臺灣博碩士論文加值系統

　　視覺特效利用電腦圖像結合實拍影片(Live-Action)，打破許多限制，創造各種可能。本論文透過聚焦其領域內的技術，討論其對於整合真實與虛擬媒材兩者的影響，包括：一、還原影像中真實物體運動資訊的動態匹配(Match Moving)。二、使電腦繪圖呈現擬真質感的基於物理渲染(Physically Based Rendering, PBR)。三、統合媒材間多元色彩屬性的色彩管理。透過研究視覺特效技術，了解其背景原理之重要性，實際執行時所需注意並修正的影響因素，令工作流程更為嚴謹，提升製作效率與創作基礎。
　　創作部分以探討賽博龐克(Cyberpunk)之主題與案例，了解其風格與特色，以及科技對於人類的影響。設定生化機械科技應用於人類社會，通過改造軀幹與腦部提升人體機能，創造便利後所衍生的社會問題與科技應用的反思。運用上述視覺特效之技術，以動態匹配獲得演員與攝影機的運動資訊，將場景與軀幹以寫實電腦動畫替換，達成生化人(Cyborg)的外觀，在與環境中道具或其他演員互動，達成影像的寫實感與說服力。
　　透過文獻探討將各主題整合為創作，敘述創作過程的構思與規劃，並彙整其中所遇到的困難，提出解決辦法或是改進方向，為有興趣了解相關主題、技術原理與製作流程的讀者作為參考。

　Visual effects use computer graphics in combination with live-action video to break many limitations and create a variety of possibilities. This paper discusses the implications of integrat-ing real and virtual media by focusing on techniques in visual effects, including: i. Match Mov-ing, which restores the motion information of real objects in images. ii. Physically Based Ren-dering, which gives computer graphics a realistic quality. iii. Color Management, which unifies multiple color attributes among media. Through the study of visual effects techniques, we will understand the importance of the background principles and the factors that need to be consid-ered and corrected during the actual implementation, so as to make the workflow more rigorous and improve the production efficiency and creative foundation.
　The creation section explores the themes and examples of Cyberpunk to understand its style and characteristics, as well as the impact of technology on human beings. The theme is the ap-plication of biomechanical technology to human society, and reflect on the social problems and technological applications that arise from the transformation of the torso and brain to enhance human functions and create convenience. Using the above visual effects, obtaining the motion information of actors and cameras through match moving, and replace the scenes and torsos with realistic computer animation to achieve the appearance of Cyborg, and interact with props or other actors in the environment to achieve a realistic and convincing image.
　Through the literature, exploringnj the integration of each theme into the creation, describe the conception and planning of the creation process, and compile the difficulties encountered, and propose solutions or directions for improvement, as a reference for readers who are inter-ested in understanding the related themes, technical principles and production process.

謝誌 I
摘要 II
Abstract III
目錄 IV
表目錄 VII
圖目錄 VIII
名詞定義 XI
第一章、緒論 1
第一節、研究創作動機 1
第二節、研究創作目的 1
第三節、研究創作流程 2
第二章、文獻探討 3
第一節、賽博龐克 3
一、文學起源與發展 3
二、其它領域的影響 4
三、科幻元素探討 6
第二節、視覺特效 7
一、運動匹配(Match Moving) 7
二、基於物理渲染 10
三、視覺特效色彩管理 13
第三節、賽博龐克與視覺特效相關案例分析 15
一、《人造意識》(Ex Machina) 15
二、《攻殼機動隊》 16
三、《黑鏡》(Black Mirrors)《你的全部人生經歷》(The Entire History of You) 16
四、小結 17
第三章、研究創作方法 18
第一節、研究創作範圍 18
第二節、研究創作限制 18
一、規模限制 18
二、軟體與硬體限制 18
三、實景拍攝限制 18
第三節、劇情大綱 19
第四節、創作方式 19
一、賽博龐克元素 19
二、視覺特效流程 20
第五節、概念設定 22
一、生化機械 22
二、場景設計 24
三、視覺畫面 27
第四章、製作與成果 28
第一節、實景拍攝與製作規劃 28
一、分鏡與視覺預覽(Previsualization) 28
二、拍攝人員規劃 29
三、拍攝設備規劃 30
第二節、虛擬資產製作 33
一、場景製作 33
三、儀器製作 36
四、生化機械手臂製作 38
五、數位替身處理 39
第三節、影片處理與合成 40
一、檔案預處理 40
二、運動匹配處理 41
三、分層渲染 43
四、合成與後期處理 46
五、ACES色彩管理 48
六、資產管理 50
七、製作成果 51
第五章、結論 57
第二節、研究創作心得與建議 57
第三節、未來發展與建議 60
參考書目 62
附錄一、製作設備與軟體 68
附錄二、分鏡腳本 70

一、外文書目
1.Bould, M. (2005). Cyberpunk. In A Companion to Science Fiction (p. 217). Chichester, United Kingdom: Wiley-Blackwell.
2.Dobbert, T. (2012). In T. Dobbert, Matchmoving: The Invisible Art of Camera Tracking 2nd Edition. Indianapolis, Indiana: John Wiley & Sons.
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4.Okun, J. A., & Zwerman, S. (2010). The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures 1st Edition. Burlington, MA: Focal Press.
5.Sandberg, A., & Bostrom, N. (2008). Whole Brain Emulation: A Roadmap. Oxford: Future of Humanity Institute, Oxford University.

二、外文期刊
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5.Huang, Y., & Essa, I. (2005). Tracking multiple objects through occlusions. 2005 IEEE Computer Society Conference on Computer Vision and Pattern Recognition (CVPR'05) (pp. 1051–1058). San Diego, CA: IEEE.
6.Jensen, H. W. (1996). Global illumination using photon maps. Proceedings of the eurographics workshop on Rendering techniques '96 (pp. 21-30). Porto, Portugal: Springer-Verlag London, UK.
7.Jin, H., Favaro, P., & Cipolla, R. (2005). Visual tracking in the presence of motion blur. 2005 IEEE Computer Society Conference on Computer Vision and Pattern Recognition (CVPR'05) (pp. 18-25). San Diego, CA: IEEE.
8.Kajiya, J. T. (1986). The rendering equation. SIGGRAPH '86 Proceedings of the 13th annual conference on Computer graphics and interactive techniques (pp. 143-150). New York, NY: ACM.
9.Longuet-Higgins, H. C. (1987). A computer algorithm for reconstructing a scene from two projections. In Readings in Computer Vision: Issues, Problem, Principles, and Paradigms (pp. 61-62). San Francisco, CA: Morgan Kaufmann Publishers Inc.
10.Robert L. Cook ; Kenneth E. Torrance;. (1982, 1). A reflectance model for computer graphics. ACM Transactions on Graphics, pp. 7-24.
11.Tsai, R. Y., & Huang, T. (1981). Estimating three-dimensional motion parameters of a rigid planar patch. IEEE Transactions on Acoustics, Speech, and Signal Processing, 1147-1152.
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三、網路資料
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2.Angarano, T. (2018). 5 Issues that Could Derail Your Camera Tracking. Retrieved from PFTrack Blog - Medium: https://medium.com/pftrack-blog/5-issues-that-could-derail-your-camera-tracks-62852dc8d813
3.Angarano, T. (2018). What Every Matchmove Artist Needs to Know About Lenses. Retrieved from PFTrack Blog - Medium: https://medium.com/pftrack-blog/what-every-matchmove-artist-needs-to-know-about-lenses-d81f123e2613
4.ARRI. (2022). Visual Effects FAQ. Retrieved from ARRI | Inspiring Images. Since 1917.: https://www.arri.com/en/learn-help/learn-help-camera-system/frequently-asked-questions/visual-effects-faq
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6.Cinecom.net. (2019). 5 SECRET GREENSCREEN TIPS (After Effects Tutorial). Retrieved from YouTube: https://youtu.be/HsImHBCFLvo
7.Covill, M. (2017). ‘Akira’ Is Frequently Cited as Influential. Why Is That? Retrieved 6 10, 2019, from Film School Rejects: https://filmschoolrejects.com/akira-influence-12cb6d84c0bc/
8.D'Agostino, T. (2013). Lens Distortion Workflow | VFX Camera Database. Retrieved from VFX Camera Database: https://vfxcamdb.com/lens-distortion-workflow-2/
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23.Selan, J. (2012). Cinematic Color: From Your Monitor to the Big Screen. Los Angeles, California: The Visual Effects Society. Retrieved from https://www.visualeffectssociety.com/sites/default/files/files/cinematic_color_ves.pdf
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27.毛星雲. (2018年). 【基於物理的渲染（PBR）白皮書】（一） 開篇：PBR核心知識體系總結與概覽. 擷取自 知呼: https://zhuanlan.zhihu.com/p/53086060

四、課程簡報
1.Burley, B. (2012). Physically Based Shading at Disney. Los Angeles, California: ACM.
2.Burley, B. (2015). Extending the Disney BRDF to a BSDF with Integrated Subsurface Scattering. Los Angeles, California: ACM.
3.Hoffman , N. (2015). Physics and Math of Shading. Los Angeles, California: ACM.
4.Sébastien , L., & de Rousiers, C. (2014). Moving Frostbite to PBR. Vancouver, Canada: ACM.