Course overview
Digital Visual Effects, Spring 2008 Yung-Yu Chuang
2008/2/19
Logistics
• Meeting time: 10:20pm-1:10pm, Tuesday (17 weeks, no holiday this semester, :<)
• Classroom: CSIE Room 104
• Instructor: Yung-Yu Chuang (cyy@csie.ntu.edu.tw)
• Teaching assistants: TBD
• Textbook: Readings from books, journals and proceedings.
• Webpage: (user name/password) http://www.csie.ntu.edu.tw/~cyy/vfx
• Mailing list: vfx@cmlab.csie.ntu.edu.tw subscribe via https://cmlmail.csie.ntu.edu.tw/mailman/listinfo/vfx/
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
You will learn more about Taylor and Poisson than Lucas and Spielberg in this course. If you hear Lucas in the class, it is more likely to refer to Bruce Lucas, not George Lucas.
Prerequisites
• It is a must that you have programming experiences.
• It is a must that you have basic knowledge on linear algebra and probability.
• 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.
This course is about …
Digital Visual Effects
?
Reality?
Retouching Iraq War, LA Times, April 2003
Digital photomontage
Bush campaign’s TV AD, 2004 Texture synthesis and inpainting
Domestic example
The Liberty Times 2007.12.17
Special effects
Stop action
The execution of Mary, 1895
Glass shot
Rear projection
King Kong, 1933
stop motion
Special effects (make-up)
Special effects (physical effects) Special effects (miniature)
Special effects (matte painting) Lord of the Rings
Illusion - forced perspective Computer-generated model
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/
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
Öpickup 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
Bloody Omaha
Topics we plan to cover
Camera
Canon 10D
High dynamic range imaging/display Image warping/morphing
video
someone very famous
someone not that famous
Image warping/morphing Tracking
Feature tracking
Image stitching MatchMove
Move matching using scene planes
Matchmove
Move matching using scene planes
Matchmove
Move matching using scene planes
Photo tourism Video matching
MOCO (Motion control camera) Matrix
Video matching
Video matching
Matting and compositing
Titanic
Matting Object selection
LazySnapping
Image manipulation
GraphCut Texture
Image manipulation
Poisson blending
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
3D photography (active)
Cyberware whole body scanner
3D photography (active)
Photometric stereo
3D photography (passive)
Stereo
left right
depth
Image-based rendering
Surface lightfield
View interpolation
Bullet time video
View interpolation
High-Quality Video View Interpolation
Making face
Spacetime face Gollum
Video rewrite
Trainable videorealistic speech animation
Inpainting (wire removal)
Inpainting
Texture synthesis/replacement
Texture replacement
Semi-automatic matting painting
Image analogies
Video editing
Flow-based video editing
Grading
• 3 programming assignments (50%)
– HDR Imaging – AutoStitch – MatchMove
• Class scribe (8%)
• Class participation (6%)
• Final project (36%)
– Research – System – Film
High dynamic range imaging From last semester (鄭逸廷 陳柏叡)
From last semester (吳侑親,張書瑋) From last semester (王瑋馥,余雁雲)
AutoStitch From last semester
鄭逸廷 陳柏叡
李佳燕 黃政基
MathMove
梁家愷 鐘志遠
楊宗碩 林柏劭 翁憲政 洪韶憶
姜任遠 林立峯
Final projects from a similar course in Georgia Tech.
Life in Paints
Life in Paints, GaTech DVFX 2003
Tour into pictures
Making of Life in Paints
In Your Face
In Your Face, GaTech DVFX 2002
Stop action
Making of In Your Face
Tennis
Tennis, GaTech DVFX 2007
MatchMove/CGI
Making of Tennis
Final projects from the past.
YoYo Flight
Making of YoYo Flight That’s it for today!
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• Check out the course website.
