《电影饥饿游戏视觉特效拍摄与制作视频教程》FXPHD VFX220 Feature Film VFX Supervision

本视频教程是由FXPHD机构出品的电影饥饿游戏视觉特效拍摄与制作视频教程，FXPHD VFX220 Feature Film VFX Supervision，时长：7小时，大小：3.37 GB，MOV高清视频格式，语言：英语。人人CG整理发布。

FXPHD机构是老牌在线教学网站，网站的创建者就是Fxguide的团队，PXPHD制作了大量视觉特效、后期制作、摄影摄像的精品教程。每年支付4000元左右，就可以享受其中5门课程的教学，还可以提供VPN链接内网，每套课程都是10周左右的时间，每节课30分钟左右，包含训练文件和素材。FXPHD主打专业教学，所有的教程作者都是该领域的权威，必须拥有大量的项目经验。

饥饿游戏三部曲的时间设定在大灾难后的北美洲，一个自废墟建立起的国家“施惠国”（Panem）之中。在那场吞噬大片土地与人口的灾难后，施惠国自废墟中诞生，并建立起13个行政区，以建立在洛矶山脉的“都城”（Capitol）为中心实施统治。在施惠国建立后不久，负责供应都城各项天然资源与产品的13个行政区发动叛变，进入施惠国历史上的“黑暗时期”。然而，叛变迅速被都城以高科技与优势军力弭平，并投放毒气弹毁掉第十三区，藉以杀鸡儆猴。

为了惩罚发动叛乱的各行政区，都城要求所有行政区每年都必须派出一对少年少女到竞技场参加“饥饿游戏”（Hunger Game），同时透过电视转播播出“贡品”们的比赛过程，藉以打击行政区的反抗意识。除了比赛开始后60秒内不可踏离原地和食人外，游戏没有任何规则，包括杀人也不受限制，而最后存活的贡品即为胜利者。

FXPHD VFX220 Feature Film VFX Supervision
What is the role of a vfx supervisor and what does their job entail? In this interview-style course, vfx supervisor Sheena Duggal will be discussing the role of the production-side vfx supervisor on major feature films, working through the film production process. The job touches almost all areas of pre-production, production and post, working with just about every department in a film.

She will be sharing examples from her vast experiences as a supervisor. This can be a tricky balance, since the supervisor is allied with and supports the director but also needs to answer to the studio. Each week, she will be looking at a part of the process of making a film from the vfx supervisor’s perspective. While the process seems linear, it’s certainly not. The steps described are often happening in parallel, with something in one part of the production process impacting another. Guest lecturers will also focus on specific details and tasks, helping bring the whole process together.

Duggal is an acclaimed visual effects supervisor, director and compositor whose work has shaped Academy Award nominated features (Superman Returns, Cast Away, Starship Troopers) as well as blockbusters (Contact, Sex and the City 2, and SpiderMan 3) most recently serving as VFX Supervisor on The Hunger Games. Duggal will be among this year’s inductees to the Academy of Motion Pictures Arts and Sciences; in addition, she holds a BA (hons) in graphic design specializing in animation and lens media and is a published photographer working on behalf of the UK water charity Pump Aid.

Class Syllabus:
Class 1: Preproduction It all starts here for the vfx supe, with script mark ups, bidding and more. Building the show and asset schedule, starting the VFX database, hiring an VFX production/onset crew, reviewing reels selecting vendors to do the work, research and reference.
Class 2: Previs and Production Design. A look at the creative development of the game room, including on-set considerations as well as design prototypes for the table surfaces.
Class 3: Previs and on-set. First of two parts, a look at preparation for filming the Tributes chariot parade.
Class 4: Previs and on-set. Second of two parts, a look at preparation for filming the Tributes chariot parade.
Class 5: On Set: The vfx crew What is the job of the on-set vfx team? surveyor, data wranglers, lidar, texture acquistion, PA, vfx coordinator & producer. Rolling with the constant changes that happen on set, shooting schedule is always evolving, often times it isn’t until the camera starts rolling that you see what will be in shot, where tracking markers need to go etc. The VFX need to be constantly vigilant as to what is happening around then and ready to leap into action quickly.
Class 6: Post Production: During filming. While filming is still going on, screening of dailies begins and the picture editor is starting to cut the movie. The vfx supe needs to work with the picture editor to explain how seqs were shot, show picture editor design concepts, create a relationship with the picture editor so VFX can aid seamlessly with story telling.
Class 7: This week Sheena sits down with Chris Capp, one of the editors on Hunger Games, on his role as the vfx editor in the post production process. For this movie (and many others) it is one of the most critical working relationships for the vfx supervisor. Also includes an exclusive bonus interview, Sheena Duggal and Ridley Scott discussing “Body of Lies” with Brian Frankish.
Class 8: Post Production, Part 1 (audio-only interview) As the director begins their 10 week cut, the vfx supe dives into post. A critical partner on the job is the vfx producer. Sheena and Jacquie Barnbrook discuss their roles in getting the post process started.
Class 9: Post Production, Part 2 Shots come rolling in from all around the world — how does the global post process impact the vfx supe? Based upon the evolving cut, rebids begin of vfx. Reviews of work in progress VFX with the director and editor lead to finaling shots and the DI process.
Class 10: The eye of the supervisor The production side VFX supervisor gives creative feedback which is in-line with the directors vision. It is the supe’s eye for detail and ability to communicate that vision that is important; it is not the supe’s job to be in the details and give technical feedback on how to technically achieve a task in a shot. They are required to see the big picture and the important nuanced details that make a shot look believable and seamless. As part of the final class, Duggal will be reviewing challenge submissions from course members and providing critical feedback — demonstrating exactly the type of feedback a supervisor provides

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