视觉特效艺术：VES手册

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"VES Handbook" 是一本英文版的专业书籍，由Focal Press（Elsevier的子公司）出版，专注于视觉效果（Visual Effect，简称VFX）的前期和后期制作。这本书全面覆盖了特效行业的各个方面，是该领域的经典参考资料。本书旨在提供一个全面的视角，深入探讨特效制作的艺术和技术。作为Visual Effects Society（视觉效果学会）的出版物，它具有权威性和专业性，适合特效从业者、电影制作人、学生以及对此领域感兴趣的读者阅读。内容可能包括但不限于： 1. 特效制作流程：书中可能详细介绍了特效制作从概念设计到最终呈现的整个过程，包括故事板创建、预可视化、模型制作、动画、合成、色彩校正等关键步骤。 2. 技术应用：可能会涵盖各种特效软件和技术的应用，如 Autodesk Maya、Houdini、Nuke、After Effects 等，以及物理模拟、CGI（计算机生成图像）、动态捕捉等技术。 3. 创意与艺术指导：书中可能讨论如何将创意转化为视觉效果，以及导演和视觉效果总监在创作过程中的角色和决策。 4. 案例研究：通过分析电影和电视作品中的经典特效场景，读者可以学习实际项目中如何解决各种挑战，提升对特效制作的理解。 5. 行业实践与标准：介绍行业内的最佳实践，包括项目管理、团队协作、预算控制和时间安排等方面，以及行业标准和规范。 6. 版权与许可：书中可能提到了关于复制和传播内容的版权规定，强调获取许可的重要性，并提供了寻求许可的相关信息。 7. 持续发展：由于技术和行业实践的快速发展，书中可能指出，从业者需要不断学习和适应新的研究方法、专业实践和医疗技术的发展。 8. 法律与道德考虑：在使用和创造视觉效果时，可能涉及的法律问题和道德标准，如原创性、知识产权保护和工作信用的归属。这本《VES Handbook》不仅是一本教程，更是一份指南，帮助读者了解和掌握视觉特效行业的最新趋势和经典技巧，从而在实际工作中实现创新和突破。无论是对于专业人士提升技能，还是对于初学者入门，都是极具价值的参考资料。

Chapter 1 INTRODUCTION 11

formed the Motion Picture Products Group and began creating

computer graphic images to provide ﬁlmmakers with a tool for

storytelling that up until then had been in the realm of academic

researchers. Triple-I did tests for ﬁlms such as Close Encounters of

the Third Kind (1977) and The Empire Strikes Back (1980), in addi-

tion to creating some very early CG animation for commercials.

They went on to contribute seminal computer graphic work for

Westworld in 1973 and Futureworld in 1976, which had the ﬁrst

shaded 3D objects (a hand and Peter Fonda’s head) seen in ﬁlm.

Triple-I also created motion picture’s ﬁrst fully shaded 3D com-

puter graphic images and a full 3D digital body for the ﬁlm Looker

in 1981. Of course, the most famous ﬁlm at Triple-I was 1982’s

Tron, which used the talents of some of the most creative artists

in motion pictures and computer science to create its imagery. In

fact, it took the four major existing computer graphics companies

to make the amazing visuals for Tron: Triple-I, MAGI, Robert Abel

& Associates, and Digital Effects—an unprecedented effort.

Star Wars (1977) showed a scene in which pilots were training

to ﬂy through the Death Star trench, leading to the destruction

of the Death Star. This graphic was created by Larry Cuba while

still at the University of Chicago. In 1979, the ﬁlm Aliens also had

a small sequence displaying a vector graphic

terrain ﬂyover. In

1982, Pixar, then a division of ILM, created the “Genesis effect” for

Star Trek: The Wrath of Khan. The effect was the ﬁrst use of parti-

cles in a ﬁlm to re-create the appearance of natural phenomena.

Although not photorealistic, the effect was entirely convincing

because it helped tell the story in a very strong visual sequence.

Whitney and Demos formed Digital Productions in 1983, with

the acquisition of a Cray X-MP (the most powerful supercom-

puter of the day) and support from Control Data with a number

of VAX computers. In 1983, Digital Productions undertook the

task of creating hundreds of shots for the ﬁlm The Last Starﬁghter

(1984). This was a groundbreaking event in visual effects his-

tory, and the group created stunning computer graphic images

at a far higher level of complexity than ever seen before, set-

ting the stage for the future of computer graphics in ﬁlm. From

this point on, CG could be used to create images that were not

just seen as a computer display, but as an original image in the

story. Digital Productions went on to record a number of ﬁrsts for

digital storytelling—the ﬁrst ﬂuid dynamics, the ﬁrst attempt at

Vector graphics: images created with lines drawn by a deﬂected electron beam hitting

the phosphor coating on the inside of a CRT. Unlike raster graphics, which contain

solid areas of color or texture, vectors are just lines drawn on a screen. Vector graphic

displays, although computationally friendly and amazing for their time, were incapable

of creating shaded objects.

12 Chapter 1 INTRODUCTION

a photoreal animal, and entirely new techniques in digital ﬁlm

scanning and compositing.

In 1985, Pixar, under the supervision of Dennis Muren, created

arguably the ﬁrst CG-animated character in a motion picture—

the stained glass man in Young Sherlock Holmes.

Yet less than

30 years later, we see the successors of this pioneering work in

amazingly believable characters such as Gollum in The Lord of

the Rings: The Two Towers (2002) and the Na’vi in Avatar (2009).

deGraf/Wahrman, formed by Brad deGraf and Michael

Wahrman, opened the 1988 Electronic Theater showcase at

SIGGRAPH

with a low-resolution animated opera singer,

remarkable for being rendered and displayed in real time. Using

technology that has since been adapted for motion capture and

performance capture, this was a stunning indication of the direc-

tion of computer games, video, and ﬁlm animation in coming

years. Trey Stokes, a puppeteer, now CG artist, manipulated a

“Waldo”

with his ﬁngers. His motions drove the motion of the CG

opera singer in sync with the prerecorded music. Devices based

on this technology continue to be used in ﬁlm, video, games, and

even brain surgery.

Major advancements in computing speed, power, and storage

led to the creation of tools to record and then ﬁlm out scenes

captured by motion picture cameras. Visual effects facilities

and visual effects and special effects artists and scientists used

imagination, technical knowledge, and an amazing amount of

creativity to invent and create these ﬁrst tools. In the late 1980s

Kodak, with collaboration from ILM, developed the technol-

ogy for the ﬁrst (more or less) practical ﬁlm resolution scanner.

Along with this invention came the development of the Cineon

digital ﬁlm format, which became the standard format for motion

picture image recording and ﬁlming across the world.

In 1988 audiences were excited by the use of digital “morphs”

in Willow. The Abyss, with its water character, was released in

1989, and Terminator 2, featuring a fully CG leading man, opened

in 1991. In 1992 the ﬁrst attempt was made to replicate real, rec-

ognizable creatures in a feature ﬁlm—the penguins and bats

in Batman Returns. These ﬁlms revealed to audiences amazing

The argument comes from those who think the character Bit in Tron (1982) was the

ﬁrst.

SIGGRAPH stands for Special Interest Group on Computer Graphics and Interactive

Techniques, which is part of the international Association for Computing Machinery.

SIGGRAPH holds an annual conference that highlights the most innovative work in

computer graphics and typically attracts attendance of up to 40,000 computer artists,

scientists, ﬁlmmakers, and other CG enthusiasts.

Waldo: mechanical device that has encoders attached to its axes of motion such that

any motion of the device will translate to a series of numbers that are read by the com-

puter as locations or rotations in 3D space.

Chapter 1 INTRODUCTION 13

new characters and story moments that could not have been

created in a convincing way without the developments in com-

puter graphics. Jurassic Park, in 1993, ﬁnally showed the power of

digital visual effects to help tell a compelling story.

The years since 1993, it can be argued, included as much inno-

vation as the previous 100 years of visual effects. Everything was

open, and a legion of incredibly clever visual effects artists, scien-

tists, and engineers redrew the landscape such that no effect was

beyond our reach. We saw the world of optical printing fade from

common use faster than any of us would have believed possible

as digital scanners and printers, augmented by new composit-

ing, 2D software, and fantastic developments in 3D camera and

object tracking came to the fore. We have seen tremendous work

done in graphical user interfaces tailored to the needs of artists;

improvements in animation, modeling, and rigging; the applica-

tion of physiological attributes to characters; improved motion

capture; physical simulation; and—absolutely essential to our

current state of accomplishment—huge advances in lighting and

rendering.

Paralleling the progress in visual effects for ﬁlm has been the

exponential increase in the power and complexity of computer

games and web-based media, with stunning real-time graphics.

As expectations rise with improved technology, visual effects

techniques will disseminate through all aspects of visual story-

telling done with moving images.

Unintended Consequences: Where Does

Creativity End?

All of the improvements and progress in visual effects during the

past 100+ years—the changes from the original hand-cranked

camera, to optical printing, to digital compositing, to com-

puter graphics imagery—have had one major impact: They have

opened creative options well into the post-production process,

virtually until the last possible moment.

When the techniques available to us were photochemical,

visual effects artists knew exactly what had to be done to ﬁnish

the ﬁlm. Shots were not easily changeable, and ﬁlmmakers had

long settled on what they expected from a given visual effect.

You had to get the Millennium Falcon to ﬂy between the aster-

oids, and you knew exactly what everything had to do. It was

an intense exercise to get it done, to come up with a creative

technical solution that looked good on screen. Now, after extraor-

dinary progress in the power to create visual effects, everything

can be constantly manipulated and changed—although often

with extraordinary effort. Because of this, ﬁlmmakers are no

14 Chapter 1 INTRODUCTION

longer disciplined to make critical creative decisions up front and

often postpone them as long as they can. In essence, the creative

process only ends when time runs out and the ﬁlm, game, or

other project must be released.

What does all this mean for the future? Very shortly, with digi-

tal distribution employed across the world, ﬁlms will be directly

downloaded into servers at theaters. Filmmakers will be able to

change scenes even while the movie is playing! Many of the tech-

nologies that make online game playing, and changes to games,

possible could fuel changes in the exhibition of feature ﬁlms.

Films can be altered for speciﬁc demographics. They can “play in

Peoria” … or in San Francisco, or Alaska, or for different countries

or groups. Visual effects may never be done.

Conclusion

Visual effects have allowed ﬁlmmakers to take us on journeys

to places that have ceased to exist or that have never existed,

and to see things that we could only imagine. With the magic of

visual effects, we have witnessed stories set on imaginary plan-

ets; embraced rich ﬁctional worlds; come to know beasts, devils

and angels, robots, and talking apes; and brought dinosaurs back

to life, not from insect DNA trapped in ancient amber but from

the magical plasticity of digital imagery created by talented visual

effects artists.

It is important to emphasize the word artist. As our prede-

cessors Masaccio, Piero della Francesca, Leonardo da Vinci,

Muybridge, Maret, and Méliès drove their technologies forward,

they created great art. So it is with visual effects artists. Computers

today provide artists with a powerful tool to create fantastic

images, but computers alone cannot make those images. It is

the eyes of the artists—their imaginative and innovative use of

these new tools—that create the wonderful new worlds we see in

games, on television, on the web, and at the cinema. The magic is

really and truly from the artist’s vision.

The art of visual effects can serve to change our perspectives

and instill new understandings of our relationship with the uni-

verse. An amazing example of this is the opening scene from the

1997 ﬁlm Contact, where we zoom out from earth’s atmosphere

through bands of electromagnetic signals we have sent into

space … deﬁning our small corner of the universe … out past

exceedingly distant galaxies where our signals will take countless

millennia to penetrate—vast, unfathomable distances … at last

coming back to the blue eye of a little girl just discovering the

wonders of this earth and the “small moves” it takes not to miss

anything.

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视觉特效艺术：VES手册

VES iOS 运行库

VES-18清洁压裂液性能试验与应用

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ETHERNET FUNCTIONALITY NOT

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