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E-raamat: Real Time Visual Effects for the Technical Artist [Taylor & Francis e-raamat]

  • Formaat: 390 pages, 2 Tables, color; 3 Tables, black and white; 1 Line drawings, color; 17 Line drawings, black and white; 493 Halftones, color; 511 Illustrations, color
  • Ilmumisaeg: 21-Mar-2022
  • Kirjastus: CRC Press
  • ISBN-13: 9781003009795
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  • Taylor & Francis e-raamat
  • Hind: 184,65 €*
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  • Tavahind: 263,78 €
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Real Time Visual Effects for the Technical ArtistSuurem pilt
  • Formaat: 390 pages, 2 Tables, color; 3 Tables, black and white; 1 Line drawings, color; 17 Line drawings, black and white; 493 Halftones, color; 511 Illustrations, color
  • Ilmumisaeg: 21-Mar-2022
  • Kirjastus: CRC Press
  • ISBN-13: 9781003009795
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9781003009795
Visual effects (VFX) are one of the most complicated components of feature film and television creation. With advancements in such technologies as Ray Tracing and Virtual Reality, the visual quality of the real-time rendering engine is now rivaling feature film. Real-time rendering requires years of programming experience with advanced understanding in math and physics.

As the power of the real-time rendering engine improves, so too do the interfaces for VFX creation. With limited technical understanding, artists can create VFX with the push of a button and tug of a slider. As powerful as the interfaces are, they can only expose a portion of the true potential of the rendering engine. Artists are limited by their understanding of the engine interface. Real Time Visual Effects for the Technical Artist is written for digital artists to explain the core concepts of VFX, common in all engines, to free them from interface bounds.

Features:











Introduces the reader to the technical aspects of real-time VFX





Built upon a career of more than 20 years in the feature film VFX and the real-time video game industries and tested on graduate and undergraduate students





Explores all real-time VFX in four categories: in-camera effects, in-material effects, simulations, and particles

This book is written to complement undergraduate- or graduate-level courses focused on the fundamentals of modern real-time VFX.

Chris Roda is a Technical Art instructor at the Florida Interactive Entertainment Academy (FIEA), a graduate degree program in interactive, real-time application development at the University of Central Florida. Early in his career, Chris was a visual effects artist in the film and television industries where he contributed visual effects for films such as Spider-Man, Titanic, and The Fifth Element. Before coming to FIEA, Chris was a CG Supervisor at Electronic Arts, where he worked on video game titles such as NCAA Football and Madden NFL Football. In addition to teaching, Chris works on generating tools and pipelines for the creation of immersive experiences: the amalgamation of the narrative of films, the interactivity of video games, and the immersion of theme parks.
Acknowledgments xvii
Author xix
Introduction 1(6)
Why This Book?
1(1)
Intended Audience
2(1)
Visual Effects Artists versus Technical Artists
3(1)
How This Book Is Organized
3(1)
Conventions
4(1)
Experiences
4(1)
Story Worlds
4(1)
Art Directable
4(1)
Users
4(1)
Software Disclaimer
4(1)
Prerequisites
5(2)
Chapter 1 What Are Visual Effects? 7(14)
Introduction
7(1)
Visual Effects Are Animations
8(1)
Special Effects
9(1)
Off-Line Visual Effects
9(1)
Real-Time Visual Effects
10(1)
Drawbacks of Real-Time Visual Effects
10(1)
Real-Time Uses
11(4)
Video Games
11(1)
Live-Action Production
11(1)
Cinematics
12(1)
Simulation
13(1)
Augmented Reality (AR), Virtual Reality (VR), Mixed Reality (MR), and Cross Reality (XR)
13(1)
Architecture
13(1)
Automotive/Transportation
13(1)
Scientific Visualization
14(1)
Location-Based Experiences
15(1)
Real-Time Visual Effect Types
15(4)
In-Camera Effects
16(1)
Material Effects
16(1)
Simulations
16(1)
Particles
17(2)
Conclusions
19(2)
Chapter 2 Visual Effects Rules 21(16)
Introduction
21(1)
Visual Effects Are Not the Story
21(1)
Visual Effects Add Credibility
21(1)
Visual Effects Are the Glue
21(1)
Visual Effects Help Story Flow
22(1)
Never Show VFX Out of Context
22(1)
Scale Is King!
23(1)
Visual Effects Don't Scale
23(1)
Lighting Integration Is Queen
24(1)
Whites and Blacks
24(3)
Style Consistency
27(1)
Visual References
27(1)
Missing VFX
28(1)
Never Duplicate VFX
28(1)
Never Take from Tutorials
29(1)
Never Start from Scratch
29(1)
VFX Toolkit
29(1)
Visual Effects Layers
30(1)
Students of Animation
30(1)
Bea Magician
31(1)
Simulation
31(1)
Simulations Consume Careers
31(1)
Hyper-Reality
32(1)
Tease the Audience!
32(1)
Iterate!
33(1)
No Roadblocks
34(1)
Art before Technology
34(1)
Visual Integrity
34(1)
Conclusion
35(2)
Chapter 3 Color Theory 37(28)
Introduction
37(1)
Color in Reality
37(2)
Representation of Color
39(7)
RGB Color
39(1)
CMYK Color
40(2)
HSV and HSL Color
42(2)
Other Color Models
44(2)
Gamut
46(2)
Is "Photo-Real" Achievable?
48(1)
Linear Color
49(6)
Gamma versus Linear Color
49(5)
Calibration
54(1)
Basic Color Blending
55(1)
Addition (Color Sum)
56(1)
Subtraction
56(1)
Multiplication (Color Product)
57(1)
Division (Color Difference)
58(1)
Power
59(1)
Dodge
60(1)
Screen
60(1)
Color Dodge
60(1)
Linear Dodge
61(1)
Burn
61(2)
Multiply
62(1)
Color Burn
62(1)
Linear Burn
62(1)
Conclusion
63(2)
Chapter 4 In-Camera Effects 65(56)
Introduction
65(1)
Real-Time Rendering Pipeline
65(7)
Input Assembler
67(1)
Vertex Shader
67(1)
Tessellation Stage
68(1)
Geometry Shader
69(1)
Rasterizer
70(1)
Pixel/Fragment Shader
71(1)
Layer Blending Stage
71(1)
Real-Time Transparency and Blending
72(5)
Alpha Blending
73(1)
Additive Blending
74(1)
Multiplicative Blending
74(1)
Divisional Blending
75(1)
Alpha Testing
76(1)
Inside Blending
77(1)
Outside Blending
77(1)
Ray Tracing
77(3)
Ray-Tracing Pipeline
78(1)
Ray Generation Stage
78(1)
Ray Traversal Stage
78(1)
Intersection Stage
78(1)
Shading Stage
79(1)
Ray Tracing Shader Pipeline
79(1)
Raygen Shader
79(1)
Intersection Shader
80(1)
Closest Hit Shader
80(1)
Any Hit Shader
80(1)
Miss Shader
80(1)
Lighting and Lighting VFX
80(16)
Lighting to Move Story and Gameplay
80(1)
Lighting to Manipulate Shadows
81(2)
Lights to Interact with Characters and Environments
83(8)
Types of Lights
85(1)
Skylight
85(1)
Directional Lights
85(2)
Point Light
87(1)
Spotlights
87(3)
Area Lights
90(1)
Lighting Strategies
91(5)
Key Light
92(1)
Fill Light
93(1)
Rim Light
94(1)
Other Lighting Strategies
94(2)
Post-Processing
96(24)
Render Target
98(1)
Eye Adaption
98(1)
Color Filtering
98(5)
Tone Mapping
99(2)
Color Grading
101(1)
Look Up Tables (LUIS)
102(1)
Image Blurring Techniques
103(9)
Image Blurring
104(3)
Bloom
107(1)
Depth of Field
107(3)
Lens Flare
110(1)
Emissive Materials
111(1)
In-Camera Techniques
112(10)
Vignetting
112(1)
Chromatic Aberration
112(1)
Distortion
113(1)
Pixelization
114(1)
Dithering
115(2)
Edge Detection/Sobel Operator
117(3)
Conclusion
120(1)
Chapter 5 Material Effects 121(118)
Introduction
121(1)
Material Pipeline
121(1)
Shading Paradigms
122(17)
Old School Rendering Models
122(9)
Ambient Shading Component
122(1)
Diffuse Shading Component
122(5)
Specular Shading Model
127(2)
Phong Shading Model
129(1)
Unlit Shading Model
130(1)
New School Rendering Models
131(8)
Vertex Shader Parameters
133(1)
Tessellation Parameters
133(1)
Geometry Shader Parameters
133(1)
Pixel/Fragment Shader Parameters
134(4)
Color Blending Parameters
138(1)
PBR Rules
139(9)
Is the Surface Metallic?
140(1)
Normal Maps
141(1)
Shiny or Rough?
142(1)
How Specular Is the Surface?
143(1)
What Is the Base Color?
144(2)
Ambient Occlusion and Height
146(2)
Basic Material Operations
148(4)
Multiplication
148(1)
Addition
149(1)
Linear Interpolation
150(1)
Material Instancing
151(1)
Shading Models
152(2)
Unlit
152(1)
Rasterized
152(1)
Ray Traced
152(1)
Subsurface
153(1)
Blending Modes
154(12)
Opaque Layering
154(1)
Mask Rendering
154(1)
A Over B Blending
154(1)
Linear Dodging
155(1)
Multiply Burning
156(1)
Texture Mapping
157(1)
Fundamental Technology
157(6)
Texture Images
157(1)
Texture Coordinates
158(1)
Texture Space
159(4)
Texture Masking
163(3)
Animated Texture Images
166(46)
Virtual Display
166(1)
Flip-Booking
166(2)
Panning
168(8)
Non-Planar Trails
171(4)
Flowing Lava River
175(1)
Rotating
176(3)
Magic Rings
178(1)
Normal Mapping
179(1)
Procedural Textures
179(1)
Mathematical Functions
180(9)
ABS
180(1)
Step
180(2)
Clamp
182(1)
Linear Step
182(1)
Smoothstep
183(2)
Linear Interpolation
185(1)
Disks
185(1)
Boxes
186(1)
Anti-Aliasing
187(1)
Line Plotting
188(1)
Sine Wave
189(9)
Functional Attributes
189(2)
Wave-Like Attributes
191(4)
Sine Wave Uses
195(3)
Randomness, Noise, and Fractals
198(14)
Randomness
199(1)
Multi-Dimensional Randomness
200(2)
Noise
202(1)
Two-Dimensional Noise
203(2)
Fractal Noise
205(7)
Vertex Offset
212(18)
Definition
212(1)
Vertex Offset and Surface Silhouette
212(1)
Character Animation
213(1)
Displacement Mapping
213(2)
Procedural Deformations
215(15)
Panners
215(6)
Rotator
221(1)
Sine Wave
222(8)
Circular Waves
230(7)
Shrinking and Growing
232(7)
Absolute World Position
232(1)
Character Position
232(1)
Object Position
232(1)
Bounding Box Position
233(1)
Object Scaling
234(3)
Conclusion
237(2)
Chapter 6 Simulations 239(86)
Introduction
239(3)
Storytelling Components
239(1)
Duplicating Physics
239(2)
Departure from Other VFX
241(1)
Computationally Expensive
241(1)
Personal Comment on Simulations
242(1)
Chapter Layout
242(1)
Rigid Bodies
242(28)
Non-Deforming Bodies
243(1)
Newtonian Mechanics
243(1)
Physics Engines
244(14)
Apply Forces
244(5)
Update State
249(1)
Detect Collisions
250(5)
Solve Constraints
255(3)
Display Results
258(1)
Material Force Attributes
258(5)
Mass
258(1)
Gravity
258(1)
Friction
259(1)
Drag
260(1)
Resilience and Restitution
260(2)
Spring (Hooke's Law)
262(1)
Damping
262(1)
Impulse
263(1)
Object Destruction
263(2)
Setup
263(1)
Trigger/Distraction
264(1)
Simulation
264(1)
Resolution
264(1)
Voronoi Decomposition
264(1)
Off-Line Simulation
265(5)
Simple Animation
267(1)
Octopus Skeletons
267(1)
Vertex Cache
268(2)
Soft Bodies
270(17)
Examples
270(8)
Cloth
271(1)
Curves
272(1)
Soft Containers
272(1)
Organic
273(1)
Highly Articulated Objects
274(2)
Paper
276(1)
Ragdoll
277(1)
Techniques
278(9)
Real-Time Simulations
278(3)
Skeleton Simulations
281(1)
In-Material Simulations
282(3)
Off-Line
285(2)
Fluids
287(19)
Static Fluid Bodies
287(8)
In-Material
289(4)
Spring Simulations
293(1)
Vertex Caching
294(1)
Flowing Fluids
295(7)
In-Material
295(6)
Spring
301(1)
Particles
301(1)
Splashes and Splats
302(4)
Flip-Booking
302(3)
Vertex Caching
305(1)
Vertex Caching and Splashes
305(1)
Volumetrics
306(16)
The Challenge
307(1)
Strategies
307(15)
Particles, Sprites, and Shaded Spheres
307(4)
Vertex Cache Simulation
311(1)
Post-Process
312(2)
Ray Marching
314(2)
Constructive Solid Geometry
316(2)
Signed Distance Fields
318(1)
Sphere Tracing
318(4)
Future Direction of Volumetrics
322(1)
Conclusion
322(3)
Chapter 7 Particles 325(48)
Introduction
325(1)
What Are Particles?
326(5)
Physics Simulation
326(1)
CGI Elements
327(2)
Moments to Learn, a Lifetime to Master
329(2)
Particle Usage
331(11)
Atmospherics
331(2)
Basic Simulations
333(3)
Trails
336(1)
Simple Crowd Behavior
337(1)
Two-Dimensional Motion
337(1)
Three-Dimensional Motion
338(1)
Other Particulates
338(4)
Fountains
338(2)
Footsteps
340(1)
Grains
341(1)
Magic
341(1)
No Particle
342(1)
Particle Life
342(2)
Birth
342(1)
Life in Simulation
343(1)
Death
343(1)
Particle Systems
344(14)
Engine Objects
344(1)
Attributes
344(2)
Static Attributes
344(1)
Dynamic Attributes
345(1)
Layers
346(12)
Emitters
346(4)
Particles
350(2)
Forces
352(6)
Visualization
358(6)
Instanced Objects
358(5)
Sprites
358(2)
Geometry
360(2)
Lights
362(1)
Materials
363(1)
Replication
363(1)
Render Attributes
364(8)
Sprite
364(2)
GPU Sprites
365(1)
Animated Sprites
366(1)
Ribbon
366(2)
Mesh
368(1)
Static Mesh
368(1)
Skeletal Mesh
369(1)
Light
369(3)
Conclusion
372(1)
Chapter 8 Conclusion 373(6)
Introduction
373(1)
Exceptions
373(2)
Procedural Modeling
373(1)
Procedural Animation
374(1)
Motion Capture
374(1)
Future VFX
375(2)
Rendering
375(1)
Artificial Intelligence
376(1)
Virtual and Augmented Reality
376(1)
Lifelong Pursuit
377(2)
Index 379
Chris Roda is a Technical Art instructor at the Florida Interactive Entertainment Academy (FIEA), a graduate degree program in interactive, real-time application development at the University of Central Florida. Early in his career, Chris was a visual effects artist in the film and television industries where he contributed visual effects for films such as Spiderman, Titanic and Fifth Element. Before coming to FIEA, Chris was a CG Supervisor at Electronic Arts, where he worked on video game titles such as NCAA Football and Madden NFL Football. In addition to teaching, Chris works on generating tools and pipelines for the creation of immersive experiences, the amalgamation of the narrative of films, the interactivity of video games and the immersion of theme parks.
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