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E-raamat: Real-Time Video Content for Virtual Production & Live Entertainment: A Learning Roadmap for an Evolving Practice [Taylor & Francis e-raamat]

  • Formaat: 182 pages, 10 Line drawings, color; 123 Halftones, color; 133 Illustrations, color
  • Ilmumisaeg: 30-Dec-2022
  • Kirjastus: Focal Press
  • ISBN-13: 9781003206491
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  • Taylor & Francis e-raamat
  • Hind: 147,72 €*
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Real-Time Video Content for Virtual Production & Live Entertainment: A Learning Roadmap for an Evolving PracticeSuurem pilt
  • Formaat: 182 pages, 10 Line drawings, color; 123 Halftones, color; 133 Illustrations, color
  • Ilmumisaeg: 30-Dec-2022
  • Kirjastus: Focal Press
  • ISBN-13: 9781003206491
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9781003206491
Real-Time Video Content for Virtual Production & Live Entertainment looks at the evolution of current software and hardware, how these tools are used, and how to plan for productions dependent on real-time content.

From rock concerts to theatre, live television broadcast to film production, art installations to immersive experiences, the book outlines the various applications of real-time video content the intersection of gaming and performance that is revolutionizing how films are made and how video content is created for screens. Rather than render out a fixed video file, new tools allow for interactive video content that responds to audience activity, camera position, and performer action in real time. Combining software renderers with environmental information, video content is generated nearly instantaneously to simulate depth, creating a new world of Virtual Production. This book provides an overview of the current software and hardware used to create real-time content while also reviewing the various external technologies the real-time content is dependent upon. Case studies from industry experts appear in each chapter to reinforce the tools described, establish industry practice, and provide insight on a complex and rapidly growing discipline.

Real-Time Video Content for Virtual Production & Live Entertainment prepares students and practitioners for a future working with real-time technologies and informs current entertainment technology professionals how to rethink about their old roles using these new tools.

The book includes access to a companion website featuring web-based and video resources that expand on topics covered in the text. Each chapter has a unique page that points to example material, video presentations, and professional studies on chapter topics. You can visit the companion website at rtv-book.com.
List of Contributors
x
Acknowledgments xi
Chapter 1 Introduction
1(6)
We Are Surrounded by Visual Content
1(1)
Creative Video for Live Visuals
1(2)
Live Entertainment Is Forever Changed
3(1)
Real-Time Video Content Is the Engine that Powers Virtual Production
4(1)
What This Book Is Not
5(2)
SECTION 1 EXPLORING REAL-TIME CONTENT
7(58)
Chapter 2 Defining Real-Time Video Content
8(6)
Defining the Term "Real-Time"
8(3)
The Master Variable: Time
11(2)
Variable Triggers Combined with Variable Results
13(1)
Chapter 3 Foundations Part 1: The Video Image
14(4)
How Do Computers Display Images?
14(1)
What Defines a Computer Image?
15(1)
Making Real-Time Images: Generative Content
16(1)
Making Real-Time Images: Software and Game Engines
16(2)
Chapter 4 Foundations Part 2: Code and Generative Content
18(9)
Generative Content
18(1)
Video Games
19(1)
The Internet
20(1)
VR and AR
21(1)
Case Study - Blair Neal - Trace Your Road
22(5)
Chapter 5 Foundations Part 3: Broadcast
27(12)
Studio Image Compositing
27(3)
Camera POV
30(1)
Sports
31(1)
Broadcast AR
32(1)
Background Replacement
32(2)
Case Study - Bluman Associates - Dave at The BRITS 2020
34(1)
The Project and Use of Real-Time
34(1)
The Challenges
35(1)
The Tests, Research or Development to Provide the Solutions
36(2)
The End Goal (Not Modified to Be Successful!) and the Result
38(1)
Chapter 6 Real-Time Content Generation Applications
39(11)
Custom Code
39(1)
Processing
39(1)
Effects Engines
40(1)
Media Server Effects Engines
41(1)
Node Based
41(1)
Game Engines
42(1)
Beyond Computer Graphics
43(1)
Case Study - Electronic Countermeasures - The Foo Fighters 26th Anniversary Tour
44(6)
Chapter 7 A Collision of Technologies
50(15)
What Are All the Tools We Combine?
50(1)
Media Control and Management
50(1)
Projection Mapping and Scenery Tracking
51(1)
Environment Modeling
52(1)
Camera Tracking
52(2)
Content Generation
54(2)
Front Plate and Back Plate
56(1)
Virtual Production Stage Types
56(1)
LED Stages/Volumes
56(1)
LED Stages/XR Stages
57(1)
Modern Green Screen
57(1)
Online Events
57(1)
What Happens Next?
58(1)
Hybrid Audiences
58(1)
Remote Performance
58(1)
AR for Live Events
58(1)
Case Study - Rich & Miyu - AR Livestreamer
58(1)
A TouchDesigner Based Software Solution for AR Applications
58(7)
SECTION 2 REAL-TIME CONTENT ENTERTAINMENT APPLICATIONS
65(60)
Chapter 8 Content Production
66(8)
The No-Render Advantage
66(1)
Creative Flexibility
67(1)
Live Signal Manipulation
67(1)
Interactive Content Production
68(1)
Environmental Responsiveness
68(1)
Camera Perspective Generated Content
69(1)
Case Study - Fray Studio - Real-Time Update
69(5)
Chapter 9 Augmented Reality
74(8)
Virtual Graphic Imagery
75(1)
Scenic Augmentation
76(1)
Human Tracking and Motion Capture
76(1)
Case Study - ALL of It Now - CoLdpLay x BTS
77(1)
Project Timeline
77(1)
Technical Considerations
78(1)
Creative Pipeline - The Creative Process
78(1)
On Set Deployment/Challenges
78(1)
Post-Production Challenges
79(1)
A Volumetric Future
79(3)
Chapter 10 Background Replacement
82(10)
Scenic Backdrops
82(1)
Depth Simulation
83(2)
LED vs Green Screen
85(3)
Case Study - Fernando Gonzalez Ortiz - The Lion and The Firebird
88(1)
The New Frontier in Student Filmmaking with Virtual Production
88(4)
Chapter 11 Extended Reality and Mixed Reality
92(14)
Front Plate and Back Plate
92(2)
Sync
94(1)
Scenic Extension
95(2)
AR + Depth Sensing
97(1)
Mixed Reality
97(1)
LED vs Green Screen, Part 2
98(1)
Environmental Immersion
98(1)
Lighting and Reflections
99(1)
Budget
99(1)
Speed
99(1)
Background Cohesion
100(1)
Camera Frustums
100(1)
Background Quality
101(1)
Case Study - Lux Machina - Worlds 2020
102(4)
Chapter 12 The Future of Real-Time Content
106(19)
Developing Industries
106(1)
Developing Technologies
107(1)
Case Study - Bild Studios - Al Wasl - The Interactive Experience
108(1)
How Bild turned Al Wasl Plaza into the world's largest interactive installation for Expo City Dubai
108(2)
Al Wasl - The Interactive Experience
110(2)
Phase 1 Technical Feasibility and Creative Exploration
112(1)
Background
112(2)
The Need for a Technical and Creative Feasibility Study
114(1)
Choice of Real-Time Engine
114(1)
Requirements
115(1)
Splitting Up the Real-Time Rendering Power
115(1)
Previz
115(1)
Phase 2 The App
116(3)
Interactive Audio Setup
119(1)
Phase 3 Creative Development
120(1)
Phase 4 Onsite Installation
120(1)
Thoughts by David Bajt, Co-Founder of Bild and Principal Consultant for Al Wasl Expo Projects
121(1)
Thoughts by Expo City Dubai Executive Creative Director, Amna Abulhoul
122(3)
SECTION 3 STRATEGIES USING REAL-TIME CONTENT
125(47)
Chapter 13 Team Leadership and Structure
126(8)
The Video Umbrella
126(1)
Content Creation
126(1)
Media Operations
126(1)
System Engineering
127(1)
Broadcast Engineering
127(1)
Video Team Leadership
127(1)
Partner Teams
128(1)
Scenic Design/Art Department/Virtual Art Department
128(1)
Lighting Design
128(1)
Audio
129(1)
Clients of the Video Team
129(1)
Director
129(1)
Producers
129(1)
Case Study - Visual Noise Creative - MTV VMAs 2021
129(5)
Chapter 14 Inter-Department Communication
134(9)
Crafting Good Collaborative Relationships
134(3)
Case Study - EVOKE Studios - Siemens Hannover Messe Digital 2021
137(1)
Doing Something First, It Can Be Tricky
138(1)
Plan, Plan, Plan!
138(2)
Creating the Solution
140(1)
The End Result
140(3)
Chapter 15 Production Planning
143(10)
Client Planning
143(1)
Budget
144(1)
Schedule Planning
145(1)
Review
145(1)
Workflow Outline
145(1)
Scenic and Storyboard Review
145(1)
Creative Discussions
146(1)
Team Resources
146(1)
Build and Publish Content Production Workflow
146(1)
Development and Testing, Review and Reiterate
147(1)
Case Study - dandelion & burdock - Johnnie Walker Princes Street Interactive World Map
147(1)
Overview
147(1)
Brief
147(1)
Preparation
148(1)
Process
148(3)
Delivery + Opinion
151(2)
Chapter 16 Obstacles to Success
153(8)
Community Education
153(1)
Inversion of Process
154(1)
Digital Is Perceived as Easy
154(1)
Real-Time Can Be Time Consuming
155(1)
Team Growth and Wellness
155(1)
Case Study - Savages - Practice Makes Process
156(1)
A Case for Intentional Practice
156(5)
Chapter 17 Creative First
161(11)
When Technology Leads Design Discussion
161(1)
What Is the Creative Goal?
162(1)
Technology Serves Creative Intent
163(1)
Matt Swoboda - Founder - Notch
163(1)
Ashraf Nehru - Founder - Disguise
163(1)
Greg Hermanovic - Founder and President - Derivative
164(1)
Francis Maes - Founder - SMODE Tech
165(1)
Emric and Martin - Co-Founders - VYV
165(1)
Case Study - Luke Halls Studio - Forest of Us
166(6)
Appendices
Appendix A Real-Time Content Production Tools and Capabilities
172(1)
Appendix B VFX Map for Real-Time Content
173(1)
Appendix C Glossary
174(7)
Index 181
Laura Frank is a creator advocate and founder of frame:work, a professional organization for the creative video community. She spent her early career as a lighting programmer with projects spanning rock tours with David Bowie and Madonna, to Broadway shows like Spamalot and television events like the Concert for New York City. Laura made the shift to screen content and control with the growth of the media server market. After a decade of refining a media delivery workflow, she established herself as a Screens Producer leading a highly regarded Media Operations team for prominent events around the world. Her shows included the MTV Video Music Awards, The Game Awards, the Turner Upfront, and the CMA Music Awards.
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