[Elnewny]

Great Post Shane Ross, thanks,
Hal N.

[Elnewny]

Sometimes I just have to do my best and let the rest go.

Hal N.

[Elnewny]

I can think of two sensational books that provide good conceptual underpinnings for camera movement:

24P -Make Your Digital Movies Look Like Hollywood, by Pete Shaner and Gerald Everett Jones

and

Matchmoving The Invisible Art of Camera Tracking, by Tim Dobbert

“Contents
Chapter 1 The Basics of Matchmoving 1
A Typical Matchmove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
From 3D to 2D and Back Again . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
The Matchmoving Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Evaluate the Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Applying Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Define the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Set Fitting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Testing the Matchmove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Delivering the Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Matchmoving in the Production Pipeline . . . . . . . . . . . . . . . . . . . . . 10
Perspective Matching Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Gathering the Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Setting Up the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Adding Rough Geometry and Refining the Camera . . . . . . . . . . . 14
Creating a Camera Rig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Moving Toward Moving Pictures . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Chapter 2 Matchmoving Software 23
Using Matchmove Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Photogrammetry 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Optics of Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Projection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Building a Better Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Parallax: A Matchmover

[Elnewny]

Good response. Thanks for the help.

Hal N.