Blue record, 556
AIM, 557
backlit, 109
chroma blue, 555
correction of, 98–103, 100f, 123
digital blue, 555
explosions shot against, 241
exposure errors, 566
film stock considerations, 466
foreground
lighting of. See Foreground, lighting of
function of, 97
history of, 6
illumination from, 114
optical compositing, 555
overhead lighting of, 101
peak transmission of, 556
reasons for using, 94
replacing the blue of, 555
self-illuminated, 557
shooting elements against, 236–237
ultramarine blue used in, 555, 556
white card method for balancing of, 106f, 106–107
Bluescreen photography
clean plates for, 163
compositing software for, 125–127
extractions
degraining before, 567
factors that affect, 565
keys used in, 564
Blu-ray movies, 468
Body animation rigs, 604
BodyPaint 3D, 706
Bokeh, 271
Booming shots, 226
Bounce light
blue, 124
description of, 650
environmental, 112
green, 124
Boy Who Could Fly, The, 56, 231
Bracketing, 156
Breaking the mask, 412f, 412–413
Brevig, Eric, 463
Broken Arrow, 310f
Brown, Garrett, 231
Bruce Almighty, 115, 116f, 229
Buckaroo Banzai, 245
Buckley, Buck, 275f
accuracy in, 41
adjustments to, 26
ballpark budget, 19
bidding. See Bidding
detailed budgets, 20
game development, 730
monitoring of, 23
motion capture, 339
shot design, 41
technique selection based on, 47, 50
Bundle adjustment, 363
’Burbs, The, 46
Burton, Tim, 460
Business affairs, 763
Butler, Larry, 551
Buy-in, 806
Cable overhead flying rigs, 92
Cable systems, for live-action plate filming, 231–232
Cablecam, 231
Calibration object, 363
Call sheets, 80
Camera
color bandwidth and compression of, 120–121
computer control of, 9
data mode recording mode of, 121
digital. See Digital cameras
edge enhancement settings, 121, 563
electronics for control of, 8–10
filtration issues, 122
formulas, 831
high definition, 265
high-speed
video assist, 253
light source mounted on, 96
monochrome, 374
motion capture. See Motion capture, camera
motion control, 264
nodal mounting of, 259
placement of, 81
raw colors, 514
raw mode recording mode of, 121
sharpening settings of, 121
spatial resolution of, 120
3D capture, 435f
tracking of, 73
witness. See Witness cameras
Camera angle
drawings that replicate, 76–77
road speed related to, 228
shot design and, 42
Camera assistant, 29
Camera cars, 226
road speed, 228
safety issues regarding, 226–227
stabilization of camera on, 227–228
suspension on, 226
Camera Control center, 218
Camera data recording
traditional methods of, 177–178
triangulation as method of. See Triangulation
Camera handoff, 357
Camera motion
perspective issues, 239
real-time tracking of, 172–177
tracking markers for. See Tracking markers
in virtual sets, 755
visual effects techniques and, 48
Camera tilt, 224
Camera tracking, real-time, 172–177
Cameron, James, 56, 75, 461, 737
Canopy reflections, 114
Captured density, 528
Cars
crane, 227
shots involving, 224
3D scanning of, 148
visual effects associated with, 90
Cars, 766
Casino, 587f
Cathode-ray tube displays, 208, 510
Catmull-Clark surface, 611
Cel animation, 748
Change notes, 543
Change orders, 18
Character(s)
computer-generated. See Computer-generated characters
production models of, 742
stop-motion, 276
Character riggers, 743, 779–780
Character setup, 599
Charge-coupled device, 354, 359–361
Checkerboard calibration, 365
Chicken Little, 460
Chroma blue, 555
Chromaticity, 516
Chrome balls, 139
Chrome spheres, reflective, 152–154
Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The, 306f, 630f
ChubbChubbs, The, 591
CIE XYZ colorimetry, 515–516, 516f, 520
Cineon, 12, 479–480, 506, 526, 683
Cinesync, 63
Circle fitting, 366
CircleVision rig, 271
Circular polarization, 437
Clark, Alfred, 4
definition of, 24, 99, 158, 537
locked-off camera for shooting of, 160
plate reconstruction using, 572
postprocess, 162
Clip, 107
Close Encounters of the Third Kind, 9, 11, 245
Cloth simulations, 599–600, 637, 654
Clouds, 245
Codec, 465
CODEX, 436f
Collapsing of miniatures, 307
Collision geometry, 144
Color(s)
angular subtense of, 525
chromaticity of, 516
factors that affect the perception of, 524, 525
luminance levels of, 525
RGB, 207, 476f, 477, 513–515, 517
tristimulus values of, 516
Color analysis gamuts, 516–517, 518f
Color bandwidth of camera, 120–121
Color bias in foreground lighting, 114
Color correction, 122, 219, 531, 564
Color fidelity, 510
Color grading, 446
AMPAS Image Interchange Framework for, 522f, 522–523, 528
digital color image encodings, 512–519, 515f
film workflows application of, 525–529
guidelines for, 512
International Color
Consortium architecture for, 520–521, 521f
on-set practices, 523
responsibilities of, 519
Color matching, 207f
Color negative film, 209
Color rendering, 514
Color space, 207–208, 513f, 514f
Color-difference matting, 556
Colored spheres, for lighting data capture, 152–154
Combing of hair, 622, 623f, 625f
Communication
during motion control, 265
Composite Components Co., 98, 125
Composite-based blur, 687
Compositing, 826
blends modes, 834
computer graphics, 553, 559, 685f, 685–689
computer-generated animation, 759
creative, 589
degraining running footage or still images, 567
description of, 86
elements for. See Elements
full-resolution on-set, 97
greenscreen, 223
live-action images. See Live-action images, compositing of
plate flashing/spill, 568
relighting, 567
shadows, 413
spill suppression, 566
traveling matte technique, 551–553, 551f, 552f
Composition, in matte painting, 581
Computer
camera control by, 9
interactive graphic interface for, 10
Computer graphics
advantages of, 52
animation uses of, 754–756. See also Computergenerated animation
character animation in, 754
compositing, 553, 559, 685f, 685–689
previs generated using, 66
Computer-generated animation articulation, 759
character animation and simulation, 759
compositing, 759
lighting, 759
in live-action features, 775–782
modeling, 759
post-production, 760
previs, 758
production management, 760–761
rigging in, 276
stereo disparity maps, 445
storyboard animatics, 758
technical considerations for, 761–762
texturing, 759
Computer-generated characters animation and simulation of, 759
environment interactions for, 780–782
in live-action features, 775–782
multiple-camera rigs for, 407–409, 408f
physical references on-set for, 778
postvis application to, 62
previs of, 400
textures, 782
3D, 143
tracking, 779
Computer-generated creatures
design of, 46
flying, 166
foam core representation of, 165–167
human-sized, 166
maquette of, 165
monster stick for, 82, 163–169, 166f
Computer-generated crowds, 691
Computer-generated film, 741–744
Computer-generated imagery
set extensions using, 142
Computer-generated mattes, 684
Computer-generated prosthetics, 694–697
capture, 695
eye enhancements, 695
on-set tracking, 695
re-projection, 697
silhouette changes, 697
2.5D techniques, 696
Computer-generated sets, 584–585
Concept art, 40
Constraint-based solvers, 369–370
Contact shadows, 687
Contracts, 23
Contrast, 484
Contrast masking, 477–478, 477f
Contrast ratios, 240
Convergence
breaks in, 569
description of, 75, 168, 387–388, 388f
of games, 717
3D virtual camera rig implementation of, 409–410, 410f
Coons, Steven, 10
Coordinator, 79
Correlated color temperature, 524
Cosmetic wrinkle removal, 696
Costs
asset, 21
miniatures, 286
non-shot-specific, 21
overhead, 21
postvis, 62
scanning, 509
Costumes, 31
Crane cars, 227
Cranes, motion control, 255f, 261–262, 261f, 262f
Crashing cars, 90
Cray X-MP, 11
Creative compositing, 589
Creatures
computer-generated. See Computer-generated creatures
models of, 610
stop-motion, 283
Critiquing, 772
Crossed parallax, 389f
artificial intelligence for, 694
computers for, 691
dynamic motion synthesis, 693
keyframe animation, 693
live-action replication, 690
mesh density of, 692
motion capture for, 693
sprites for creating, 691
variations in creation of, 691–692
Cruickshank, Art, 115f
Cruise, Tom, 236
C-stand, 167
Cuba, Larry, 11
Curious Case of Benjamin Button, The, 338, 583f
Cut, 19
Cut sequence, 24
Cutaways, 46
Dale, Phil, 277f
Dark Knight, The, 229, 240, 319f, 694
Data acquisition, on-set, 127–139
chrome balls, 139
data capture for, 140
definition of, 140
HDR images, 139
importance of, 127
lidar scanning. See Lidar scanning
testing benefits, 203
3D scanning systems, 145
tracking markers, 131–133, 132f
Data collectors, 79
Data handling, 202
Data storage, 508
Data tracking, 770
Data-centric workflow, 443
Day, Percy, 5
Day After Tomorrow, The, 137, 705
Daylight, 115f
Day-lit backings, 109–110, 110f
d-cinema, 205
DDD circular polarizing filter, 439
Decibels, 205
Deck the Halls, 320f
Decomposition, 817
Deep rasters, 686
Deformation rigging, 605–607, 605f
Degraf, Brad, 12
Degraining, 567
Deliverables, 794
goal of, 795
lidar scanning, 145
production workflow, 800, 806–807
DeMille, Cecile B., 8
Demoskoff, Brian, 284f
Densitometric color spaces, 526–527
Department head, 772
Depth
aerial perspective, 415
continuity of, 419
implicit cues, 415
interpupillary distance, 389, 418
scale considerations, 420
in 2D-to-3D conversion, 414–416, 415f
Depth image, 689f
Depth of field, 44, 316, 325, 358, 832
Depth-map bias parameter, 664
Descenders, 92
Detonating cord, 89
Dev Beta, 732
Diffuse maps, 614
Digital actors, 549
Digital asset management, 814
Digital blue, 555
Digital cameras
ASA ratings of, 206
chip size in, 212
color image encodings, 512–519
comparisons of, 216f
dynamic range of, 205–206, 208
high-definition sensors, 213–215, 215f
highlight headroom, 206
lenses, 218
noise in, 205
on-board recording systems for, 219, 220
on-set look management, 221–222
post-production considerations, 253
recording systems for, 216f–217f, 219–222
scene files, 221
sensitivity of, 206
solid-state memory systems, 220
tape-based recording systems for, 220
Digital characters, 135, 592f. See also Computergenerated characters
Digital Cinema Initiatives, 205, 444
Digital Cinema Package, 480
Digital cinematography, 204–222, 550
cameras. See Digital cameras
definition of, 204
terminology associated with, 204–205
Digital color image encodings, 512–519
Digital compositing, 553, 559, 561, 562
Digital content creation, 724, 725
Digital DLP projector, 95
Digital Effects, 11
Digital elements. See also Elements
feathers. See Digital feathers
hair/fur. See Digital hair/fur
models and modeling. See Digital models and modeling
particles, 642–646, 643f, 645f
production workflow algorithm for, 698f
rigging. See Rigging
simulations. See Simulations
3D products, systems, and software, 697–706
Digital feathers, 632–637, 633f, 634f, 636f
for animation, 745
description of, 136
generation process for, 621–624, 621f
hair style transitions, 630
illustration of, 620f
interpolation, 622
layers of, 626
look development phase of, 621–624
motion of, 624
optimizations, 626
procedural effects, 626–627, 627f
reference photography for, 629f
shading of, 631
shot work, 624
software programs for creating, 625, 631
Digital images
capturing of, to composite, 562–563
contrast masking, 477–478, 477f
pixel distribution, 474
run-length encoding, 473
variable-length bit sequences, 473–474
definition of, 470
format of, 465–469. See also File formats
Digital imaging technician, 218, 523
Digital intermediate
description of, 396, 467, 500, 716
4k workflow benefits for, 501, 502
data-centric workflow, 443
tape-based workflow, 443
toolsets for, 532
visual effects editor in, 544
bent normals, 667
direct lighting, 660–661, 661f
environment maps, 663, 667–668
HDR image-based, 658
image-based, 665
Lambert shading, 650–652, 651f, 652f
Phong lighting, 650–653, 651f, 652f–653f
photographed reflections, 663
shading, 625f. 650, 651f, 652–655
subsurface scattering, 655f
texture mapping, 653
volumetric lighting, 670–671, 671f
Digital matte painting, 588
Digital models and modeling, 591–601
believability issues, 593
character setup needs, 599
client servicing approach, 600
cloth simulation needs, 599–600
color and lighting, 600
decomposition of, 817
development techniques for, 595–599
freeform digital sculpting, 596
scanned 3D information, 597–598
editing of, 618
environmental, 592
hard surface, 592
example of, 593f
importance of, 591
multiple facilities use of, 825
nurbs, 594–595, 594f, 601, 611
props, 592
starting of, 34
subdivision surfaces, 595
texture painting needs, 599
voxel technology for, 593, 595
Digital Productions, 11
Digital rights management, 470
Digital sequences, 550
Digital sets, 548
Digital SLRs, 275
Digital storytelling, 11
Digital tape formats, 508
Digital-type backings, 98
Digitization, 122
Dinosaur, 57
Dinosaurs, 739
Director
meeting with, 26
previs uses by, 58
shot design guidelines for, 38
Director of Photography
description of, 29
high-speed photography experience of, 249
motion control involvement by, 266
on-set work by, 80
previs uses by, 60
Visual Effects Supervisor interactions with, 29, 204
working with, 125
“Dirty” shooting, 565
Discrete point capture, 335
Display fireworks, 90
Display reproduction gamuts, 517–518
Divergence, 393
Divergent parallax, 389f
DNG Converter, 515
Dolly shot, 584
Donner, Richard, 6
Downconverter, 238
Dupue Company, 7
Dupy, O.L., 8
Dupy Duplicator, 8
Dutch angle, 185
D-vis, 55
DX, 238
Dynamic motion synthesis, 693
Dynamic range, 205–206, 208, 267, 510
Dynamic temporal offset, 427
Edge blending, 569
Edge key, 564
Edge loops, 600
Edge ringing artifacts, 563
Edit decision list, 441–443, 544
Editing. See Visual effects editing
Editor(s)
previs use by, 61
Visual Effects. See Visual Effects Editor
Editorial department, 34–35, 64
Effects animation, 745–746, 750, 759
Ekman, Paul, 604
actors, 241
clouds, 245
costs associated with, 233
determining the needs for, 234–235
digital. See Digital elements
fog, 245
generic, 234
photographically acquired, 266, 432
props, 241
review of, 235
smoke. See Smoke
stock footage, 233
underwater, 244
visually connected, 416f
water splashes, swirls, and streams, 243–244
Ellenshaw, Peter, 5
Empire Strikes Back, The, 11
Emulsions, 120
End of Days, 286f
Entrance pupil, 180
Environment(s)
computer-generated character interactions with, 780–782
digital, 548
direct photography of, for capturing lighting information, 154–155
for games, 714–716, 715f, 716f
simulated light from, 112
stop-motion, 753
Environment maps, 663, 667–668
Environmental bounce light, 112
Environmental input, 72
Environmental modeling, 592
Enzo 3D Paint, 706
Epipolar geometry, 373
Equipment
front projection, 96
maintenance of, 84
motion capture, 340
rear projection, 95
setup problems, 203
Estar, 560
Execution of Mary, Queen of Scots, The, 3, 4
Exposure sheets, 749
Exterior scenes, 583
Eye(s)
protection for, 103
Eye enhancements, 695
Eye-line reference, 82, 83, 134f, 163–164
Face
active appearance models of, 375–376
user interface for, 380
Facial action coding system, 282f, 348, 373, 381–383, 383f, 604
Facial expressions, 149f, 383f
Facial motion capture, 370–382, 604
active appearance models, 375–376
behavioral model, 381
dense stereo reconstructions, 376
inaccuracies in, 372
markers for, 362
occlusion errors in, 373
pictorial structure models, 376
FACS. See Facial action coding system
Fantastic Four: Rise of the Silver Surfer, 166
Fast and the Furious, The, 101, 229
Fast Fourier transform, 574
Feathers, digital, 632–637, 632f–634f, 636f
Field of view, 354
Fifth Element, The, 331
50i, 212
50p frame rate, 213
Fighting games, 718
Fighting Temptations, The, 230
File formats
interchange, 793
JPEG, 480
OpenEXR, 481
Photoshop, 481
Radiance, 481
TIFF, 482
File-based workflows, 220
Fill light, 112
Film(s)
animated. See Animated films
convergence of, 717
digital images versus, 560–562
environments for, 714
information carried on, 490
pixels per height and width, 491t
production design techniques, 714–717
Film grain, 556
Film projectors, 95
Film resolution scanner, 12
Film scanning, 506–512. See also Scanning
Film stock, 466
Film-out, 466, 510–511, 529f, 755
Filter, 358
Filtration, 122
Final Fantasy: The Spirits Within, 738
Final layout, 744
Finals deadline, 23
Fire, 88–90, 307, 328–330, 329f
Fire Brigade, 3
Fire safety officer, 332
FireFox, 7
First-person games, 712, 713, 718
1st Assistant Director
motion control involvement by, 265
on-set work by, 80
1st unit, 83
Fix it in post, 396
Fix requests, 810
Fixed pattern noise, 206
“Fix-its,” 25
Flair software, 264
Flares, 432
Flatbed, 542
Fleischer, Max, 569
Flicker, 250
Flickerless electronic ballasts, 100, 101
Flintstones, The, 751
Floating windows, 393–396, 395f, 410–411
Fluorescent lighting, 102
Flying creatures, 166
Focal length, 357
definition of, 357
equivalency chart for, 214t, 830t
Fog, 245
For the Birds, 632
For the Term of His Natural Life, 576f
Forced gravity, 317
Forced perspective
in animation, 408f
Foreground
background match with, 111–112
color bias in, 114
environmental bounce light, 112
relighting of, 567
Foreground miniatures, 292
Foreground plate, 158
Forward kinematics, 602
4:2:0, 210
digital intermediate, 501, 502
film, 490
modulation transfer function, 488–489, 489f, 495–497, 495f, 500t
resolution, 467–469, 483–490, 483f, 508
scanning, 491
visual perception limitations for large screens, 502–505
Frame rates, 198, 212–213, 240, 311, 314, 315, 359
Frame shifting, 446
Frame splits, 4
Framing chart, 411f
Freeform digital sculpting, 596
Fringing, 95
description of, 6
disadvantages of, 95
equipment for, 96
Frontlighting of rain, 87
Frontlit backings, 101, 103, 109, 558
Frosty breath, 88
Fugitive, The, 93
Full animation, 737–740, 750, 751
Fur, digital. See Digital hair/fur
Fusing, 414
Futureworld, 11
Gaffer, 81
Game(s)
advances in, 13
cinematic sequences of, 734–736
convergence of, 717
environments for, 714–716, 715f, 716f
image creation for, 736
iterations and changes during production, 711, 712f
narrative storytelling, 709–710
noninteractive scenes of, 734–735
budget for, 730
manufacturing, 733
pipeline for, 731
post-production, 733
role-playing, 718
Game document, 729–730, 735–736
Gameplay, 708
Gamma, 681
Gamut clipping, mapping, and warnings, 519
Garbage mattes, 571
Gaussian blurs, 215
“Genesis effect,” 11
Gertie the Dinosaur, 748
G-Force, 411f, 412f, 630f, 776–777
Ghost busting, 444
Glare, 524
Global assets, 810
Global optimization solvers, 370
Glue code, 803
Golden Compass, The, 3
Go-motion photography, 264, 280
Good Shepherd, The, 321
Goodman, Ron, 230
Gouraud, Henri, 10
Gran Torino, 694
Grant, Cary, 6
Gray scale, 360
Great Train Robbery, The, 4
Greeblies, 817
AIM, 557
backlit, 109
compositing, 223
explosions shot against, 241
exposure errors, 566
exposure of shots, 103–105, 105f
film stock considerations, 466
foreground
lighting of. See Foreground, lighting of
function of, 97
overhead lighting of, 101
perspective mismatches in, 236
problems associated with, 556–557
shooting elements against, 236
special effects associated with, 91
underwater photography uses of, 124–125
white card method for balancing of, 106–107, 106f
Greenlit, 25
Greenscreen photography
camera/subject positional information applied to, 189–191, 190f
compositing software for, 125–127
correction of, 98–103, 100f, 123
extractions
degraining before, 567
factors that affect, 565
keys used in, 564
halation in optical composite from extraction of, 556, 560
Greenscreen suit, 32
Gyroscopic motion capture system, 336
Gyroscopic stabilization, 228, 229
Hair, 32
digital. See Digital hair
Halo 3 “Believe,”, 316f
Haloing, 95 “Handle” length, 18
Handles, 533
Hanging miniatures, 292–295, 294f–296f
Hannah Montana, 460
Hard surface models, 592
Catmull-Clark surface, 611
example of, 593f
scale of, 609
Harryhausen, Ray, 753
HD CAM SRW-1, 436f
H&D curve, 104
HDR image-based lighting, 658
HDR images, 139, 267, 481, 573, 683
HDR-Cam Light Probe System, 273
Head slate, 201
Helicopter
stabilized balls mounted on, 230
VistaVision cameras on, 270f
Heynacher, Erich, 488
Heynacher integral, 489f
High definition, 204
High-definition cameras, 265
High-definition sensors, 213–215, 215f
High-dynamic-range imaging. See HDR images
High-availability servers, 807, 808
High-definition survey, 140
Highlight headroom, 206
High-speed photography, 246–253
cameras
video assist, 253
frame rates, 315
lighting considerations for, 250
post-production considerations, 253
technicians, 249
techniques for, 252
Histogram, 556
Hittle, Tim, 283f
HMI lighting, 250
Home video deliverables, 3D stereo, 447–448
Horizontal image translation, 390–391, 391f
Horizontal parallax, 440f
Horopter, 388f
Hot head, 784
Howard, Tom, 9
Hulk, 705
Human vision, 211
Humorous Phases of Funny Faces, 747
Huntin’, 290f
Hyperfocal distance, 832
IBK, 127
Iguchi, Fred, 9
Illumination, 114–115. See also Lighting
Image capture using scanners, 528
pixel distribution, 474
run-length encoding, 473
variable-length bit sequences, 473–474
Image engineering, 56
Image format, 465–469, 799. See also File formats
agreement on, 824
JPEG, 480
OpenEXR, 481
Photoshop, 481
Radiance, 481
standardization of, across multiple facilities, 824
TIFF, 482
Image Interchange Framework, 515
Image sharpening, 430
Image-based keyer. See IBK
Image-based lighting, 665
IMAX
definition of, 465
description of, 394
resolution for, 465 3D, 405
Immersion-based stereo, 404–405
Implicit depth cues, 415
Importance sampling, 668
Importing, 820
In-camera double exposure, 535
Incandescent lamps, 103
Incident light reading, 89, 106
Industrial Light and Magic, 11, 12, 57
Infinity parallax, 389f
Information International, Inc., 10
Information tracking and dissemination, 536–542
Infrared-sensitive emulsions, 7
Ingestion, 808
Interaxial, 398
Interaxial separation, 388–390
Interior scenes, 583
International Color Consortium color management architecture, 520–521, 521f
Interocular, 398
Interocular distance, 75, 400, 430, 440
Interpenetration solver, 635, 636f
Interpolation, 622
Interposition, 394
Interpositive, 556
Interpupillary distance, 389, 418
In-Three, 425
Inverse kinematics, 602
Invictus, 695
ISO, 206
JAK Films, 57
Jason and the Argonauts, 753
Jeffress, Jerry, 9
Jim Henson Company, 73
Johnson, Paul, 9
Journey to the Center of the Earth, 460, 463
JPEG, 480
Judge Dredd, 56
Jumbotron screen, 96
Katz, Steven, 76
Key frame, 693
Key posing animation, 749
Keyers, 125
Keying, of bluescreen/greenscreen photography, 564
Keystone effect, 409
King Kong (2005), 338
Kodak films, 560
Kroyer, Bill, 56
Kuper software, 264
Lambert, Paul, 127
Lambert shading, 650–652, 651f, 652f
Lang, Fritz, 8
Large-area emissive displays, 96
Large-theater resolution, 504–505, 504f, 505f
Laser scanners and scanning, 137, 597
Laser-based recording, 510
Last Starfighter, The, 11
Layout, 573, 741, 744. See also Matchmoving
LCD projector, 95
LCD screen, 96
League of Extraordinary Gentleman, The, 291f
Left eye, as mono master, 443–444
Leica reel, 749
Lens
configurations of, 358
depth of field, 44, 316, 325, 358, 832
digital cameras, 218
fish-eye, 402
focal length of. See Focal length
formulas, 831
f-stop, 357
periscope, 312
35mm format camera, 213
3D, 402
water deflection from, 230
zoom, 358
Lens angle, 832
Lens distortion charts, 137–138, 138f
Lens flare, 228
Lens magnification, 174
Level set, 648
Lidar scanning
art department use of, 142
collision geometry uses of, 144
data, 598
definition of, 140
deliverables, 145
description of, 137
learning about, 144
matchmoving uses of, 143
nodal point for, 597
practical realities associated with, 144–145
principles of, 140
service providers for, 144
3D laser scanning, 140
uses of, 597
visual effects use of, 141–145
Light(s)
bounce. See Bounce light
camera-mounted source of, 96
miniature, 302f
spill, 116
structured, 337
volume created using, 582
Light animation rig, 64
Light motion capture, 336
Light stage, 337
Lighting
digital. See Digital lighting
high-speed photography, 250
live-action plate filming, 223–224
Phong, 650–653, 651f–653f, 673
for stop-motion, 279
of underwater objects, 244
Lighting data capture, 150–158
CG lighting personnel involvement in, 150–151
direct photography of environment for, 154–155
reflective spheres for, 152–154
scanner or survey equipment for, 152
shooting considerations in, 156–158
Linear polarization, 437
Linearizing, 518
Live Free or Die Hard, 305f
Live-action cameras
motion control of, 9
previsualized computer graphic scenes integrated with, 10
Live-action filming. See also Live-action plate filming
animated films versus, 739
crew of, 24
stop-motion used in, 753
storyboards for, 38
visual effects technique considerations, 48
Live-action images
capturing the image to composite, 562–563
color correction applications, 564
starting the composite, 567–569
stereoscopic 3D, 569
process photography effects on, 6
Live-action motion control, 256, 257, 259–260
Live-action plate filming, 222–232
angle of view, 223
background quality for, 224
believability of, 232
camera cars. See Camera cars
camera position for, 223
camera tilt, 224
crane cars, 227
lighting considerations, 223–224
panoramic rigs, 229
precautions for, 228
station point for, 223
Live-action replication of crowds, 690
Location(s)
lidar/laser scanning of, 137
for miniatures, 308
sequence used at, 36
Locked cut, 542
Locked-off camera
clean plate shooting with, 160
Locked-sync, 535
Logan, Bruce, 9
Look development
for digital lighting, 656
Looker, 11
Lookup table, 221, 446, 523, 531, 617
Looney Tunes: Back in Action, 309f, 314f
Lord of the Rings, 3, 641, 694, 703, 762
Return of the King, 338
The Two Towers, 12
Lossless compression, 472, 474–475
Lossy compression, 475
description of, 472
Love, Cecil, 8
Low-resolution simulations, 640
Luma keys, 97
Luminance, 475–477, 476f, 494f, 525
Luminance maps, 616
Luminance masks, 97
Luxor Live, 56
Maas, Jan, 281f
MAGI, 11
Magnetic field, 337
Makeup department, 32
Man Who Would Be King, The, 582f
Mandrill, 30
MAPP gas, 329
Mapping
definition of, 675
planar, 676
spherical, 676
UV, 676
Markers. See Motion capture, markers
Marketing, of games, 727–728, 733
Mary Poppins, 7
Mask, The, 167
Masks, marker, 353
Mass Effect, 709
Massively multiplayer online games, 719
Master and Commander, 3
Matchmove, 744
Matchmoving
Material designation maps, 616
Matrix, 738
Matte
articulated, 571
computer-generated, 684
definition of, 4
digital immediate system use of, 445, 530
first-generation, 7
garbage, 571
history of, 4
pulling a, 684
rotoscoping used to fix problems, 558
silhouette, 123f
traveling, 97, 551–554, 551f, 552f
Matte box, 4
Matte painter, 576
Matte painting(s), 574
composition in, 581
definition of, 575
description of, 575
digital, 588
exterior scenes, 583
interior scenes, 583
on-glass setup, 576f
perspective in, 581
technique selection, 579
two-dimensional flat extensions, 583
uses of, 576
Matte painting shots
on-set supervision for, 578–581
pre-production visualization of, 578
McCay, Winsor, 748
Mechanical effects
description of, 30
miniatures incorporation of, 304–308
Mechanical modeling, 592, 593f
Mechanical motion capture, 386
Mechanical special effects, 90–91
Medal of Honor Airborne, 716f
Media Composer, 536
Media consolidation, 539
Mélièes, George, 4
Merging, 820
Metadata, 431
Michelson, Harold, 76
Middleware, 723
Mighty Quinn, The, 231
Miller, Alvah, 9
Miniature motion control, 257, 263–264
Miniature pyrotechnics, 90
advantages of, 285–287, 322, 323
aerial perspective, 294
aging of, 303
breakaways with, 333t
camera considerations, 324–326
collapsing of, 307
costs of, 286
electronic used with, 302
examples of, 285–292, 285f–292f, 297f, 300f, 302f, 305f, 306f
expanded scale of, 298
explosives and explosions with, 307, 332–333
AutoCAD, 304
construction materials used in, 299–303
molding, 301
purpose-based considerations, 297–299
pyrotechnics considerations, 300
tools used in, 304
vacuum forming, 301
film integration of, 288
foam, 301
forced perspective, 292–296, 324
foreground, 292
formulas for, 830
in-camera compositing of, 292–295
landscape environments, 304
lights integrated into, 302f
mechanical devices incorporated into, 301
mechanical effects incorporated into, 304–308
nodal pans and tilts for, 296
photographic continuity of, 288
photography of
depth of field, 316
motion control used in, 308–313
pyrotechnics with, 300, 304–308
reality considerations, 322–324
reasons for using, 322
scale of, 289–292, 290f–292f, 324, 829f
sculptural aspects of, 301
set extensions using, 272, 584–585
shooting locations and conditions for, 308
sinking effects, 306
skinning of, 272
special effects rig considerations, 305
static models, 288
sun orientation in, 584
water effects with, 306, 317–318, 326f
Mishima, Kaz, 126
Misty rain, 327
Models and modeling. See Digital models and modeling
Modulation transfer function, 211, 488–489, 489f, 495–497, 495f, 500t
Moiré, 492
Mono films, 428
Monster stick, 82, 163–169, 166f
Monsters, Inc., 773
Morph target, 379
“Morphs,” 12
Mosaic pattern sensor layouts, 210
Motion blur, 422, 565–566, 630, 687
Motion capture
briefing of, 348
casting of, 347
range of motion exercise by, 345
wardrobe changes, 346
markers on, 349
animation rig considerations, 603
budgetary considerations, 339
camera
extrinsic parameters of, 364
inputs/outputs, 362
intrinsic parameters of, 364
line of sight, 384
setup, 362
cleaning, 368
considerations before using, 338–341
crowd generation through, 693
degrees of freedom, 345
description of, 72–73, 75, 751, 755
equipment for, 340
active appearance models, 375–376
behavioral model, 381
dense stereo reconstructions, 376
description of, 370
inaccuracies in, 372
markers for, 362
occlusion errors in, 373
perceptual motion in, 370
pictorial structure models, 376
charge-coupled device, 353, 359–361
filter, 358
markers. See Motion capture, markers
schematic diagram of, 353f
limitations of, 342
active, 356
on animals, 349
distance of, 351
hybrid placement approach, 352–353
masks, 353
muscle-based placement of, 351–352
passive, 355
peak motion-based placement of, 350f, 352
real-time motion capture, 384–385
redundancy of, 351
size of, 362
trajectories of, 366–367, 367f
mechanical, 386
mesh
deformations, 346
universal topology for, 378
optical, 340, 342, 348, 371–373
outsourcing of, 340, 343–344, 344t
personnel necessary for animators, 343
production requirements for, 339
range of motion, 345
alternate technologies, 385–386
definition of, 384
game rendering technology, 385
line of sight, 384
solving, 385
uses of, 384
visualization, 385
reconstruction stage of, 366
resources for, 341
rigging for, 345
scene, setup, pass, take, 347
service providers, 343–344, 344t
set considerations, 346
shotlist, 346
reconstruction, 366
technologies for computer vision, 337
electromechanical-based, 336–337
resistance-based, 336
time-of-flight, 338
tiles, 347
time considerations, 346
2D image quality, 354
wireless nonvideo, 169
Motion capture rigs, 345
Motion control
benefits of, 312
cameras for, 264
communication during, 265
computer-driven, 310
Director of Photography’s involvement in, 266
1st Assistant Director’s involvement, 265
live-action, 256, 257, 259–260
miniature, 257
miniature photography, 308–313
multiple-pass photography, 256
performance choreography, 255–256
preplanning of shot and, 315
software for, 264
yellow light used in, 558
Motion control legs, 239f
Motion control programmer, 254
Motion control programming, 254, 255
illustration of, 263f
purpose-built, 262
stop-motion animation, 263–264
Motion graph, 692
Motion Graphics, Inc., 10
Motion parallax, 281
Motion Picture Products Group, 11
Motion stepper motors, 260, 262
Motion tiling and tiles, 269–271
Motion vectors, 426
Motion-tracking equipment, 175
Motion-tracking suit, 32
Moving camera
shooting from, 224
in stop-motion, 753
Moviola, 535
Multiple-camera synchronous plates, 270
Multiple-pass photography, 256
Muren, Dennis, 12
Muro, James, 231
Muscle systems, 606
Narrative storytelling, 709–710
Need for Speed Most Wanted, 715f–717f
Negative parallax, 392–393, 398
Network attached storage, 814
Night shoots, tracking markers for, 133
Nightmare Before Christmas, The, 275f, 275, 460, 752
Nintendo DS, 721
Nodal mounting of camera, 259
Nodal point, 5, 178, 180f, 180–194, 597
Nodal tiling systems, 269
Noise
in capture systems, 173
in composite, 566
in digital cameras, 205
in film, 206
Noise patterns
fixed, 206
Noncharacter rigging
deformation, 607
Noninteractive scenes, 734–735
Nonlinear deformers, 606
Non-shot-specific costs, 21
Nurbs, 594–595, 594f, 601, 611
O’Brien, Willis, 753
Occlusion, 415
Occlusion errors, 373
Occlusion surface
Omnibus, 56
1:1 data plan, 191f
One Pair, 632
1:85 ratio, 465
Oner, 46
OnLive, 720
On-set look management, 221–222
On-set work
data acquisition. See Data acquisition, on-set
fixing problems on-set versus in post-production, 82
visual effects crew, 79
OpenEXR, 481
OpenGL, 596
Optical compositing, 550, 554, 559, 560
Optical motion capture, 340, 342, 348
Optical printers
history of, 550
visual effects editing using, 535
Optical-photochemical process, 554
Original camera negative, 527
Orthographic, 596
Orthostereo condition, 404
Overhead costs, 21
Overshooting, 234
Overtrack track system, for flying, 91
“Over/under” imaging, 438
Pablo, The, 396
Pacing, of shots, 45
Painting. See Matte painting; Texture painting
Panavision, 247f
Panchromatic Separation Films, 560
Panic Room, 57
Panoramic background, 229, 267–268
Panoramic rigs, 229
Panum’s fusional area, 388f
Paper snow, 88
Paradoxical window effect, 410
Parallax
crossed, 389f
divergent, 389f
horizontal, 440f
infinity, 389f
motion, 281
zero, 389f
Parallax budget, 391–392, 394, 419
Parallel light, 661f
Parallel mini-cut, 63
Partial turnover, 538
Particles, 642–646, 643f, 645f
Passion of the Christ, The, 240, 241
Passive markers, 355
Passive optical, 335, 342, 385
Path tracing, 669
Pattern matching, 417
PC games, 721
Peg-registered paper, 570
Pendulum rig, 91
Perceived depth, 414
Perfect Storm, A, 641
Performance capture, 419
Performance choreography, 255–256
Periscope lens, 312
Perisic, Zoran, 6
Perlin noise function, 678
Personal space, 449f, 450f, 453f, 457
Perspective
camera position for determining, 238
forced
in animation, 408f
matte painting, 581
Peter Pan rig, 91
PFTrack, 703
Phantom, 247f
Phasing
of motion control cameras, 264–265
of witness cameras, 170
Phong, Bui Thuong, 10
Phong lighting, 650–653, 651f–653f
Photogrammetry, 72, 195, 342, 599
Photographed reflections, 663
Photographic reference, 195–199
Photographic textures
panoramic backgrounds, 267–268
practical considerations for, 271–272
summary of, 273
Photographic-based scanning, 597
Photorealism, 41, 48, 177, 266
Photorealistic Renderman, 705
Physically based rendering, 668–670
Physics solvers, 370
Pictorial structure models, 376
Piezoelectric motion capture system, 336
Pipeline
animation, 738
computer-generated animation, 756–762
definition of, 786
game production, 731
requirements analysis, 787–789
visual effects, 739
Pirates of the Caribbean: At World’s End, 428, 762
Pitchvis, 54
Pixel(s)
for height and width, 830t
scanning, 830t
Pixel parallax budget, 419
Pixelation, 778
Planar mapping, 676
Plasma screen, 96
Plate
clean. See Clean plates
foreground, 158
greenscreen, 181f
pregrading of, 531
tracking of, 507
Plate flashing, 568
Plate photography. See also Live-action plate filming
requirements for, 222
Plate stitching, 573
Platform games, 719
Plumb bob and line, 179f, 188f
Plywood reference materials, 167
Point cloud, 703
Polar Express, The, 460, 592, 619
Pop-through, 282
Porter, Edwin S., 4
Poseidon Adventure, The, 94, 705
Positive parallax, 392–393, 399
Post-production
animated film, 773
color management. See Color management
computer-generated animation, 760
definition of, 17
editorial work in, 35, 532–544
film scanning, 506–512. See also Scanning
flexibility in, 48
game development, 733
rebidding in, 23
scanning, 467
set creation in, 579
transport of files, 467
witness camera data, 171
animation blocking versus, 64
benefits of, 65
characteristics of, 55
computer graphics character uses of, 62
costs associated with, 62
editorial department, 64
example of, 65f
full-team teams, 63
purpose of, 62
technical issues associated with, 64
Power windows, 530
Powers of 10
shot, 46
Practical lights, 279
Precap, 75
Pre-compositing, 533, 534, 536, 540
Pregrading of plates, 531
Preparation
importance of, 199
witness camera, 171
Pre-production
benefits of, 18
budgeting. See Budget/budgeting
definition of, 17
matte painting shot visualized in, 578
summary of, 17
testing during, 33
3D movies, 462
Assistant Directors’ use of, 60
characteristics of, 54
computer-generated animation, 758
computer-generated characters, 400
digital, 55
Director of Photography’s use of, 60
Directors’ use of, 58
Editors’ use of, 61
environmental input, 72
example of, 65f
full-team teams, 63
gaming techniques applied to, 74, 76
miniatures, 287, 304, 311, 321
potential of, 70
at production meeting, 37
real-world dimensions as basis for, 69
recommendations for, 71
replaying of, 80
“saddle-back,” 67
in shot design, 39
Special Effects Coordinators’ use of, 60
Stunt Coordinators’ use of, 60
in theater, 542
3D, 400
3D stereo, 75
uses of, 68
Visual Effects Producers’ use of, 61
Visual Effects Supervisors’ use of, 61, 71–72
Primer cord, 89
Procedural shaders, 678
Procedural textures, 617
Processed foreground, 123f, 124
Producer
meeting with, 26
Production
animation versus visual effects, 740–747, 741f
computer-generated film, 741–744
definition of, 17
games. See Game(s), production of
iterations and changes during, 711, 712f, 772–773
3D movies, 462
virtual, 59
workflow. See Production workflow
Production department manager, 772
Production departments
camera, 29
makeup, 32
modeling, 34
special effects, 30
Production designer, 28
Production management, 760–761
Production manager, 771
Production meeting, 37
Production workflow
building vs. purchasing, 802–804
buy-in, 806
definition of, 784
documentation, 800
individual versus group requirements, 790–792
in-house development, 802
in-house requirements, 792–794
personalized, 791
pipeline creation from, 786–792
requirements analysis, 787–789, 793
rollout, 806
scale-based design of, 797
technical specifications created from artistic requirements, 789–790
Profile connection space, 520
Projection. See Front projection; Rear projection
Projection mapping, 612–613, 677
Projection maps, 676
Property master, 28
Props
action, 90
actor involvement with, 133–135, 134f, 135f
computer graphics recreation of, 28, 29
modeling of, 592
photographing of, 136
shooting of, 241
3D scanning of, 148
Prototyping of games, 715, 727–728
Purpose-built motion control rigs, 262
Puzzle games, 719
Quantel Pablo, 447
QuickTime, 542
Racing games, 719
Radiance picture files, 481
RAID storage system, 444
Rain windows, 87
Range of motion, 345