By Tim Dobbert
Master the paintings and technological know-how of Matchmoving
Written by means of a matchmoving professional, this e-book is far greater than a technical primer. It is helping you're thinking that like a professional that you can locate the proper resolution on your matchmoves, regardless of how tough. you will additionally locate insurance of projects that as a rule pass hand-in-hand with matchmoving, in addition to suggestion at the contributions you may make at the set of a live-action shoot. even if you are a scholar or expert, Matchmoving: The Invisible artwork of digital camera monitoring delivers the information and standpoint you must speedy and effectively clear up each matchmove.
- Understanding how matchmove courses work
- Perspective matching
- Getting optimum second monitoring data
- Calibrating/solving cameras
- Using computerized tracking
- Fitting matchmoves right into a CG set
- Mastering matchamation techniques
- Modeling from matchmoves
- Troubleshooting undesirable matchmoves
- Multi-purposing matchmove data
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Additional info for Matchmoving: The Invisible Art of Camera Tracking
Camera rigs give you more freedom and control over how you can position the camera. You’ll use them quite often in the matchmoving process, and they can really help make it less frustrating. This keeps the corner of your 3D building on the corner of the building in the image while you adjust the perspective. Evaluating and Adjusting the Camera Up until this point, we’ve been working with approximations for our camera and building. Now we have everything we need to “tighten” up the matchmove and find the exact settings for the camera and the right size and shape for the building.
Any light emitted from a surface that does not fall within this cone is not seen by the camera. 1 Light is reflected from an object in all directions. 27 The light from the scene is gathered by the lens and focused onto the film plane at the back of the camera where the film sits. Since the image plane is a 2D plane, it represents a 2D slice of the cone-shaped region of light. Since the light in the cone represents the same light in the scene, you could slice the cone of light anywhere along its length and get the same image.
CHAPTER 3: 2D TRACKING ■ 50 Track “True” 3D Positions Is there such a thing as an object not having a “true” 3D position? In a sense, yes. What I’m talking about here are features that are easy to track but don’t represent a static 3D position in the scene, such as lens flares, reflections, specular highlights, and features that seem to intersect but in fact do not. These types of features don’t make good tracking markers because their position and shape change as the camera moves. This problem is a little bit harder to recognize, but it’s important to avoid.
Matchmoving: The Invisible Art of Camera Tracking by Tim Dobbert