Compositing and graphics

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Teaching at Universidad Carlos III, Madrid, Spain. 7 and 8 of May 2013. Erasmus Teaching Mobility.

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  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Para tal, desenvolveu-se uma primeira abordagem estética das artes, assentes na base comunicacional sintáctica .
  • Compositing and graphics

    1. 1. Compositing and GraphicsNelson Zagalo, Universidade do MinhoUniversidad Carlos III, Madrid, 7 May 2013
    2. 2. BibliografiaZagalo, N., (2011), Poétiques du Générique de Cinéma : lExpressionnisme en Mouvement,Sociétés - Revue des sciences humaines et sociales, N°111, 2011, p.131-140, DE BOECK Universite.ISSN: 0765-3697. (JCR / ISI / AHCI)Patti Bellantoni, (2012), If it’s purple,someone’s gonna die, The Power of Color in VisualStorytelling, ElsevierGombrich, E.H, (2005), A História da Arte, ed. Público, Lisboa, 1950Jon Krasner, (2008), Motion Graphic Design: Applied History and Aesthetics, Focal Point, USAJan Kubasiewicz, (2008), Motion Literacy, in Motion Graphic Design: Applied History andAesthetics, Focal Point, USARon Brinkman, Art & Science of Digital Compositing, Morgan Kaufmann, 20081. Analogical Compositing Film2. Digital Compositing Film3. Film introduction to title design4. Colour in Film
    3. 3. What do we use it for?. to create special effects in visual arts;. to help us connecting real images with artificiallycreated ones;. to correct photographic mismatches (e.g. color);. to change or substitute backgrounds;. to change or substitute foregrounds;. to create illusion of depth.What is it?Compositing is the combining of visual elements fromseparate sources into single images, often to createthe illusion that all those elements are parts of the samescene.
    4. 4. King Kong (1933) Superman (1978)Film Compositing
    5. 5. Physical compositingMultiple exposureRear projectionMattingAnalogical Compositing
    6. 6. Physical - Glass, Statues, PaintingsThe Fiendish Plot of Dr. Fu Manchu (1980)Clash of the Titans (1981)
    7. 7. Multiple exposureMultiple exposure of Alfred Hitchcock directing duringrehearsals for Shadow of a Doubt (1943).
    8. 8. Background projectionSunset Boulevard, 19502001, Space Odyssey, 1968North by Northwest, 1959
    9. 9. Matting
    10. 10. Blend OperationsKeyingAlpha ChannelsMattesMasksDigital Compositing
    11. 11. Omaha beach scene “making of”, belonging to the BBC series “Timewatch: BloodyOmaha”. Created by Colin Thornton, Neil Wilson and Steven Flynn from CompostCreative.3 persons + 4 days + 1 camera + pop up greenscreen + after effectsDigital Advantages
    12. 12. Blend OperationsMultiplyScreenOverlayDarkenLightenDifferenceExclusionLuminosity
    13. 13. Blend Operations
    14. 14. KeyingEdge ThinColor KeyMatte ChokerLuma KeyColor Tolerance
    15. 15. The Chronicles of Narnia (2005)King Kong (2005)Keying
    16. 16. The Saint (1997)PreservereflexesKeying
    17. 17. 32-bit image carries a fourth Alpha channel that stores transparency (oralpha) data. The alpha channel’s 8-bit data is reserved to give an image orvideo clip shape and transparency when composited.Software as Photoshop creates content on transparent backgroundsretaining background transparency when imported into motion applications.This is because an alpha channel matte is automatically generated.Object ontransparencyAlpha Channel Final compositionAlpha
    18. 18. Alpha
    19. 19. Luma MattesExternal image that is used to make portions ofanother image transparent. Luminance mattes shouldnot be confused with alpha mattes, which are internalmattes that are derived from alpha channels.Both alpha channel mattes and luminance mattes canbe composed of solid shapes, feathered shapes,gradients, typography, entire images.luma mattesfeathered mattessolid mattesMatte
    20. 20. videoMatte
    21. 21. Masks are defined by splines - paths that consist of interconnectedpoints that form a line segment or curve, around the subject, an art alsoknoww as Rotoscoping. Masks can be animated.Masks
    22. 22. Masks
    23. 23. Introduction to Title DesignBeginningRebirth2000’s
    24. 24. Histórias do Title Designhttp://virtual-illusion.blogspot.pt/2013/04/historias-do-title-design.html
    25. 25. The beginning, 1950’s
    26. 26. “Seven” (1997), David Fincher, created by Kyle Cooper+info http://www.empireonline.com/features/david-fincher-fight-club-opening-credits/The rebirth in the 1990’s
    27. 27. Evolution of 3d and composition software3ds MaxMayaSoftiamgeLighwaveCinema 4dAfter EffectsCombustionNukePhotoshop
    28. 28. “300” (2006), Zack Snyder, created by Garson Yu2000’s
    29. 29. RedYellowBlueOrangeGreenPurpleColour in Film
    30. 30. RED“Bright red is like visual caffeine. It can activateyour libido, or make you aggressive, anxious, orcompulsive. In fact, red can activate whateverlatent passions you might bring to the table, orto the movie. Red is power. But red doesn’tcome with a moral imperative. Depending onthe story’s needs, red can give power to a goodguy or a bad guy. After all, both the WickedWitch and Dorothy wore the ruby slippers.Because we tend to see it first, red gives theillusion of advancing toward us. Due to this, itcan manipulate our sense of space.Because bright red has this visually aggressivequality, the space does indeed appear to comeforward, and it looks shallower than it actually is.Red can also make something appear to movefaster.”(Bellantoni, 2012)
    31. 31. Cor e StorytellingYELLOW“Yellow is a contrary color. That’s your first clue, orwarning. One of the reasons yellow is the color usedfor caution signs is that it’s visually aggressive. Itappears to come toward you. We’ve built it into ourconsciousness as a cautionary color. Venomousreptiles and amphibians often are yellow—a warningto all who come near, a big beware built into ourgenetic code.It is also the color we identify with the sun. Weassociate yellow with powerful life energy exuberanceitself. In whatever situation you find it, or wherever itis, bright yellow can be the scene-stealer, alwaysclamoringfor attention.“Yellow is the color longest remembered and mostdespised". This is an interesting parallel to thecolor associated with happiness.”(Bellantoni, 2012)
    32. 32. Cor e StorytellingBLUE“Blue can be a tranquil lagoon or a soft blanket ofsadness. It is quiet and distant. Year after year, our colorinvestigations show that in a blue environment, peoplebecome passive and introspective. It’s a color tothink to, but not to act.Blue is the quintessential color for powerlessness. Even avery pale blue has an amazing ability to influence ouremotional reactions to what is happening on screen.Sadness, melancholy, harmony. Because of its tendency toeffect inertia, blue is rarely used as a dominant color.Blue can have seemingly contradictory traits becauseit’s the coldest color in the spectrum. The slightestchange in that color, therefore, can completely alterhow you respond to it. Perhaps blue, statistically, iseveryone’sfavorite color because each person thinks of it in a differentway. It is also why you need to make certain that the blueyou choose will create the response you want. Don’t justdescribe it. Test it on your “audience” and then decide.”The Cider House Rules (1999)de Lasse Hallström(Bellantoni, 2012)
    33. 33. Cor e StorytellingORANGE“Orange manifests its influence in a different way fromthe other colors. While red says “I’m here!,” yellow isexuberant, and blue is laidback, our research revealedthat orange is generically “nice”. Actually, of all ourinvestigations, opaque orange was the most upbeatand least dramatic of the colors.The color simply supported a warm and welcomingcongeniality. How we feel at sunset is not just aromanticized cliché. Something actually happens to usphysically when we watch the intense brightness of thenear-white sun transform itself into a glowing richorange in the sky. Glowing orangelight (and its associations with the sun) can take us ona visceral ride that warms and expands our emotionalfield.Terra-cottas, siennas, ochres, and umbers have a kindof primal influence in how we react to them. Werespond positively to the colors of the earth.”(Bellantoni, 2012)
    34. 34. Cor e StorytellingGreen“Green is really a dichotomous color. It’s the color offresh vegetables and spoiled meat. Perhaps itsduplicity comes from our earliest times on this planetwhen green signaled both food and danger. Greencan signal health and vitality or danger and decay.We have strong aversion to green in liquid form(Snow White and the Seven Dwarfs (1937); TheVirgin Suicides (2000)). When associated with thehuman body, green’s clue is often illness or evil. Howoften have you heard, “Are you okay? You lookgreen.” When we first see the Wicked Witch of theWest as Miss Gulch in The Wizard of she is in blackand white. We know she’s bad, but when the filmturns to color and we see her in green, she becomesvirulent.Because of green’s ambivalent nature, it is importantto base your decision on which green to use in aparticular scene on how the audience is going torespond to it..”(Bellantoni, 2012)
    35. 35. Cor e StorytellingPURPLE“There have been times, particularly in romantictales and poetry, when purple has been associatedwith sensuality. I suspect that may be because ofthe color’s association with imbibing the grape.However, during our more than twenty years ofresearch into the effects of color on behavior, purplewas not once associated with sensuality. In fact,there seemed to be no real evidence of purple’shaving an effect in the physical realm at all. Thecolor did, however, hold a powerful sway in therealm of the noncorporal, the mystical, and even theparanormal.The association with the royal and regal comes fromthe fact that violet is the most difficult color to comeby in nature. Its very scarcity associates it with therare trappings of emperors, kings, and queens.”(Bellantoni, 2012)
    36. 36. Compositing TechniquesNelson Zagalo, Universidade do MinhoE-mail: nzagalo@ics.uminho.ptWWW: nelsonzagalo.googlepages.comBlog: virtual-illusion.blogspot.comUniversidad Carlos III, Madrid, 7 May 2013

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