CTAN 462 Visual Effects: Contemporary Approaches to Image ...

CTAN 462 Visual Effects: Contemporary Approaches to Image Creation
Summer 2011 - Monday and Wednesday nights, 7:00pm-10:00pm in RZC 117

Instructor : Darren Kiner; dkiner@usc.edu; www.bouncelight.com

Student Assistant: Arliss Gammill, agammill@usc.edu

Course Description:
This course will survey contemporary concepts and approaches to
production in the current state of film and video effects work.
Digital and traditional methodologies will be covered, with a
concentration on digital exercises illustrating modern techniques.
The course is taught by Darren Kiner, a very experienced CGI
Lighting Artist and Supervisor. Darren has worked both in visual
effects and feature animation, on films like Aladdin, Iron Giant,
Chicken Little, Charlie Wilson's War, Black Swan and currently on
Green Lantern.

Prerequisites:
None mandatory, but basic Maya literacy helpful. Familiarity with
computers essential.

Course Length:
Six weeks, meeting twice per week, three hours each class meeting.

Required Book:
"Special Effects: The History and Technique" (2nd edition), Richard
Rickitt, Billboard Books, 2007 ($47.50).
http://www.amazon.com/Special-Effects-Technique-Richard-
Rickitt/dp/0823084086/ref=sr_1_1?s=books&ie=UTF8&qid=1305602698&sr=1-1

Optional Books:
"The Art of Maya", by Autodesk, 4th Edition. ($30.85)
http://www.amazon.com/Art-Maya-Introduction-Computer-
Graphics/dp/189717747X/ref=sr_1_1?s=books&ie=UTF8&qid=1305602665&sr=1-
1

"The Art and Science of Digital Compositing" (2nd Edition), by Ron
Brinkman ($52.46)
http://www.amazon.com/Art-Science-Digital-Compositing-
Second/dp/0123706386/ref=sr_1_1?s=books&ie=UTF8&qid=1305602342&sr=1-1

"Digital Compositing for Film and Video", Steve Wright, 3rd Edition,
2010. ($35.85)
http://www.amazon.com/Digital-Compositing-Film-Video-
Third/dp/024081309X/ref=sr_1_1?ie=UTF8&s=books&qid=1305602599&sr=1-1


Further Reading:
"Digital Lighting and Rendering" by Jeremy Birn ($35.00)
"The Visual Story", Bruce Block, Focal Press, 2001. ($25.00)
"Introducing Maya 6, 3D for Beginners", Dariush Derakhshani ($26.00)
"Light- Science and Magic", by Fil Hunter. ($32.00)
"The Invisible Art: The Legends of Movie Matte Painting" by Craig
Barron
"Visual Effects Cinematography", Zoran Perisic, Focal Press, 2000.
($32.00)
"From Word To Image", Marcie Begleiter, Michael Weise Productions,
2001. ($19.00)
"Digital Storytelling, the Narrative Power of VFX in Film", Shilo
McClean, MIT Press, 2007

Grading Breakdown:
Class Project: 60% (Required tasks to complete: Tracking, Roto,
Modeling, Lighting, Texturing, Rendering, Particle Effects, Green
Screen, and Compositing of UFO over downtown Los Angeles)
Final Exam 30%
Class Participation: 10%
*Additional Bonus Points Possible*
Computer Lab Time: 3 hrs/ Week.

Computer Programs Used:
Maya 2011, Mental Ray, Nuke 6.0, Boujou 4.0, Photoshop CS5,

Pre-Reading Assignment for classes 1 & 2:
"Special Effects"; Chapter 1 (p.10-47).
"The Art of Maya" (p.15-23) - Optional
"The Art and Science of Digital Compositing" Chapters 1 & 2 (p. 1-51)
- Optional


Very important: Bring a portable (min 100 GB)
hard drive with you to every class!






Week 1, class 1; (M, June 27th); History of Special Effects in Film
Last 100 Years
Melies, Griffith
Case Studies: Metropolis
Just Imagine
Things To Come
Ray Harryhausen
50's and 60's
2001
Star Wars/ Lucas/ ILM
Blade Runner
Fifth Element Gladiator
The Phantom Menace
Present Day
Screening: "Reel Image/ Digital Filmmaking"

Week 1; class 2; (W, June 29th); Practical Methodologies Survey
Historic Effects Practices:
In-Camera Technique
Use of Mirrors and Projections
Use of Miniatures, Static and Action
Use of Stagecraft, Sets and Cameras
Matte Painting
Extractive Screens
Optical Printing Precedence
Introvision
Motion Control
Pyrotechnics and Explosions
Creating Weather Effects
Screening: Excerpts from "Things To Come"

Reading Assignment for class 3:
"Special Effects", Chapter 2 (p.50-111).
"The Art of Maya" (p.25-32) - Optional
"The Art and Science of Digital Compositing" Chapter 3 (p. 53-91) -
Optional







Week 2; (M, July 4th); No class for July 4th Holiday


Week 2, class 3; (W, July 6th); Modern Effects Facilities Survey
Modern Digital Workflow
Modern Effects Facility
Integration w/ The Film Process
EFX Facility Staff Structure
Chain of Command/ Roles
EFX Production Software
EFX Facility Components
Naming Conventions
Production Pipeline Diagrams
Color Space Basics
Lin/ Log
LUT's
Gamma Pipeline
Effects Work Scheduling
Screening: "The Making of Visual Effects in Pearl Harbor"


Reading Assignment for classes 4 & 5:
"Special Effects" Chapter 3 (p 114-167)
"The Art of Maya", (p.35-55) - Optional
"The Art And Science of Digital Compositing" Chapter 4 (p.93-144) -
Optional














Week 3, class 4; (M; July 11th); 2D Digital - Rotoscoping and Matchmoving
Class Project Introduced
Rotoscoping Matte Extraction
Review of Nuke 5.0
Hands On Sessions
EXERCISE: Roto Background Plate (Nuke 5.0)

Basic Principles of Matchmoving, Workflow
Survey Packages
Stage Issues
Lens Distortion Review
Review of Boujou 4.1
Hands On Session
EXERCISE: Track Background Plate (Boujou 4.1)
Possible brief screening

Week 3, class 5; (W, July 13th); Introduction to 3D CGI and Modeling
Basic Principles of 3D CGI, Workflow
Survey of Packages
3D Modeling Basics
Hands On Session
EXERCISE: Model UFO for Scene (Maya)

Modeling Efficiency
Use of 2D Cards
Poly vs Degree 1 Nurbs vs Degree 3 Nurbs
Proper Modeling Methodology
Character vs Hard Models
Hands On Session
EXERCISE: Continue UFO Model (Maya)
Possible brief screening


Reading Assignment for classes 6 & 7:
"Special Effects", Chapter 4 (p. 170-240)
"The Art of Maya" (p. 57-73) - Optional
"The Art And Science of Digital Compositing" Chapter 5 (p.149-183) -
Optional



Week 4, class 6; (M, July 18th); CGI Lighting Technique
Review of Classic Cinematic Lighting
Review of CG Methods
Exterior vs Interior Methods
Current vs Future Directions
Direct vs Global Methods
Simulating Radiosity
Simulating Optical Effects
Incandescence Mapping
Case Study: Fifth Element
Hands On Session
EXERCISE: Light UFO (Maya)
Possible brief screening


Week 4, class 7; (W, July 20th); CGI Texturing/ Shading
Shading Models
Procedural vs 2d Mapping
Review of Rendering Applications
Photoshop Techniques
Shader Network Basics
Importance of Specular Mapping
TriPlanar Projections
Weathering Surfaces
Future Directions Texture Painting Review Hands On Session
EXERCISE: Paint and Apply Texture Maps for UFO (Photoshop, Maya)
Possible brief screening




Reading Assignment for class 8 & 9:
"Special Effects", Chapter 5, (p. 244-265)
"The Art of Maya" (p.75-97) - Optional
"The Art And Science of Digital Compositing" Chapter 6 (p.189-231) -
Optional






Week 5; class 8; (M, July 25th); CGI Animation and Camerawork
Review of Methods
Character vs Effects Animation
Keyframe vs Procedural Techniques
Dynamic Simulations
Particle Effects
Hands On Session
EXERCISE: Animate UFOs, Dust Effect in Scene (Maya)

Visual Composition
Vanishing Points
Perspective Correction
Natural Movement
Proper Camera Setup
Motion Control Rigs
Camera Projection
Hands On Session
EXERCISE: Render Scene Frames (Maya)
Possible brief screening


Week 5, class 9; (W, July 27th); Introduction to 2D Compositing
Survey of Operations
Pulling Mattes
2D Tracking Formats
Color Space
Image Manipulation
Handling Disparate
Elements Hands On Session
EXERCISE: Composite UFO into Scene (Shake)
Possible brief screening


No reading assignment for next week.
Spend your time working on your final project!






Week 6, class 10; (M, August 1st); Intermediate 2D Compositing
Nodal Trees
Scripting for Command Line
Using Alpha for Shadowing
Using Particles for Heat Signature
EXERCISE: Composite UFO into Scene (Shake)
Possible brief screening



Week 6, class 11; (W, August 3rd): PROJECT WRAPUP/ LAST CLASS
Final Projects Due!!
Take final exam
View Final Projects
Lecture on Careers
Possible brief screening


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Attendance:
Attendance at all classes is mandatory, and punctuality is expected. If a
student misses a class, they must provide a valid excuse, and they must
meet with the instructor to discuss a make-up assignment.

Missing an Exam, Incompletes:
The only acceptable excuses for missing an exam or taking an incomplete in
the course are personal illnesses or a family emergency. Incompletes may
only be given after the 12th week of the semester. Students must inform the
professor before the exam and present verifiable evidence in order for a
make-up to be scheduled. Students who take incompletes must also present
documentation of the problem to the instructor before final grades are due.

Academic Integrity:
The School of Cinematic Arts expects the highest standards of academic
excellence and ethical performance from USC students. It is particularly
important that you are aware of and avoid plagiarism, cheating on exams,
submitting a paper to more than one instructor, or submitting a paper
authored by anyone other than yourself.
Violations of this policy will result in a failing grade and be reported to
the Office of Student Judicial Affairs. If you have any doubts or questions
about these policies, consult "SCAMPUS" and/or confer with the Professor or
Department Chair. The Student Conduct Code can be found in Section 11.00.
Recommended sanctions are located in Appendix
A: http://www.usc.edu/dept/publications/SCAMPUS.gov

Students with Disabilities:
Any student requesting academic accommodations based on a disability is
required to register with Disability Services and Programs (DSP) each
semester. A letter of verification for approved accommodations can be
obtained from DSP. Please be sure that the letter is delivered to the
Professor as early in the semester as possible. DSP is located in STU 301
and is open 8:30am - 5:00pm, Monday through Friday. The phone number for
DSP is (213) 740-0776.