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Manoeuvring a vehicle with additionally attached trailers is a tedious task. Albeit driver assistance systems support the driver in nearly any situation in these days, tools facilitating the manoeuvring process of extended vehicles can only rarely be found in research and especially in the market. This thesis deals with the prototypical implementation of a rear view camera parking assistance system. In particular, the visualisation of the predicted driving path of the tractor-trailer combination in the camera image is emphasised, following the representation of existing parking assistance systems for individual vehicles. A general approach is aiming at the portability of the system to nearly any kind of trailer. The superimposed guidelines are based on a state space model, which is derived on top of assumptions agreeing with results found in the literature. Due to the strong assumptions and simplifications, the model is tested in three different ways and moreover for different types of trailers. All underlying methods are described in detail and furthermore tested in several scenarios, if necessary. Special importance is attached to the comparison of the actual driven paths with their previous predictions, for which a new method has been derived, implemented and tested successfully. Beside the implementation of the guideline projection to the camera’s image, the human-machine interface is augmented by a Bird’s Eye view animation, too. A final test of the integrated system for different types of trailers shows the proper operation of the overall system during parking situations.

This thesis develops the method of using textures projected from the perspective of a projection camera, in combination with two-dimensional paintings and threedimensional models, to create digital environments. Past uses have demonstrated effectiveness only for background and midground scene elements with limited camera movement. This work explores how camera animation can be maximized using the projected texture technique onto foreground environment forms. Through several case studies, general guidelines for artists are developed for using camera-based projected textures.

<p>I dagens visuella effekter är digital compositing en av de viktigaste processerna. Från att uteslutande ha utförts i 2D har digital compositing dock kommit att innebära en alltmer tredimensionell process. Det här arbetet reder ut begreppet 3D-compositing och sammanställer vilka 3D-compositingtekniker som är vanligt förekommande. Ett urval av dessa tekniker tillämpas sedan i en egen effektsekvens. Slutsatsen blir att det är kombinationen av 3D-funkionalitet och 2D-compositing i samma program som är styrkan med digital compositing i 3D-miljö.</p>

I dagens visuella effekter är digital compositing en av de viktigaste processerna. Från att uteslutande ha utförts i 2D har digital compositing dock kommit att innebära en alltmer tredimensionell process. Det här arbetet reder ut begreppet 3D-compositing och sammanställer vilka 3D-compositingtekniker som är vanligt förekommande. Ett urval av dessa tekniker tillämpas sedan i en egen effektsekvens. Slutsatsen blir att det är kombinationen av 3D-funkionalitet och 2D-compositing i samma program som är styrkan med digital compositing i 3D-miljö.