The theme of this master’s thesis is the real-time rendering of glare as seen through human eyes, as a post-processing effect applied to a first-person view in a 3D application. Several techniques already exist, and the basis for this project is a paper from 2009 titled Temporal Glare: Real-Time Dynamic Simulation of the Scattering in the Human Eye, by Ritschel et al. The goal of my project was initially to implement that paper as part of a larger project, but it turned out that there might be some opportunities to build upon aspects of the techniques described in Temporal Glare; in consequence these various opportunities have been explored and constitute the main substance of this project. / <p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

Computer graphics field is rapidly growing and is widely used in many industries, especially in cinematics. The visual effects, which is a part of the field, have become more affordable in comparison to special effect. By using more visual effects, safety during the shooting increases and the use of resources decreases. However, the field is still young and there are a lot of flaws to consider when creating such an effect. It is important that CGI in movies are created in such a way that it does not disrupt the viewing experience unless it’s done on purpose. Therefore, CGI in a real-life setting should look real. To create CGI that is closer to reality, this study examines the differences between special effects and visual effects in the aspect of the viewing experience. To investigate this question, we conducted an experiment following a semi-structured interview. 13 students participated in this study where they had to watch video clips representing the special respective visual effect. During the experiment, they did a self- report by filling in a questionnaire. A Valence-Arousal model was used to examine the subject’s emotional reactions. The result suggests that there are no significant differences between the two effects in regard to an emotional reaction. However, it shows that the visual effect had flaws of being too plastic and too perfect which makes it less convincing compared to the special effects. In contrary, the special effects do not have the ability to be exaggerating, which in turn makes it more exciting to watch the visual effects. Although this study does not solve any flaws, it highlights those that need to be fixed for the goals of improving CGI. / Datorgrafik är ett ständigt växande ämne och tekniken kan appliceras så många olika sätt, speciellt inom film. Visuella effekter som är en del av ämnet som har blivit ett mer prisvärt alternativ i jämförelse till specialeffekter. Genom att använda mer visuella effekter, har säkerheten i filmandet ökat och användningen av resurser minskat. Men datagrafiksämnet är fortfarande relativt ny och det finns många brister att tänka på när det gäller att skapa en visuell effekt. Det är viktigt att CGI i filmer är skapad på sådant sätt att den inte stör tittarupplevelsen, såvida det inte är med mening. CGI i en verklighetstrogen miljö bör därför se verklighetstrogen ut. För att skapa CGI som är närmare verkligheten ska denna studien undersöka skillnaden mellan specialeffekter och visuella effekter baserad på tittarupplevelsen. För att undersöka denna fråga har vi utfört ett experiment med följd av en semi-strukturerad intervju. 13 studenter deltog denna studie där de har kollat på videoklipp med specialeffekter respektive visuella effekter. Under experimentet fick de fylla i en enkät där de utvärderar deras reaktion till klippen samt vad de tyckte om respektive klipp. En Valence-Arousal-modell användes för att undersöka deltagarnas emotionella reaktion. Resultatet visar att det inte är någon signifikant skillnad mellan de två effekterna när det gäller den emotionella reaktionen. Däremot indikerar att de visuella effekterna var för konstlad samt för perfekt i jämförelse till specialeffekter. Dessa nackdelar gjorde effekten mindre övertygande. Emellertid kan specialeffekterna inte överdrivas i samma skala som visuella effekter vilket gör den visuella effekten mer spännande. Denna studie löser inte de problem som visuella effekter har idag, men den tar fram problem som behöver fixas för att förbättra tekniken.

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[pt] Esta dissertação tem como objetivo analisar os aspectos de design envolvidos na credibilidade de personagens geradas através de computação gráfica, que operam como efeitos especiais em filmes de ação ao vivo. Para isto, é apresentada a hipótese de que se trata de uma categoria ontologicamente discreta de personagens - propondo-se a nomenclatura atores digitais para designá-la - cujo processo de design se baseia em três contextos de desenvolvimento: os níveis diegético, imagético e tecnológico. Essa proposição é investigada através da metodologia do estudo de caso, utilizando-se a criatura Gollum, da trilogia cinematográfica O Senhor Dos Anéis (2001-2003). A análise das variáveis intrínsecas a cada um dos contextos citados indica que, de fato, essas personagens clamam por uma abordagem original de design, sugerindo novos papéis e novas habilidades para o designer. / [en] This paper aims to analyze the design aspects responsible for the believability of computer generated characters in live-action movies. This research proposes the hypothesis that synthetic thespians constitute an ontologically distinct category of characters - to which the term Digital Actor is proposed - based upon a design process that involves three development contexts: the diegetic, the perceptual and the technological levels. In order to carry out such investigation, the case study methodology is used, in which the creature Gollum, from the movie trilogy The Lord of the Rings (2001-2003) is analyzed. The intrinsic variables investigated in this case show that Digital Actors in fact suggest an original design approach and therefore a new role for the designer.

<p>The problem of separating a non-rectangular foreground image from a background image is a classical problem in image processing and analysis, known as matting or keying. A common example is a film frame where an actor is extracted from the background to later be placed on a different background. Compositing of these objects against a new background is one of the most common operations in the creation of visual effects. When the original background is of non-constant color the matting becomes an under determined problem, for which a unique solution cannot be found. </p><p>This thesis describes a framework for computing mattes from images with backgrounds of non-constant color, using Bayesian statistics. Foreground and background color distributions are modeled as oriented Gaussians and optimal color and opacity values are determined using a maximum a posteriori approach. Together with information from optical flow algorithms, the framework produces mattes for image sequences without needing user input for each frame. </p><p>The approach used in this thesis differs from previous research in a few areas. The optimal order of processing is determined in a different way and sampling of color values is changed to work more efficiently on high-resolution images. Finally a gradient-guided local smoothness constraint can optionally be used to improve results for cases where the normal technique produces poor results.</p>

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The following report describes the pre-production, production, and post-production of the short film, 8.BIT.BROS, designed from its inception to fully exploit the years-developed, cumulative and varied skills of its director. The fantastical narrative focuses on the strained emotional dynamic between two adult brothers that have yet to come to terms with having witnessed their father’s death as children. Their trauma is dramatized and encapsulated in the videogame-themed psychotic hallucinations of the film’s protagonist. The director’s specialized skill-set was put to practical use in both the creation of animatronic creature effect, “Commander Gorgo,” and during the post-production phase of the film, wherein green screen compositing, animation, and motion graphics were used at length to bring the narrative life. / text

Submitted by FERNANDA CAROLINA ARMANDO DUARTE (fernandacarolster@gmail.com) on 2018-05-04T20:42:42Z No. of bitstreams: 1 tese final.pdf: 14437110 bytes, checksum: 09e6c228b7e072bd85eaf9d475d37d7f (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: - Apresentar o item "resumo" em um parágrafo único. As mesmas regras servem para o item "abstract" e “resumen”. Se for necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-05-07T20:19:36Z (GMT) / Submitted by FERNANDA CAROLINA ARMANDO DUARTE (fernandacarolster@gmail.com) on 2018-05-08T17:53:53Z No. of bitstreams: 1 tese final fernanda duarte.pdf: 9825934 bytes, checksum: f986762d6665bc24dd647d7c05bb22ee (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-05-14T20:14:09Z (GMT) No. of bitstreams: 1 duarte_fca_dr_ia.pdf: 9825794 bytes, checksum: 6b531dec7307e70cfef890f8bc3ecc83 (MD5) / Made available in DSpace on 2018-05-14T20:14:09Z (GMT). No. of bitstreams: 1 duarte_fca_dr_ia.pdf: 9825794 bytes, checksum: 6b531dec7307e70cfef890f8bc3ecc83 (MD5) Previous issue date: 2017-10-30 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa investigou a aplicação dos efeitos visuais em tempo real na construção narrativa de espetáculos com projeção. Partindo de estudos para a construção de um dispositivo direcionado para a aplicação de efeitos visuais em tempo real, pretendíamos localizar como é possível fazer tal aplicação dentro de três modalidades diferentes de espetáculos, que se enquadram no escopo de trabalhos realizados pelo grupo artístico RE(C)organize, do qual fazemos parte, sendo eles: um show musical, um espetáculo performático (sendo que esses devem integrar em seus projetos a videoprojeção) e uma apresentação de vídeo mapping, que seja total ou parcialmente, realizada de forma ao vivo. A opção por essas modalidades foi feita de acordo com a afinidade profissional do grupo. Buscamos, através de um processo teórico e prático, identificar os efeitos que evidenciam um discurso narrativo, de forma simbólica e/ou metafórica, além de detectar aqueles que possuíssem a potencialidade de atender as exigências do espetáculo ao vivo, que a nosso ver são: a urgência (no sentido de que a obra precisa acontecer naquele instante único) e a evidência (no sentido de caracterizar o momento específico de forma clara) - o que é abordado de forma detalhada ao longo deste projeto. / This research investigated the application of visual effects in real time in the narrative construction of spectacles with projection. Starting from studies to construct a device directed to the application of visual effects in real time, we wanted to locate how it is possible to make such application in three different modalities of spectacles, that fall within the scope of works realized by the artistic group RE(C)organize, of which we are part, being: a musical show, a performance spectacle (being that these must integrate in their projects the videoprojection) and a presentation of video mapping, that is totally or partially, realized in a live form. The option for these modalities was made according to the professional affinity of the group. We seek, through a theoretical and practical process, to identify the effects that evidence a narrative discourse, in a symbolic and / or metaphorical way, as well as to detect those who had the potential to meet the demands of the live show, which we believe are: the urgency (in the sense that the work must happen in that unique instant) and the evidence (in the sense of characterizing the specific moment in a clear way) - which is discussed in detail throughout this project. / Esta investigación estudió la aplicación de los efectos visuales en tiempo real en la construcción narrativa de espectáculos con proyección. A partir de analisis para la construcción de un dispositivo dirigido a la aplicación de efectos visuales en tiempo real, pretendíamos localizar cómo es posible hacer la aplicación de efectos dentro de tres modalidades diferentes de espectáculos, que se encuadran en el ámbito de trabajos realizados por el grupo artístico RE(C)organize, de lo cual formamos parte, siendo ellos: un show musical, un espectáculo performático (siendo que éstos deben integrar en sus proyectos la videoproyección) y una presentación de video mapping, que sea total o parcialmente, realizada de forma en vivo. La opción por estas modalidades se hizo de acuerdo con la afinidad profesional del grupo. Buscamos, a través de un proceso teórico y práctico, identificar los efectos que evidencian un discurso narrativo, de forma simbólica y / o metafórica, además de detectar aquellos que poseían la potencialidad de atender las exigencias del espectáculo en vivo, que a nuestro ver son: la urgencia (en el sentido de que la obra necesita suceder en aquel instante único) y la evidencia (en el sentido de caracterizar el momento específico de forma clara) - lo que se aborda de forma detallada al largo de este proyecto / FAPESP: 2014/0296-0 / FAPESP/BEPE: 2015/09253-4

Deep images for use in visual effects work during deep compositing tend to be very large. Quite often the files are larger than needed for their final purpose, which opens up an opportunity for optimizations. This research project is about finding methods for identifying redundant and excessive data use in deep images, and then approximate this data by resampling it and representing it using less data. Focus was on maintaining the final visual quality while optimizing the files so the methods can be used in a sharp production environment. While not being very successful processing geometric data, the results when optimizing volumetric data were very succesfull and over the expectations.

The problem of separating a non-rectangular foreground image from a background image is a classical problem in image processing and analysis, known as matting or keying. A common example is a film frame where an actor is extracted from the background to later be placed on a different background. Compositing of these objects against a new background is one of the most common operations in the creation of visual effects. When the original background is of non-constant color the matting becomes an under determined problem, for which a unique solution cannot be found. This thesis describes a framework for computing mattes from images with backgrounds of non-constant color, using Bayesian statistics. Foreground and background color distributions are modeled as oriented Gaussians and optimal color and opacity values are determined using a maximum a posteriori approach. Together with information from optical flow algorithms, the framework produces mattes for image sequences without needing user input for each frame. The approach used in this thesis differs from previous research in a few areas. The optimal order of processing is determined in a different way and sampling of color values is changed to work more efficiently on high-resolution images. Finally a gradient-guided local smoothness constraint can optionally be used to improve results for cases where the normal technique produces poor results.