本文選題：3D立體電影 + 非線性編輯技術(shù)�。� 參考：《大連海事大學》2013年碩士論文

【摘要】：伴隨著科技的進步,計算機3D圖形學、計算機視覺、計算機虛擬現(xiàn)實、計算機數(shù)字非線性后期合成等技術(shù)的引入,為3D數(shù)字電影應用于風光類型影片的發(fā)展提供了新的突破,數(shù)字3D影片更加立體、直觀的影片感受效果使數(shù)字3D立體電影在城市宣傳片和旅游風光影片中得到迅猛發(fā)展,3D數(shù)字立體電影使人們的觀影感受集視覺、聽覺、觸覺、嗅覺等綜合體驗于一體,真正讓人們身臨其境地體驗到3D數(shù)字影片的魅力。 本文在對數(shù)字3D電影制作進行分析的基礎(chǔ)上,運用國內(nèi)外已有風光類型影片的數(shù)字3D攝制及2D轉(zhuǎn)3D制作技術(shù),研究3D立體拍攝技術(shù),2D轉(zhuǎn)3D制作技術(shù),以及計算機非線性后期技術(shù)在《吉林風光》影片中的應用。本文主要工作如下： 1.分析數(shù)字3D立體電影攝制及計算機非線性制作理論基礎(chǔ)。包括對3D立體電影的定義、3D立體電影拍攝技術(shù)、3D立體電影拍攝原理和3D電影難點、重點技術(shù)的分析和論述。 2.研究3D立體攝制技術(shù)在《吉林風光》影片中的應用。根據(jù)不同場景拍攝制作的3D立體風光影片主要采用立體拍攝技術(shù),包括立體場景的布局,景深、軸間距的設定,攝像機跟蹤夾角的設定,變焦與跟焦,光線與色彩的運用等。 3.2D轉(zhuǎn)3D技術(shù)要點,重點介紹我們采取的深度圖的計算方法。 4.研究3D影片計算機非線性后期制作技術(shù)在《吉林風光》中的應用。包括對劇本討論、概念設計、分鏡故事板、粗模、貼圖材質(zhì)、骨骼蒙皮、分鏡動畫、燈光、3D特效、分層渲染/合成、后期剪輯。其中,后期剪輯是關(guān)鍵步驟。闡述制作過程中遇到的主要問題及解決對策。 綜上,本文通過對目前3D立體影像拍攝、2D轉(zhuǎn)3D制作技術(shù),后期計算機非線性編輯普遍存在的技術(shù)應用問題研究,總結(jié)出新的三維立體影像拍攝、后期非線性編輯體系,為社會提供更簡便易行的拍攝、后期非線性編輯方式方法,推動我國的三維立體技術(shù)的普及,解決當前國內(nèi)三維立體影像片源少的問題。
[Abstract]:Along with the progress of science and technology, the introduction of computer 3D graphics, computer vision, computer virtual reality, computer digital nonlinear post-synthesis and other technologies has provided a new breakthrough for the application of 3D digital film in the development of scenery film. Digital 3D films are more stereoscopic, intuitive film experience results in the rapid development of digital 3D stereoscopic films in city propaganda and tourist scenery films. 3D 3D 3D films enable people to watch and feel visual, auditory, tactile, visual, auditory, and tactile. Smell and other comprehensive experience in one, really let people experience the charm of 3D digital film. Based on the analysis of the digital 3D film production, this paper studies the 3D to 3D production technology by using the digital 3D filming and 2D to 3D production technology of the domestic and foreign scenery films. And the application of computer nonlinear late technology in Jilin scenery film. The main work of this paper is as follows: 1. The theoretical basis of digital 3D stereoscopic film production and computer nonlinear production is analyzed. This paper includes the definition of 3D stereoscopic film, the principle and difficulty of 3D stereoscopic film shooting, the analysis and discussion of the key technology. 2. This paper studies the application of 3D stereoscopic film in Jilin scenery. According to different scenes, 3D stereoscopic films are mainly made by stereoscopic photography techniques, including the layout of stereo scenes, depth of field, setting of axial spacing, setting of camera tracking angle, zoom and focus. The application of light and color, etc. 3.2D to 3D technical essentials, focus on the depth map we adopted the calculation method. 4. This paper studies the application of 3 D computer nonlinear post production technology in Jilin scenery. Including script discussion, conceptual design, split story board, rough mold, texturing material, bone skin, split mirror animation, lighting 3D special effects, layered rendering / composition, late editing. Among them, post-editing is the key step. This paper expounds the main problems encountered in the process of production and the countermeasures to solve them. In summary, this paper summarizes the new 3D stereo image shooting and nonlinear editing system by studying the current 3D stereo image making technology and the general application of computer nonlinear editing. In order to promote the popularization of 3D stereo technology in our country and solve the problem that there are few sources of 3D stereoscopic images in China, this paper provides a more simple and easy way to shoot, and the method of non-linear editing in the later period.
【學位授予單位】：大連海事大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J93

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