EP1228647A1 - Procede et dispositif servant a ameliorer une representation artistique, telle qu'un spectacle de marionnettes, au moyen d'un ensemble virtuel - Google Patents

Procede et dispositif servant a ameliorer une representation artistique, telle qu'un spectacle de marionnettes, au moyen d'un ensemble virtuel

Info

Publication number
EP1228647A1
EP1228647A1 EP00955655A EP00955655A EP1228647A1 EP 1228647 A1 EP1228647 A1 EP 1228647A1 EP 00955655 A EP00955655 A EP 00955655A EP 00955655 A EP00955655 A EP 00955655A EP 1228647 A1 EP1228647 A1 EP 1228647A1
Authority
EP
European Patent Office
Prior art keywords
color
puppet
virtual
puppeteers
background
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP00955655A
Other languages
German (de)
English (en)
Other versions
EP1228647A4 (fr
Inventor
Mitchell Kriegman
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Individual
Original Assignee
Individual
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Individual filed Critical Individual
Publication of EP1228647A1 publication Critical patent/EP1228647A1/fr
Publication of EP1228647A4 publication Critical patent/EP1228647A4/fr
Withdrawn legal-status Critical Current

Links

Classifications

    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N9/00—Details of colour television systems
    • H04N9/64—Circuits for processing colour signals
    • H04N9/74—Circuits for processing colour signals for obtaining special effects
    • H04N9/75—Chroma key
    • G—PHYSICS
    • G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
    • G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
    • G03B15/00—Special procedures for taking photographs; Apparatus therefor
    • G03B15/08—Trick photography
    • G03B15/10—Trick photography using back-projection, i.e. blending artificial background with real foreground
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/222—Studio circuitry; Studio devices; Studio equipment
    • H04N5/262—Studio circuits, e.g. for mixing, switching-over, change of character of image, other special effects ; Cameras specially adapted for the electronic generation of special effects
    • H04N5/272—Means for inserting a foreground image in a background image, i.e. inlay, outlay

Definitions

  • This invention is directed to an innovation in puppetry performances using virtual sets, as well as similar types of performances where it is desirable to selectively combine real images with virtual images in real time
  • Puppet shows have existed since antiquity in almost all countries of the world In most forms, the puppet is manipulated either directly by hand, or by rods, strings or wires Shadows of puppets are also sometimes used in a performance
  • Bunraku puppetry requires teams of three to four puppeteers to stand behind each puppet and move the arms, legs, mouth and body using rods and the puppeteer's hands
  • the chief manipulator supports the puppet by inserting his or her left hand into the puppet body from behind, to move the puppet's head and mouth. His or her right hand controls the puppet's right hand
  • the assistants respectively take charge of the puppet's feet and left hand Since three or four people handle the different parts of the puppet, lifelike motion cannot be achieved without precision timing among the manipulators For all motions there are detailed rules and forms to be followed No manipulator is allowed to act on their own
  • the key-color process is generally an iterative process in which the end product, or combined file or video is composited or "married in post" and is not viewable for evaluation until the entire process has been completed.
  • film producers frequently view the end product and require changes to either the foreground or background portions, requiring that the entire sequence be "reshot "
  • the process is post rendered in real-time, it is difficult to perform actual interaction between a moving puppet, for example, and the puppet's environment
  • the normal cycle for "blue screen” film production can require several iterations of this process
  • a puppet or other object to be filmed is placed on a set in front of a key-color background screen Additional objects may also be present on the set such as puppeteers to manipulate the puppet or additional supporting objects Prior to commencement of live action filming, all objects on the set, except the puppet or other objects to be seen in the final film product, are covered with material matching the color of the key-color background screen
  • a computer generated virtual background is then produced which is combined with the live action filming It is a feature of the invention that when the live action is combined with the virtual background, all objects covered with the key-color material disappear from the final viewed product
  • FIG 1 illustrates a front view of the virtual set of the instant invention
  • FIG 2 illustrates a block diagram of the various components utilized to create film and/or video in accordance with the instant invention
  • FIG 3 illustrates a rear view of the virtual set of the instant invention DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
  • FIG 1 there is shown a virtual set in accordance with one embodiment of the invention directed to puppetry
  • Puppet 103 is the type of advanced puppet described above, which takes a minimum of 3 puppeteers/manipulators, 100, 101 and 102 to operate the puppet in a life-like manner
  • the puppet rests on table 104, and the background consists entirely of ke> -color background screen 105 Rods 106- 109, etc , are used by the puppeteers to control all movements of puppet 103
  • the puppeteers wear head-to-foot highly reflective keyable color spandex suits, 1 10, 1 11 and 112
  • the suits include a hood gloves foot coverings and a piece of gauze, or similar material, over the eyes
  • the key-color of the material completely covering the puppeteers exactly matches the color of key-color screen 105
  • table 104, rods 106-109, the studio floor, and all other objects in the set except puppet 103 will exactly match the color of key-color screen 105
  • puppet 103 is designed and built with special care not to include colors in the body of the puppet that would match the key-color Special care is taken to insure that puppet 103 does not include the key-color in its coloring or shading
  • Key-color screen 105 is typically in the shape of a hard cyclorama which is built and painted a reflective keyable color This color could be reflective green or blue or even a highly reflective gray
  • a cyclorama is essentially a high wall that is curved at the base to eliminate any hard lines in the set that can cause shadows Ideally, when filming the action of puppet 103 the
  • Table 104 is designed to be approximately thirty-six (36) inches high but of course can be in various shapes and forms and multiple tables can be used All tables to be used on the set can be adjusted for height and size, and would be painted the same keyable color as screen 105 These tables are used by the puppeteers to simulate where the ground would be in the virtual set This gives the puppets, when they walk within the virtual set something real to step on so the action of walking is believable These tables can also have a light source within the table to create a glow from below in order to further eliminate shadows where the characters touch the table surface
  • the lighting strategies are very important to the success of the inventive technique Successfully marrying two images in real time — the live puppets and a virtual background — without shadows or key-color problems, is the measure of success for the technical process Suffused lighting that creates an overall lack of shadows is the base of the lighting techniques
  • FIG 2 there is illustrated the manner in which a shot is actually taken of the set shown in FIG 1
  • Set 200 is the same set as shown in FIG 1
  • a shot of the performance on the set is taken with digital camera 204, and the digital output of camera 204 is sent to video compositor 202
  • video compositor 202 It is, of course, understood that a standard film or video camera could be used in place of a digital camera, with the performance being digitized in a well-known mannei
  • This video compositor can be, for example, an Ultimate device The Ultimate technique has been used in video compositing for 20 years, is well known in the art, and will not be described in further detail herein
  • the virtual background to be combined with the actual performance taken bv digital camera 204 is generated by virtual background generator 201
  • Virtual backgrounds can be designed within a computer in any variety of virtual software programs L-set and Maya are two examples, but this software is always changing and being innovated What is key, is that the virtual system is a real time system that streams the set in real time so that the studio video switching system can composite both the live puppet image with the computerized virtual sets simultaneously Typically, an Onyx (a high capacity, very fast computer) is used for this purpose, but there are several real time virtual composite systems on the market, all with different degrees of ease of use
  • the studio itself, to be used with the invention, as far as control room equipment is concerned, can be conventional, requiring tape machines, switchers and all the usual elements although maximized for good kev-color technique
  • digital monitor 203 After the outputs of digital camera 204, and virtual background generator 201 are combined in video compositor 202, the combined output is sent to digital monitoi 203
  • digital monitor 203 what is shown on digital monitor 203 is only the movements of puppet 103 superimposed on the virtual background generated by virtual background generator 201
  • the puppeteers, which were controlling the puppet on the actual set, shown in FIG 1, are completely eliminated from the final product, and only the puppet and the virtual background are visible
  • FIG 3 illustrates a rear view of the set in FIG 1 showing what the puppeteers see while manipulating puppet 103
  • the puppeteers can readily watch the finished product on monitor 203, while the action is taking place
  • the puppeteers can see the composited final image on the monitor in real time Therefore, the puppeteers have the complete ability to interact with their environment, any virtual and real objects in that environment and each other

Landscapes

  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Signal Processing (AREA)
  • Physics & Mathematics (AREA)
  • General Physics & Mathematics (AREA)
  • Studio Circuits (AREA)
  • Processing Or Creating Images (AREA)
  • Processing Of Color Television Signals (AREA)
  • Studio Devices (AREA)

Abstract

Procédé amélioré servant à produire un spectacle de marionnettes, ou d'autres spectacles de ce type, au moyen d'un ensemble virtuel (200) derrière lequel est situé un écran couleur (105) de type cyclorama afin de réaliser une prise de vue filmée sur le vif. Tous les objets de l'ensemble (200), à l'exception de la marionnette (103) en scène ou des autres objets censés apparaître dans le produit fini, sont enveloppés dans un matériau dont la couleur correspond à celle de l'écran (15). On génère un arrière-plan virtuel et on le combine avec l'action sur le vif, ce qui ne permet qu'à la marionnette (103) (ou autre objet) d'apparaître sur l'arrière-plan virtuel en temps réel, la totalité des autres objets de l'ensemble vivant, y compris les manipulateurs (110-112) des marionnettes, par exemple, étant éliminés du produit fini.
EP00955655A 2000-03-08 2000-08-17 Procede et dispositif servant a ameliorer une representation artistique, telle qu'un spectacle de marionnettes, au moyen d'un ensemble virtuel Withdrawn EP1228647A4 (fr)

Applications Claiming Priority (5)

Application Number Priority Date Filing Date Title
US537529 1995-10-02
US18781400P 2000-03-08 2000-03-08
US187814P 2000-03-08
US53752900A 2000-03-29 2000-03-29
PCT/US2000/022612 WO2001067779A1 (fr) 2000-03-08 2000-08-17 Procede et dispositif servant a ameliorer une representation artistique, telle qu'un spectacle de marionnettes, au moyen d'un ensemble virtuel

Publications (2)

Publication Number Publication Date
EP1228647A1 true EP1228647A1 (fr) 2002-08-07
EP1228647A4 EP1228647A4 (fr) 2006-05-03

Family

ID=26883425

Family Applications (1)

Application Number Title Priority Date Filing Date
EP00955655A Withdrawn EP1228647A4 (fr) 2000-03-08 2000-08-17 Procede et dispositif servant a ameliorer une representation artistique, telle qu'un spectacle de marionnettes, au moyen d'un ensemble virtuel

Country Status (5)

Country Link
EP (1) EP1228647A4 (fr)
JP (1) JP2003526293A (fr)
AU (1) AU2000267822A1 (fr)
CA (1) CA2373640A1 (fr)
WO (1) WO2001067779A1 (fr)

Families Citing this family (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US8098330B2 (en) * 2006-07-28 2012-01-17 International Business Machines Corporation Mapping of presentation material

Family Cites Families (8)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
JP2999501B2 (ja) * 1990-02-26 2000-01-17 パイオニア株式会社 記録媒体演奏装置
US5923400A (en) * 1994-03-28 1999-07-13 Spector; Donald Real-time film animation technique
US5519826A (en) * 1994-04-29 1996-05-21 Atari Games Corporation Stop motion animation system
JPH08212379A (ja) * 1995-02-01 1996-08-20 Fujitsu Ltd 画像合成装置
US6034740A (en) * 1995-10-30 2000-03-07 Kabushiki Kaisha Photron Keying system and composite image producing method
US5790124A (en) * 1995-11-20 1998-08-04 Silicon Graphics, Inc. System and method for allowing a performer to control and interact with an on-stage display device
GB9607541D0 (en) * 1996-04-11 1996-06-12 Discreet Logic Inc Processing image data
US6101289A (en) * 1997-10-15 2000-08-08 Electric Planet, Inc. Method and apparatus for unencumbered capture of an object

Non-Patent Citations (2)

* Cited by examiner, † Cited by third party
Title
No further relevant documents disclosed *
See also references of WO0167779A1 *

Also Published As

Publication number Publication date
CA2373640A1 (fr) 2001-09-13
AU2000267822A1 (en) 2001-09-17
EP1228647A4 (fr) 2006-05-03
JP2003526293A (ja) 2003-09-02
WO2001067779A1 (fr) 2001-09-13

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