Lighting Reproduction Approach in Live-Action Compositing

 
 
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A Lighting Reproduction Approach
to Live-Action Compositing
 
Paul Debevec    Andreas Wenger    Chris Tchou
Paul Debevec    Andreas Wenger    Chris Tchou
Andrew Gardner    Jamie Waese    Tim Hawkins
Andrew Gardner    Jamie Waese    Tim Hawkins
USC Institute for Creative Technologies
USC Institute for Creative Technologies
 
 
 
Traditional Live-Action Compositing
 
Real-World HDR Lighting Environments
 
Funston
Beach
 
Uffizi
Gallery
 
Eucalyptus
Grove
 
Grace
Cathedral
 
Illuminating Objects using
Measurements of Real Light
 
 
 
Paul Debevec. A Tutorial on Image-Based Lighting.  IEEE Computer Graphics and
Applications. Special Issue on IMBR, Jan/Feb 2002.
 
 
 
A Lighting Reproduction Approach
 
 
 
Related Work
 
Blue Screen Matting
Blue Screen Matting
 
 
Smith and Blinn 96
Smith and Blinn 96
 
 
Chuang et al. 02 (Video Matting)
Chuang et al. 02 (Video Matting)
 
Recombining basis lighting
Recombining basis lighting
 
 
Debevec et al. 00 (Light Stage 1)
Debevec et al. 00 (Light Stage 1)
 
 
Hawkins
Hawkins
et al. 01 (Light Stage 2)
et al. 01 (Light Stage 2)
 
 
Malzbender et al.
Malzbender et al.
01 (PTMs)
01 (PTMs)
 
 
Koudelka et al. 01
Koudelka et al. 01
Environment Matting
Environment Matting
 
 
Zongker et al. 99
Zongker et al. 99
 
 
Chuang et al. 00 (Real time!)
Chuang et al. 00 (Real time!)
 
 
 
www.desertdomes.com
 
 
 
 
 
Color Kinetics iColor MR Light
 
www.colorkinetics.com
 
 
 
 
 
 
 
 
Illuminated Actors
 
 
 
Obtaining a Matte
 
 
 
 
 
 
 
 
 
Infrared LED IR-Screen Lights
 
 
 
 
LS3 Camera System
 
 
 
Matte Division
 
 
 
Composited Results
 
 
 
“Composite Photography”
“Composite Photography”
L. B. Pickley USPTO 1949
L. B. Pickley USPTO 1949
 
“An Infrared
“An Infrared
Self-Matting Process”
Self-Matting Process”
Z. Vidor JSMPTE 1960
Z. Vidor JSMPTE 1960
 
Research thanks: Johnathan Banta, Ken Wiatrak
Research thanks: Johnathan Banta, Ken Wiatrak
 
 
 
Front-Projection Blue Screen
 
Used at Keio University for “The Magick Lesson”
Directed by Mark Dippe and Masa Inakage
 
 
 
iColor MR Response Curve
 
 
 
Sony DXC-9000 Response Curve
 
  
 
 
 
 
Center of Projection Calibration
 
Color Camera: 55mm
 
IR Camera:17mm
 
 
 
 
 
Color/IR Image Registration
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Color Calibration
 
 
Falloff Compensation
 
 
 
3D Virtual Set
undefined
 
 
 
Virtual Set Composite with
Dynamic Lighting
 
 
 
Future Work
 
Reproduce near-field incident
illumination
Video Projectors
Add artistic controls
Rim Lights
Bounce cards
More and Brighter Lights
Larger Stage
 
Light Stage 4
 
 
 
 
 
Credits
 
Video Producer: Diane Piepol
Editing and Animation: Brian Emerson
Textures and Illustrations: Marc Brownlow
3D Virtual Set: Brian Emerson, Yikuong Chen, Rippling Tsou, Shivani
Khanna, Diane Suzuki
Arnold Global Illumination Renderer: Marcos Fajardo
Infrared Matte Backing: Maya Martinez
Actors: Elana Livneh and Emily DeGroot
Consultants: Alex Singer, Randal Kleiser, Woody Omens, ASC, Gordie
Haakstad, Kelly Richard, Andy Lesniak, Ken Wiatrak, and Ayten
Durukan
Special Thanks: Dick Lindheim, Bill Swartout, Mike Andrews, Mike
Macedonia, James Blake, Jacki Morie, Van Phan, Anshul Panday,
Bobbie Halliday, Kevin Dowling, Andy van Dam, and Linda Miller,
STRICOM, and Color Kinetics, Inc.
Sponsored by the United States Army, the University of Southern California,
and TOPPAN Printing Co., Ltd.
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Exploring a novel lighting reproduction approach for live-action compositing, researchers at USC Institute for Creative Technologies delve into traditional methods and insights to enhance visual effects production. Collaborators include Paul Debevec, Andreas Wenger, Chris Tchou, Andrew Gardner, Jamie Waese, and Tim Hawkins, utilizing BKSTS film process chart imagery.

  • Lighting Reproduction
  • Live-Action Compositing
  • Visual Effects
  • USC Institute
  • BKSTS Film

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  1. A Lighting Reproduction Approach to Live-Action Compositing Paul Debevec Andreas Wenger Chris Tchou Andrew Gardner Jamie Waese Tim Hawkins USC Institute for Creative Technologies

  2. Traditional Live-Action Compositing Images: BKSTS film process chart

  3. Real-World HDR Lighting Environments Funston Beach Eucalyptus Grove Grace Cathedral Uffizi Gallery Lighting Environments from Debevec98: http://www.debevec.org/Probes/

  4. Illuminating Objects using Measurements of Real Light Environment assigned glow material property in Greg Ward s RADIANCE system. Light Object http://radsite.lbl.gov/radiance/

  5. Paul Debevec. A Tutorial on Image-Based Lighting. IEEE Computer Graphics and Applications. Special Issue on IMBR, Jan/Feb 2002.

  6. A Lighting Reproduction Approach

  7. Related Work Blue Screen Matting Smith and Blinn 96 Chuang et al. 02 (Video Matting) Recombining basis lighting Debevec et al. 00 (Light Stage 1) Hawkins et al. 01 (Light Stage 2) Malzbender et al. 01 (PTMs) Koudelka et al. 01 Environment Matting Zongker et al. 99 Chuang et al. 00 (Real time!)

  8. www.desertdomes.com

  9. Color Kinetics iColor MR Light 18 LEDs: 8 Red, 5 Green, 5 Blue USB Addressable, 8-bit RGB values www.colorkinetics.com

  10. Light Stage 3 Control Program

  11. Illuminated Actors

  12. Obtaining a Matte

  13. Infrared LED IR-Screen Lights

  14. Beam Splitter Infrared Camera Color Camera LS3 Camera System

  15. Matte Division

  16. Composited Results

  17. An Infrared Self-Matting Process Z. Vidor JSMPTE 1960 Composite Photography L. B. Pickley USPTO 1949 Research thanks: Johnathan Banta, Ken Wiatrak

  18. Front-Projection Blue Screen Used at Keio University for The Magick Lesson Directed by Mark Dippe and Masa Inakage

  19. iColor MR Response Curve Calibrated using Photo Research PR650 Spectroradiometer http://www.photoresearch.com/

  20. Sony DXC-9000 Response Curve http://www.debevec.org/HDRShop/hdrshop_splash_icon.jpg Calibrated using HDR Shop: http://www.debevec.org/HDRShop/

  21. IR Camera:17mm Color Camera: 55mm Center of Projection Calibration

  22. Beam Splitter Infrared Camera Color Camera

  23. Color/IR Image Registration Color Image IR Image

  24. Color Image

  25. IR Image

  26. Corner-detected IR Image

  27. Corner-detected Color Image

  28. Warping Grid

  29. IR Image - warped

  30. Color Image

  31. Unwarped Matte

  32. Warped Matte

  33. Foreground

  34. Plate with matte holdback

  35. Final Composite

  36. Color Calibration Falloff Compensation L R d=1 L = MR

  37. 3D Virtual Set Rendered with Global Illumination and Image-Based HDR Lighting in Arnold by Marcos Fajardo

  38. Virtual Set Composite with Dynamic Lighting

  39. Future Work Reproduce near-field incident illumination Video Projectors Add artistic controls Rim Lights Bounce cards More and Brighter Lights Larger Stage

  40. Light Stage 4

  41. Light Stage 4

  42. Credits Video Producer: Diane Piepol Editing and Animation: Brian Emerson Textures and Illustrations: Marc Brownlow 3D Virtual Set: Brian Emerson, Yikuong Chen, Rippling Tsou, Shivani Khanna, Diane Suzuki Arnold Global Illumination Renderer: Marcos Fajardo Infrared Matte Backing: Maya Martinez Actors: Elana Livneh and Emily DeGroot Consultants: Alex Singer, Randal Kleiser, Woody Omens, ASC, Gordie Haakstad, Kelly Richard, Andy Lesniak, Ken Wiatrak, and Ayten Durukan Special Thanks: Dick Lindheim, Bill Swartout, Mike Andrews, Mike Macedonia, James Blake, Jacki Morie, Van Phan, Anshul Panday, Bobbie Halliday, Kevin Dowling, Andy van Dam, and Linda Miller, STRICOM, and Color Kinetics, Inc. Sponsored by the United States Army, the University of Southern California, and TOPPAN Printing Co., Ltd.

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