We present a new method for decomposing an image into a set of soft color segments that are analogous to color layers with alpha channels that have been commonly utilized in modern image manipulation ...software. We show that the resulting decomposition serves as an effective intermediate image representation, which can be utilized for performing various, seemingly unrelated, image manipulation tasks. We identify a set of requirements that soft color segmentation methods have to fulfill, and present an in-depth theoretical analysis of prior work. We propose an energy formulation for producing compact layers of homogeneous colors and a color refinement procedure, as well as a method for automatically estimating a statistical color model from an image. This results in a novel framework for automatic and high-quality soft color segmentation that is efficient, parallelizable, and scalable. We show that our technique is superior in quality compared to previous methods through quantitative analysis as well as visually through an extensive set of examples. We demonstrate that our soft color segments can easily be exported to familiar image manipulation software packages and used to produce compelling results for numerous image manipulation applications without forcing the user to learn new tools and workflows.
Digital compositing is an essential part of visual effects, (the merging between imagination and reality) has emerged in television advertising based on optical illusions using visual effects ...techniques, where the importance of visual effects lies on the ability to create many ideas that were difficult to implement in the past, as modern technology has been introduced in programs The different visual effects and chroma separation are a breakthrough that allowed filmmakers and advertisers to delete, add, or modify live footage scenes. And put all their imaginative and innovative perceptions easily and smoothly, it is impossible to implement or photograph on the ground, which saved the time spent, and the high production cost in the manufacture of the moving image, which affects the advertising message and the behavior of the recipient.The visual effects have gone through many stages of development in the programs and technologies that were used in their application, starting from compositing techniques in their early stages and reaching modern technologies such as digital compositing programs, camera tracking, integration of 3D elements in the video scenes and their use in the production of television advertising to achieve The excitement required by the public, and how the digital installation has played a role in the development of the modern advertising image and the maximum benefit from technological progress in the world of visual effects and the programs used in all different stages of production, whether pre-production, production, or post-production, which is the stage In which the digital compositing is present as the last stage of the production of visual effects, in which the three-dimensional elements are combined within the video scenes or two photographic scenes are combined into one scene using many modern techniques in separating chroma and green and blue screens and separating the different elements or by Rotoscoping technique All this made it easier to implement all perceptions and imaginations in the ideas of the advertisement without restrictions to achieve the visual excitement required to affect the recipient.
Nowadays Digital Compositing is widely used in the production of visual effects (optical illusion), whether in television programs, video ads or movies, the aim of this process is to combine two or ...more images into one image, in other words it can be said that the idea The key behind the synthesis is the idea of portraying events that never and never will happen in the real world (falsification of reality). Visual effects (VFX) are the driving force and economic aesthetic of the advertising industry, which are increasingly used as tools to influence audiences and television viewers and commercials on the Internet, and VFX was invented at the end of the nineteenth century by the French George Millia, who was very impressed with the effects The visual tricks soon had a studio where they explored all sorts of ways to fool the viewer and thus create (VFX). From the earliest days of filming, filmmakers have sought to capture scenes that combine the real environment with high-quality visual effects, so that the public cannot determine what is true and what is magic deception. The beginning of the optical illusion was in 1888 when George Eastman developed a delicate film strip from which you can project the image, so it is hard to forget that the first motion pictures are themselves a special effect, and the first successful system of filming and displaying motion pictures came in 1895 when the brothers presentedGust and Louis Lumière Cinematograph in Paris, and by examining the direction of the history of visual effects from the past to the present, we can imagine what the visual effects of the future may entail. Of contemporary visions of reality and technology. This research gives an overview of the digital structure, which contributes significantly to the visual dazzling of television advertising, providing a basis for creating visual effects for the optical illusion of motion picture.
The paper presents visual effects and their importance in the creation of visual media and film industry. After defining the field and the term visual effects, the reader is introduced to the ...techniques and approaches used to create visual effects, i.e., computer-generated Imagery, 3D computer graphics, motion capture, matchmoving, chroma key, rotoscoping, matte painting, and digital compositing. This is followed by a presentation of the history of visual effects from its beginnings to the digital age, taking in the most successful examples of film production such as Terminator, Toy Story, The Matrix, and Star Wars. As an example of the most representative production, the paper includes a more detailed description of the techniques, methods, and approaches used in the Lord of the Rings film trilogy, focusing on the creation of the visual appearance of the Gollum character, his movement, and facial expressions, the creation of crowds with autonomous agents and the introduction of digital duplicates. The review concludes with an overview of trends for the future of the field.
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The award-winning VES Handbook of Visual Effects remains the most complete guide to visual effects techniques and best practices available today. This new edition has been updated to include the ...latest, industry-standard techniques, technologies, and workflows for the ever-evolving fast paced world of visual effects. The Visual Effects Society (VES) tasked the original authors to update their areas of expertise, such as AR/VR Moviemaking, Color Management, Cameras, VFX Editorial, Stereoscopic and the Digital Intermediate, as well as provide detailed chapters on interactive games and full animation. Additionally, 56 contributors share their best methods, tips, tricks, and shortcuts developed through decades of trial and error and real-world, hands-on experience.
The alpha matte is a two-dimensional map that is used to combine two images, one containing a foreground and the other containing a background. Alpha matte extraction is performed on green-screen ...images and requires user interaction to tune parameters in different preprocessing and postprocessing stages to refine an alpha matte. This paper tackles the problem of fully automatic extraction of the foreground on green-screen images with extraction of the corresponding alpha matte. The method is based on a multi-layer perceptron that assigns an alpha value, from a discrete set of ten alpha values, to each patch on a green-screen image. The approach for assigning an alpha value to an image patch is based on a set of features that enhance discrimination between foreground and background. The classifier is trained to learn to separate foreground objects from green-screen backgrounds as well as to generate the corresponding alpha matte map required for subsequent digital compositing. To test how the proposed approach handles alpha matte extraction under unsuitable conditions, a 64-image dataset was generated. The main contribution is that our method overcomes two challenges publicly posed within a dataset of green-screen image sequences, donated by
Hollywood Camera Work LLC
. Tests with this dataset generate high-quality visual results for those two cases. These results are confirmed by comparing the proposed fully automatic alpha matte extraction with that based on the use of
Adobe After Effects Creative Cloud
, an application which heavily depends on user interaction.
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This article examines the significance of the digital aesthetic of violence in the uniquely contemporary action-film "hero run" shoot-out sequences. By using the case studies of Kick-Ass (2010) and ...Wanted (2008), the article focuses on how the particular stylistic tendencies of these sequences display a link between the onscreen, digital-enabled mastery of the shooter with the offscreen digital mastery of the visual-effects artist.
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With the advancement in computer vision and graphics tools, digital compositing has become an integral part of the present computer-generated visual effects. However, factors such as inaccurate mask ...generation, intensive user interaction, and the creation of boundary seams due to colour or texture difference, make it hard to achieve quality composites. Poisson editing efficiently generates seamless composites but results in undesirable colour bleeding. Multi-resolution blending, in contrast, produces colour consistent composites; however often introduces blurry boundaries around the source object inserted. Motivated by these observations, the authors propose a colour consistent seamless compositing pipeline by integrating two new approaches. First, the authors use a visual attention algorithm based on the colour difference with increased edge weight using Gaussian filter bank (GFB) to ensure the least user interaction during mask generation. Second, the authors propose a hybrid framework by incorporating the goodness of the two different blending methods namely modified Poisson editing (MPE) and GFB-based multi-resolution blending to create colour consistent seamless composites. An extensive experiment has been carried out on challenging datasets to validate the proposed technique. Comparison with the state-of-the-art techniques shows the efficacy of the authors’ algorithm in generating colour consistent, seamless, and natural-looking composites for present image editing applications.
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본 연구의 배경은 오늘날 디지털 영상 합성 기법을 활용한 패러디 영상들이 무수히 생산되고 소비되는 가운데 독특하고 낯선 연출의 패러디 영상물들이 대중 예술 문화를 이끄는 중요한 요인으로 자리매김하는 현상을 주목한 데에 있다. 연구의 목적은 디지털 합성 패러디 영상물을 대표하는 〈심영물〉 시리즈의 공통적 연출 특징들을 기믹이라는 미적 전략을 기반으로 ...분석함으로써 디지털 패러디 영상물의 독특한 영상미학을 탐구하는 데에 있다. 또한 기믹이라는 새로운 미적 판단 기준의 근거를 디지털 매체의 특성에서 찾음으로써 디지털 문화와 경험을 분석하는 학술 담론에 영상미학과 매체 이론을 기반으로 한 새로운 관점을 제시하는 데에 그 목적이 있다. 이에 연구 대상으로 〈야인시대〉 TV 드라마의 패러디 영상물을 통칭하는 〈심영물〉시리즈 중 대표적인 두 콘텐츠 〈야인들의 마피아 게임〉과 〈쇼미더머니에 나간 심영〉을 사례 분석한다. 연구 방법은 먼저 재매개 개념을 중심으로 디지털 패러디 영상의 내용과 형식에 있어서의 하이퍼매개성과 혼종성을 분석하고 다음으로 “거슬리지만 이상하게 좋은” 기믹의 독특한 미적 전략과 감흥에 대해 분석한다. 선행 연구를 바탕으로 〈심영물〉의 서사 구조와 제작 방식, 그리고 연출적 특징을 분석한다. 연구의 결과, 디지털 합성 패러디 영상물의 연출적 특징에서 예측불가능성과 혼종성이라는 두 가지 기믹 전략을 제시하고 〈심영물〉시리즈와 같은 영상을 제작하고 즐기는 사람들의 미적 취향을 기믹의 미적 판단이라는 개념의 틀로 볼 것을 제안한다. 본 연구는 디지털 패러디 영상의 다채로운 창작 방식과 이를 향유하는 사람들의 경험을 기믹이라는 새로운 미적 판단 유형의 관점으로 분석하는 시도로서 다소 과감할 수 있으나 매체 이론을 근거한 디지털 영상미학적 관점을 제시함으로써 동시대 디지털 문화 학술 담론을 풍성하게 하는 데에 기여한다고 본다.
Today, countless digital composite parody videos are produced and consumed, and these creative works are having an impact on society and culture globally. This study focuses on a specific group of works that has a unique and strange compositing style that attracts people with an unusual kind of cultural tastes. The purpose of the study is to propose the aesthetic strategy of gimmick by analyzing the video aesthetics of < Shimyoungmul > parodies. Also, by finding the basis for a new aesthetic judgment called gimmick in the characteristics of digital media, this study purposes to present a new perspective based on video aesthetics and media theory to the academic discourse of digital culture and experience. Therefore, two cases from < Shimyoungmul > series, which is a name for parody video collective of the < Rustic Period > TV drama: < Yain’s Mafia game > and < Shimyoung on Show Me The Money > are analyzed. For the research method, first, hypermediacy and hybridity in the content and form of digital parody videos are discussed in the context of remediation. Next, we discuss the “irritating yet strangely attractive” gimmick as a unique aesthetic strategy and an affect. In conclusion, based on the analysis of the narrative structure, production method, and directing features of < Shimyoungmul >, we propose two gimmick strategies: unpredictability and hybridity. Furthermore, we argue to identify the aesthetic tastes of people who made and enjoy these creative works as a notion of aesthetic judgment, gimmick. This academic attempt to analyze the various creative methods of digital parody videos and their aesthetics from the perspective of a new type of aesthetic judgment called gimmick may be a little bit bold. However, we believe this study contributes to enriching the contemporary digital culture academic discourses by proposing new digital video aesthetics based on a media theory approach.
This research focused on inserting a computer-generated element into live-action footage, and seamlessly replacing unwanted objects in the footage in order to creating a realistic and seamless visual ...representation in the field of digital compositing. The purpose of this paper is to cover a detailed working process of digital compositing in order to clarify the production process and provide a clear idea for those entry-level artists to improve an overall understanding of the digital compositing and visual effects and hopefully inspire further collaboration and participants particularly between academia and industry.
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