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Introduction to Visual Effects Lecture 3 Preproduction Continued.

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Presentation on theme: "Introduction to Visual Effects Lecture 3 Preproduction Continued."— Presentation transcript:

1 Introduction to Visual Effects Lecture 3 Preproduction Continued

2 Review of Lecture Two Preproduction

3 Pre-Production Planning is the most important aspect of any SFX production Determine what effects are needed and why they are needed Determine how the effects can be achieved Determine who will do the effects Budget how much the effects will cost Schedule when the effects will be done

4 Job Descriptions Visual Effects Producer Visual Effects Supervisor Art Director Director of Photography Technical Director

5 Visual Effects Producer Works with the VFX Supervisor Responsible for budget, scheduling and overall management of crew and facilities Responsible for procuring crew and facilities Responsible for delivering the project on time and on budget Answers to the film’s financiers and producers

6 Visual Effects Supervisor Overall responsibility for all the effects Must provide most effective solutions to complete required work within the given budget Works with entire production team, including director, DP, camera department Designs, creates and supervises every aspect of the film where a visual effect needs to be created Includes live action, model, miniature shooting as well as post-production VFX

7 Art Director Also called “set designer” or “production designer” Analyzes the visual requirements of the script in regard to the settings Includes both construction and decoration of sets Must create visual representations through sketches, drawings and/or miniatures Plans, budgets and arranges creation of all sets

8 Director of Photography “DP” Responsible for capturing the director’s creative ideas onto film or video Must be both artist and engineer Must understand director’s creative vision and then accomplish it Responsible for the overall look of the film

9 Technical Director Manages all material shot by the VFX Supervisor In charge of the post-production crew Adds any CGI effects and does the digital compositing Manages the integration of live action with other effects

10 Budgeting Choosing the right effects depends not only on what you are trying to convey but also what you can afford to do Movies are a business and effects need to be practical and cost-effective Use limited budgets an opportunity for creativity, not a barrier

11 Script Analysis The process of breaking down the script into elements that deal with potential effects Done by the VFX Supervisor Often shots are removed at this stage due to budget constraints

12 Pre-visualization The visual planning of your effects shots Pre-Viz is the battle plan for the project Should never be skipped

13 Previz on The Matrix

14 Pre-Viz Steps Collect and keep reference material Create and use storyboards Focus on the finished composition

15 Reference Material Books and Magazines On Location The Internet CD Libraries (Stock footage, etc) Keep a database of your reference materials

16 Storyboards Shows shot composition Shows shot to shot continuity Helps you break down the shots and develop a list of requirements for each effect

17 Storyboards



20 Focus on the Finished Composition Pay attention to the details Consider camera, focal depth, lighting, atmospheric effects Check your plans and your budgets

21 Shot Design & Composition Basic Concepts

22 Qualities of Good Composition Rule of Thirds (balance) Contrast Depth Cues Keep it simple Frame your shots Use Open Space

23 Balance Refers to the distribution of visual “weight” in the shot Divide the frame into thirds, vertically and horizontally The intersections have the greatest visual impact

24 Rule of Thirds 1 2 3

25 123 456 789

26 Notice where your eyes are drawn to in each shot

27 Contrast Light and dark values Sharp and soft focus Stillness and motion The degree of contrast contributes to the visual weight

28 Contrast

29 Depth Cues Tricks that make the eye see depth in a two-dimensional space Most important to create depth cues when working with models and miniatures

30 Depth Cues Linear perspective Forced Perspective Relative Size Light and Shadow Overlap Texture Gradients Aerial Perspective Relative Motion

31 Linear Perspective

32 Forced Perspective



35 Relative Size

36 Shadow Light and Shadow

37 Overlap

38 Aerial Perspective

39 Relative Motion

40 Texture gradient


42 Keeping it Simple Don’t overcompose your shots Sometimes the best solution is the simplest one Depth of field is often the easiest way to direct attention

43 Depth of Field

44 Framing your Shot Create a picture frame within the shot, to direct attention Doesn’t have to be an actual frame Can be anything within the shot to provide framing

45 Framing

46 Using Open Spaces Use the visual weight of motion … direction … the look

47 Open Spaces

48 Storyboards Illustrated script breakdown Primarily for communicating your visual ideas Do not need to be perfectly drawn!

49 Functions of the storyboard Composition Continuity Set Design Visual Effects Equipment Rentals

50 Types of Storyboards Drawings –Thumbnails –Sketches –Renderings Photos –Photograph toys –Photograph people Digital Illustration Photo Collage Computer Storyboarding programs

51 Advantages of the Storyboard Quick and inexpensive to create Easy to change Easily copied, distributed and referenced by the crew Easily inserted into the script breakdown for continuity

52 Animatics Able to show motion Uses pacing and timing cues Includes sound (dialogue, music, effects) Features animation and visual effects

53 Videotaping Storyboards Easiest and quickest way to create an animatic Most animatics are still done this way Recreate camera moves in the storyboards (zooms, pans, etc)

54 Scanning and Animating Storyboards Use After Effects or Combustion Create camera effects within the program Separate backgrounds from foregrounds for 3D effects Do a first pass on the visual effects

55 Videotaping Toys Common practice for early Star Wars animatics Must use smaller camera to recreate correct lenses Use foam core boards to create sets Can paste up bakgrounds from the storyboards

56 Videotaping people Comes closest to actual production Must be careful not to overdo it Good for practicing composites and testing blocking of actors/sets and props

57 Summary Planning is essential Use script breakdown to create storyboards Use your Fundamentals of Design knowledge when creating storyboards Create animatics from the storyboards Then you may be ready to begin…

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