What is the specific work of film and television special effects?

1. Three-dimensional special effects

Most characters and scenes with stereoscopic perspective changes are created by three-dimensional special effects. Three-dimensional special effects are almost the most difficult part in the whole special effects, but also the most problem-solving part. For example, various lifelike monsters in the film, the flood that flooded the whole city in 212, and the collapse of skyscrapers. The general production process is: model-material lighting-binding-animation-rendering.

specific software: MAYA platform is the main platform in China, supplemented by dozens of softwares such as MAX, realflow, huodini, C4D, XSI and LIGHTWAVE.

2. Synthetic special effects

The most common manifestation of synthetic special effects is that the heroes in costume films fly around the sky with flying skill. Specific implementation method: The actor fighting is filmed separately from the sky, in which the actor fighting part is shot in the background of blue screen or green screen with steel wire hanging by the actor, and then the blue screen and steel wire are removed in the computer by using the later software, leaving only the actor part and then sticking it in front of the real shot sky. It looks like actors are fighting in the sky. Of course, the specific synthesis is much more complicated than this, and many later software can also make some effects of three-dimensional special effects, but it is only an aid and is unlikely to replace three-dimensional software.

3. Digital landscape painting and conceptual design

Digital landscape painting and conceptual design can be understood as painting.

Digital landscape painting: For example, a movie shows a panoramic view of an ancient city, involving thousands of ancient houses or palaces, flowers, trees, bridges and flowing water. If 3D software is required, the cost will be very high, and it usually requires the cooperation of many people. But with a digital painter, he can draw all these into a picture by himself.

Conceptual design: Conceptual design is usually used for reference in pre-production. For example, there will be a monster in the film, but what does the monster look like? The director speaks in words, and the concept designer draws it in the form of pictures according to the director's requirements. After determining the image, he gives it to three-dimensional special effects to make lifelike monsters.

Function:

In the current film production process, the idea of special effects has been reflected since story board, and the film and television special effects have changed the original traditional film production process and mode. In the script planning and narrative arrangement, the film and television special effects make the creators jump out of the traditional linear thinking mode and completely break the concept of time and space, so some pictures limited to shooting technology can be realized, and the creators let go of their hands and feet and give full play to their imagination. In addition to traditional scripts and story board, film and television special effects also need their own special effects scripts.

In the early shooting, in addition to the field shooting, there are more and more shots such as setting scenes, blue screens, models and digital skylight paintings. In order to meet the requirements of key-making, actors are required to shoot in the studio of the blue screen, because there is no scene in the studio of the blue screen, and it is entirely up to the imagination of the actors. It is also required that the emotional actions of the performances match the scenes in the synthesized picture, which is undoubtedly a challenge to the actors' experience and performance skills.

Moreover, the requirements for lighting and props are different from those for traditional shooting: the lighting personnel should design the lighting in the studio in combination with the background light to be synthesized and environmental changes including wind, rain and lightning, and some parts of the props will be hidden in the blue cloth, which also needs to be seamlessly combined with the props to be synthesized in the production. The requirement for the personnel who set the scenes and props is not just to make some physical models, but to draw the required scenes and props in the computer for later synthesis.

after the preliminary work is completed, the post-synthesis processing completely uses computer technology, and the original traditional special effects methods such as masking and overlapping are replaced by some functions of computer software.