Course overview. Digital Visual Effects, Spring 2005 Yung-Yu Chuang 2005/2/23

Transcription

1 Course overview Digital Visual Effects, Spring 2005 Yung-Yu Chuang 2005/2/23

2 Logistics Meeting time: 1:20pm-4:20pm, Wednesday Classroom: CSIE Room 110 Instructor: Yung-Yu Chuang Textbook: Readings from books, journals and proceedings. Webpage: (under construction) Mailing list: Please send me your address to subscribe. Please add [VFX] in the title.

3 Prerequisites It is a plus if you have background knowledge on computer vision, image processing and computer graphics. It is a plus if you have access to digital cameras and camcorders.

4 Requirements (subject to change) 3 programming assignments (45%) 1 scribe (10%) Class participation (5%) Final project (40%)

5 This course is not about

6 It isn t about photography

7 It isn t about 3D animations

8 It isn t about watching movies

9 It isn t about physical effects

10 It s not about industrial tricks computer vision computer graphics image processing

11 Why this course?

12 Digital Visual Effects

13 Digital Visual Effects

14 Special effects (physical effects)

15 Special effects (make-up)

16 Special effects (miniature)

17 Special effects (matte painting)

18 Special effects (sound)

19 Old visual effects tricks

20 Stop action The execution of Mary, 1895

21 Glass shot

22 Rear projection King Kong, 1933

23 Digital Visual Effects: An Academic View a.k.a. What you will learn in this course

24 Academic view Source creation: plates, 3D model, miniature Seamless combination: viewing, lighting, visibility, interaction

25 Computer-generated world Not covered

26 Camera Canon 10D

27 High dynamic imaging/display

28 Tracking Feature tracking

29 Matchmove Move matching using scene planes

30 Matchmove Move matching using scene planes

31 Matchmove Move matching using scene planes

32 Image manipulation GraphCut Texture

33 Image manipulation Poisson blending

34 Image morphing Image morphing

35 Inpainting (wire removal) Inpainting

36 Texture synthesis/replacement Texture replacement

37 Semi-automatic matting painting Image analogies

38 Video editing Flow-based video editing

39 Video matching Matrix MOCO (Motion control camera)

40 Video matching Video matching

41 Matting and compositing Titanic

42 Object selection LazySnapping

43 Image-based rendering Surface lightfield

44 3D photography (active) Cyberware whole body scanner

45 3D photography (active) Photometric stereo

46 3D photography (passive) left right Stereo depth

47 Image-based modeling photogrammetric modeling and projective texture-mapping

48 Image-based modeling photogrammetric modeling and projective texture-mapping

49 Image-based modeling photogrammetric modeling and projective texture-mapping

50 Image-based modeling Tour into a picture

51 Image-based modeling Tour into a picture

52 View interpolation Bullet time video

53 View interpolation High-Quality Video View Interpolation

54 Making face Gollum Spacetime face

55 Video rewrite Trainable videorealistic speech animation

56 Production pipeline

57 Production pipeline Preproduction Production Effects Storyboard Artwork Reference Stills Plates Post-production VFX Editing Music Sound Film

58 Preproduction Storyboard

59 Preproduction Artwork

60 Preproduction Reference & Research

61 Production Shooting

62 Post-production

63 Visual effects production Preproduction Production Effects Storyboard Artwork Reference Stills Plates Post-production Scanning Matchmove and Matchmodel Model Geometry Skeleton Textures Skinning Materials Effects Animation Lighting and Rendering Character Animation Assets Compositing Film Recording Shots

64 Visual effects post-production

65 A case study

66 405: The Movie This movie were created solely by two visual effects artists in the year of It was a process that took over three months of nights, weekends and any spare moments that they could find.

67 405: The Movie

68 Making of 405 Step 0: script and shooting plan

69 Making of 405 Step 1: shooting two days with a Canon Optura DV camera with progressive mode. a 70-minute raw footage initial editing pickup shots

70 Making of 405 Step 2: building CG world total 62 shots, 42 enhanced with digital VFX. 19 shots are entirely digital creations. plane, two cars, freeway background are digital photo-based 3D environment

71 Making of 405 Real cars were used for close-up and interior shots A low-resolution mesh scanned by a cyberscanner. Mapped with photographs.

72 Making of 405 DC-10 plane took a month to model in details for the needs of close-up shots. 59 objects, 142,439 polygons reference modeling material painting

73 Making of 405 Step 3: traffic clearing clean plate close-up shots inpainting

74 Making of 405 Step 4: compositing shot with the vehicle standing still in a backyard

75 Making of 405

76 Making of 405 Step 5: fine touchup 3D hat compositing and inpainting

77 Making of 405 Step 6: music and delivery

78 Possible programming assignments Image stitching Matchmove 3D photography

79 Final project Research System Film

80 Final projects from a similar course in Georgia Tech.

81 In Your Face In Your Face, GaTech DVFX 2002

82 Stop action Making of In Your Face

83 Beauty Cream 9001 Beauty Cream 9001, GaTech DVFX 2003

84 Face tracking Making of Beauty Cream 9001

85 Das Tattoo Das Tattoo, GaTech DVFX 2003

86 Feature tracking Making of Das Tattoo

87 Done in 50 Seconds Done in 50 Seconds, GaTech DVFX 2003

88 View interpolation Making of Done in 50 Seconds

89 Hostage Point Hostage Point, GaTech DVFX 2003

90 Matting Making of Hostage Point

91 Life in Paints Life in Paints, GaTech DVFX 2003

92 Tour into pictures Making of Life in Paints

93 That is for today! Don t forget to send me your address so that I can add you to the mailing list. Check out the course website. Volunteers for next week s scribe