Filming the Fantastic with Virtual Technology : Filmmaking on the Digital Backlot

Mark Sawicki

ISBN 10: 0367354217 / ISBN 13: 9780367354213

Edité par Taylor & Francis Mai 2020, 2020

A propos de cet article

Neuware - This book brings fantasy storytelling to a whole new level by providing an in-depth insight into the tools used for virtual reality, augmented reality, 360 cinema and motion capture in order to repurpose them to create a virtual studio for filmmaking. Gone are the long days and months of post before seeing your final product. Composites and CG characters can now be shot together as fast as a live-action show.

N° de réf. du vendeur 9780367354213

Détails bibliographiques

• Titre: Filming the Fantastic with Virtual Technology : Filmmaking on the Digital Backlot
• Éditeur: Taylor & Francis Mai 2020
• Date de parution: 2020
• Langue: anglais
• ISBN à 10 chiffres: 0367354217
• ISBN à 13 chiffres: 9780367354213
• Reliure: Taschenbuch
• État de l'article: Neu
• Dimensions: 232 L x 152 H x 9 P (en millimètres) 232 millimètres de largeur par 152 millimètres de hauteur par 9 millimètres de profondeur
• Poids: 446 grammes

A propos de ce titre

Synopsis

This book brings fantasy storytelling to a whole new level by providing an in-depth insight into the tools used for virtual reality, augmented reality, 360 cinema and motion capture in order to repurpose them to create a virtual studio for filmmaking. Gone are the long days and months of post before seeing your final product. Composites and CG characters can now be shot together as fast as a live-action show.

Using off-the-shelf software and tools, authors Mark Sawicki and Juniko Moody document the set-up and production pipelines of the modern virtual/mocap studio. They reveal the procedures and secrets for making movies in virtual sets. The high-end technology that enabled the creation of films such as The Lord of the Rings, Avatar and The Jungle Book is now accessible for smaller, independent production companies. Do you want your actors to perform inside of an Unreal(R) Game Engine set and interact with the environment? Do you want to be able to put your live-action camera on a jib or dolly and move effortlessly through both a live-action and virtual space together? Do you want live performers interacting with giants, elves and other creatures manipulated by motion capture in real time? This book discusses all of these scenarios and more, showing readers how to create high-quality virtual content using alternative, cost-effective technology.

Tutorials, case studies, and project breakdowns provide essential tips on how to avoid and overcome common pitfalls, making this book an indispensable guide for both beginners to create virtual backlot content and more advanced VFX users wanting to adopt best practices when planning and directing virtual productions with Reality(TM) software and performance capture equipment such as Qualysis.

À propos de l?auteur

Mark Sawicki entered the visual effects field as an effects cameraman, animator, and compositor in the late 70s. As a co-supervisor for Area 51 on Tom Hanks' special "From the Earth to the Moon", Sawicki was part of the combined use of models, motion control, and CGI as a pivotal transition point between the traditional and digital eras. He won an Emmy Certificate for his contribution to the television series Star Trek while working as a cameraman for Illusion Arts. He then went on to become visual effects supervisor and lead cameraman for Custom Film effects working on such films as Christopher Nolan's The Dark Knight Rises. At the start of the 21st century, Mark took a hiatus from production to write books, create video programs for the Stan Winston School of Character Arts, and teach at a variety of film schools. He has now re-entered the field as a virtual production artist and corporate trainer.
Juniko Moody graduated from USC Cinema and entered the industry as a motion control and compositing technician working for New World Studios, Ultimatte Corporation, and ILM. She entered the digital field working for Eastman Kodak's Cineon project digitally restoring the Disney classic Snow White and went on to work for Warner Digital and Sony Imageworks as a digital artist. She was hired by Walt Disney Feature Animation to provide CGI lighting and digital compositing for the film Dinosaur. She also provided corporate training at Disney and Dreamworks animation. She received a doctorate from USC Rossier School of Education and continues to write and research.