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Relevant bibliographies by topics / Visual effects (VFX)

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Academic literature on the topic 'Visual effects (VFX)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Visual effects (VFX)"

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Samaras, Evanthia. "Futureproofing Visual Effects." International Journal of Digital Curation 16, no. 1 (August 15, 2021): 15. http://dx.doi.org/10.2218/ijdc.v16i1.689.

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Digital visual effects (VFX), including computer animation, have become a commonplace feature of contemporary episodic and film production projects. Using various commercial applications and bespoke tools, VFX artists craft digital objects (known as “assets”) to create visual elements such as characters and environments, which are composited together and output as shots. While the shots that make up the finished film or television (TV) episode are maintained and preserved within purpose-built digital asset management systems and repositories by the studios commissioning the projects; the wider VFX network currently has no consistent guidelines nor requirements around the digital curation of VFX digital assets and records. This includes a lack of guidance about how to effectively futureproof digital VFX and preserve it for the long-term. In this paper I provide a case study – a single shot from a 3D animation short film – to illustrate the complexities of digital VFX assets and records and the pipeline environments whence they are generated. I also draw from data collected from interviews with over 20 professional VFX practitioners from award-winning VFX companies, and I undertake socio-technical analysis of VFX using actor-network theory. I explain how high data volumes of digital information, rapid technology progression and dependencies on software pose significant preservation challenges. In addition, I outline that by conducting holistic appraisal, selection and disposal activities across their entire digital collections, and by continuing to develop and adopt open formats; the VFX industry has improved capability to preserve first-hand evidence of their work in years to come.

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Ng, Lynn-Sze. "Role of Enhancing Visual Effects Education Delivery to Encounter Career Challenges in Malaysia." International Journal of Information and Communication Technology Education 13, no. 1 (January 2017): 41–47. http://dx.doi.org/10.4018/ijicte.2017010104.

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Problem-based Learning (PBL) is one of the most effective methods of instruction that helps Visual Effects (VFX) students to be more adaptable at encountering career challenges in Malaysia. These challenges are; lack of several important requirements such as, the basic and fundamental knowledge of VFX concepts, the ability to understand real-world problems and to convert ideas into VFX solutions, the ability to attain and retain up-to-date knowledge of VFX concepts, and perhaps most importantly, the ability to come up with solutions to real-world problems. Its role in helping students; thus, encompasses improving the level of meaningfulness of their learning experience, and their skills in terms of comprehension, knowledge retention, problem-solving, self-directed learning, as well as interpersonal skills. The use of PBL helps VFX students to cope with the encounters of the career challenges in Malaysia that may be enhanced by focusing on a faculty-wide approach as compared to applying it on a course at a time. Moreover, such methods of enhancing VFX education delivery in Malaysia are to encourage reflective practices and PBL based dialogues on VFX, and to increase the level of VFX competence of instructors through improved training methods.

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Kim, Hyung-Jae, and Soo-In Yoon. "A Study on the Change of Visual Effects Processing - Focus on Visual Effects Developer Group “Videocopilot” -." Journal of acting studies 19 (August 30, 2020): 79–100. http://dx.doi.org/10.26764/jaa.2020.19.6.

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Samaras, Evanthia, and Andrew Johnston. "Off-Lining to Tape Is Not Archiving: Why We Need Real Archiving to Support Media Archaeology and Ensure Our Visual Effects Legacy Thrives." Leonardo 52, no. 4 (August 2019): 374–80. http://dx.doi.org/10.1162/leon_a_01779.

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This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by adopting archival science methods, including digital preservation practices. Doing so will support media archaeology studies of digital cultures over time and ensure that the legacy of VFX creative and technical production thrives for future generations.

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Samaras, Evanthia, and Andrew Johnston. "Fleeting Film: Using Story to Seek Archival Permanence in the Transitory and Globalized Digital Visual Effects Industry." Preservation, Digital Technology & Culture 47, no. 1 (April 25, 2018): 12–22. http://dx.doi.org/10.1515/pdtc-2018-0001.

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AbstractArchiving is a long-standing vocation, founded on principles such as provenance, original order, truth, evidence, preservation and permanence. A far cry from the visual spectacle and movable feast of film visual effects (VFX)—a transitory and globalized industry of disposable firms, ever-advancing technologies and a roving workforce which craft digital animations and seamless effects for the big screen. In this paper we utilize the concept of “story” as a premise to bring together the seemingly different vocations of archival science and film VFX. Through an exploration of digital film production and archival practice under the context of storytelling, we aim to highlight the need for archivists to work with the VFX industry to ensure evidence of this culturally significant aspect of filmmaking and cinema discourse is preserved into the future. As well present the argument that archives are more than collections of historical evidence. Archives are story—and archivists are storytellers.

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Bode, Lisa. "Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 21, 2021): 919–34. http://dx.doi.org/10.1177/13548565211030454.

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On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps.

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Hasche, Eberhard, Oliver Karaschewski, and Reiner Creutzburg. "Using ACES Look Modification Transforms (LMTs) in VFX Environments – Part 2: Gamut Mapping." Electronic Imaging 2021, no. 3 (June 18, 2021): 108–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.3.mobmu-108.

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In modern moving image production pipelines, it is unavoidable to move the footage through different color spaces. Unfortunately, these color spaces exhibit color gamuts of various sizes. The most common problem is converting the cameras’ widegamut color spaces to the smaller gamuts of the display devices (cinema projector, broadcast monitor, computer display). So it is necessary to scale down the scene-referred footage to the gamut of the display using tone mapping functions [34].In a cinema production pipeline, ACES is widely used as the predominant color system. The all-color compassing ACES AP0 primaries are defined inside the system in a general way. However, when implementing visual effects and performing a color grade, the more usable ACES AP1 primaries are in use. When recording highly saturated bright colors, color values are often outside the target color space. This results in negative color values, which are hard to address inside a color pipeline. "Users of ACES are experiencing problems with clipping of colors and the resulting artifacts (loss of texture, intensification of color fringes). This clipping occurs at two stages in the pipeline: <list list-type="simple"> <list-item>- Conversion from camera raw RGB or from the manufacturer’s encoding space into ACES AP0</list-item> <list-item>- Conversion from ACES AP0 into the working color space ACES AP1" [1]</list-item> </list>The ACES community established a Gamut Mapping Virtual Working Group (VWG) to address these problems. The group’s scope is to propose a suitable gamut mapping/compression algorithm. This algorithm should perform well with wide-gamut, high dynamic range, scene-referred content. Furthermore, it should also be robust and invertible. This paper tests the behavior of the published GamutCompressor when applied to in- and out-ofgamut imagery and provides suggestions for application implementation. The tests are executed in The Foundry’s Nuke [2].

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Parker, Rachel, and Stephen Cox. "Power Relations and Small and Medium-sized Enterprise Strategies for Capturing Value in Global Production Networks: Visual Effects (VFX) Service Firms in the Hollywood Film Industry." Regional Studies 47, no. 7 (July 2013): 1095–110. http://dx.doi.org/10.1080/00343404.2011.600303.

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Ali, M. R., and Taha Amir. "Effects of Fasting on Visual Flicker Fusion." Perceptual and Motor Skills 69, no. 2 (October 1989): 627–31. http://dx.doi.org/10.2466/pms.1989.69.2.627.

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Two experiments are reported which investigated the effects of fasting on visual flicker fusion (VFF). In Exp. 1 the VFF of 40 undergraduate students, 20 men and 20 women, whose mean age was 22.5 yr., was measured in nonfasting conditions 1 to 2 weeks before and in fasting conditions during the Muslim fasting month of Ramadan. In Exp. 2 the VFF of a comparable group of 15 men and 15 women, whose mean age was 23.2 yr., was measured in a different month in both fasting and nonfasting conditions. Subjects were assigned randomly to these two conditions. Analysis shows that fasting reduced VFF significantly in both experiments. This finding indicates that fasting is likely to reduce perceptual sensitivity. The results were explained in terms of fatigue and physical exhaustion effects produced by fasting.

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Miura, Gen, Takayuki Baba, Tomoaki Tatsumi, Hirotaka Yokouchi, and Shuichi Yamamoto. "Effects of Cataract Surgery on Vision-Related Quality of Life in Patients with Retinitis Pigmentosa and the Predictive Factors of Quality of Life Improvement." BioMed Research International 2021 (September 13, 2021): 1–6. http://dx.doi.org/10.1155/2021/3846867.

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Purpose. To determine the effects of cataract surgery and preoperative factors on the vision-related quality of life (QOL) in patients with retinitis pigmentosa (RP). Materials and Methods. This was a prospective, interventional study of 54 patients diagnosed with RP. The 25-item National Eye Institute Visual Function Questionnaire (NEI VFQ-25) was used to determine the QOL before and after the cataract surgery. The correlations between the scores of the questionnaire and the best-corrected visual acuity (BCVA), macular structure, and degree of improvement of the NEI VFQ-25 scores were also determined. Results. Statistically significant improvements were observed in the BCVA and all of the NEI VFQ-25 subscale scores except for color vision. The improvement of general vision was the largest. The postoperative BCVA of the better-seeing eye was more strongly and significantly correlated with the postoperative NEI VFQ-25 scores than that of the worse-seeing eye. All of the postoperative NEI VFQ-25 scores were significantly correlated with the length of the ellipsoid zone (EZ) of the photoreceptors. No significant correlation was found between the preoperative general vision, near vision, mental health scores, and EZ length. All of the preoperative NEI VFQ-25 scores except the social function and mental health scores were negatively and significantly correlated with the degree of improvement of the NEI VFQ-25 score. The EZ length was significantly correlated with the degree of improvement of the NEI VFQ-25 scores of the general vision, distance vision, mental health, dependency, and composite 9 scores. Conclusions. Cataract surgery can significantly improve the NEI VFQ-25 scores in RP patients. The EZ length can be used to predict the postoperative VFQ scores. We conclude that the NEI VFQ-25 is a useful method to evaluate the impact of cataract surgery on the BCVA in patients with RP.

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Dissertations / Theses on the topic "Visual effects (VFX)"

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Rydahl, Björn. "A VFX ocean toolkit with real time preview." Thesis, Linköping University, Department of Science and Technology, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-50850.

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Eklund, Thorbjörn. "The use of Digital Visual Effects in contemporary TV-series : An analysis of the use of digital visual effects as a narrative device in the television series Doctor Who, Defiance and Terra Nova." Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-109066.

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In this thesis the argument of a new visual language as a narrative device will be discussed and looked at, by analyzing four different TV-series in the science-fiction genre: Terra Nova 2011, Defiance 2013-, Doctor Who 1963 – 1989 and Doctor Who 2005-. It will be possible to see the use of digital visual effects as a narrator in the image. To do this one main question has been asked and to be able to answer that question a framework model has been created, consisting of seven different questions: How are DVFx used as a visual language in the TV-series? What key elements drive the TV-series forward? What influence did DVFx have on the TV-series? How is DVFx used in the series as a narrator? What does DVFx represent in the image? Could the series have been created without DVFx? Techno-enhancement, visual language or hybrid?

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Dempwolf, Holm Marcus. "The structuring of a VFX Pipeline : The structure, reasoning and choices." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69535.

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This thesis will go over the typical structure of a pipeline for a VFX company. The report will then compare this structure against a real VFX company’s own pipeline and discuss the choices that may push a company make unique changes to the typical pipeline structure. The goal of this thesis is to understand how a typical VFX pipeline is structured and to gain an understanding of the choices that leads to unique situations. • What does a typical VFX pipeline look like? • What can a real-world example look like? • What affects the structuring of a pipeline?
Denna rapport kommer att gå igenom den typiska strukturen av en pipeline hos ett VFX företag. Rapporten kommer sedan att jämföra denna strukturen emot ett riktigt VFX företags egna pipeline och diskutera dom val som leder till att företag ibland gör unika förändringar av den typiska pipelinen. Målet är att ta reda på hur en typisk VFX pipeline ser ut och få förståelse för dom val som leder till unika situationer • Hur ser en typisk VFX pipeline ut? • Hur kan en implementering av en pipeline se ut? • Vad är det som påverkar struktureringen av en pipeline?

The VFX company and its employees which I had contact with wanted to remain anonymous.

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Poštulka, Ondřej. "Metodika řízení VFX projektů ve filmové a reklamní postprodukci." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-124802.

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Post-product studios which finalise the results of authorial audiovisual products are an important part of the media space. In this thesis, I am dealing with one of the phases of post-production film processing -- the methodology of management and optimization of VFX projects, by which I mean the utilization of computer graphics in the creation of special visual effects in film and advertising. In order to optimize VFX projects I designed a sample project based on a typical, VFX postproduction which became the basis for the comparison of the general principles of the project management and actual procedure used in practice with the quest to optimize the management of the project. The purpose of this thesis is to establish a project management methodology for a VFX project which consists of four subsequent steps. The first step is the division of a VFX project into phases. The second step is the identification of auxiliary computer programmes for each phase, followed by an analysis of the risks and the evaluation of the optimal procedure. The first part of this thesis is devoted to the general definition of computer graphics and their use in post-production. The second part focuses on the development of the management methodology of VFX projects by testing it on a sample project.

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Gustavsson, Sara, and Jonas Helmersson. "Från Ronja Rövardotter till Hundraåringen : Kartläggning av hur specialeffekter och visuella effekter används inom svensk filmbransch idag och vad branschens inställning till det är." Thesis, Högskolan Väst, Avd för medier och design, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-9326.

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"Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent". Cousins, 2004, s13. Sättet att göra film på har ständigt förändrats och fortsätter att förändras men som citatet syftar till så verkar inställningen till film stå sig lika genom tiderna. I grund och botten handlar det om att berätta en historia som berör publiken. En historia berättad utifrån filmskaparnas olika stilar. Tack vare teknikutvecklingen har många effekter i film, både digitala och fysiska blivit möjliga och vem vet vad den tekniska, och kanske framförallt den digitala utvecklingen, kommer att leda till för effekter i film i framtiden? Vi är trots allt bara i början av den digitala eran. Samtidigt som det nya introduceras kanske de gamla beprövade fysiska effekterna etsar sig fast som klassiska och erkända arbetsmetoder. Vad vi behandlar i den här uppsatsen är hur digitala och fysiska tekniker att skapa effekter används och nyttjas i den svenska filmbranschen. Hur ser beslutsfattare i branschen på effekter som filmskapande och varför ser användandet ut som det gör idag? Vi har också undersökt vad det är som styr användandet av effekter inom filmskapande utifrån ekonomiska, tekniska och konstnärliga överväganden. Vi har samlat in information genom kvalitativa, djupgående intervjuer med tre produktionsbolagsföreträdare och tre finansiärer. Vi har även samlat in information kring begreppen fysiska effekter och digitala effekter bland sex stycken filmarbetare som aktivt arbetar med effektskapande på olika sätt. Det har visat sig att det råder meningsskiljaktigheter när det kommer till definition av begreppen kring digitala effekter och fysiska effekter mellan de bolagsföreträdare och finansiärer vi har intervjuat och de aktiva effektmakare som vi har bett definiera begreppen. För att underlätta framtida kommunikation kommer vi i den här uppsatsen definiera dessa begrepp utifrån våra resultat. Våra resultat tyder på att det finns en vilja inom filmbranschen att arbeta med effekter inom film men att det samtidigt saknas resurser och kompetens idag. Samtidigt tycker vi oss utläsa en okunskap kring effekter vilket ställer till det för dem som vill arbeta med effekter. Exempelvis gällande Guldbaggegalan, där kategorin "Bästa Visuella Effekter" togs bort efter bara några år efter införandet för att det ansågs vara för svårt att utläsa vad som var effekter och inte i en film. Utifrån det vi kan utläsa från våra resultat finner vi det motsägelsefullt att vilja utveckla branschen och arbetet med effekter och samtidigt inte utveckla kunnandet kring det, när man istället för att plocka bort en kategori på grund av okunskap istället borde lära sig mer om det.
"Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent." Cousins, 2004, s13. The way of filmmaking has always been changing and it continues to change but as the quote leads up to it seems like the attitude stays the same. It is essentially about telling a story, which affects the audience. To tell a story with the different approaches the creators favors. Thanks to the technical development, many of these effects, both physical and digital have become practicable and who knows what the technique and digital progress will lead to in the future of filmmaking. After all, we are only in the beginning of the digital era. In the same time, the old and proven effect making techniques might inculcate as both classic and recognizable working methods. In this essay, we will talk about how the techniques of digital and practical effects are being used in the Swedish film industry. What does the decision makers in the business think about using effects in filmmaking and why are effects being used the way they are in todays film industry? We also wanted to examine what regulates he use of effects based on economical, technical and artistic considerations. We have collected our data from interviews with three representatives from production companies and three film financiers. We have also collected information considering the definitions of visual effects and special effects from six filmmakers who that works with effect making on a daily basis. It has become apparent that there are some confusion considering the definitions of the concepts of visual effects and special effects between the producers and financiers and the filmmakers. In order to ease future communication, we will in this essay define these concepts out of our results. Our result suggests that there is a will in the Swedish film industry to work with effects in filmmaking but in the same time parts of the industry lacks of resources and capability. Simultaneously, we can note that the ignorance around the concept of effects causes communication problems for digital artists and prop makers. For instance, on the Swedish film gala "Guldbaggegalan" they added a new category only a few years back and this year they took it away because of the problems of recognizing what's visual effects and what's not. It is interesting that there is an interest in developing effects in filmmaking and at the same time takes away the award. Instead of taking it away, they should focus on educating people about effects.

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Dvořák, Petr. "Řízení projektu ve filmové a reklamní postprodukci." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-17208.

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This thesis is focused on digital image postproduction -- specific field, which is responsible for digital creation and manipulation with image data of a feature film or a commercial. To achieve that, it uses large amount of human resources and the newest computer technology. The aim of this thesis was to review actual situation in film production from the informatics point of view. That comprises of explanation of field specifics, identification of information system in a typical postproduction house and finding ways how to effeciently manage postproduction projects through that. Thesis is designed as a complex practical guide, which is well understandable both to inexperienced people and proffesionals and delivers them useful information. It can be used by existing employees of a postproduction house (primarily managers and heads), freelancers or prospective future employees. This thesis highlights importanant aspects of postproduction, connected risks and helps people's to better orientate in this field. Outputs are numerous table summaries, recommendations, tips and hints and examples of possible solutions of actual postproduction problems. They are based on many internet sources and my own previous experience as a 3d graphic.

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Bench, Amy Lynn. "In this place : the creation of a short film." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-954.

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This report summarizes the process of writing, developing, directing and completing the short film In This Place. This film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree.
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CHEN, WEI-XSIAN, and 陳威翔. "Discussion of The Explosive Visual Effects Workflow: Using the Comparison of Length Vex Method and Volume Velocity Method as an Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/sh99bn.

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碩士
大葉大學
設計暨藝術學院碩士班
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The purpose of this study was to investigate the effects of physical properties on the VFX workflow by the quasi-experimental method. The independent variable of the experiment is "the way of generating force", which is divided into "Length Vex Method" and "Volume Velocity Method", and the dependent variable is "process time" and "sample quality". The research process is divided into three parts.（i）Using explosion effects reference.（ii）The research and development of the VFX workflow.（iii）Analysis of the results of experiment. In this study, the results of experiments were analyzed and discussed in terms of node number, elapsed time in simulation and sample quality. The number of nodes in the experiment was obtained by counting the number of Node Info which was a built-in feature in Houdini. The data source for the elapsed time in simulation is the Houdinis built-in Performance Monitor. The quality of the sample will be evaluated by Houdini software users and the students whose major is multimedia design. The results of this study include :（i） Increase the physical properties to the VFX workflow is positive to the inexperienced VFX artist. （ii） The overall quality of the sample made by Length Vex Method is higher.

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Books on the topic "Visual effects (VFX)"

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The visual effects arsenal: VFX solutions for the independent filmmaker. Burlington, MA: Focal Press, 2009.

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Finance, Charles L. The visual effects producer: Understanding the art and business of VFX. Amsterdam : Boston: Elsevier/Focal Press, 2010.

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Susan, Zwerman, ed. The visual effects producer: Understanding the art and business of VFX. Amsterdam : Boston: Elsevier/Focal Press, 2010.

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Zwerman, Susan. The visual effects producer: Understanding the art and business of VFX. Amsterdam: Elsevier Focal Press, 2009.

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Jütka, Salavetz, ed. VFX artistry: A visual tour of how the studios create their magic. Amsterdam: Focal Press, 2010.

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Drate, Spencer. VFX artistry: A visual tour of how the studios create their magic. Burlington, MA: Focal Press, 2009.

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Drate, Spencer. VFX artistry: A visual tour of how the studios create their magic. Amsterdam: Focal Press, 2010.

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VFX Fundamentals: Visual Special Effects Using Fusion 8.0. Apress, 2016.

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BBC VFX. Aurum Press, 2011.

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Finance, Charles, and Susan Zwerman. Visual Effects Producer: Understanding the Art and Business of VFX. Taylor & Francis Group, 2015.

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Book chapters on the topic "Visual effects (VFX)"

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Jackson, Wallace. "Visual Effects: Set Up Your VFX Content Development Workstation." In VFX Fundamentals, 1–11. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-2131-0_1.

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Wright, Steve. "Life a VFX Shot." In Compositing Visual Effects, 283–96. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-81781-1.10015-3.

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"Life of a VFX Shot." In Compositing Visual Effects, 297–310. Routledge, 2013. http://dx.doi.org/10.4324/9780240817828-20.

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"The VFX Workflow." In The Filmmaker’s Guide to Visual Effects, 65–103. Routledge, 2017. http://dx.doi.org/10.4324/9781315665795-6.

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Finance, Charles, and Susan Zwerman. "Basic VFX Technologies and Equipment." In The Visual Effects Producer, 53–77. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81263-2.00004-3.

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Finance, Charles, and Susan Zwerman. "The VFX Bible and Database." In The Visual Effects Producer, 161–77. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81263-2.00008-0.

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Finance, Charles, and Susan Zwerman. "Getting a Handle on VFX Editorial." In The Visual Effects Producer, 249–59. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81263-2.00014-6.

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Finance, Charles, and Susan Zwerman. "Who You Gonna Call? The VFX Team." In The Visual Effects Producer, 35–52. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81263-2.00003-1.

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Finance, Charles, and Susan Zwerman. "Integrating VFX shots with the Postproduction Schedule." In The Visual Effects Producer, 261–69. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81263-2.00015-8.

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"VFX as a Filmmaking Tool." In The Filmmaker’s Guide to Visual Effects, 19–33. Routledge, 2017. http://dx.doi.org/10.4324/9781315665795-3.

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Conference papers on the topic "Visual effects (VFX)"

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Bugliarello, Emanuele, Swayambhoo Jain, and Vineeth Rakesh. "Matrix Completion in the Unit Hypercube via Structured Matrix Factorization." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/282.

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Abstract:

Several complex tasks that arise in organizations can be simplified by mapping them into a matrix completion problem. In this paper, we address a key challenge faced by our company: predicting the efficiency of artists in rendering visual effects (VFX) in film shots. We tackle this challenge by using a two-fold approach: first, we transform this task into a constrained matrix completion problem with entries bounded in the unit interval [0,1]; second, we propose two novel matrix factorization models that leverage our knowledge of the VFX environment. Our first approach, expertise matrix factorization (EMF), is an interpretable method that structures the latent factors as weighted user-item interplay. The second one, survival matrix factorization (SMF), is instead a probabilistic model for the underlying process defining employees' efficiencies. We show the effectiveness of our proposed models by extensive numerical tests on our VFX dataset and two additional datasets with values that are also bounded in the [0,1] interval.

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Desmond, Michael, and Raymond Bahana. "Bezier VFX plug-in: Improving unity visual effect performance." In 2016 1st International Conference on Game, Game Art, and Gamification (ICGGAG). IEEE, 2016. http://dx.doi.org/10.1109/icggag.2016.8052654.

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Demircan, O¨, A. R. Torun, T. Kosui, A. Nakai, and H. Hamada. "Bending and Impact Properties of Biaxial Weft Knitted Composites." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64964.

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Abstract:

In order to improve the mechanical properties of weft knitted fabric, straight yarns both in weft and warp directions can be integrated. These types of reinforcements are called biaxial weft knitted structures. Biaxial weft knitted fabrics include weft and warp yarn layers, which are held together by a stitching yarn system. Reinforcing yarns, e.g. glass or aramid fibers, can be used within all yarn systems. They provide necessary strength and stiffness of the fabric [1]. The present work concentrates on the mechanical properties of biaxial weft knitted composites. Mainly the effect of stitch yarn type such as aramid, glass and nylon and biaxial, warp and weft, yarn type such as aramid and glass were investigated. Six plies composite panels were fabricated by hand lay-up lamination method. Volume fraction (Vf) of all composites were kept constant. After production of composites, bending and impact tests had been conducted. GF-GF-NY composites exhibited superior flexural property than other tested composites. It was found that GF-GF-AR composites have higher impact properties (total energy and maximum load) than other tested composites. Better mechanical properties can be achieved by using aramid stitch yarn with combination glass warp and glass weft yarns. A better interfacial bonding of aramid stitch yarn seemed to be cause of this result. After impact test, fracture aspects of reverse side of weft knitted composites were analyzed. The crack propagation was explained by visual inspection. Moreover, impact damage for tested materials was evaluated by cross-sectional observations. For the better understanding of the fracture behavior, schematic drawings of all kind of specimens were drawn. To analyze the damage behavior of tested specimens, the damage lengths were measured. By this observation, the tendency between impact energy and crack length was showed.

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