Matchmoving - The Invisible Art of Camera Tracking

Informationen zum Autor 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. Klappentext Get your foot in the studio door by learning the art of matchmovingMatchmoving 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 stereoscopyLearn how studio visual effects professionals make all the right matchmoves with Matchmoving: The Invisible Art of Camera Tracking 2nd Edition. Zusammenfassung 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. Inhaltsverzeichnis Introduction xxiChapter 1 The Basics of Matchmoving 1Exploring a Typical Matchmove 2Moving from 3D to 2D and Back Again 4Understanding the Matchmoving Process 5Evaluating the Footage 5Applying Information 6Defining the Camera 6Fitting the Set 7Testing the Matchmove 9Delivering the Scene 9Matchmoving in the Production Pipeline 9Perspective Matching Tutorial 10Gathering the Data 11Setting Up the Camera 13Adding Rough Geometry and Refining the Camera 15Creating a Camera Rig 16Evaluating and Adjusting the Camera 18Chapter 2 Matchmoving Software 23Using Matchmoving Programs 24Introducing Photogrammetry 24Calibration 25The Optics of Photography 26Projection 28Building a Better Camera 31Parallax: A Matchmover's Best Friend 38Understanding How Matchmoving Programs Work 40Requirements for Matchmoving Programs 41Chapter 3 2D Tracking 43Understanding the 2D Tracking Process 44Exploring the Anatomy of a 2D Track 45Track Placement: Making Every Track Count 47Sample the 3D Space 47Maintain the Minimum Number of Tracks 48Track Stationary Objects 49Track "True" 3D Positions 50Getting Tracks to Stick 51Following Hints for Effective 2D Tracking 52Handling Plate Issues 54Motion Blur 55Soft Focus or Rack Focus 56Occlusion 56Noise 58Low-Contrast Features 58Lack of Trackable Features 59Optimizing the Plate for 2D Tracking 612D Tracking Tutorial 62Evaluating the Shot 63Placing the First Tracks in SynthEyes 63Choosing Your Tracks 66Adding the Remaining Tracks 66Chapter 4 3D Calibration 69Understanding "Good" Calibration 70Evaluating Error 70Calibrating Your Cameras 72Finding the Right Fit 72Calibration Tutorial 73Evaluating the Solution 77Evaluating the 3D Nulls 77Evaluating the 3D Space 78Rendering the Matchmove 79When Good Solutions Go Bad 80Determining Camera Moves 81Dolly/Crane/Moving Camera 81Pan/Tilt Shots 82Slight Dollies/Translation 82Lock-offs 83Zoom Shots 83Shaky Footage/Handhe...

List of contents

Introduction xxiChapter 1 The Basics of Matchmoving 1Exploring a Typical Matchmove 2Moving from 3D to 2D and Back Again 4Understanding the Matchmoving Process 5Evaluating the Footage 5Applying Information 6Defining the Camera 6Fitting the Set 7Testing the Matchmove 9Delivering the Scene 9Matchmoving in the Production Pipeline 9Perspective Matching Tutorial 10Gathering the Data 11Setting Up the Camera 13Adding Rough Geometry and Refining the Camera 15Creating a Camera Rig 16Evaluating and Adjusting the Camera 18Chapter 2 Matchmoving Software 23Using Matchmoving Programs 24Introducing Photogrammetry 24Calibration 25The Optics of Photography 26Projection 28Building a Better Camera 31Parallax: A Matchmover's Best Friend 38Understanding How Matchmoving Programs Work 40Requirements for Matchmoving Programs 41Chapter 3 2D Tracking 43Understanding the 2D Tracking Process 44Exploring the Anatomy of a 2D Track 45Track Placement: Making Every Track Count 47Sample the 3D Space 47Maintain the Minimum Number of Tracks 48Track Stationary Objects 49Track "True" 3D Positions 50Getting Tracks to Stick 51Following Hints for Effective 2D Tracking 52Handling Plate Issues 54Motion Blur 55Soft Focus or Rack Focus 56Occlusion 56Noise 58Low-Contrast Features 58Lack of Trackable Features 59Optimizing the Plate for 2D Tracking 612D Tracking Tutorial 62Evaluating the Shot 63Placing the First Tracks in SynthEyes 63Choosing Your Tracks 66Adding the Remaining Tracks 66Chapter 4 3D Calibration 69Understanding "Good" Calibration 70Evaluating Error 70Calibrating Your Cameras 72Finding the Right Fit 72Calibration Tutorial 73Evaluating the Solution 77Evaluating the 3D Nulls 77Evaluating the 3D Space 78Rendering the Matchmove 79When Good Solutions Go Bad 80Determining Camera Moves 81Dolly/Crane/Moving Camera 81Pan/Tilt Shots 82Slight Dollies/Translation 82Lock-offs 83Zoom Shots 83Shaky Footage/Handheld Footage 84Setting Up a Coordinate System 84Coordinate System Tutorial 85Exporting the Scene 88Chapter 5 Automatic Tracking 91Tracking on Autopilot 92Editing Automatic Tracks 93Using Masks 96Reaping the Benefits of Automatic Tracking 97Noise Reduction 97Environment Definition 98Implementing the Automatic Tracking Process 99Automatic Tracking Tutorial 99Chapter 6 Cameras 107How Film Cameras Work 108Lenses 110Focal Length 111Focus 113Nodality 113Film Backs 115Film Back and Focal Length 115Digital Cameras 117CMOS, CCD, and Rolling Shutter 119Camera Information 121Format 122Lens Distortion 123Anamorphic Distortion 127Capture and Digitization 128Video 128Film 129HD 130Keeping It All Straight 130Chapter 7 Set Fitting 133Fitting the Camera 134Checking the Matchmove 135Proxy Geometry 135Checkerboards 137Fitting the Set 138Moving the Camera 138Scaling the Camera 139Creating Camera Rigs 141Set-Fitting Tutorial 141Examining the Exported Scene 142Adding Test Geometry 143Moving the Camera 144Texturing the Objects 149Performing the First Tests 150Placing the Matchmove in the Set 152Altering the Coordinate System 156Delivering the Scene 156Tutorial Continued 157Chapter 8 Being on Set 159Getting the Right Information 160Getting Camera Information 162Before the Shoot 162During the Shoot 162After the Shoot 165Marking Up the Set 165Tracking Markers for a Green Screen or Blue Screen 166Tracking Markers for Set Pieces 167Tracking Markers for Exterior Scenes 168Working with Others on Set 168Building a Matchmoving Kit 172Shooting Distortion Grids 173Chapter 9 Matchamation 175Understanding the Basic Technique 176Establishing the Distance to the Camera 176Setting the Initial Pose 177Using Nonlinear Animation Techniques 178Analyzing the Movement 178Making the First Pass 179Making Additional Passes/Tweaks 180Making Model Changes 181Working with Imperfect Data 181Matchamation Tutorial 182Setting Up the Camera 182Creating the Proxy Object 184Creating a Matchamation Rig 185Analyzing the Motion 186Making the First Pass 188Making the Second Pass 191Making Additional Passes 194Chapter 10 Troubleshooting and Advanced Techniques 197Performing Effective Troubleshooting 198Following a Troubleshooting Checklist 199Check the Camera's Motion 199Check Set Placement and Fitting 201Scrutinize 2D Tracking Closely 202Check for Plate Issues 202Diagnosing the Problem 203No nulls are visible after calibration 204Nulls are all in a line or a single point 204The camera path jumps suddenly to another position or is extremely jagged and chaotic 204Everything lines up on the fi rst frame but quickly slips off 205Noise or jitter appears in the camera's motion path 205Objects appear to tear away from the plate feature during areas of heavy motion blur 206Using Advanced Tools and Tricks 206Using Advanced 2D Tracking Tools 206Using Constraints 207Working with Reference Photos 209Forcing a Calibration 210Faking the Focal Length 210Using Survey Data 211Chapter 11 Object Tracking 215The Object-Tracking Process 216Understanding Object Tracking vs Matchamation 216Following the Object-Tracking Workfl ow 216Converting a Camera Track to an Object Track 217Object-Tracking Tutorial 219Common Problems with Object Tracking 2292D Tracking Problems 229Difficult Object Motion 230Object Not Truly Rigid 231Tracking Human Faces 232Geometry Tracking 233Geometry-Tracking Tutorial 234Common Problems with Geometry Tracking 237Advanced Object Tracking 237Moving Camera/Moving Object 238Tracking Deforming Objects 239Chapter 12 Multipurposing Matchmoving Data 241Creating Special Cameras 242Extending or Enhancing Matchmoves 242Blending Matchmoves 243Blending Cameras in Maya 245Object Track as a Camera Track 251Matchmoves for Paint Work: "Patchmoves" 252Matchmoves for Compositors 253Matchmoves for TD Work 254Not the End of the Road 256Chapter 13 Stereo 257Understanding Stereoscopy 258Interocular Distance 259Convergence 261How IO and Convergence Affect Stereo Depth 264Adjusting Stereo Parameters in Postproduction 265Stereo Postconversion 266Filming Stereo Footage 266Side-By-Side Rigs 266Beam-Splitter Rigs 267Dual-Lens Cameras 269Viewing Stereo Footage 269Anaglyphs 270Polarized Lens Systems 271Modern Stereo Projection 271Active Shutter Systems 272Matchmoving Stereo Footage 2722D Tracking 273Solving 273Set Fitting 275Evaluating the Matchmove 275Overcoming Common Problems 276Problems with 2D Tracking 276Problems with 3D Tracking 277Focal-Length Issues 277Appendix A Resources 279Appendix B Matchmoving Software and Useful Links 281Matchmoving Software 282Other Useful Programs 283Books 283Websites 284Appendix C Film Formats 28516 mm Formats 28635 mm Formats 286Large Formats 287Digital Formats 287Calculating the Film Back for Cropped Images 288Glossary 289Index 299

Product details

• Authors: T Dobbert, Tim Dobbert, Dobbert Tim
• Publisher: Wiley, John and Sons Ltd
• Languages: English
• Product format: Paperback / Softback
• Released: 09.11.2012
• EAN: 9781118352052
• ISBN: 978-1-118-35205-2
• No. of pages: 336
• Subjects: Natural sciences, medicine, IT, technology > IT, data processing > IT; PHOTOGRAPHY / Techniques / General, Cinematography, television camerawork, 3D graphics & modelling, Digital Video: Professional, Photography: subject-specific techniques and principles, COMPUTERS / Design, Graphics & Media / Video & Animation, COMPUTERS / Design, Graphics & Media / Graphics Tools, 3D graphics and modelling