Tim Dobbert

Matchmoving: The Invisible Art of Camera Tracking

• Broschiertes Buch

Produktbeschreibung

Get your foot in the studio door by learning the art of matchmoving

Matchmoving is a technique that allows computer graphics to be inserted into live-action footage with correct position, scale, orientation, and motion. Also known as motion tracking, it's what allows movie monsters to run down Main Street and robots to run through crowds--and look real. Now this unique book from a top expert from Industrial Light and Magic teaches you the art of matchmoving.

With step-by-step tutorials and pages of examples, this book first explains the basics and then shows you professional techniques, from 3D calibration and tracking, to stereoscopy, and more.
Explains concepts and teaches professional techniques for successful matchmoving
Authored by a top matchmove specialist from Industrial Light and Magic, who walks you through step-by-step tutorials and impressive examples
Covers matchmoving basics, 2D tracking, 3D calibration and tracking, automatic tracking, cameras, integrating matchmoves, and stereoscopy

Learn how studio visual effects professionals make all the right matchmoves with Matchmoving: The Invisible Art of Camera Tracking 2nd Edition.

Produktdetails

• Verlag: Wiley & Sons
• Artikelnr. des Verlages: 1W118352050
• 2. Aufl.
• Seitenzahl: 336
• Erscheinungstermin: 20. November 2012
• Englisch
• Abmessung: 233mm x 184mm x 20mm
• Gewicht: 672g
• ISBN-13: 9781118352052
• ISBN-10: 111835205X
• Artikelnr.: 36214087

Autorenporträt

Tim Dobbert is a layout lead at Industrial Light & Magic in San Francisco and has been in the visual effects industry for over ten years. He has worked as a matchmover and digital artist on over 25 feature films, including Avatar, Pirates of the Caribbean: On Stranger Tides, and Harry Potter and the Goblet of Fire. In addition to teaching university classes in matchmoving and image-based content creation, he has lectured all over the world on the subject.

Inhaltsangabe

Introduction xxi Chapter 1 The Basics of Matchmoving 1 Exploring a Typical
Matchmove 2 Moving from 3D to 2D and Back Again 4 Understanding the
Matchmoving Process 5 Evaluating the Footage 5 Applying Information 6
Defining the Camera 6 Fitting the Set 7 Testing the Matchmove 9 Delivering
the Scene 9 Matchmoving in the Production Pipeline 9 Perspective Matching
Tutorial 10 Gathering the Data 11 Setting Up the Camera 13 Adding Rough
Geometry and Refining the Camera 15 Creating a Camera Rig 16 Evaluating and
Adjusting the Camera 18 Chapter 2 Matchmoving Software 23 Using Matchmoving
Programs 24 Introducing Photogrammetry 24 Calibration 25 The Optics of
Photography 26 Projection 28 Building a Better Camera 31 Parallax: A
Matchmover's Best Friend 38 Understanding How Matchmoving Programs Work 40
Requirements for Matchmoving Programs 41 Chapter 3 2D Tracking 43
Understanding the 2D Tracking Process 44 Exploring the Anatomy of a 2D
Track 45 Track Placement: Making Every Track Count 47 Sample the 3D Space
47 Maintain the Minimum Number of Tracks 48 Track Stationary Objects 49
Track "True" 3D Positions 50 Getting Tracks to Stick 51 Following Hints for
Effective 2D Tracking 52 Handling Plate Issues 54 Motion Blur 55 Soft Focus
or Rack Focus 56 Occlusion 56 Noise 58 Low-Contrast Features 58 Lack of
Trackable Features 59 Optimizing the Plate for 2D Tracking 61 2D Tracking
Tutorial 62 Evaluating the Shot 63 Placing the First Tracks in SynthEyes 63
Choosing Your Tracks 66 Adding the Remaining Tracks 66 Chapter 4 3D
Calibration 69 Understanding "Good" Calibration 70 Evaluating Error 70
Calibrating Your Cameras 72 Finding the Right Fit 72 Calibration Tutorial
73 Evaluating the Solution 77 Evaluating the 3D Nulls 77 Evaluating the 3D
Space 78 Rendering the Matchmove 79 When Good Solutions Go Bad 80
Determining Camera Moves 81 Dolly/Crane/Moving Camera 81 Pan/Tilt Shots 82
Slight Dollies/Translation 82 Lock-offs 83 Zoom Shots 83 Shaky
Footage/Handheld Footage 84 Setting Up a Coordinate System 84 Coordinate
System Tutorial 85 Exporting the Scene 88 Chapter 5 Automatic Tracking 91
Tracking on Autopilot 92 Editing Automatic Tracks 93 Using Masks 96 Reaping
the Benefits of Automatic Tracking 97 Noise Reduction 97 Environment
Definition 98 Implementing the Automatic Tracking Process 99 Automatic
Tracking Tutorial 99 Chapter 6 Cameras 107 How Film Cameras Work 108 Lenses
110 Focal Length 111 Focus 113 Nodality 113 Film Backs 115 Film Back and
Focal Length 115 Digital Cameras 117 CMOS, CCD, and Rolling Shutter 119
Camera Information 121 Format 122 Lens Distortion 123 Anamorphic Distortion
127 Capture and Digitization 128 Video 128 Film 129 HD 130 Keeping It All
Straight 130 Chapter 7 Set Fitting 133 Fitting the Camera 134 Checking the
Matchmove 135 Proxy Geometry 135 Checkerboards 137 Fitting the Set 138
Moving the Camera 138 Scaling the Camera 139 Creating Camera Rigs 141
Set-Fitting Tutorial 141 Examining the Exported Scene 142 Adding Test
Geometry 143 Moving the Camera 144 Texturing the Objects 149 Performing the
First Tests 150 Placing the Matchmove in the Set 152 Altering the
Coordinate System 156 Delivering the Scene 156 Tutorial Continued 157
Chapter 8 Being on Set 159 Getting the Right Information 160 Getting Camera
Information 162 Before the Shoot 162 During the Shoot 162 After the Shoot
165 Marking Up the Set 165 Tracking Markers for a Green Screen or Blue
Screen 166 Tracking Markers for Set Pieces 167 Tracking Markers for
Exterior Scenes 168 Working with Others on Set 168 Building a Matchmoving
Kit 172 Shooting Distortion Grids 173 Chapter 9 Matchamation 175
Understanding the Basic Technique 176 Establishing the Distance to the
Camera 176 Setting the Initial Pose 177 Using Nonlinear Animation
Techniques 178 Analyzing the Movement 178 Making the First Pass 179 Making
Additional Passes/Tweaks 180 Making Model Changes 181 Working with
Imperfect Data 181 Matchamation Tutorial 182 Setting Up the Camera 182
Creating the Proxy Object 184 Creating a Matchamation Rig 185 Analyzing the
Motion 186 Making the First Pass 188 Making the Second Pass 191 Making
Additional Passes 194 Chapter 10 Troubleshooting and Advanced Techniques
197 Performing Effective Troubleshooting 198 Following a Troubleshooting
Checklist 199 Check the Camera's Motion 199 Check Set Placement and Fitting
201 Scrutinize 2D Tracking Closely 202 Check for Plate Issues 202
Diagnosing the Problem 203 No nulls are visible after calibration 204 Nulls
are all in a line or a single point 204 The camera path jumps suddenly to
another position or is extremely jagged and chaotic 204 Everything lines up
on the fi rst frame but quickly slips off 205 Noise or jitter appears in
the camera's motion path 205 Objects appear to tear away from the plate
feature during areas of heavy motion blur 206 Using Advanced Tools and
Tricks 206 Using Advanced 2D Tracking Tools 206 Using Constraints 207
Working with Reference Photos 209 Forcing a Calibration 210 Faking the
Focal Length 210 Using Survey Data 211 Chapter 11 Object Tracking 215 The
Object-Tracking Process 216 Understanding Object Tracking vs Matchamation
216 Following the Object-Tracking Workfl ow 216 Converting a Camera Track
to an Object Track 217 Object-Tracking Tutorial 219 Common Problems with
Object Tracking 229 2D Tracking Problems 229 Difficult Object Motion 230
Object Not Truly Rigid 231 Tracking Human Faces 232 Geometry Tracking 233
Geometry-Tracking Tutorial 234 Common Problems with Geometry Tracking 237
Advanced Object Tracking 237 Moving Camera/Moving Object 238 Tracking
Deforming Objects 239 Chapter 12 Multipurposing Matchmoving Data 241
Creating Special Cameras 242 Extending or Enhancing Matchmoves 242 Blending
Matchmoves 243 Blending Cameras in Maya 245 Object Track as a Camera Track
251 Matchmoves for Paint Work: "Patchmoves" 252 Matchmoves for Compositors
253 Matchmoves for TD Work 254 Not the End of the Road 256 Chapter 13
Stereo 257 Understanding Stereoscopy 258 Interocular Distance 259
Convergence 261 How IO and Convergence Affect Stereo Depth 264 Adjusting
Stereo Parameters in Postproduction 265 Stereo Postconversion 266 Filming
Stereo Footage 266 Side-By-Side Rigs 266 Beam-Splitter Rigs 267 Dual-Lens
Cameras 269 Viewing Stereo Footage 269 Anaglyphs 270 Polarized Lens Systems
271 Modern Stereo Projection 271 Active Shutter Systems 272 Matchmoving
Stereo Footage 272 2D Tracking 273 Solving 273 Set Fitting 275 Evaluating
the Matchmove 275 Overcoming Common Problems 276 Problems with 2D Tracking
276 Problems with 3D Tracking 277 Focal-Length Issues 277 Appendix A
Resources 279 Appendix B Matchmoving Software and Useful Links 281
Matchmoving Software 282 Other Useful Programs 283 Books 283 Websites 284
Appendix C Film Formats 285 16 mm Formats 286 35 mm Formats 286 Large
Formats 287 Digital Formats 287 Calculating the Film Back for Cropped
Images 288 Glossary 289 Index 299