Visual Effects for Film

VFX is a tool for your story telling~

Category Archives: 3. “How To” of VFX

3D process 02 – where the magic happens but without the magic button

In this post, we’ll continue to talk about the process of 3D making including lighting, rendering and final compositing. Although compositing is not really a part of 3D process, but it’s a very important step where all the 3D elements been put together. So we’ll briefly introduce the concept of compositing here. For other compositing purpose such as keying, roto and wire removal, please check out our other posts.

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3D process 01- where the magic happens but without the magic button

You hear this term “3D” all the time. You also might think that all the films with something impossible is all made in 3D. But what does 3D really mean? The easiest way to understand this is to think of a painting versus a sculpture. If you’re standing right in the front of a painting or a picture, you might think this looks really real. But once you look from the side or from the back, it’s just a flat piece of paper. A sculpture on the other hand, you can observe it from any angle. This is the same in the digital world. A 2D matte painting or projection technique is only good from the chosen angle. But a 3D object can be viewed from everywhere. So if a robot or dinosaur is needed in your film for several shots with different angles, it’s better to approach with 3D. But in the 3D world, there is no magic button to make this happened with one click. Quite the opposite, the artists will have to create every single detail that happens in the real world, such as reflections, shadows, and even the intensity of the shadow or the blurry edge of the shadow. Therefore before jumping in and doing everything with 3D, which needs a lot more time and budget, it’s better to consult with the VFX supervisor to make sure the 3D approach is necessary here. In this post, we are going to talk about a simplified 3D process to give you a rough concept of how 3D works.

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Roto101 – How to separate what you want when you don’t have green screen

In the last post, we talked about when you have something/someone you want to keep but something you don’t want, you put a green/blue screen to cover what you don’t want. You have to keep what you want in the range of green/blue screen so the vfx artists can use some keying tools to get rid the green/blue screen and then replace it with something else. But what if for some reasons you didn’t use a green/blue screen when you shot and now you change your mind and want to replace something in the shot? Or what if the actor moved too big of a range and some part of him was out of the green/blue screen and you didn’t notice? This is where roto is needed.

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Why use a green/blue screen? The concept of “keying”.

For most people, when they think about shooting for visual effects, they think about green/blue screen. Why use a green/blue screen and how does it work? In this post, we are going to talk about the reasons for use green/blue screen and what visual effects artists have to do after receiving this green/blue screen footage. For this post we will give you just a basic concept of blue/green screen, and we’ll go further into detail in later posts.

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