4 Z1 ~& O3 o3 H/ V% f
. ^. D4 ?( S. {9 r$ BEnglish | DX50 720x480 29.97 fps | MP3 160 Kbps 48.0 KHz | 6.63 GB * W( I3 x- L S! e# V5 h+ i
6 h0 \6 v4 n' a' PYears in the making, Visual Effects For Directors is a massive 7 DVD set that covers everything you need to know about shooting Visual Effects.
- P4 f, @4 s* l5 D- M& C0 nThe 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.
+ d2 ]! Z- `, |
/ x7 h5 z. N% e {$ f! E. g' P8 DThe 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.
# ?% G, k+ C( I7 m
$ ]! I* y. i2 v* a3 ?0 |This 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.
- c Z" A# }. X- G9 n, F7 `% B9 ]6 u$ K0 q
The 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.
/ ]0 u. {4 `% s/ ]
0 Q; p6 y* R, Y& vFor 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.- Y* [+ ?% t6 A
" \! i6 e/ s; Y6 _& P. l- k# j
VOLUME I: 3D PRIMER
. w% _ x# v" X$ \! {: A3 N3 I2 H1. Introduction
, D, h( I9 k _5 C! S2. Shading And Mapping Part I
$ d" W! E6 ?. a5 a; p3. Shading And Mapping Part II
9 _: Q2 D: R0 |: } Z4. Simple Lighting; P" r$ ^! w* k3 j3 a( s( F3 H
5. Advanced Lighting4 o1 Y% t+ K5 ?- q6 o' V @
6. Modeling Tools
. E! o W4 B" S* Q1 h7. Modeling Objects And Characters
" b- y K- A* }+ s6 v8. Image-Based Modeling
+ C' l& Q! |& \- Q9. Basic Animation! m" O0 y. B" F2 V2 L5 x1 p# F8 B9 ?
10. Character Rigging) ?' C0 o7 J, B' a8 C
11. Character Animation Part I
$ N# x4 _& C4 T# V+ T5 v8 A: o12. Character Animation Part II: I+ k) v- z. l. P
5 T" L- `. f( s/ f* T2 \( `; eVOLUME II: MIXING AND MATCHING6 t! C- h+ s8 w' e
1. Overview; ?0 V7 d" q0 ?% D) x! B/ h
2. Compositing Primer
" o& j) s' z5 d G3. Node-Based Compositing, {: i2 f2 a, S) M- d$ E/ x
4. Pulling A Matte( D$ w- r! ^% p. G* R0 s, ]/ W
5. Garbage Matting / Rotoscoping
# D: B% V9 G0 L6 \/ p6. Compositing Without A Matte3 x- D+ g" {) u7 r- h! f) E; M
7. 2D Tracking
4 L% C. i# A( L* ]" Y& q% Q8. How Trackers Work, |% g1 \1 ?4 |5 Z+ B7 v* s+ P
9. Planar Tracking$ u% c! [7 t# v6 ~* c$ `
10. How To Shoot For Planar Tracking$ a6 {6 }4 W/ c" D# j5 |! k( Q
11. Camera Matching
5 V/ R: _# f! X2 q) U; _8 ?3 `
: G; z* d5 [7 q! ?9 \* X7 KVOLUME III: MIXING AND MATCHING/ G& F5 \2 n: O4 v
1. Matchmoving
6 g" j5 f! v( X, P% q; p; }2. How To Shoot For Matchmoving Part I7 k. q3 T- p8 B( P) T: G+ V5 D! q
3. How To Shoot For Matchmoving Part II' C b/ {9 I4 r5 d r. t' j$ P# Q& g
4. Motion Control @4 g0 _' F' D
5. Matching Lighting And Shadows
B; [4 _1 z* m6. Casting Shadows Into Live-Action$ E' |; S+ [/ ?$ o9 I+ k
7. The Double-Shadows Problem
) ]6 N1 ^7 e9 X8 j6 ?+ z3 a1 h8. Receiving Shadows& n' N, L& p2 B6 R2 t
9. Casting And Receiving Reflections
$ T; A ]1 R% h* w+ J10. Casting And Receiving Light
" e3 J; i! B' ?9 h7 Q11. Matching Camera Look; Y3 T! p1 i- D7 Q
12. Interaction Part I: Live-Action Affecting 3D
0 Z" \' J0 m, O1 J% C
/ X; R, c" n; BVOLUME IV: MIXING AND MATCHING
' G T; G( e" h8 B1. Interaction Part II: 3D Affecting Live-Action( g: K" B+ G1 k. }" K( o2 ]
2. Virtual Props
4 k4 Z" s9 g6 \/ {8 g; h% q3. Motion Capture Primer
8 B* @- O3 U/ }$ M4. In-Shot Motion Capture: Body Tracking" }0 Y5 m6 P3 E0 F% g4 M) G/ b
5. In-Shot Motion Capture: Face Tracking
5 i' k2 Q. s: K6 v9 [6. Object Removal Part I+ Z' q- l7 [0 C% T
7. Object Removal Part II
8 c# ~; O5 L1 `8 [7 L3 {4 u8. Crowd Replication
) h9 W! e" f! c: J
2 N/ N8 x- p. w/ x& {+ yVOLUME V: GREEN SCREEN INTENSIVE9 M0 S9 m% b" o& x9 b; B o) @! ^
1. 2 Kinds Of Green Screen, 3 Kinds Of Shooting6 i4 Y: S0 k& B. ]4 h
2. Green Vs. Blue) P! d6 s* w0 Z/ A. L) |
3. Color Sampling
- m( \1 }9 E2 r1 }9 k4. Back-Drop Green Screen Part I- s9 @2 Q; l% }+ D: n4 b3 O
5. Back-Drop Green Screen Part II- w r9 x& R2 T5 ?, {8 q
6. Renting And Prepping A Cyc Stage, u' Z' |7 \( K/ d' F0 t; h- U+ v
7. Building And Painting A Green Screen Cyc
$ u% V3 r8 \ s! H! [ Q8. Lighting A Green Screen Cyc
# i8 N- c' H$ s; S0 U7 A9. Keying Part I: Solids
# E6 S5 r3 F! r10. Keying Part II: Transparency
6 i {# n2 e2 Q- I3 Y0 [11. Keying Part III: Preventing And Handling Spill
+ S/ E4 Y* Q8 h
+ \' j0 h$ y; L. X% L/ k) f! q2 xVOLUME VI: GREEN SCREEN INTENSIVE
1 H5 `# s* f# O1. How To Place Tracking Markers Part I
6 W# |# B9 F+ e3 e/ H2. How To Place Tracking Markers Part II4 w/ n4 `8 n# P/ E Q' V' |
3. Matching Lighting
: ~* _: y/ }, e4. Matching Direction, Quality, Ratio# f; } i6 b& W6 ?* b
5. Extracting And Faking Shadows
0 \! U, s* ^7 k, t6. Receiving Shadows And Light
7 h5 u* R% v+ c* R' f2 {) U7. Casting And Receiving Reflections
5 X3 w* C+ o- D% ?2 {8. Physical Contact3 V) s' v+ T4 z& y6 y1 C; h# h: v
9. Directing And Blocking on A Virtual Set
, F7 q. N4 _6 B' w9 K10. Giant Green Screen0 \9 y8 f" F' J' d
11. Warping8 u* P7 S6 C. b+ @/ c* [7 c
12. Cinematography Checklist
) s' x$ F% @, J8 o+ P; i4 H
* `" ^0 B8 q1 ^5 @, ^& k5 BVOLUME VII: SIMULATION / COMPS$ a7 ]& l H) ?
1. Physics
" C6 }+ ?+ m% ~9 [* s: b q2. Particles And Fluids. m: N3 J6 `: @4 `1 @$ m
3. Instantiation1 o7 k$ K% Y( r% A. R' b! G. d
4. Cloth, Hair, Demolition
8 H) G+ X3 h/ U& ]1 c5. Digital Stunt People
[+ ]. _; S; \1 i% D6 . Fusion Nodes
1 ~" u7 K& b8 G7 X7 . Shot Analysis: F-16 Over Ocean
9 Q: m# ^3 V/ b( x1 |8 . Shot Analysis: T-Rex Chase
; K }5 Q; V w4 X! n+ \9 . Shot Analysis: Car Crash6 S" M, O9 O/ U1 g3 N) ]5 l: `
10. Shot Analysis: Garden Shadows
0 n$ o# z' R2 ]9 X2 u11. Shot Analysis: Embassy Shootout
7 v' {5 f' B2 ]8 P+ U, G& o" n: k
" x4 h8 R/ T& I
+ Q; U+ Q3 z/ J7 S! n1 i* v5 {( J2 l: i% h( S
^8 q9 D" F$ Q2 N4 qDownload:
2 p- C) ]5 K& E( J6 w2 b
$ _/ d) t, V- o- j$ B- e8 r$ V. T' Q% A! W. V
http://pan.baidu.com/s/1eSl3aNK 密码: smdr |
发表于 2015-5-28 13:43:27