The VES Handbook of Visual Effects : (Record no. 18855)
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| fixed length control field | 11590nam a22005173i 4500 |
| 001 - CONTROL NUMBER | |
| control field | EBC6227968 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | MiAaPQ |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20240724114338.0 |
| 006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS | |
| fixed length control field | m o d | |
| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION | |
| fixed length control field | cr cnu|||||||| |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 240724s2020 xx o ||||0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781351009393 |
| Qualifying information | (electronic bk.) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| Canceled/invalid ISBN | 9781138541177 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (MiAaPQ)EBC6227968 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (Au-PeEL)EBL6227968 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (OCoLC)1159169225 |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | MiAaPQ |
| Language of cataloging | eng |
| Description conventions | rda |
| -- | pn |
| Transcribing agency | MiAaPQ |
| Modifying agency | MiAaPQ |
| 050 #4 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | TR858 .V47 2021 |
| 082 0# - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 777 |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Okun, VES, Jeffrey. |
| 245 14 - TITLE STATEMENT | |
| Title | The VES Handbook of Visual Effects : |
| Remainder of title | Industry Standard VFX Practices and Procedures. |
| 250 ## - EDITION STATEMENT | |
| Edition statement | 3rd ed. |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | Oxford : |
| Name of producer, publisher, distributor, manufacturer | Taylor & Francis Group, |
| Date of production, publication, distribution, manufacture, or copyright notice | 2020. |
| 264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Date of production, publication, distribution, manufacture, or copyright notice | ©2020. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 1 online resource (909 pages) |
| 336 ## - CONTENT TYPE | |
| Content type term | text |
| Content type code | txt |
| Source | rdacontent |
| 337 ## - MEDIA TYPE | |
| Media type term | computer |
| Media type code | c |
| Source | rdamedia |
| 338 ## - CARRIER TYPE | |
| Carrier type term | online resource |
| Carrier type code | cr |
| Source | rdacarrier |
| 505 0# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- Coming Soon … -- Chapter 1: Introduction -- First, Some Ground Rules -- Now, the Introduction -- Why Use Visual Effects? -- Chapter 2: Pre-Production/Preparation -- Overview -- Breaking Down a Script - Budgeting -- Ballpark Budget -- More Detailed Budgets -- Bidding -- Plate Photography -- Temp Screenings -- Reviewing Bids -- Contracts -- Rebidding during Shooting -- Rebidding in Post -- Monitoring the Budget and Schedule -- Keeping the Budget Down -- Working with the Director and Producer -- Demo Reel -- The Meeting -- Moving Forward -- Production Departments -- Production Design -- Camera -- Working with the Cinematographer -- Special Effects -- Stunts -- Wardrobe -- Makeup -- Production -- Visual Effects -- Editorial -- Locations -- Production Meeting -- Designing Visual Effects Shots -- Guidelines for Directors -- Storyboards -- Previs -- Objective of the Shot -- Concept Art -- Continuity -- Photorealism -- Original Concepts -- Budget -- Reality and Magic -- Camera Angles -- Framing -- Scale -- Detail -- Speed -- Scaled Images -- Depth of Field -- Sequence of Shots -- Camera Motion -- Less Is More -- Action Pacing -- CG Characters -- Creatures and Character Design -- Powers of 10 Shots -- Visual Effects Techniques -- Technique Considerations -- Additional Suggestions for Determining Techniques -- Development of Previs Techniques -- History and Background -- What is Previs and Other Forms of Visualization? -- What is Previs? -- Different Types of Visualization and When to Use Them -- Visualization: The New Essential -- The Application of Previs: Who Benefits and How? -- The Benefits of Previs -- Project Types -- Post-Visualization -- What is Post-Visualization? -- Why Use Postvis? -- Who Does Postvis? -- Cautions and Suggestions for Good Practice -- The Perils of Previs!. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Passing the Work On -- The Role of the VFX Supervisor in Previs -- Previs: Advanced Techniques -- Visualization Usefulness -- VR as a Tool -- Visualization in Engine -- Render in Engine -- Visualization in Real Time -- AR as a Tool -- Camera Angle Projection -- Introduction -- Drawing What the Lens Sees -- Techvis -- What Is Techvis? -- Who is Techvis for? -- Virtual Production -- What is Virtual Production? -- How is Virtual Production Used? -- Chapter 3: Acquisition/Shooting -- Working on Set -- Common Types of Special Effects -- What are Special Effects? -- A Brief History of Special Effects -- The Special Effects Coordinator -- Working with the Visual Effects -- Visual Effects in Service to SFX -- Special Effects Design and Planning -- Storyboards and Previs -- The Elements: Rain, Wind, and Snow and Ice -- Smoke, Fire, and Pyrotechnics -- Mechanical Effects -- Flying Wire Rigs and Stunts -- Safety -- Greenscreen and Bluescreen Photography -- Best Practices and Otherwise -- Overview -- Function of the Backing -- Negative Scanning and Digital Conversion -- Backing Uniformity and Screen Correction -- The Alpha Channel -- The Processed Foreground -- The Composite -- Recommended Specifications and Practices -- How to Expose a Green Screen Shot, and Why -- Setting Screen Brightness -- Choosing the Backing Color -- Floor Shots, Virtual Sets -- Foreground Lighting -- Controlling Spill Light -- Lighting Virtual Sets -- Tracking Markers -- On-Set Preview -- Cameras for Blue Screen or Green Screen Photography -- Underwater Photography -- On-Set Data Acquisition -- Camera Report -- Tracking Markers -- Props for the Actors -- Cyberscanning -- Digital Photos -- Lidar/Laser Scanning -- Lens Distortion Charts -- HDRI and Chrome Balls -- Lidar Scanning and Acquisition -- On-Set 3D Scanning Systems -- Types of Technology -- Lidar -- Photogrammetry -- Prop Scanners. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Lighting Data -- Gathering Lighting Data -- Beware of False Savings! -- Using Conventional Still Cameras -- Reference Shooting Considerations -- Clean Plates -- Shooting the Clean Plate -- Locked-Off Camera -- Moving Camera -- Other Issues -- Post-Process -- Alternates without Clean Plates -- Other Uses for Clean Plates -- Monster Sticks -- On-Set Animation Capture: Witness Cam (IBMC) -- Wireless Non-Video Motion Capture -- Factors Affecting Witness Cameras -- Dealing with the Data in Post-Production -- Camera Tracking for Real-Time Visualization -- Camera Tracking Pre-Production -- The Camera Department -- Prior to Shooting -- Current Tracking Systems in Use -- Triangulation As a Method of Recording Camera Data -- Camera/Subject Positional Information -- Basics: The Toolkit -- Basics: Nodal Point -- Photographic Reference -- How to Proceed -- Shooting Video as a Reference -- Rules, Setup, and Testing -- Do a Complete Test Shot! -- Why Run Through Example or Test Shots? -- Digital Cinematography -- Digital Definitions -- High Dynamic Range (HDR) -- Lens Metadata -- Look Management -- The Recording System -- Lens Mapping for VFX -- VFX Photography -- The Camera Array -- Designing an Array Shot -- Technicians -- Shoot Day -- Special Techniques -- Post -- The Future -- Filming Live-Action Plates to be Used in VFX -- Camera Position (Station Point) -- Angle of View -- Lighting Considerations -- Camera Tilt -- Background Quality -- Moving Plates -- Scouting the Camera Positions -- A Case Study -- Camera Cars -- Camera Car Safety Issues -- Purpose-Built Crane Cars -- Vibration and Camera Stabilization -- Road Speed -- Precautions -- Panoramic Rigs -- On the Water -- Air to Air -- Cable Systems -- Shooting Elements for Compositing -- What Is an Element? -- Stock Footage -- Types of Elements -- Generic versus Shot-Specific Elements. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Determining Element Needs -- Cheating -- Backgrounds -- Black Backgrounds -- Line-Up -- Camera Format Considerations -- Assorted Methods for Shooting Elements -- High-Speed Photography and Filming Elements -- Cameras -- Technicians -- Director of Photography -- Lighting -- Application -- Locking Down the Camera -- Video Assist -- Post -- Supervising Motion Control -- What is Motion Control? -- Performance Choreography -- Multiple-Pass Photography -- Scaling -- Import and Export of Camera Move Data -- The Data -- Types of Motion Control Systems -- Motion Control Software -- Camera Types -- Sync and Phase -- Dealing with Production -- Acquisition of Motion/Still Photographic Textures for Mapping onto CG -- Panoramic Backgrounds -- Tiled Stills -- Motion Tiling and Synchronous Plates -- Practical Considerations -- Stills for Textures and Lighting -- Stop-Motion -- Evolution of Stop-Motion Photography -- The Time Required to Shoot in Stop-Motion -- Preparation before Shooting -- Setting up a Shooting Space for Stop-Motion -- Use of Motion Control in Stop-Motion -- Useful Caveats -- Evolution of a Shot -- Use of Stop-Motion in Visual Effects -- Chapter 4: Performance and Motion Capture -- What is Motion Capture? -- Is Motion Capture Right for a Project? -- The Mocap Look -- Technical Specifications -- Entry Point -- Budget -- Which Technology is Right for a Project? -- Gauging a Project's Needs and Constraints -- Passive Retroreflective Optical -- Active Optical -- Inertial -- Structured Light -- Dense Stereo Reconstruction -- Bend Sensors -- Preparing for Motion Capture -- Actors -- Motion Capture Suits -- Marker Placement - Body -- Marker Placement - Face -- Rigging for Motion Capture -- Shot List -- Technology Considerations -- Hardware -- The Strobe -- Markers -- Lenses -- Filter -- Image Sensor -- Onboard Processor -- Inputs/Outputs -- Setup. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Software -- Acquisition -- Calibration -- Post-Processing -- Reconstruction -- Labeling -- Gap Filling -- Cleaning -- Solving Motion Capture -- Facial Motion Capture -- Facial Actor Survey -- Actor Survey - Hardware -- Reference Data -- Statistical Data -- Facial Rigging -- Facial Acquisition -- Audio -- Facial Motion Capture Solving -- Real-Time Motion Capture -- Real-Time Uses -- Real-Time Limitations -- Alternate Technologies -- Motion Capture Resources -- Virtual Production -- World Building -- Previsualization -- On-Set Visualization -- Virtual Cinematography -- Chapter 5: Stereoscopic 3D -- How 3D Works -- Accommodation and Convergence -- Interaxial Separation -- Toe-in Versus Horizontal Image Translation -- Parallax or Depth Budget -- Positive and Negative Parallax -- Floating Windows -- Fix It in Post -- Stereoscopic Design -- The Emerging Grammar of 3D -- Creative Use of Depth -- Previsualization -- Avoiding Painful 3D -- The Aesthetic of Scale -- Cutting for 3D -- Designing for Multiple Release Formats -- Immersion-Based versus Convergence-Based Stereo -- Native Stereo -- Pre-Production -- On-Set -- Stereography in the Visual Effects Process -- Stereography for Finishing -- HFR as a Solution for Better 3D Movies -- VFX Elements and Stereo -- Introduction - How VFX Elements are Used -- Native Stereo Content -- Mono Capture - Packaged Script and Element Deliveries -- Mono Capture - Hybrid Approach for Stereo Delivery -- Mono Capture - Full CG Approach for Stereo Delivery -- Creating Depth - Layout and Stereography -- Stereo Camera - Depth Wedges -- Stereo Compositing -- Requesting a Full CG Stereo Render Mid-Production -- VFX Production Tasks -- 2D to 3D Conversion -- Depth Creation Preparation -- Visual Analysis of 2D Depth Cues -- Pre-Production and Previs for Conversion -- Source and Target Perspective -- Shared Shots/Shared Workflows. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Main Stages of 2D-to-3D Conversion. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | The award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. |
| 588 ## - SOURCE OF DESCRIPTION NOTE | |
| Source of description note | Description based on publisher supplied metadata and other sources. |
| 590 ## - LOCAL NOTE (RLIN) | |
| Local note | Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Cinematography-Special effects-Handbooks, manuals, etc. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Digital video-Handbooks, manuals, etc. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Digital cinematography-Handbooks, manuals, etc. |
| 655 #4 - INDEX TERM--GENRE/FORM | |
| Genre/form data or focus term | Electronic books. |
| 700 1# - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Zwerman, VES, Susan. |
| 776 08 - ADDITIONAL PHYSICAL FORM ENTRY | |
| Relationship information | Print version: |
| Main entry heading | Okun, VES, Jeffrey |
| Title | The VES Handbook of Visual Effects |
| Place, publisher, and date of publication | Oxford : Taylor & Francis Group,c2020 |
| International Standard Book Number | 9781138541177 |
| 797 2# - LOCAL ADDED ENTRY--CORPORATE NAME (RLIN) | |
| Corporate name or jurisdiction name as entry element | ProQuest (Firm) |
| 856 40 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=6227968">https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=6227968</a> |
| Public note | Click to View |
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