The document provides an overview of visual effects and motion graphics techniques for video production. It discusses various special effects that can be created using video switchers, including superimposition, wipes, and chroma keying. It also covers digital video effects like scaling, stretching, and mosaic effects. A variety of optical, mechanical, and motion effects are described such as reflections, fog, snow, and fly effects. The document concludes with a discussion of television graphics specifications and considerations for information density and readability in video titles and graphics.

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Visual Effects
&
Motion Graphics
3

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• Special Effects help in telling the story.
• If the video doesn’t open
pls click here
https://www.youtube.com/
watch?v=P5_Msrdg3Hk

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• They should not stand out glaringly
• https://www.yo
utube.com/watc
h?v=-
WhKt_CkXD0

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• Special Effects are so common today that
we don’t see them as artificial.
• This is a
matte
painting on
the studio
wall.

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• The earliest machines for regular Video effects
for broadcast TV shows were switchers.
• Analog TV switchers led to hybrid switchers
such as Panasonic’s AG-MX70

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Effects with Switcher
Switchers are not only Video Mixers
They have inbuilt Special Effects
Generators (SEG) too

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• We have seen some of the readymade effects possible
with switchers
• They are
 Superimposition, or Super

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• Keying
• Chroma Key
• Wipe
• Split Screen
• Spotlight Effect

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• Masking/overlapping any electronic image area
with another electronic image/signal is known
as Keying
• The Background is
added by Keying

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• Internal Keying
• When the base signal/image feed is
broken/overlapped by a negative space, i.e. the
Key Signal.
• This is done by two knobs on the switcher
machine
• Clipper/Clip Control changes the brightness of
the masked/clipped area.
• Gain Control varies the signal strengthBackground Signal Foreground Signal cuts a hole and
fills with same signal quality

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• External Keying
• Uses three signals
• Background/Base Signal
• Hole Cutting Signal
• Foreground/Filling Signal

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• Matte Key
• If the cut-out portion of the title is filled
in by solid colors, grays, contours or
shadows, it is Matte Key
• Matte Key can be in Edge Mode, Drop
Shadow Mode, or Outline Mode

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• Chroma Key
• A special type of matte key where a uniform
color background is totally replaced/Keyed
Out
• The Keyed out portion is filled in by a second
signal – live feed or CGI or predetermined
background
• We shall come back to this topic if we have
time

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Some More Switcher Effects
Wipe

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• Soft Wipe

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• Diamond Wipe

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• Split Screen
• https://ww
w.youtube.
com/watch
?v=-
WhKt_Ck
XD0

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• Spotlight Effect
• check the spotlight around the person’s face

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• Digital Video Effects (DVE)

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• Scaling
• Where you can change the magnification of the
frame. We do that all the time in VLC.

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• Stretching
• Where the frame itself is stretched, oro
shrunk.

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• Repositioning/ Positionoing of Squeezed-
Zoomed Image

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• Perspective Distortion

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• Mosaic
Where the image is broken into uniform, discrete, tiles.
This is to blur part of the image for censor purpose. Or
for transition.

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• Posterization
Where only certain colors, or tones, are
used to show the picture.
• https://www.youtu
be.com/watch?v=d
YIc8QWtg50

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• Solarization
• A blending of the potive and the negative
image

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• Motion Effects

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• Snapshots

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• Rotation and Bounce Effects

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• Fly Effect

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• Cube Spin

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• Multi-Images
• There are different types of Multi-image effects. All
of them are ways to put more than one image screen
in the final screen.
• One type of Multi-image
is the Secondary Screen
• Each individual is in his
or her own frame. Their
frames are tilted to each
other creating the illusion
that they are talking to
each other.

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• Multi-images
• Echo

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• Optical Effects

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• Reflections
• Reflections, as a form of Optical FX, have
a long history in visual storytelling

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• Star Filter
• Point light sources show up as stars
when this filter is used on camera lens

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• Diffusion Filter
• Face, or part of the frame, becomes softerr, hazier,
creating a dreamlike effect when this filter is used on
lens

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• Diffusion Filter
• Sometimes, a glass smeared thinly with vaseline may be
placed in the filter mattebox

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• Defocus & Refocus
If the image background is too defocused,
some actor or prop may change and you
won’t notice, until the background comes
back to focus again!

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• Mechanical Effects

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• Fire
• Fire-machines, which operate
on the principle of gas burner,
are used.

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• Flicker
• Flicker of fire or even matchbox can
be produced by the use of a dimmer
connected to a single halogen light.
• For a big set, more controlled, flicker,
a flickerbox is used.

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• Rain
• Rain-machines are used for artificial,
controlled rain

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• Fog
• Fog machines are used for creating fog effect. They
have successfully replaced dry ice

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• Snow
• Snow machines are used to create
snow-effect with foam

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• Lightning
• Old school model is to use positive
and negative carbon electrodes.
• Lightning means very high
illumination, very short-duration,
bluish light
• High-luminosity flashlights are
modern-day solution.

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• Blast
• Normally miniature sets are used for TV/Low
budget movie blasts

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• Wind
• Fans with propeller-type blades are used
for creation of wind in the big sets

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TV Graphics -
Specifications

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• TV Graphics specifications means
• Standards for recording and viewing images and
texts
• Not maintaining the standards would cause wrong
image, or no image at all
• Excessive brightness/white, too less
brightness/black, and oversaturated colors are
called illegal signal values in TV.

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• Terms to remember
• Aspect Ratio (AR)

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• Terms to remember
• Aspect Ratio (AR)
Aspect ratio is the image shape. Ratio of
the width and the height of the frame.

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Or 4:3
Aspect Ratio

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4 : 3

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4 : 3

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• Terms to remember
• Aliasing
• When a pattern is wrongly
represented, it is called
aliased.
• Blurring the wrong
representation to cheat the
eye is called anti-aliasing

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• Terms to remember
• Color Compatibility
Whether all colors are truly reproduced in an old
B&W TV

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• Terms to remember
• Essential Area/Active Area/Safe Area/Safe Title Area

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• Terms to remember
• Essential Area/Active Area/Safe Area/Safe Title Area
• If image or text is
outside the safe area,
that may not be visible
in all old analog TVs,
and may lose
sharpness, color and
contrast in modern
digital TVs.

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• Terms to remember
• Scanning Area
• Scanning area is the area for
the visual frame which was
recorded in the camera.
• The whole frame recorded
may not be truthfully visible
in the TV.
• The TV safe area is also
known as the Essential Area

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• Terms to remember
• Scanning Area

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• This happens if the text is outside
the TV safe area

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• PAN AND SCAN
• The active area is modified from its original version to
fit the screen

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• Letterbox:
 The right way to
do it

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• Don’t buy, rent or download films that are not in their original
version

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• You are not watching the film that the filmmakers/TV
Producers really shot!

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• NAHI!!!!
• OH, YEAH!

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• Terms to remember
• Character Generator (CG)

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• Information Density and Readability
• In other word, Clutter

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• Information Density and Readability
• A properly structured screen makes
impact, as well as give maximum info at
the same time

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• Information Density and Readability
• Keep all graphics and text within the safe
area

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• Information Density and Readability
• Choose fonts that have a blod and clean
contour.
• Thin, serif fonts have a tendency to break
up when keyed in.

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• Information Density and Readability
• Limit information to the minimal at a
time
• If it is crawling text, the speed must be
slow

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• Information Density and Readability
• Keep all lettering in Bold
• Don’t keep text on a busy video
background!
Don’t!!

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• Color
• Here, we are talking about the color of
light, and not the color of paints!
• Light itself is invisible, and
colors created in the brain

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• Grayscale
• It represents the brightness showing range of a
signal, and the receiver/TV

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• Warm/High Energy and Cool/Low Energy
Colors

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Colours of different sources
Daylight Tungsten Bulb

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COLOUR SYSTEMS - Addictive System
The primary colours of Additive Colour Wheel – RED – GREEN - BLUE

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The Additive Colour Wheel
The secondary colours of Additive Colour Wheel
Magenta – Cyan - Yellow

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The Subtractive System
The primary colours of Subtractive Colour Wheel
Magenta – Yellow - Cyan
Photographs, magazines and other objects of nature such as an apple;
create color by subtracting or absorbing certain wavelengths of color
while reflecting other wavelengths back to the viewer. This
phenomenon is called subtractive color.

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• Color
• You can pinpoint any color by the
combination of its
 Hue
Saturation
Brightness

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The Basic Components of Colour
Hue
Brightness
Saturation
What colour is “candy apple red”

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DESATURATION of colours by adding the
complementary hue
Partially desaturated colours of RED by adding white/black/cyan
Tint and Shade are sometimes used to indicate the desaturation

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Any of the colour can be described in terms of
Hue, Brightness & Saturation

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Brightness vs Saturation

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Contrast and Affinity - Hue
Contrast of Hue
Affinity of Hue
Single Colour - Green

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Contrast and Affinity – Brightness/Tonal range of colours
Affinity – all dark reds
Contrast
Bright & Dark blue

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Contrast and Affinity – Saturation
Contrast – Greys and
saturated red
Affinity – All colours
desaturated

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Warm & Cool Colours

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Extension – Colour extension deals with a colour's brightness and
physical proportion in relation to other colours.
Extension – Yellow the brightest saturated colour and Blue/Magenta the Darkest.

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Interactions of colours – Josef Albers demonstrated how colours
appear changed in hue, brightness or saturation when placed next
to each other.
The susceptible colour – the colour that will appear to change
The neighbor – the colour or tone that will activate the change in
the suceceptible colour
Interactions of colours

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Interactions of colours occurs when white or black is placed next
to a colour. But the results vary depending upon the proportions.
When cyan is surrounded by white, it looks darker than when the
same cyan is surrounded by black
The figure below shows the Bezold effect.
These kinds of colour interactions are called simultaneous contrast,
because they occur within a single picture or shot

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Complementary Colours – the second type of colour interactions
involve complementory colours. When complementary colours
are placed to next to each other their saturation increases.
As the proportion of the complementary colours changes, the larger colour
becomes less susceptible. And the smaller colour becomes more susceptible.

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Simultaneous Contrast – The orange within blue appears more
saturated than the same orange within the yellow.
Both susceptible oranges are in the picture at the same time
The same interaction can be created from shot to shot, which is called SUCCESSIVE
CONTRAST. In successive contrast only the second colour is susceptible to change.
After seeing a predominantly 'reddish' shot, the following 'cyanish' shot will appear more
saturated.

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Analogous Colours – the third type of colour interactions states that
when analogous colours are placed to next to each other,
they appear to push apart or seperate.

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Successive Contrast demo – red after image.

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Colour Schemes based on Colour Wheel
One hue
Red
Complementary
Blue - Orange

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Split-Complementary
Cyan> - Orange-RedMgenta
Three way Split – Three
equidistant colours in the wheel
Blue – Red - Green

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Four way split – Equidistant
four hues at the wheel

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The Colour Script
Colour script for the entire
production – cool desaturated
colours
Colour script for each act of
the story

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Colour script for each shot
within four sequences