Move for Move

摘要

In a perfect world, effects artists compositing 3D imagery into live-action footage would receive all the data they needed to create a convincing scene. After each shot was carefully planned, the set would be surveyed, and when each shot was finished, the camera motion would be recorded. That data would then be turned over to the 3D artists so they could precisely replicate in their software's camera the location and move-ment of the live camera as it was shooting the footage.