Hollywood Camera Work Visual Effects For Directors –
Hollywood Camera Work – Visual Effects For Directors
7 DVD Set - Intense visual effects training...
Intense visual effects training for Directors, DPs, VFX Artist
Shipping Worldwide. Please Contact me for Price and Payment. (shiluobin@gmail.com)
Original list price $329.00 + Shipping
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Years in the making, Visual Effects For Directors is a massive 7 DVD set that covers everything you need to know about shooting Visual Effects.
The course is intense training on everything from green screen, virtual set, 3D, camera tracking, and motion control, to character animation, motion capture, crowd replication, digital set extension, VFX cinematography, compositing, and much, much, much more.
EVERYBODY NEEDS IT
The course is completely unique, in that it's about understanding exactly what to do on the set, so that more of the budget ends up in front of the camera instead of being wasted on fixing impossible problems in post -- and trust us, it happens every day, even by big guys who should know better.
This is training that everybody needs, from Directors and DPs to highly professional Visual Effects Artists, because the challenge is the same: to make some really good decisions during shooting that you know for a fact will work easily in post. Even many Visual Effects Artists haven't explored this aspect.
HIGH TO LOW BUDGET
The course covers everything from basic visual effects to advanced techniques. While part of the DVD series is geared towards high-budget shooting, the majority of it is exactly about how to do things like blockbuster green screen for practically no money.
For example, the green screen cyc stage used in the course was built, painted and lit for less than $700, and we show how it was done. Once you understand what's important, you can do top-notch work for very little money.
BE A KNOW-IT-ALL
These are a tiny sampling of the subjects we cover – many of them very in-depth. Ideally, you should know all of these things well enough that you can at least make decisions about them:
* Matchmoving
* Green Screen
* VFX Cinematography
* Compositing
* Planar Tracking
* Motion Control
* Rigging
* Skinning
* Photogrammetry
* Rotoscoping
* Cleanplates
* Particle Instancing
* Massive Swarms
* Motion Capture
* Virtual Set
* Character Animation
* Image-Based Modeling
* Camera Mapping
* Final Gather
* Global Illumination
* Ambient Occlusion
* HDRI Lighting
* Render Passes
* Animation Workflows
* Node-Based Compositing
* Digital Set Extension
* Crowd Replication
* Virtual Props / Inverse Matchmoving
* Fluid Dynamics
* Green Screen Paint Selection
* Hard Body Physics
* Digital Stunt People
* Camera Animation
* Inverse Kinematics
* Color Sampling
* Telecine
* Sky Replacement
* Shadow Extraction
* Physical Interaction
* Object Removal
* Texturing / Bump Mapping
* Telecine
* Marker Removal
* Matching Lighting
* Receiving Shadows
* Organic Modeling
* Matte Tracking
* 2D Tracking
* Camera Matching
* Extending Matchmoves
* Facial Animation
* Demolition
* Survey Shots
* Keying
* Raytracing
* Body Tracking
* Face Tracking
* Helper Frames
CHAPTERS
HOW TO PLACE TRACKING MARKERS PART I & II
These two chapters talk about everything you need to know about tracking markers and matchmoving on a green screen.
We first talk about color, size and shape of tracking markers, then about photogrammetry and depth-placement, and finally we walk through an entire Virtual Set process from start to finish. Then we wrap by talking about how to prevent emergencies, and what to do if a shot ever fails.
This is almost a half hour of training, so get a cup of coffee!
CROWD REPLICATION
Crowd replication seems so simple, but it's actually a science. Many people rely on difference keying, which is a terrible method.
This chapter talks about how to do crowd replication that is easy to composite, how to maintain station-points and crowd continuity, how to use motion control, and how to do massive crowds with a million people using Particle Instancing.
RECEIVING SHADOWS & LIGHT
This is one of many chapters on matching lighting, which is a critical aspect of visual effects, and it has to be done right on the set -- it can't be fixed in post.
This chapter covers a very difficult situation, which is having shadows fall on a live-action person on a green screen. It would be dangerous to shoot a plate like this without careful thought, because an unusable plate could mean a reshoot.
HOW TO SHOOT FOR PLANAR TRACKING
Things like corner-pinning and replacement used to be done with 2D tracking, which was really an awful way to track.
But a Planar Tracker tracks the whole surface instead of just points, and that results in a whole new set of rules for how you have to shoot inserts and elements that have to be replaced -- which is all the time.
This chapter covers in great detail exactly what to do on the set for this to be easy and safe.
CHAPTER LIST
VOLUME I: 3D PRIMER
1. Introduction
2. Shading And Mapping Part I
3. Shading And Mapping Part II
4. Simple Lighting
5. Advanced Lighting
6. Modeling Tools
7. Modeling Objects And Characters
8. Image-Based Modeling
9. Basic Animation
10. Character Rigging
11. Character Animation Part I
12. Character Animation Part II
VOLUME II: MIXING AND MATCHING
1. Overview
2. Compositing Primer
3. Node-Based Compositing
4. Pulling A Matte
5. Garbage Matting / Rotoscoping
6. Compositing Without A Matte
7. 2D Tracking
8. How Trackers Work
9. Planar Tracking
10. How To Shoot For Planar Tracking
11. Camera Matching
VOLUME III: MIXING AND MATCHING
1. Matchmoving
2. How To Shoot For Matchmoving Part I
3. How To Shoot For Matchmoving Part II
4. Motion Control
5. Matching Lighting And Shadows
6. Casting Shadows Into Live-Action
7. The Double-Shadows Problem
8. Receiving Shadows
9. Casting And Receiving Reflections
10. Casting And Receiving Light
11. Matching Camera Look
12. Interaction Part I: Live-Action Affecting 3D
VOLUME IV: MIXING AND MATCHING
1. Interaction Part II: 3D Affecting Live-Action
2. Virtual Props
3. Motion Capture Primer
4. In-Shot Motion Capture: Body Tracking
5. In-Shot Motion Capture: Face Tracking
6. Object Removal Part I
7. Object Removal Part II
8. Crowd Replication
VOLUME V: GREEN SCREEN INTENSIVE
1. 2 Kinds Of Green Screen, 3 Kinds Of Shooting
2. Green Vs. Blue
3. Color Sampling
4. Back-Drop Green Screen Part I
5. Back-Drop Green Screen Part II
6. Renting And Prepping A Cyc Stage
7. Building And Painting A Green Screen Cyc
8. Lighting A Green Screen Cyc
9. Keying Part I: Solids
10. Keying Part II: Transparency
11. Keying Part III: Preventing And Handling Spill
VOLUME VI: GREEN SCREEN INTENSIVE
1. How To Place Tracking Markers Part I
2. How To Place Tracking Markers Part II
3. Matching Lighting
4. Matching Direction, Quality, Ratio
5. Extracting And Faking Shadows
6. Receiving Shadows And Light
7. Casting And Receiving Reflections
8. Physical Contact
9. Directing And Blocking On A Virtual Set
10. Giant Green Screen
11. Warping
12. Cinematography Checklist
VOLUME VII: SIMULATION / COMPS
1. Physics
2. Particles And Fluids
3. Instantiation
4. Cloth, Hair, Demolition
5. Digital Stunt People
6 . Fusion Nodes
7 . Shot Analysis: F-16 Over Ocean
8 . Shot Analysis: T-Rex Chase
9 . Shot Analysis: Car Crash
10. Shot Analysis: Garden Shadows
11. Shot Analysis: Embassy Shootout
Originally Posted by Cobaltmax
