Course overview
Digital Visual Effects, Spring 2005 Yung-Yu Chuang
2005/2/23
Logistics
• Meeting time: 1:20pm-4:20pm, Wednesday
• Classroom: CSIE Room 110
• Instructor: Yung-Yu Chuang (cyy@csie.ntu.edu.tw)
• Textbook: Readings from books, journals and proceedings.
• Webpage: (under construction)
http://www.csie.ntu.edu.tw/~cyy/vfx
• Mailing list: vfx@csie.ntu.edu.tw
Please send me your email address to subscribe.
Please add [VFX] in the title.
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.
Requirements (subject to change)
• 3 programming assignments (45%)
• 1 scribe (10%)
• Class participation (5%)
• Final project (40%)
This course is not about…
It isn’t about photography
It isn’t about 3D animations It isn’t about watching movies
It isn’t about physical effects It’s not about industrial tricks
computer vision
computer graphics
image processing
Why this course?
Digital Visual Effects
Digital Visual Effects Special effects (physical effects)
Special effects (make-up) Special effects (miniature)
Special effects (matte painting) Special effects (sound)
Old visual effects tricks
Stop action
The execution of Mary, 1895
Glass shot Rear projection
King Kong, 1933
Digital Visual Effects:
An Academic View
a.k.a. What you will learn in this course
Academic view
• Source creation: plates, 3D model, miniature
• Seamless combination: viewing, lighting, visibility, interaction
Computer-generated world
Not covered
Camera
Canon 10D
High dynamic imaging/display Tracking
Feature tracking
Matchmove
Move matching using scene planes
Matchmove
Move matching using scene planes
Matchmove
Move matching using scene planes
Image manipulation
GraphCut Texture
Image manipulation
Poisson blending
Image morphing
Image morphing
Inpainting (wire removal)
Inpainting
Texture synthesis/replacement
Texture replacement
Semi-automatic matting painting
Image analogies
Video editing
Flow-based video editing
Video matching
MOCO (Motion control camera) Matrix
Video matching
Video matching
Matting and compositing
Titanic
Object selection
LazySnapping
Image-based rendering
Surface lightfield
3D photography (active)
Cyberware whole body scanner
3D photography (active)
Photometric stereo
3D photography (passive)
Stereo
left right
depth
Image-based modeling
photogrammetric modeling and projective texture-mapping
Image-based modeling
photogrammetric modeling and projective texture-mapping
Image-based modeling
photogrammetric modeling and projective texture-mapping
Image-based modeling
Tour into a picture
Image-based modeling
Tour into a picture
View interpolation
Bullet time video
View interpolation
High-Quality Video View Interpolation
Making face
Spacetime face Gollum
Video rewrite
Trainable videorealistic speech animation
Production pipeline
Production pipeline
Preproduction Production
Post-production
Artwork Reference Stills Plates
Storyboard
Editing VFX
Music
Sound
Film
Effects
Preproduction
Storyboard
Preproduction
Artwork
Preproduction
Reference & Research
Production
Shooting
Post-production
Visual effects production
Preproduction Production
Post-production
Artwork Reference Stills Plates
Model Geometry
Skinning
Effects Animation
Character Animation
Lighting and Rendering Compositing Matchmove and Matchmodel
Assets Shots
Skeleton
Scanning
Film Recording Textures
Materials Storyboard
Effects
Visual effects post-production
A case study
405: The Movie
• This movie were created solely by two visual effects artists in the year of 2000. It was a process that took over three months of nights, weekends and any spare moments that they could find.
• http://www.405themovie.com/
405: The Movie Making of 405
Step 0: script and shooting plan
Making of 405
Step 1: shooting
two days with a Canon Optura DV camera with progressive mode.
Ö a 70-minute raw footage
initial editing Ö pickup shots
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
Making of 405
Real cars were used for close-up and interior shots
A low-resolution mesh scanned by a cyberscanner.
Mapped with photographs.
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
Making of 405
close-up shots
Step 3: traffic clearing
inpainting
clean plate
Making of 405
shot with the vehicle standing still in a backyard Step 4: compositing
Making of 405 Making of 405
Step 5: fine touchup
3D hat compositing and inpainting
Making of 405
Step 6: music and delivery
Possible programming assignments
• Image stitching
• Matchmove
• 3D photography
Final project
• Research
• System
• Film
Final projects from a similar course
in Georgia Tech.
In Your Face
In Your Face, GaTech DVFX 2002
Stop action
Making of In Your Face
Beauty Cream 9001
Beauty Cream 9001, GaTech DVFX 2003
Face tracking
Making of Beauty Cream 9001
Das Tattoo
Das Tattoo, GaTech DVFX 2003
Feature tracking
Making of Das Tattoo
Done in 50 Seconds
Done in 50 Seconds, GaTech DVFX 2003
View interpolation
Making of Done in 50 Seconds
Hostage Point
Hostage Point, GaTech DVFX 2003
Matting
Making of Hostage Point
Life in Paints
Life in Paints, GaTech DVFX 2003
Tour into pictures
Making of Life in Paints
That is for today!
• Don’t forget to send me your email address so that I can add you to the mailing list.
• Check out the course website.
• Volunteers for next week’s scribe
