{"title":"《第一人:重新定义镜头内特效","authors":"Peter Farkas, Paul Lambert","doi":"10.1145/3292423.3313176","DOIUrl":null,"url":null,"abstract":"As the lead VFX house DNEG's work on First Man was centered around trying to achieve some of the most realistic and immersive in-camera VFX shots ever seen. The team used a blend of cutting-edge in-camera VFX techniques, special effects, scale models, and never-before-seen footage from NASA's archive to tell the story of Neil Armstrong's journey to the moon and back. Join Michelle Eisenreich, DNEG VFX Producer, (and DNEG's Academy award-winning DFX Supervisor Tristan Myles - note: depending on Tristan's availability TBC) as she/they share(s) insights on how the First Man VFX crew were able to realise this by using one of the biggest LED screens ever built on a movie set.","PeriodicalId":336321,"journal":{"name":"ACM SIGGRAPH 2019 Production Sessions","volume":"124 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"First Man: Redefining in-camera FX\",\"authors\":\"Peter Farkas, Paul Lambert\",\"doi\":\"10.1145/3292423.3313176\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"As the lead VFX house DNEG's work on First Man was centered around trying to achieve some of the most realistic and immersive in-camera VFX shots ever seen. The team used a blend of cutting-edge in-camera VFX techniques, special effects, scale models, and never-before-seen footage from NASA's archive to tell the story of Neil Armstrong's journey to the moon and back. Join Michelle Eisenreich, DNEG VFX Producer, (and DNEG's Academy award-winning DFX Supervisor Tristan Myles - note: depending on Tristan's availability TBC) as she/they share(s) insights on how the First Man VFX crew were able to realise this by using one of the biggest LED screens ever built on a movie set.\",\"PeriodicalId\":336321,\"journal\":{\"name\":\"ACM SIGGRAPH 2019 Production Sessions\",\"volume\":\"124 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-07-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ACM SIGGRAPH 2019 Production Sessions\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1145/3292423.3313176\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ACM SIGGRAPH 2019 Production Sessions","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1145/3292423.3313176","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
As the lead VFX house DNEG's work on First Man was centered around trying to achieve some of the most realistic and immersive in-camera VFX shots ever seen. The team used a blend of cutting-edge in-camera VFX techniques, special effects, scale models, and never-before-seen footage from NASA's archive to tell the story of Neil Armstrong's journey to the moon and back. Join Michelle Eisenreich, DNEG VFX Producer, (and DNEG's Academy award-winning DFX Supervisor Tristan Myles - note: depending on Tristan's availability TBC) as she/they share(s) insights on how the First Man VFX crew were able to realise this by using one of the biggest LED screens ever built on a movie set.
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