Post by Vince De Quattro on Sept 21, 2004 11:50:39 GMT -8
MODULE 3: Extracting the Subject
Goals:
• using a self-documenting compositing approach
• performing a rough extraction
• spill suppression
• pre-compositing
• conforming black-levels
• viewing upstream results
• foreground color correction strategy
• refining the extraction
Assignments:
• Assignment 3.1: Dailies. Please post current progress on all shots that you have not yet finalled. Post progress for specific shots to the dailies discussion folder for that particular shot. If you are not posting for a specific shot currently in production, explain why.
Reading Assignments:
• Chapter 11, Lighting from your reading material, “The Filmmaker’s Handbook.”
Discussion:
• Discussion 3.2: VFX Sequence of the Week. This week’s VFX picks are from the film Hellboy (2003), starring Ron Perlman, John Hurt and Selma Blair, with post-production effects by The Orphanage (VFX Supervisor: Jonathan Rothbart). Please watch this clip with instructor commentary and discuss the strengths and weaknesses of the shot presented.
This week, everyone will be expected to have notebooks in order to take detailed shot notes. Your shot notes for dailies, and the resultant week's shot updates should be photocopied and handed in next week.
It is really important that you learn good note-taking skills during dailies/nightlies. Working from the notes during subsequent takes is equally important.
Discuss University grading policy
Discuss need for grading policy in the context of the CA3D_626 course. Only those students who complete all assignments, projects, turnover sheets and project notebooks in an exceptional manner, as well as contribute to the class experience with creative concepts and ideas that facilitate further learning, will receive the grade of "A".
Present student dropoff/pickup directory structures. Explain template, dailies sub-directories.
Dailies
Discuss dailies protocol and etiquette.
Present the Ten Rules of Dailies:
1. The Visual Effects Supervisor sits in the chair nearest the monitor.
2. The Supervisor is the only person allowed to use a pointing device in dailies.
3. Be prepared. Know what your goal was since the last time the supervisor reviewed your shot. Take detailed notes and bring them with you. If something went wrong, quickly re-cap and provide your game plan for correcting the problem.
4. Discuss the three most important aspects of the new take as they are related to the shot's progress since the supervisor last saw the take.
5. Don't comment on a colleague's shot unless specifically asked to. There's nothing worse than a backseat driver in dailies. It redirects leadership focus from the supervisor and makes it difficult to get through the work.
6. In fact, don't talk in dailies unless you are presenting your work to the crew. It's hard enough to hear the commentary when gathered in a room of any size.
7. Take your own notes. Don't rely on the production's notes to get you through to your next take. Use your notes to check the accuracy of the production notes. Production note takers are typically not visual effects artists.
8. Don't elaborate, but get to the point. There's nothing worse than hearing someone go off on what amounts to a doctoral thesis early in the morning when everyone just wants to get back to their desk to fix their broken shots.
9. Pay attention. Learn to see what the Visual Effects Supervisor sees. Learn what is important to him about an effects shot for the production and what is not. Train your eye by observing his or her eye.
10. Don't be late. Production personnel hate when they call a name and there's no answer. If it's embarrassing for them, imagine how embarrassing it will be for you. Want fries with that burger?
Review professional green screen footage
Review class green screen footage
Goals:
• using a self-documenting compositing approach
• performing a rough extraction
• spill suppression
• pre-compositing
• conforming black-levels
• viewing upstream results
• foreground color correction strategy
• refining the extraction
Assignments:
• Assignment 3.1: Dailies. Please post current progress on all shots that you have not yet finalled. Post progress for specific shots to the dailies discussion folder for that particular shot. If you are not posting for a specific shot currently in production, explain why.
Reading Assignments:
• Chapter 11, Lighting from your reading material, “The Filmmaker’s Handbook.”
Discussion:
• Discussion 3.2: VFX Sequence of the Week. This week’s VFX picks are from the film Hellboy (2003), starring Ron Perlman, John Hurt and Selma Blair, with post-production effects by The Orphanage (VFX Supervisor: Jonathan Rothbart). Please watch this clip with instructor commentary and discuss the strengths and weaknesses of the shot presented.
This week, everyone will be expected to have notebooks in order to take detailed shot notes. Your shot notes for dailies, and the resultant week's shot updates should be photocopied and handed in next week.
It is really important that you learn good note-taking skills during dailies/nightlies. Working from the notes during subsequent takes is equally important.
Discuss University grading policy
Discuss need for grading policy in the context of the CA3D_626 course. Only those students who complete all assignments, projects, turnover sheets and project notebooks in an exceptional manner, as well as contribute to the class experience with creative concepts and ideas that facilitate further learning, will receive the grade of "A".
Present student dropoff/pickup directory structures. Explain template, dailies sub-directories.
Dailies
Discuss dailies protocol and etiquette.
Present the Ten Rules of Dailies:
1. The Visual Effects Supervisor sits in the chair nearest the monitor.
2. The Supervisor is the only person allowed to use a pointing device in dailies.
3. Be prepared. Know what your goal was since the last time the supervisor reviewed your shot. Take detailed notes and bring them with you. If something went wrong, quickly re-cap and provide your game plan for correcting the problem.
4. Discuss the three most important aspects of the new take as they are related to the shot's progress since the supervisor last saw the take.
5. Don't comment on a colleague's shot unless specifically asked to. There's nothing worse than a backseat driver in dailies. It redirects leadership focus from the supervisor and makes it difficult to get through the work.
6. In fact, don't talk in dailies unless you are presenting your work to the crew. It's hard enough to hear the commentary when gathered in a room of any size.
7. Take your own notes. Don't rely on the production's notes to get you through to your next take. Use your notes to check the accuracy of the production notes. Production note takers are typically not visual effects artists.
8. Don't elaborate, but get to the point. There's nothing worse than hearing someone go off on what amounts to a doctoral thesis early in the morning when everyone just wants to get back to their desk to fix their broken shots.
9. Pay attention. Learn to see what the Visual Effects Supervisor sees. Learn what is important to him about an effects shot for the production and what is not. Train your eye by observing his or her eye.
10. Don't be late. Production personnel hate when they call a name and there's no answer. If it's embarrassing for them, imagine how embarrassing it will be for you. Want fries with that burger?
Review professional green screen footage
Review class green screen footage