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Showing posts from July, 2013

Basic Match-Moving With Autodesk Matchmover

01.          In this lesson we will cover the Basic Workflow of Match-Mover, like Importing Sequences, Automatic Tracking and Exporting the Point Cloud into Maya. Here is the Basic interface of Match Mover, showing very less options as the interface is currently set on ‘Light’ version. We can change the Interface to ‘Full’ version from the upper left hand corner of the main toolbar.




Fig 01.0

02.          In order to Import sequence into Match Mover we can go to file Load Sequence or just hit the load sequence button on the main toolbar. Browse the sequence that we would like to Match Move. Select the footage, and fill in the end frame number of the sequence under the Set end tab. We have to choose the appropriate Sequence Options according to camera settings while capturing the footage. Press ok in order to load the footage inside viewer.




Fig 02.0

03.          Press Alt + LMB in order to pan the footage inside the viewer. Double click on - Image Sequences > Sequence 01, in order to …

Match Move

Match moving is primarily used to track the movements of a camera through a shot so that an identical virtual camera move can be produced in a 3D animation program. When new animated elements are composited back into the original live action shot they will appear in perfectly matched perspective and therefore appears seamless.

Match moving allows the insertion of computer graphics into live action footage with correct position, scale, orientation, and motion relative to photographed objects in the shot. The term is used loosely to refer to several ways of extracting motion information from a motion picture, particularly camera movement.



NEED FOR A MATCH MOVE
Whenever we are required to put a 3D object into a live action footage we also have to match the 3D camera with the live action camera. This is done so that 3D objects will have the same perspective rendering as the live action, and also to help 3D interact with the live action. On a locked shot we can just eyeball the 3D camera,…

Camera Tracking and Matchmoving in PF Track

01. We will start our work in PFTrack-2011 by creating a project from the 'Project panel' and clicking onto the 'Create' tab. Browse for the desired folder where we want to save our project from the 'Path' column and click 'Choose'. Give the project an appropriate name before clicking 'Confirm'.



02. Last step directly brought us onto Create Panel where we will get all the important options in PFTrack-2012. We have also being presented with the three views on the interface with the 'Tree View' on our left, 'Media Bin' at the middle and 'File Browser' at the right. Browse the files that we want to import to the project from the 'File Browser' panel, and then drag them one by one inside the 'Media Bin' where we can create our own library of footages. Eventually drag n drop the main footage in the 'Tree View' to load the footage into the project.



03. Switch to 'Cinema view' from the 'Camera i…

DSLR - Digital Single Lens Reflex

A Digital Still Image Camera uses a single lens reflex mechanism. It is a digital camera that uses a mechanical mirror and Penta-Prism to direct light from the lens to an optical viewfinder on the back of the camera. The mirror reflects the light coming through the attached lens upwards at a 90-degree angle. It is then reflected three times by the roof of the Penta-Prism, rectifying it for the photographer’s eye. During exposure, the mirror assembly swings upward, the aperture narrows and a shutter opens, allowing the lens to project light onto the image sensor. A second shutter then covers the sensor, ending the exposure, and the mirror lowers while the shutter resets. The period that the mirror is flipped up is referred to as ‘viewfinder blackout’. A fast acting mirror and shutter is preferred so as to not to delay an action photo.
In simplified words:
Light passes through the lens and strikes a mirror. (GREEN)The mirror reflects the light up to a focusing screen.Light passes through t…

An examination of the analogue and digital tools used for creating a scene of giant gorilla on Empire State Building in King Kong (1933) and King Kong (2005)

“People still cry when King Kong jumped offs from the empire state building in the end, because it is such a world realized visual effect. And that is really first time in film making that ever occurred. Therefore it is the pioneer of every visual effect that came after that.” (Jackson 2005)
These words by my favorite and one of the finest directors of recent cinema became the major reason for my decision of comparing and contrasting empire state building scene, from two different versions of the movie ‘King Kong’.


King Kong 1933                           vs.                          King Kong 2005
INTRODUCTION

The world of film production has witnessed some drastic changes in the technology and tools that are being used for film production over the years. This essay will compare and contrast the techniques and tools used in creating both the 1933 and 2005 versions of King Kong. Whenever one thinks about the early experiments with special effects the one of the most memorable examples …