Post-production involves several processes grouped under one name, including editing video/film, recording and editing soundtracks, adding visual effects through CGI and compositing, and color grading. Visual effects refer to digital post-production techniques, while special effects involve on-set mechanical and optical techniques. Special effects use practical elements like props, models, and pyrotechnics, while visual effects involve integrating live-action footage with CGI. Key visual effects techniques include matchmoving, compositing, chroma keying, rotoscoping, wire and rig removal, and matte painting.

1. -Sagar Kapoor
CSA 2
11/FET/CS/1115

2. 
 Post-production is, in fact, many different processes grouped
under one name. These typically include:-
 Editing the picture / television program
 Writing, (re-)recording, and editing the soundtrack.
 Adding visual special effects - mainly computer-generated
imagery (CGI) and digital copy from which release prints will
be made (although this may be made obsolete by digital-
cinema technologies).
 Transfer of film to Video or Data with a telecine and Color
grading.
2
Post-production

3. 
 ―Visual Effects" is referring to digital post-production and
"special effects" referring to on-set mechanical effects and in-
camera optical effects.
 Special effects are created during shooting, and Visual effects
are done in post.
3
Visual fx Vs Special fx

4. 
Special Effects
1. Mechanical effects
2. Optical Effects
4

5. 
 They are also called as practical or physical effects and are
usually accomplished during the live-action shooting
 The use of-
 mechanized props, scenery,
 scale models, Pyrotechnics
 Atmospheric Effects:
 creating physical wind,
 rain, fog, snow, clouds etc
5
Mechanical Effects

6. 
 Optical effects are done by manipulating the camera and
lighting which in turn will make your scene look different
than what it looks like to the naked eye.
 This could involve working with camera lenses, types of
lighting, or camera movements that give a certain look to the
shot.
 The special effects supervisor is in charge of making the
creative decisions and works directly with the director on set
to achieve what he/she wants.
6
Optical Effects

7. 
 Visual effects (commonly shortened to Visual FX or VFX) are
the various processes by which imagery is created and/or
manipulated outside the context of a live action shot
 Visual effects often involve the integration of live-action footage
and computer generated imagery (CGI) in order to create
environments which look realistic, but would be dangerous,
costly, or simply impossible to capture on film.
 They have become increasingly common in big-budget films,
and have also recently become accessible to the amateur
filmmaker with the introduction of affordable animation and
compositing software.
7
VFX ( Visual Effects)

8. 
 A visual effects supervisor is usually involved with the
production from an early stage to work closely with
production and the film's director to achieve the desired
effects.
 "visual effects" refer to digital post-production and "special
effects" refer to on-set mechanical effects and in-camera
optical effects.
8
VFX

9. 
Visual effects may be divided into at least four categories:-
 Models: miniature sets and models, animatronics.
 Matte paintings and stills: digital or traditional paintings or
photographs which serve as background plates for keyed or
rotoscoped elements.
 Live-action effects: keying actors or models through bluescreening
and greenscreening.
 Digital animation: modeling, computer graphics
lighting, texturing, rigging, animating, and rendering computer-
generated 3D characters, particle effects, digital sets, backgrounds.
9
VFX

10. 
 Animation
 Rotoscopy
 Rig and Wire Removal
 Camera Tracking and Match Moving
 Green and Blue Screen & 3D elements to interact with live
action
 Matte Painting
 Color Correction
10
Visual Effects

11. 
 Animation is the process of creating a continuous motion and shape
change illusion by means of the rapid display of a sequence of static
images that minimally differ from each other. The illusion—as in
motion pictures in general—is thought to rely on the phi
phenomenon.
 Animations can be stored or recorded on either analogue media, such
as Flip book, motion picture film, video tape, on digital
media, including formats such as animated GIF, Flash animation or
digital video. To display it, a digital camera, a computer, or
a projector are used.
 Animation creation methods include the traditional animation
creation method and those involving stop motion animation of two
and three-dimensional objects, such as paper
cutouts, puppets and clay figures. Images are displayed in a rapid
succession, usually 24, 25, or 30 frames per second. 11
Animation

12. 
12
.
This animation moves at
10 frames per second.
The bouncing ball animation
consists of these six frames

13. 
13
The Enchanted Drawing is a silent film best known for containing the first
animated sequences recorded on standard picture film, directed in 1900 by J.
Stuart Blackton, who is because of that considered the father of American
animation

14. 
 Rotoscoping is an animation technique in which animators trace
over live-action film movement, frame by frame, for use in
animated films.
 Originally, pre-recorded live-action film images were projected
onto a frosted glass panel and re-drawn by an animator.
 This projection equipment is called a rotoscope, although this
device has been replaced by computers in recent years. In the
visual effects industry, the term rotoscoping refers to the technique
of manually creating a matte for an element on a live-action plate
so it may be composited over another background.
14
Rotoscoping

15. 
15
Rotoscoping
The artist is drawing on a
transparent easel, onto
which the movie projector
at the right is throwing an
image of a single film
frame.

16. 
16
Rotoscopy
Rotoscoped frames of Eadweard Muybridge's Horse in Motion engraved into
twenty metal discs. The metal plates were photographed after they were
engraved and then edited into sequence.

17. 
http://www.usatoday.com/life/movies/news/2006-08-01-rotoscoping_x.htm
17

18. 
 In an action movie there can be literally hundreds of wire
removal shots. A production technique called a ―wire gag‖ is
used where the talent is rigged up with wires to either assist him
to leap over a tall building with a single bound or as a safety
feature to save him from certain death.
18
Wire Removal

19. 
 Whenever you are trying to
remove an item from a shot, a
background frame must be
created for the area covered by
the offending item.
 This background frame with the
item removed is called the ―clean
plate.‖
19
Wire Removal

20. 
 A close cousin of wire removal is rig removal. A rig is any kind of
device used on the set to hold up an item up for filming.
 After the rig has done its job, it must then be removed from the scene.
It is usually rigid like a rod or pole.
20
Rig Removal
The city fathers were unwilling to cut the light down and the director
simply
had to have this particular camera position to get his shot. The solution –
rig removal.

21. 
21
Rig Removal

22. 
 Camera tracking is the process of
matching the movement of the CG
camera to the movement of the
camera used in the live-action
footage. As a result, it is a crucial
part of all visual effects shots.
 Despite its importance, it is
completely invisible in the final
shot.
22
Matchmove and Camera
Tracking

23. 
 If CG elements (the crow in this case) interacts with
objects which are a part of the footage (the branch of a
tree), then matchmoving is needed for that object or
character.
 The CG model of that object or character needs to
replicate the movement of the actual object or character.
 This is important as it can be used to cast
shadows, receive reflection, and is also a very good base
for animators to plan out their animation.
23
Matchmove and Camera
Tracking

24. 
The camera tracking information lets you add 3-D animated
effects into live-action footage, such as:
 Animated 3-D character insertion (mascots, beasts, flying
pixies, you name it). A favorite for commercials.
 Vehicle insertion. Aircraft, boats, cars, trucks, spacecraft, things
you wish you could get live, but couldn't afford or don't exist.
 Architectural Pre visualization (ground level or helicopter)
 Virtual set extensions (boy, that's a fancy newsroom!)
24
Matchmove and Camera
Tracking

25. 
 It is the combining of visual elements from separate sources
into single image, often to create the illusion that all those
elements are parts of the same scene
25
Compositing

26. 
26
Compositing
Compositing is taking real-life elements with Computer
Generated (CG) Element and putting them together - so they
seem like they were shot together. The viewer never suspects
something is "not right".

27.  Chroma key compositing (or chroma
keying) is a technique for mixing two
images or frames together in which a
color (or a small color range) from one
image is removed (or made
transparent), revealing another image
behind it.
 This technique is also referred to as color
keying, color-separation overlay
27
Chroma keying

28. 
 It is commonly used for weather
forecast broadcasts, wherein the
presenter appears to be standing in
front of a large map, but in the studio
it is actually a large blue or green
background.
 The meteorologist stands in front of a
blue screen, and then different
weather maps are added on those
parts in the image where the color is
blue.
28
Chroma keying

29. 
 If the meteorologist himself wears
blue clothes, his clothes will
become replaced with the
background video.
 This also works for
greenscreens, since blue and
green are considered the colors
least like skin tone
29
Chroma Keying

30. 
30
Chroma Keying

31. 
31
Chroma Keying

32. 
32
Chroma Keying

33. 
 Mattes are used in photography and special effects filmmaking to
combine two or more image elements into a single, final image.
Usually, mattes are used to combine a foreground image (such as
actors on a set, or a spaceship) with a background image (a scenic
vista, a field of stars and planets). In this case, the matte is the
background painting. In film and stage, mattes can be physically huge
sections of painted canvas, portraying large scenic expanses
of landscapes.
 A matte painting is a painted representation of a landscape, set, or
distant location that allows filmmakers to create the illusion of an
environment that is nonexistent in real life or would otherwise be too
expensive or impossible to build or visit.
 Historically, matte painters and film technicians have used various
techniques to combine a matte-painted image with live-action footage.
At its best, depending on the skill levels of the artists and
technicians, the effect is "seamless" and creates environments that
would otherwise be impossible to film.
33
Matte Painting

34. 
34
Matte Painting

35. 
35
Matte Painting

36. 
 Color correction by using color gels, or filters, is a process used
in stage lighting, photography, television, cinematography and other
disciplines
 The intention of this is to alter the overall color of the light; typically
the light color is measured on a scale known as color temperature, as
well as along a green–magenta axis orthogonal to the color
temperature axis.
 Without color correction gels, a scene may have a mix of various
colors. Applying color correction gels in front of light sources can alter
the color of the various light sources to match. Mixed lighting can
produce an undesirable aesthetic when displayed on a television or in
a theatre
36
Color Correction

37. 
 3Ds Max
3Ds Max is a 3D modeling, animation and rendering software. The
application relies on widely used computer 3D technology which works by
creating groups of ―points‖ (known as vertices) who form surfaces when
connected. The illusion of three dimensions is created by modeling objects
out of multiple surfaces. Still pictures, movies and game environments
(among other media) can be created with this technique.
 After Effects – Adobe
The most commonly used visual effects software. It’s primary uses include
motion graphics (title intros and logo animations) and compositing (adding
fake stuff into live footage). This program is great for beginners to visual
effects. It’s ease of use and wide range of uses make it the perfect tool for
Indy filmmaking and small productions teams.
37
The following software applications are
commonly used for visual effects on both
professional and consumer levels.

38. 
 Boujou
 A 3d motion tracking software that allows the
insertion of computer graphics into live-action
footage with correct position, scale, orientation, and
motion relative to the physical data of the original
footage. Also known as matchmoving Boujou is
similar to PFTrack and Syntheyes
38

39. 
Mocha-
 Software used for planar tracking and rotoscoping. Comes
with tools for wire removal, clean plate generation, lens
distortion correction and mesh warping, to deliver an all-in-
one VFX tool set. mocha Pro is designed to complement any
editing, compositing and finishing environment, and offers
digital media artists a powerful, intuitive and innovative
planar tracking-based solution with a streamlined
interface, accelerated workflow and the power to easily
manipulate and track shots not possible with traditional
solutions.
39

40. 
 Imagine how difficult it would be to actually handle so many people
for the army scene in the movie Gladiator.
 What would be the cost and the precautionary measure necessary if
you actually had to blast a helicopter for your project?
 Why go to a foreign country with your whole crew for shooting just
one song when you can simulate the desirable atmosphere with the
help of modern technology?
 Instead if you choose to utilize the Special Effects services of CMPT
that specializes in providing the mind blowing effects that not only
reduced the burden on your pocket but also enriches your visuals and
leaves your viewers spell bound. 40
Advantages of VFX

41. 
CMPT Advantage-
 CMPT can create endless possibilities and bring
dreams, illusions, and fantasies to life. There is no limit to
what the special effects guys at CMPT can create. We have a
poised blend of animators, illustrators and designers whose
combined powers of creative imagination and can take your
audience to a different world through special effects. CMPT
offers a wide range of artistic solutions to entertainment
industry such as:
 Movies
 Music Videos
 Advertisements
 Games
41

42. 
 http://www.hollywoodcamerawork.us/trackingplates.html
 http://www.cgtantra.com/index.php?option=com_content
&task=view&id=267&Itemid=40
 www.wikipedia.com
 Richard Rickitt: Special Effects: The History and
Technique. Billboard Books; 2nd edition, 2007
 Matchmoving: The Invisible Art of Camera Tracking, by Tim
Dobbert
42
Resources

43. 
43
Thank you!!