This course is not about…

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Course overview

Digital Visual Effects, Spring 2005 Yung-Yu Chuang



• 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 email address to subscribe.

Please add [VFX] in the title.


• 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


Canon 10D

High dynamic imaging/display Tracking

Feature tracking



Move matching using scene planes


Move matching using scene planes


Move matching using scene planes

Image manipulation

GraphCut Texture


Image manipulation

Poisson blending

Image morphing

Image morphing

Inpainting (wire removal)


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


Object selection


Image-based rendering

Surface lightfield

3D photography (active)

Cyberware whole body scanner


3D photography (active)

Photometric stereo

3D photography (passive)


left right


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


Artwork Reference Stills Plates


Editing VFX










Reference & Research





Visual effects production

Preproduction Production


Artwork Reference Stills Plates

Model Geometry


Effects Animation

Character Animation

Lighting and Rendering Compositing Matchmove and Matchmodel

Assets Shots



Film Recording Textures

Materials Storyboard


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.


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


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


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




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