![]() ![]() In the film Gladiator, for example, the arena and first tier seats of the Roman Colosseum were actually built, while the upper galleries (complete with moving spectators) were computer graphics, composited onto the image above the physical set. Most common, perhaps, are set extensions: digital additions to actual performing environments. That way, subjects recorded in modest areas can be placed in large virtual vistas. "Sets" of almost unlimited size can be created digitally because compositing software can take the blue or green color at the edges of a backing screen and extend it to fill the rest of the frame outside it. More commonly, composited backgrounds are combined with sets – both full-size and models – and vehicles, furniture, and other physical objects that enhance the realism of the composited visuals. Virtual sets are also used in motion picture filmmaking, usually photographed in blue or green screen environments (other colors are possible but less common), as for example in Sky Captain and the World of Tomorrow. In sophisticated installations, subjects, cameras, or both can move about freely while the computer-generated imagery (CGI) environment changes in real time to maintain correct relationships between the camera angles, subjects, and virtual "backgrounds". In other cases, presenters may be completely within compositing backgrounds that are replaced with entire "virtual sets" executed in computer graphics programs. In television studios, blue or green screens may back news-readers to allow the compositing of stories behind them, before being switched to full-screen display. For example, one could record a television weather presenter positioned in front of a plain blue or green background, while compositing software replaces only the designated blue or green color with weather maps.Ĭomposite of photos of one place, made more than a century apart Typical applications Natron) replaces every pixel within the designated color range with a pixel from another image, aligned to appear as part of the original. In the digital method of compositing, software commands designate a narrowly defined color as the part of an image to be replaced. Pre- digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century, and some are still in use.Īll compositing involves the replacement of selected parts of an image with other material, usually, but not always, from another image. ![]() Today, most, though not all, compositing is achieved through digital image manipulation. Live-action shooting for compositing is variously called " chroma key", "blue screen", "green screen" and other names. Anyway, I’ll end this text wall by saying I will hang around the forums and help in any way that I can.A composite image of a basketball shot, with six basketballs added to the initial image to depict the arc of the shot.Ĭompositing is the process or technique of combining visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. I love seeing this segment of the industry prosper the way it has. I’d like to thank Jason for asking me to be involved in this site. ![]() I had helping me big-time at Naughty Dog (especially when we went to the PS3 and everything had to be done on one sprite using shaders) and I have now at Firaxis (getting to work with the 2 best technical artists in the industry really spoils a guy). I never really did anything alone anyway. It’s been really cool seeing this profession take off from sitting in a programmer’s office all day hard-coding all the effects into the game to writing and designing real time VFX tools because they didn’t exist to seeing the day come on League of Legends where we could actually bring in a SECOND person to do VFX and go from doing everything myself to actually being part of a TEAM (how big is the FX team up to at Riot now, Jason?). Now that they seem to be getting off the ground I am at Firaxis because I found out I could make VFX and play Civ and get paid for it. After working on Jak & Daxter and Uncharted for Naughty Dog I went to some small startup called Riot to work on this League of Legends thing they had going. I’ve been working in the Video Game industry since 1989 but doing VFX since 1999 when I did them for Tachyon: The Rift. I’m the Atari boy who sadly yells at Nintendo boys to get off his lawn. ![]() Hi to those that know me and to those who don’t know me. ![]()
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