DIGM 302 - The Art and Techniques of Digital Compositing
Winter Term 2010 / University Crossings (UC_015)
Section 501: Wednesday, 6:00 - 8:50pm
introduction
Compositing can be defined as the integration of multiple disparate source elements to form a cohesive whole. Digital compositing is the use of digital tools, namely the computer, to attain this goal. Compositing can use images, or plates, from any number of sources. Some of the more commonly used sources are live action, animation, and miniatures. Compositing can be seen in nearly every feature film released today, if even in a very minor role. Pursued to the highest degrees of artisanry, digital compositing represents a valuable and engaging crossover between the perceived “real” and the “virtually imagined”, as it affectively bridges our human perceptions to the realms of suspended disbelief. And, in its less cinematic realism applications, compositing can evocatively serve to create immersive artful abstractions and new forms of the digital aesthetic.
objectives
The objective of the course is to gain a thorough understanding of compositing practices and techniques. We will address many of the different aspects of compositing, including color correction, 3D integration, chroma-keying (green screening), digital matte painting and others. At the end of the course, one should be able to convincingly combine plates to form a unified image.
Through a series of short-turnaround production assignments, lectures, discussions, and student presentations, the class will explore a wide spectrum of tools of compositing. Primary, if not central, to this tool set are Nuke and Furnace’s (Digital Domain/The Foundry) nodal interchange of algorithms, functions, scripts, and operators. Students will be expected to deliver into class a number of professor-directed research projects and experiments.
materials
Textbooks (to be purchased no later than the second week of class):
The Art and Science of Digital Compositing, Second Edition
Students are required to supply a dedicated hard drive (>40GB) for data storage. Students are highly advised to supply a small format (9” x 12” or smaller, USB or Firewire) wacom tablet for use in classroom, lab, and home.
Each student must supply a sketchbook and basic analog drawing instruments (pencils, pens, eraser, etc.). These must accompany the student into every class. Failure to produce said materials, when called for by the instructor, will result in a grade reduction.
Grading
Grading will be based on:
1) Class attendance and participation (10%)
2) Homework Assignments and Readings (40%)
3) Mid-term examination (10%)
4) Final project (30%)
Attendance is mandatory; more than two (2) unexcused absences will result in a failing grade. Late submissions will be assessed a lower grade for each missed class date.
Following professor-directed instructions and directions is pivotal to success in this class. Failure to accurately respond to assignments’ parameters will be deductive to the student’s grade. Particularly, the Instructor’s guidance of the copying and placement of a student’s files into the proper network directories must be strictly followed; otherwise difficulty in locating student assets will garner negative impact to the grade.
Academic Honesty policy
Drexel University is committed to a learning environment that embraces academic honesty. In order to protect members of our community from results of dishonest conduct, the University has adopted policies to deal with cases of academic dishonesty. Please read, understand, and follow the “Academic Honesty Policy” as written in the Official Student Handbook.
Special needs
Students with documented disabilities who need course accommodations, have emergency medical information or require special arrangements for building evacuation should contact the instructor within the first two weeks of class. Verification of any special arrangements needs to be made through the Office of Disability Services, 3201 Arch Street, Suite 210.
classroom rules
1) Because of the contemporaneousness of course subjects, the Instructor may direct students to access data via the Internet. It is to be noted that NO student computer uses (viz. IM-ing, text-ing, game playing,..) other than those directed by the Instructor may be conducted during seminar sessions.
2) NO phone activity is permitted within the classroom during the seminar sessions unless directed by the Instructor.
3) ABSOLUTELY NO FOOD OR BEVERAGES (except water) ARE ALLOWED IN THE LABS, OR CLASSROOMS!!
Note: Infractions of these rules will summarily affect the student’s grade!
final project
Summary
The key creative output from the class (FULL-term Production; below) will be the individual production of a short (under 5 minutes) animation/fx composition which exploits a substantial selection of course-illuminated tools and techniques. The piece will be evaluated on its precise attention to detail; both by its overall look and feel. As this single project will be the overarching focus of the student's production energies, it is highly recommended that each student work through the course's interstitial assignments in ways that effectively serve (feed well into) future repurposing within the final project. In other words, each homework assignment should be conscientiously conceived to both successfully address the problem-at-hand, and also contribute fittingly to the larger production goals.
Deliverables and Procedures
1) Choose project brief.
2) Core concepts development: 1 page written "pitch" description of concept.
3) Early-stage versions of presentation materials: concept art, storyboards, palette, etc.
4) Pitch: short focused presentation and defense. This presentation to the class should be well produced to easily and cogently promote your project ideas and production plans.
5) Production: Importantly, throughout the term, weekly assignments expose new techniques, considerations, and approaches for compositing. Every student compositing artist is to consider optimum ways with which to build effective correspondences between the assigned tasks and the artist's longer term vision of his/her production
6) Final Presentation to class
Project Options
1) "Oofla! Call it Anything but Candy!": Client's "Oofla!" product line consists of five flavors: "Lime n' Licorice", "Oranjaglad its Banana", "Peachie Keen Kiwi", "Plum Gum", and "Verry-berry-berry". Important to accentuate use of sugarless natural/organic sweeteners; stressing avoidance of dental and weight issues. Company hopes to promote brand identity of youthful vigor and carefree fun-loving life enhancement. Need to portray highly spirited, joyfully satisfied consumers, while avoiding activities with choking risks. Final product is a single 30 second spot for television and web.
2) "Bats, Birds, Bugs, & Butterflies": Discovery Channel/Animal Planet calls for lead-in bumpers and promotional assets for their upcoming 3-part miniseries about survival of our planet's winged food chain. Program content focus is on: evolution of animal flight, specification of predatory skills (sonar, sight, smell, etc), and the urgent need for attention to the increasing environmental challenges to these animals' survival. These "edutainment" pieces address some gravely serious environmental issues, but the show's content offers optimistic readings of the future, contingent on positive human intervention and assistance. Generally the look of the bumpers and related materials is to be one of elegant respect for the animals, scientific accuracy, and a visually compelling aesthetic. The (3) 15 minute bumpers must: present unified look and pacing, accurately brand the shows, provide tail-hold graphics to be used as overlay for program footage.
"Anistalgia Productions Presnets: 'Cartoon Activism, Part 1: War Toons (working title)": Vintage propaganda cartoons, from the years surrounding WWII, are examined in this DVD collection. All assets are derived from the public domain, i.e. Prelinger Archives , but have been finely restored from original prints. This attention to quality is an important distinguisher for the client's line of animation assemblages. Call is for production of animation assets to be applied (by others) into 1080p HD DVD menu setups. Production company logos to be inserted at head of roll. Client favors upbeat, but a few notches below frantic, and has suggested interst in several looks where: "vintage characters are "peeled off of the projection screen and mischievously enter our lives...", and where a fair amount of dignity is displayed regarding the social importance of historic propaganda.
"Pacnar: Nasally Induced Medication System": RFP requires computer simulations of novel medicine applicators' nasal induction technologies. Visuals are to diagram and explain efficacies of unique drug administration (pre-FDA approval). Liberties may be taken in the design of the simulations, such that only key biological elements need to be portrayed in reasonably accurate detail (DNA, microphages, bacteria...). The manufacturer seeks to secure new counsumers aged 40-65 yrs, of the secured health insurance demographic. Core message should accentuate the ease of use, rapid efficacy and safety of Pacnar applicators, and to avail the public about their qualities of time-saving and unobtrusiveness. With a high-tech styling, these laser-tooled color-coded anodized aluminum products promote a sense of medical sophistication and effectiveness.
"Motion Picture Trailer": Contingent on 2010 Hollywood Reporter's Key Arts Competition. Otherwise, contract with independent filmmakers (Film and Video Students) to fulfill trailer production needs.
Class Schedule
Week 01
Brief History of Compositing; Intro to Nuke UI
Homework Project: Acquire textbook, go over Nuke learning docs in our class folder.
Week 02
Masks, Transformations, Color Correction
Homework Reading: Art and Science of Digital Compositing: Chapter 3, 4
Homework Project: Shoot four high resolution, uncompressed still images for use as reference material for your final project.
Homework Practice: "Car, Sign, Woman" comp overviewed at the end of class
Photos, and nuke scripts are due in the week_02 homework folder the midnight before next class.
Week 03
Rotoscoping, AoV and EXR compositing, Scene Integration
Homework Reading: Art and Science of Digital Compositing: Chapter 5, Appendix B
Homework Project:TBA
Week 04
Luma Keyer, Primatte Keyer, 2D tracking
Homework Reading: Art and Science of Digital Compositing: Chapter 6
Homework Project: TBA
Week 05
HD cam demo, Greenscreen, Image Based Keyer (IBK)
Homework Reading: Art and Science of Digital Compositing: Chapter 12
Homework Project: TBA
Week 06
Intro to PFTrack, 3D Camera Tracking, Set Replacement
Homework Reading: Art and Science of Digital Compositing: Chapter 8
Homework Project:TBA
Week 07
Nuke 3D workspace, Intro to Camera Projection
Homework Reading: Art and Science of Digital Compositing: Chapter 13
Homework Project: TBA
Week 08
Set Projection in Nuke and Maya
Homework Project: TBA
Week 09
Nuke 2.5D environments, Pan and Tile Scenes
Homework Project: TBA
Week 10
Semi-Final Critique
Homework Project: TBA
Week 11
Final Critique