Hollywood Camera Work - Visual Effects for Directors (7 Volume)

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English | DX50 720x480 29.97 fps | MP3 160 Kbps 48.0 KHz | 6.63 GB

! \* s/ k4 N8 l% M# OYears 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.

The course is completely unique, in that its 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.

" Q& ?2 a# [+ Z$ d* K. eThis 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 havent explored this aspect.
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% _) c. Y3 A/ B& EThe 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 whats important, you can do top-notch work for very little money.

VOLUME I: 3D PRIMER
8 J4 o6 w/ q* F$ m0 k5 g* E' g1. Introduction
7 u/ R, o' ^1 a2. Shading And Mapping Part I
' T2 L, ?9 W7 f" T3. Shading And Mapping Part II
4. Simple Lighting
5. Advanced Lighting
! n5 s& h( N0 D4 ?8 n8 H! Q2 z% A1 @6. Modeling Tools
7 F3 g6 U4 p4 W! o! o7. Modeling Objects And Characters
8. Image-Based Modeling
9. Basic Animation
* P. T0 `/ Y# Y7 O5 P+ f& H4 C10. Character Rigging
. k" G0 f3 T, N# J11. Character Animation Part I
12. Character Animation Part II

6 m/ [- Z' s  h$ a) u) ~' `* SVOLUME II: MIXING AND MATCHING
1. Overview
  G: X: z# }# L  i  T2. Compositing Primer
6 ~, H# A5 v4 p% W, E( n3. Node-Based Compositing
; F0 V. Z" t7 ^! V2 N$ P4 h" `4. Pulling A Matte
5. Garbage Matting / Rotoscoping
6. Compositing Without A Matte
' o8 ~9 J0 Z. I' G8 O3 h1 {+ D7. 2D Tracking
. _* i0 y' Q  c2 W8. How Trackers Work
5 A- f- t7 w8 e; |) ?. o9. Planar Tracking
: B) E' m9 O, G0 s: }10. How To Shoot For Planar Tracking
& P5 M  ]9 g6 D* q0 O2 C! g( Q0 V8 f11. Camera Matching
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2 J1 a& h3 B3 ?3 E& G5 tVOLUME III: MIXING AND MATCHING
! m7 \7 I/ o9 F1. Matchmoving
7 q) V# b9 x/ ~2. How To Shoot For Matchmoving Part I
3. How To Shoot For Matchmoving Part II
, U$ i# n  m, ?2 C% j4. Motion Control
# J! h- n8 {" F# l- w! `/ u# V5. Matching Lighting And Shadows
6. Casting Shadows Into Live-Action
7. The Double-Shadows Problem
0 c' t- c4 ^; f) t, ~$ ]8. Receiving Shadows
+ Z  K: l* D, [& Z# z% y: C0 n9. Casting And Receiving Reflections
10. Casting And Receiving Light
  H0 f5 X: \  N8 K( T7 `% j11. Matching Camera Look
12. Interaction Part I: Live-Action Affecting 3D
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VOLUME IV: MIXING AND MATCHING
1. Interaction Part II: 3D Affecting Live-Action
2. Virtual Props
3. Motion Capture Primer
/ S+ Z6 A5 g- f% o: j) a4. In-Shot Motion Capture: Body Tracking
8 ?) W3 T% ^: Q* [1 m! S5. In-Shot Motion Capture: Face Tracking
, C% ^: u: N0 X+ i' W, n+ r1 U6. Object Removal Part I
/ S- a$ E4 y5 U3 V0 `7. Object Removal Part II
9 m, u  L" W1 R1 F8. Crowd Replication

VOLUME V: GREEN SCREEN INTENSIVE
1 J9 U; J5 |, H! w/ F( J; X# }# f) U1. 2 Kinds Of Green Screen, 3 Kinds Of Shooting
2. Green Vs. Blue
) k4 h/ u& f9 e% A  a  P% m3. Color Sampling
" f7 X+ [$ j. }8 u' F0 ]" C: ^4. Back-Drop Green Screen Part I
4 f/ m9 x# m  r7 P( _" U- {5. Back-Drop Green Screen Part II
1 }/ F& |2 ]) Y/ O# p9 }9 e6. Renting And Prepping A Cyc Stage
" X, p: U% m& g9 T7. Building And Painting A Green Screen Cyc
* p7 }# l. x. @9 f, v' Z, F8. Lighting A Green Screen Cyc
9. Keying Part I: Solids
  g, U: j. t4 b) c: M10. Keying Part II: Transparency
11. Keying Part III: Preventing And Handling Spill

; Z7 M5 c3 D5 M8 i' W8 dVOLUME VI: GREEN SCREEN INTENSIVE
% H: l/ Y5 d3 ^% i; A! z% n1. How To Place Tracking Markers Part I
2. How To Place Tracking Markers Part II
) K; q% a: W7 m2 n# \! v) F3 i3. Matching Lighting
4. Matching Direction, Quality, Ratio
+ R7 i! X5 o5 C) H: I5. Extracting And Faking Shadows
+ t2 c. S5 k3 D% T( ]& ^( j' \6. Receiving Shadows And Light
/ B' t. C, }! C& {7 U) T& d' F7. Casting And Receiving Reflections
8. Physical Contact
9. Directing And Blocking on A Virtual Set
, H  F; `; L' C10. Giant Green Screen
11. Warping
12. Cinematography Checklist
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' S/ v& F% y1 m/ ?4 C: M1 }. MVOLUME VII: SIMULATION / COMPS
1. Physics
2. Particles And Fluids
3. Instantiation
4. Cloth, Hair, Demolition
5. Digital Stunt People
- |: J% f. h8 A9 B2 Z6 . Fusion Nodes
  ?" m2 z8 ~5 ~& E7 . Shot Analysis: F-16 Over Ocean
8 [7 C2 J( m% o8 . Shot Analysis: T-Rex Chase
# D0 `5 E0 G& H+ F1 B9 . Shot Analysis: Car Crash
. Y" w5 f& ], e( R# R10. Shot Analysis: Garden Shadows
4 ~1 ?* k, ^3 }- `/ F* m/ f0 b& \3 E11. Shot Analysis: Embassy Shootout


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