Rendering and Compositing for Visual Effects

The methods used to create visual effects for feature film production are quickly evolving. Cutting edge techniques are constantly being improved upon, and the capability to solve unique problems is paramount in real world production. I present a creative project which utilizes novel applications of common techniques, such as projection mapping, multi-tile UV workflows, procedural texture generation, normal mapping, and image based lighting

What is Virtual Production? An Explainer & Research Agenda

Virtual production harnesses the power of virtualising technologies to create digital environments in, and through which film and television can be made. In combination, these technologies offer more flexibility to filmmakers and the potential to cut carbon emissions. But while the technologies at the centre of virtual production are not new, their application in combination with each other is generating new approaches to production which are evolving fast. In this report, we highlight the prominent technologies involved in virtual production and how these have been used in three approaches to virtual production: live action green/blue screen, entirely virtual worlds and LED volume virtual production. The report then goes on to examine the ‘emergent orthodoxies’ of virtual production: what the opportunities and challenges associated with virtual production are and how virtual production is changing established production workflows. We conclude by outlining a research agenda for further work on virtual production, posing questions about how the industry and its associated working practices may develop and how virtual production might address skills shortages and equality, diversity and inclusion

Perceptual preference for 3D interactions and realistic physical camera motions on light field displays

In this paper, we present our results on the empirical studies carried out on perceptual preference regarding the potential interaction techniques and the different types of realistic physical camera motions for light field visualization. The contents of the subjective tests were displayed on a large-scale light field cinema system. Multiple subjective quality metrics were used to decompose the visual experience of the observers, and additional attention was paid to the essential aspects of long-term usage, such as dizziness

A Utilização do Software Unreal Engine na Pré-Visualização de Cenas de Cinema e Televisão

A curiosidade e o interesse na aplicação de tecnologias de visualização em tempo real no contexto da produção audiovisual têm vindo a aumentar exponencialmente. Este estudo procura analisar a aplicabilidade do motor de jogo Unreal Engine® (Epic Games, Inc, North Carolina, EUA) na fase inicial da produção audiovisual como uma ferramenta facilitadora dos processos artísticos e técnicos por parte dos criadores. O estudo compreende: i) revisão histórica contextual sobre métodos e tecnologias de Pré-visualização; ii) desenvolvimento de um exercício prático de Pré-visualização com base nos métodos tradicional e virtual, para análise comparativa das diferentes etapas do desenvolvimento da Pré-visualização recorrendo à exploração das capacidades do motor de jogo Unreal Engine vs. metodologia tradional; iii) análise das vantagens e desvantagens do recurso ao Unreal Engine na Pré-visualização. Fruto da análise à informação recolhida e compilada sobre o motor de jogo Unreal Engine e da aplicação do mesmo no exercício proposto para desenvolver uma Pré-visualização, conclui-se que a forma como a Pré-produção e Visualização são abordadas está a mudar rapidamente. As tecnologias de tempo real são um novo paradigma na produção audiovisual e o motor de jogo Unreal Engine passou a ser um dos elementos indispensáveis ao seu desenvolvimento.The interest and curiosity in real time visualization technologies applied to audiovisual projects has been growing exponentially. This study aims to analyze the application of Unreal Engine® (Epic Games, Inc, North Carolina, EUA), a real time game engine, in the first steps of an audiovisual project and to address its applicability as an artistic and technical tool to facilitate the production methods used by creatives. This study comprises: i) revision of historical context on methods and Previsualization technologies; ii) development of Previsualization exercise approaching both traditional and virtual methodologies, using Unreal Engine, aiming to analyse and compare both practices during the different stages of a Previsualization process; iii) assessment of the potential advantages and disadvantages of of Unreal Engine application in Previsualization. From the analysis of the retrieved information and experience gained through the process of the proposed project´s development, it is concluded that the way Preproduction and Visualization are being approached is in fact rapidly changing. Real time technology is driving a new paradigm in audiovisual productions and Unreal Engine has become one of the most important elements in its development and implementation

Impressão lenticular: autostereoscopic prints for advertising

O objetivo deste projeto é demonstrar o resultado da interação da modelagem 3D com a tecnologia de impressão lenticular, e encontrar um caminho para sua aplicação prática no universo da publicidade. O projeto explora os exemplos históricos de arte imersiva e sua utilização diversa na prática, aborda os fatores que influenciam a percepção humana de profundidade e também analisa vários métodos usados para produzir impressões estereoscópicas, a própria tecnologia lenticular e técnicas de publicidade. Através do método de design surge uma solução criativa e o trabalho final é realizado na forma física de um poster de impressão lenticular, que é uma proposta da sua utilização como estratégia de comunicação.The objective of this project is to demonstrate the result of mixing 3D modeling with lenticular printing technology, and find a way for its practical application in the world of advertising. The project explores historical examples of immersive art and its diverse use in practice. It addresses the factors that influence human depth perception and also explores various methods used to produce stereoscopic prints, lenticular technology itself, and advertising techniques. Through the design method, a creative solution emerges and the final work is carried out in the physical form of a lenticular poster, which is a proposition of its use as a communication strategy

Contrôle de caméra virtuelle à base de partitions spatiales dynamiques

Le contrôle de caméra virtuelle est aujourd'hui un composant essentiel dans beaucoup d'applications d'infographie. Malgré cette importance, les approches actuelles restent limitées en terme d'expressivité, d'interactivité et de performances. Typiquement, les éléments de style ou de genre cinématographique sont difficiles à modéliser et à simuler dû à l'incapacité des systèmes actuels de calculer simultanément des points de vues, des trajectoires et d'effectuer le montage. Deuxièmement, elles n'explorent pas assez le potentiel créatif offert par le couplage potentiel d'un humain et d'un système intelligent pour assister les utilisateurs dans une tâche complexe de construction de séquences cinématographiques. Enfin, la plupart des approches existantes se basent sur des techniques d'optimisation dans un espace de recherche 6D, qui s'avèrent coûteuses et donc inadaptées à un contexte interactif. Dans cette thèse, nous proposons tout d'abord un cadre unique intégrant les quatre aspects clés de la cinématographie (le calcul de point de vue, la planification de trajectoires, le montage et la visibilité). Ce cadre expressif permet de simuler certaines dimensions de style cinématographique. Nous proposons ensuite une méthodologie permettant de combiner les capacités d'un système automatique avec une interaction utilisateur. Enfin, nous présentons un modèle de contrôle de caméra efficace qui réduit l'espace de recherche de 6D à 3D. Ce modèle a le potentiel pour remplacer un certain nombre de formulations existantes.Virtual camera control is nowadays an essential component in many computer graphics applications. Despite its importance, current approaches remain limited in their expressiveness, interactive nature and performances. Typically, elements of directorial style and genre cannot be easily modeled nor simulated due to the lack of simultaneous control in viewpoint computation, camera path planning and editing. Second, there is a lack in exploring the creative potential behind the coupling of a human with an intelligent system to assist users in the complex task of designing cinematographic sequences. Finally, most techniques are based on computationally expensive optimization techniques performed in a 6D search space, which prevents their application to real-time contexts. In this thesis, we first propose a unifying approach which handles four key aspects of cinematography (viewpoint computation, camera path planning, editing and visibility computation) in an expressive model which accounts for some elements of directorial style. We then propose a workflow allowing to combine automated intelligence with user interaction. We finally present a novel and efficient approach to virtual camera control which reduces the search space from 6D to 3D and has the potential to replace a number of existing formulations.RENNES1-Bibl. électronique (352382106) / SudocSudocFranceF