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Immersive Visual Effects | Project 1

|| Tee Zi Tong, 0366165

|| Immersive Visual Effects | Project 1 

|| Week 1 - Week 5

INSTRUCTIONS

LECTURE NOTES

Week 1: Introduction to Visual Effects History

In the early 20th century, visual effects were achieved primarily through practical techniques such as jump cuts and stop-motion due to the absence of digital editing tools.

The development of CGI in the 1980s marked a turning point in filmmaking:

  • 1980s: Introduction of CGI morphing effects using computer-generated imagery

  • 1986: First photorealistic CGI body morphing, though transitions were still limited

  • 1986: First photorealistic CGI face morphing using digital blending and scanning

    • Star Trek IV: The Voyage Home became the first film to showcase CGI face morphing

  • 1988: Improved photorealistic CGI with smoother transitions

  • 1990s: Motion tracking allowed camera movement to be mapped in 3D space

  • 1999: More seamless integration of CGI with live-action footage

  • 2000s: Green screen technology enabled digital environments in post-production

  • 2010s: Highly realistic CGI using advanced lighting, textures, simulations, facial mapping, and real-time rendering

Week 2: Camera Techniques

This week focused on:

  • Virtual dolly movements

  • Camera tracking Camera animation techniques used in VFX

Week 3: Camera Angles – Zenith & Nadir

  • Zenith: The point directly above the observer, representing the highest position

  • Nadir: The point directly below the observer, representing the lowest position

These angles are often used to create dramatic perspectives and immersive spatial experiences.

Week 4: HDRI Files

High Dynamic Range Imaging (HDRI) files were introduced as a tool for realistic lighting and environment mapping.

Advantages:

  • Enhances realism in lighting and reflections

  • Compatible with many image-editing programs

  • Can be created easily using Photoshop

Limitations:

  • Large file size (32-bit)

  • Limited editing flexibility and sharing capability

Basic HDRI Workflow in Photoshop:

  • Open image via File > Open

  • Create HDR via File > Automate > Merge to HDR

  • Align source images if necessary

  • Adjust exposure and remove unwanted images

  • Finalise HDRI file

Week 5: Masking & Tracking Techniques

Key techniques introduced:

  • Mask generation

  • Alpha mattes

  • Rotoscoping

  • 2D tracking

These methods are essential for isolating subjects and integrating visual elements accurately in post-production.

PRACTICAL SESSIONS

Week 2: Camera Tracking Exercise

Mr. Fauzi introduced camera tracking using Adobe After Effects and provided a YouTube tutorial along with a template.

While following the tutorial, I faced difficulty replicating the exact outcome shown in the video. Instead of stopping there, I experimented further by adjusting parameters and testing different approaches until achieving a satisfactory result. Background music was added to enhance the final output.

Week 6: Projection Mapping Demonstration

Mr. Fauzi conducted a brief demonstration on projection mapping, explaining how visuals can be mapped accurately onto physical objects to create immersive effects.

PROJECT 1 OVERVIEW

Introduction

Project 1 focuses on introducing students to the fundamentals of visual effects production, specifically within immersive contexts such as:

  • 360-degree video

  • Volumetric media

  • Augmented Reality

Students were required to propose an idea and present it through a structured slide deck, including:

  • Concept explanation

  • Mood board

  • Storyboard

  • Floor plan

IDEATION PROCESS

Week 3 & Week 4

Ying Xuan and I began brainstorming ideas together. After several discussions, we initially leaned towards a historical-themed immersive experience.

Ideation 1: Rewind the Past

This concept aimed to revive historical landmarks through immersive projection mapping, targeted at users interested in history.

Concept Highlights:

  • Projection mapping of iconic landmarks such as Roman pillars and pyramids

  • Use of abstract shapes and waves to enhance visual storytelling

  • Allowing users to feel as if they are “travelling back in time”

A mood board and sketch were created to visualize the concept.



However, during consultation, Mr. Fauzi advised us to consider ideas that audiences could relate to more personally.

Week 5: Concept Refinement

We adjusted the idea by introducing a large frame installed on a wall, where personal travel photographs would be projection mapped.

Although this made the concept more relatable, Mr. Fauzi encouraged us to think beyond wall-based installations and suggested using standalone physical forms such as boxes or structures that could exist in public spaces.

Week 6: Final Ideation

Ideation 2: Touch the World

This refined concept focused on accessibility and shared experiences.

Concept Description:

  • A large snow globe or crystal ball used as a projection surface

  • Famous landmarks from different countries projected onto or around the globe

  • Enabling users to experience global travel without the constraints of cost, time, or distance

A mood board and refined sketches were developed to support the idea.

Mr. Fauzi approved this concept and suggested:

  • Increasing the size of the sphere for easier projection mapping

  • Using wall projections for landmarks while the globe represents the world itself

FINAL SUBMISSION

The project proposal was finalized and submitted as:

Immersive Visual Effects – Project 1 Proposal
by Tan Ying Xuan & Tee Zi Tong









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