How is Digital 3-D Different from Old 3-D Movies?
And yet another incredible innovation was first used on "Avatar." A virtual camera with a monitor allowed James Cameron to view the actors' as their computer-generated characters along with the CG setting in real-time while the performances were happening. In live-action film, they allow for scenes that would be expensive, difficult, dangerous or impossible to film in a real-world setting. Cram, Christopher. "Digital Cinema: the Role of the Visual Effects Supervisor." Film History: An International Journal. And new and improved digital tools are making it possible to create more realistic effects than ever, faster and more cheaply than before. Their later works included iconic characters Betty Boop and Popeye in the 1930s and the famously realistic (and expensive to produce) "Superman" short features in the 1940s. Rotoscoping was used to varying degrees in all of them to produce life-like character motion while still allowing the creativity and exaggeration that animation makes possible.
Fully animated cartoons have been around since 1908, when comic strip artist Émile Cohl drew and filmed hundreds of simple hand drawings to make the short film "Fantasmagorie." Others followed suit, including Winsor McCay with "Gertie the Dinosaur" in 1914, which involved thousands of frames and was longer and more smooth and realistic than most cartoons of the day. For instance, you have to make sure your actors aren't wearing anything that's the color of the backdrop. If someone accidentally waves an arm out of the area, rotoscoping can be used to make a traveling matte of the part that isn't in front of the color screen to composite it into the film properly. It can be adopted for stylistic purposes to deliver a certain look and feel, as with Richard Linklater's "Waking Life" and "A Scanner Darkly." But it's also always on standby, ready to be used for filming flubs and other post-production compositing needs. The final, much more realistic results still come later after many, many man-hours of post-production, but it can be used to better visualize how a shot will really look and give direction accordingly. And as far as motion capture, one only has to look at the differences between Gollum in Peter Jackson's "The Lord of the Rings" films and Gollum in the first "Hobbit" movie. C on tent has been generated with G SA Con tent Gen erator Demov er sion.
Mallory, Michael. "Drawn from Life: The secret films behind the animated films." Animation. Adams, Sam, Mike D'Angelo, Noel Murray, Keith Phipps, Tasha Robinson, Scott Tobias, and Alison Willmore." The 10 best films of the 1890s." A.V. Most tended to be a bit rough and jerky. One bit of technology for animating life-like motion is rotoscoping, and it was developed almost exactly 100 years ago. The technique was used to model some shots of Batman in "Batman Forever" (1995), crowd scenes in "Titanic" (1996), Jar Jar Binks in "Star Wars Episode I: The Phantom Menace" (1999) and Gollum (performed by motion capture virtuoso Andy Serkis) in "The Fellowship of the Rings" (2002). One major improvement was facial performance capture, which was used for the titular character in Peter Jackson's "King Kong" (2005), Davy Jones in "Pirates of the Caribbean: Dead Man's Chest" (2006) and all the Na'Vi in James Cameron's "Avatar" (2009). This was at first achieved with the use of sensors or reflective markers on the face, but for "Avatar," the actors wore form fitting helmets that had cameras in front of the actor's faces (attached via a thin arm) and had dots painted onto their faces. But performance capture has the potential to turn an actor into any sort of creature the story requires, without the need for hours in makeup and costuming, and with an entirely realistic appearance and movement.
This a rticle has be en c re ated by GSA Content Gene ra tor DEMO.
In its earlier incarnations, an actor would don a bodysuit covered with reflective markers or sensors and then perform alone on a sound stage surrounded by cameras. Another big breakthrough came with "Pirates of the Caribbean: Dead Man's Chest" (2006) where Bill Nighy was able to do his entire performance on set with other actors (albeit in a marker-covered body suit and with facial markers). The data was used to imbue each computer generated character with as much of the actor's real performance as possible, rather than relying entirely on post production animation using reference footage. Vass, Gergely. "Viewpoint Postproduction - Making Mattes." Computer Graphics World. But mocap is a thing of the digital age that's bringing us much more realistic graphics and motion than anything that came before. Facial expressions, costumes and other details would be added by animators and other special effects professionals via graphics software in post-production. Although just about every film has special effects we don't notice, like the stripped out boom mic or day for night shots or more snow on the ground that is generally present during a spring shoot, they don't all have or need entirely CG characters. They had the film developed, played it back using the projector and found that the process had worked. Post was c reat ed with GSA Content Generator DE MO .
Post a Comment for "How is Digital 3-D Different from Old 3-D Movies?"