WO2001067779A1 - An improved method and apparatus for enhanced puppetry or similar types of performances utilizing a virtual set - Google Patents

An improved method and apparatus for enhanced puppetry or similar types of performances utilizing a virtual set Download PDF

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Publication number
WO2001067779A1
WO2001067779A1 PCT/US2000/022612 US0022612W WO0167779A1 WO 2001067779 A1 WO2001067779 A1 WO 2001067779A1 US 0022612 W US0022612 W US 0022612W WO 0167779 A1 WO0167779 A1 WO 0167779A1
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WO
WIPO (PCT)
Prior art keywords
color
puppet
virtual
puppeteers
background
Prior art date
Application number
PCT/US2000/022612
Other languages
French (fr)
Inventor
Mitchell Kriegman
Original Assignee
Mitchell Kriegman
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Mitchell Kriegman filed Critical Mitchell Kriegman
Priority to CA002373640A priority Critical patent/CA2373640A1/en
Priority to EP00955655A priority patent/EP1228647A4/en
Priority to AU2000267822A priority patent/AU2000267822A1/en
Priority to JP2001565672A priority patent/JP2003526293A/en
Publication of WO2001067779A1 publication Critical patent/WO2001067779A1/en

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Classifications

    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N9/00—Details of colour television systems
    • H04N9/64—Circuits for processing colour signals
    • H04N9/74—Circuits for processing colour signals for obtaining special effects
    • H04N9/75—Chroma key
    • G—PHYSICS
    • G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
    • G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
    • G03B15/00—Special procedures for taking photographs; Apparatus therefor
    • G03B15/08—Trick photography
    • G03B15/10—Trick photography using back-projection, i.e. blending artificial background with real foreground
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/222—Studio circuitry; Studio devices; Studio equipment
    • H04N5/262—Studio circuits, e.g. for mixing, switching-over, change of character of image, other special effects ; Cameras specially adapted for the electronic generation of special effects
    • H04N5/272—Means for inserting a foreground image in a background image, i.e. inlay, outlay

Definitions

  • This invention is directed to an innovation in puppetry performances using virtual sets, as well as similar types of performances where it is desirable to selectively combine real images with virtual images in real time
  • Puppet shows have existed since antiquity in almost all countries of the world In most forms, the puppet is manipulated either directly by hand, or by rods, strings or wires Shadows of puppets are also sometimes used in a performance
  • Bunraku puppetry requires teams of three to four puppeteers to stand behind each puppet and move the arms, legs, mouth and body using rods and the puppeteer's hands
  • the chief manipulator supports the puppet by inserting his or her left hand into the puppet body from behind, to move the puppet's head and mouth. His or her right hand controls the puppet's right hand
  • the assistants respectively take charge of the puppet's feet and left hand Since three or four people handle the different parts of the puppet, lifelike motion cannot be achieved without precision timing among the manipulators For all motions there are detailed rules and forms to be followed No manipulator is allowed to act on their own
  • the key-color process is generally an iterative process in which the end product, or combined file or video is composited or "married in post" and is not viewable for evaluation until the entire process has been completed.
  • film producers frequently view the end product and require changes to either the foreground or background portions, requiring that the entire sequence be "reshot "
  • the process is post rendered in real-time, it is difficult to perform actual interaction between a moving puppet, for example, and the puppet's environment
  • the normal cycle for "blue screen” film production can require several iterations of this process
  • a puppet or other object to be filmed is placed on a set in front of a key-color background screen Additional objects may also be present on the set such as puppeteers to manipulate the puppet or additional supporting objects Prior to commencement of live action filming, all objects on the set, except the puppet or other objects to be seen in the final film product, are covered with material matching the color of the key-color background screen
  • a computer generated virtual background is then produced which is combined with the live action filming It is a feature of the invention that when the live action is combined with the virtual background, all objects covered with the key-color material disappear from the final viewed product
  • FIG 1 illustrates a front view of the virtual set of the instant invention
  • FIG 2 illustrates a block diagram of the various components utilized to create film and/or video in accordance with the instant invention
  • FIG 3 illustrates a rear view of the virtual set of the instant invention DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
  • FIG 1 there is shown a virtual set in accordance with one embodiment of the invention directed to puppetry
  • Puppet 103 is the type of advanced puppet described above, which takes a minimum of 3 puppeteers/manipulators, 100, 101 and 102 to operate the puppet in a life-like manner
  • the puppet rests on table 104, and the background consists entirely of ke> -color background screen 105 Rods 106- 109, etc , are used by the puppeteers to control all movements of puppet 103
  • the puppeteers wear head-to-foot highly reflective keyable color spandex suits, 1 10, 1 11 and 112
  • the suits include a hood gloves foot coverings and a piece of gauze, or similar material, over the eyes
  • the key-color of the material completely covering the puppeteers exactly matches the color of key-color screen 105
  • table 104, rods 106-109, the studio floor, and all other objects in the set except puppet 103 will exactly match the color of key-color screen 105
  • puppet 103 is designed and built with special care not to include colors in the body of the puppet that would match the key-color Special care is taken to insure that puppet 103 does not include the key-color in its coloring or shading
  • Key-color screen 105 is typically in the shape of a hard cyclorama which is built and painted a reflective keyable color This color could be reflective green or blue or even a highly reflective gray
  • a cyclorama is essentially a high wall that is curved at the base to eliminate any hard lines in the set that can cause shadows Ideally, when filming the action of puppet 103 the
  • Table 104 is designed to be approximately thirty-six (36) inches high but of course can be in various shapes and forms and multiple tables can be used All tables to be used on the set can be adjusted for height and size, and would be painted the same keyable color as screen 105 These tables are used by the puppeteers to simulate where the ground would be in the virtual set This gives the puppets, when they walk within the virtual set something real to step on so the action of walking is believable These tables can also have a light source within the table to create a glow from below in order to further eliminate shadows where the characters touch the table surface
  • the lighting strategies are very important to the success of the inventive technique Successfully marrying two images in real time — the live puppets and a virtual background — without shadows or key-color problems, is the measure of success for the technical process Suffused lighting that creates an overall lack of shadows is the base of the lighting techniques
  • FIG 2 there is illustrated the manner in which a shot is actually taken of the set shown in FIG 1
  • Set 200 is the same set as shown in FIG 1
  • a shot of the performance on the set is taken with digital camera 204, and the digital output of camera 204 is sent to video compositor 202
  • video compositor 202 It is, of course, understood that a standard film or video camera could be used in place of a digital camera, with the performance being digitized in a well-known mannei
  • This video compositor can be, for example, an Ultimate device The Ultimate technique has been used in video compositing for 20 years, is well known in the art, and will not be described in further detail herein
  • the virtual background to be combined with the actual performance taken bv digital camera 204 is generated by virtual background generator 201
  • Virtual backgrounds can be designed within a computer in any variety of virtual software programs L-set and Maya are two examples, but this software is always changing and being innovated What is key, is that the virtual system is a real time system that streams the set in real time so that the studio video switching system can composite both the live puppet image with the computerized virtual sets simultaneously Typically, an Onyx (a high capacity, very fast computer) is used for this purpose, but there are several real time virtual composite systems on the market, all with different degrees of ease of use
  • the studio itself, to be used with the invention, as far as control room equipment is concerned, can be conventional, requiring tape machines, switchers and all the usual elements although maximized for good kev-color technique
  • digital monitor 203 After the outputs of digital camera 204, and virtual background generator 201 are combined in video compositor 202, the combined output is sent to digital monitoi 203
  • digital monitor 203 what is shown on digital monitor 203 is only the movements of puppet 103 superimposed on the virtual background generated by virtual background generator 201
  • the puppeteers, which were controlling the puppet on the actual set, shown in FIG 1, are completely eliminated from the final product, and only the puppet and the virtual background are visible
  • FIG 3 illustrates a rear view of the set in FIG 1 showing what the puppeteers see while manipulating puppet 103
  • the puppeteers can readily watch the finished product on monitor 203, while the action is taking place
  • the puppeteers can see the composited final image on the monitor in real time Therefore, the puppeteers have the complete ability to interact with their environment, any virtual and real objects in that environment and each other

Abstract

An improved method for enhanced puppetry or similar types of performances utilizing a virtual set (200) having a key-color screen (105) behind the set to do live action filming. All objects on the set (200), except for the performing puppet (103), or other objects which are to appear in the final product, are wrapped in a material which matches the color of the key-color screen (105). A virtual background is generated and combined with the live action whereby only the puppet (103) (or other object) appears on the virtual background in real time, with all other objects on the live set, including puppeteers (110-112), for example, being eliminated from the final product.

Description

AN IMPROVED METHOD AND APPARATUS FOR ENHANCED
PUPPETRY OR SIMILAR TYPES OF PERFORMANCES
UTILIZING A VIRTUAL SET
RELATED APPLICATIONS
This application is based on Provisional Application, Serial No 60/187,814, filed on March 8, 200, entitled "GI Enhanced Puppetry."
FIELD OF THE INVENTION
This invention is directed to an innovation in puppetry performances using virtual sets, as well as similar types of performances where it is desirable to selectively combine real images with virtual images in real time
BACKGROUND OF THE INVENTION
Puppet shows have existed since antiquity in almost all countries of the world In most forms, the puppet is manipulated either directly by hand, or by rods, strings or wires Shadows of puppets are also sometimes used in a performance
Perhaps the most advanced form of puppetry is Bunraku Puppetry This form was originally developed at the end of the sixteenth century in Japan, and later took its name from
Uemura Bunrakuken, a famous Japanese promoter in the early nineteenth century
Bunraku puppetry requires teams of three to four puppeteers to stand behind each puppet and move the arms, legs, mouth and body using rods and the puppeteer's hands The chief manipulator supports the puppet by inserting his or her left hand into the puppet body from behind, to move the puppet's head and mouth. His or her right hand controls the puppet's right hand The assistants respectively take charge of the puppet's feet and left hand Since three or four people handle the different parts of the puppet, lifelike motion cannot be achieved without precision timing among the manipulators For all motions there are detailed rules and forms to be followed No manipulator is allowed to act on their own
In Japan, when operating this type of puppet on stage, the manipulators, as a rule wear black gowns and black hoods This signifies that the puppet is the mam performer with the manipulator remaining behind the scenes In the Japanese theatrical tradition black costumes represent the invisible or nothingness
It is one object of this invention to apply this form of advanced puppetry to the movie and video industry and make the manipulators truly invisible to the viewer in real time while achieving lifelike movement of the puppets on the screen This object is achieved through use of a significant improvement to what is known in the film industry as the "blue screen oi key- color process "
It is well known in the motion picture and video industry that two or more images can be combined into a single scene This technique of combining images is primarily achιe\ ed through use of a key-color process in which one image is photographed against a solid key-color background, (such as blue, green or grey) and the second image is substituted in place of that key- color background It is also known that the background can be various other colors and that the substitution can be made electronically, or through optical photographic techniques This process is also known as a keying process In such a known system, the image of an announcer, for example, is shot with a live camera in front of a blue screen as a foreground image Subsequently, a background image is generated in real time as a result of graphics processing performed by a high speed computer, and is super-imposed on the foreground image The super-imposed portion of the background image and the foreground image is blanked out by the keying process and a composite image is obtained by fitting an object's image portion of the foreground image into the blank portion
Although there are many advantages to using the standard key-color process, there are also several disadvantages For example, the key-color process is generally an iterative process in which the end product, or combined file or video is composited or "married in post" and is not viewable for evaluation until the entire process has been completed As a result, film producers frequently view the end product and require changes to either the foreground or background portions, requiring that the entire sequence be "reshot " Furthermore, because the process is post rendered in real-time, it is difficult to perform actual interaction between a moving puppet, for example, and the puppet's environment The normal cycle for "blue screen" film production can require several iterations of this process Various U S patents describe this process and variations thereof in greater detail, including U S Patent Nos 4,689,683, 5 479,597, 5,764,306, 5,949,433 and 6,034,740
It is, therefore, a further object of this invention to provide a significant improvement to the known key-color process directed to the use of puppetry in the film and video industries utilizing virtual sets
It is a still further object of this invention to provide an improved keying process which allows the use of an advanced form of puppetry with three or more puppeteers where the producer, the puppeteers, and the director can view the final product in real time as the live puppet show progresses
It is another object of this invention to apply the inventive method and apparatus to film and video productions which do not necessarily include puppets and puppeteers SUMMARY OF THE INVENTION
In accordance with the invention, a puppet or other object to be filmed is placed on a set in front of a key-color background screen Additional objects may also be present on the set such as puppeteers to manipulate the puppet or additional supporting objects Prior to commencement of live action filming, all objects on the set, except the puppet or other objects to be seen in the final film product, are covered with material matching the color of the key-color background screen
A computer generated virtual background is then produced which is combined with the live action filming It is a feature of the invention that when the live action is combined with the virtual background, all objects covered with the key-color material disappear from the final viewed product
It is a further feature of the invention that the puppeteers or other viewers can see the final production in real time with all supporting objects absent from the scene The foregoing and other objects and features of this invention will be more fully understood from the following description of an illustrated embodiment thereof, in conjunction with the accompanying drawings
BRIEF DESCRIPTION OF THE DRAWINGS In the drawings
FIG 1 illustrates a front view of the virtual set of the instant invention FIG 2 illustrates a block diagram of the various components utilized to create film and/or video in accordance with the instant invention, and
FIG 3 illustrates a rear view of the virtual set of the instant invention DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS
Referring now to FIG 1 , there is shown a virtual set in accordance with one embodiment of the invention directed to puppetry
Puppet 103 is the type of advanced puppet described above, which takes a minimum of 3 puppeteers/manipulators, 100, 101 and 102 to operate the puppet in a life-like manner
The puppet rests on table 104, and the background consists entirely of ke> -color background screen 105 Rods 106- 109, etc , are used by the puppeteers to control all movements of puppet 103
Advantageously, as shown in FIG 1 the puppeteers wear head-to-foot highly reflective keyable color spandex suits, 1 10, 1 11 and 112 As shown, the suits include a hood gloves foot coverings and a piece of gauze, or similar material, over the eyes The key-color of the material completely covering the puppeteers exactly matches the color of key-color screen 105 Similarly table 104, rods 106-109, the studio floor, and all other objects in the set except puppet 103 will exactly match the color of key-color screen 105 In contrast, puppet 103 is designed and built with special care not to include colors in the body of the puppet that would match the key-color Special care is taken to insure that puppet 103 does not include the key-color in its coloring or shading
Key-color screen 105 is typically in the shape of a hard cyclorama which is built and painted a reflective keyable color This color could be reflective green or blue or even a highly reflective gray A cyclorama is essentially a high wall that is curved at the base to eliminate any hard lines in the set that can cause shadows Ideally, when filming the action of puppet 103 the
"shoot" is into the curved corner of two cyclorama walls
Table 104 is designed to be approximately thirty-six (36) inches high but of course can be in various shapes and forms and multiple tables can be used All tables to be used on the set can be adjusted for height and size, and would be painted the same keyable color as screen 105 These tables are used by the puppeteers to simulate where the ground would be in the virtual set This gives the puppets, when they walk within the virtual set something real to step on so the action of walking is believable These tables can also have a light source within the table to create a glow from below in order to further eliminate shadows where the characters touch the table surface
The lighting strategies are very important to the success of the inventive technique Successfully marrying two images in real time — the live puppets and a virtual background — without shadows or key-color problems, is the measure of success for the technical process Suffused lighting that creates an overall lack of shadows is the base of the lighting techniques
The use of the glowing tables is a second key to eliminating shadows The use of ultraviolet light is another technique that successfully places light in all shadow areas that the camera does not read because it does not register that kind of light Such lighting strategies are known have been used with prior art key-color schemes, and will not be described herein in further detail Since all objects shown on the set in FIG 1, except for puppet 103, are the exact same key-color as screen 105, it is to be understood that all such objects can be eliminated from a shot taken of the set shown in FIG 1 utilizing known key-color techniques Advantageously, in this way, puppet 103 will appear autonomous, free and independent of control in the final filmed scene This, also completely eliminates the need for a puppet set, which is an enclosure to hide the puppeteers
Referring now to FIG 2, there is illustrated the manner in which a shot is actually taken of the set shown in FIG 1 Set 200 is the same set as shown in FIG 1 A shot of the performance on the set is taken with digital camera 204, and the digital output of camera 204 is sent to video compositor 202 It is, of course, understood that a standard film or video camera could be used in place of a digital camera, with the performance being digitized in a well-known mannei This video compositor can be, for example, an Ultimate device The Ultimate technique has been used in video compositing for 20 years, is well known in the art, and will not be described in further detail herein The virtual background to be combined with the actual performance taken bv digital camera 204 is generated by virtual background generator 201
Virtual backgrounds can be designed within a computer in any variety of virtual software programs L-set and Maya are two examples, but this software is always changing and being innovated What is key, is that the virtual system is a real time system that streams the set in real time so that the studio video switching system can composite both the live puppet image with the computerized virtual sets simultaneously Typically, an Onyx (a high capacity, very fast computer) is used for this purpose, but there are several real time virtual composite systems on the market, all with different degrees of ease of use The studio itself, to be used with the invention, as far as control room equipment is concerned, can be conventional, requiring tape machines, switchers and all the usual elements although maximized for good kev-color technique
After the outputs of digital camera 204, and virtual background generator 201 are combined in video compositor 202, the combined output is sent to digital monitoi 203 Advantageously, what is shown on digital monitor 203 is only the movements of puppet 103 superimposed on the virtual background generated by virtual background generator 201 The puppeteers, which were controlling the puppet on the actual set, shown in FIG 1, are completely eliminated from the final product, and only the puppet and the virtual background are visible
FIG 3 illustrates a rear view of the set in FIG 1 showing what the puppeteers see while manipulating puppet 103 As indicated, the puppeteers can readily watch the finished product on monitor 203, while the action is taking place Most importantly, since the final image is generated and composited in real time as the actual performance is shot by digital camera 204, the puppeteers can see the composited final image on the monitor in real time Therefore, the puppeteers have the complete ability to interact with their environment, any virtual and real objects in that environment and each other
Although one specific embodiment of the invention has been shown and described, it will be understood that various modifications can be made to both the apparatus and method of the present invention without departing from the spirit and scope of the invention

Claims

WHAT IS CLAIMED IS:
1 Apparatus for improved puppetry for film and/or video productions utilizing a virtual production set comprising a key-color background screen, a source for creating a virtual background, a puppet manipulated by a plurality of puppeteers, said puppeteers covered in a material which matches the color of said key-color screen, a camera for recording live images of the puppet and puppeteers against the background of the key-color screen, apparatus for combining said live images and said virtual background and removing from said combined image the appearance of said puppeteers, and a monitor to display said combined image
2 A method for creating improved puppetry productions utilizing a virtual set comprising the steps of positioning an articulated performing puppet to be filmed in front of a kev-color background screen, said articulated puppet being manipulated by a plurality of puppeteers each puppeteer being covered in a material which matches the color of said key-color background screen, filming, in real time, movements of said articulated puppet as it is manipulated by said puppeteers, creating a virtual background to appear in said film or video production, and combining in real time said live film and said virtual background wherebv said puppet appears in said virtual background minus any appearance of said puppeteers
A method for creating a virtual film or video production comprising the steps of positioning an object to be filmed on a set in front of a key-color background screen said set further including additional supporting objects not to be included in a final film product, covering some or all of said additional supporting objects prior to commencement of filming, with a material that matches the color of said key-color background screen filming, in real time, movements of said object and said additional supporting objects, creating a virtual background to appear in said film combining in real time said film and said virtual background whereby said object appears in said virtual background minus any appearance of said covered additional supporting objects
4 A method in accordance with Claim 3, wherein said object to be filmed is an articulated puppet
5 A method in accordance with Claim 4, wherein said additional supporting objects are puppeteers
PCT/US2000/022612 2000-03-08 2000-08-17 An improved method and apparatus for enhanced puppetry or similar types of performances utilizing a virtual set WO2001067779A1 (en)

Priority Applications (4)

Application Number Priority Date Filing Date Title
CA002373640A CA2373640A1 (en) 2000-03-08 2000-08-17 An improved method and apparatus for enhanced puppetry or similar types of performances utilizing a virtual set
EP00955655A EP1228647A4 (en) 2000-03-08 2000-08-17 An improved method and apparatus for enhanced puppetry or similar types of performances utilizing a virtual set
AU2000267822A AU2000267822A1 (en) 2000-03-08 2000-08-17 An improved method and apparatus for enhanced puppetry or similar types of performances utilizing a virtual set
JP2001565672A JP2003526293A (en) 2000-03-08 2000-08-17 Improved methods and apparatus for advanced puppetry and similar types of performance using virtual sets

Applications Claiming Priority (4)

Application Number Priority Date Filing Date Title
US18781400P 2000-03-08 2000-03-08
US60/187,814 2000-03-08
US53752900A 2000-03-29 2000-03-29
US09/537,529 2000-03-29

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JP (1) JP2003526293A (en)
AU (1) AU2000267822A1 (en)
CA (1) CA2373640A1 (en)
WO (1) WO2001067779A1 (en)

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US8098330B2 (en) * 2006-07-28 2012-01-17 International Business Machines Corporation Mapping of presentation material

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US6034740A (en) * 1995-10-30 2000-03-07 Kabushiki Kaisha Photron Keying system and composite image producing method
US5790124A (en) * 1995-11-20 1998-08-04 Silicon Graphics, Inc. System and method for allowing a performer to control and interact with an on-stage display device
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EP1228647A4 (en) 2006-05-03
CA2373640A1 (en) 2001-09-13
JP2003526293A (en) 2003-09-02
EP1228647A1 (en) 2002-08-07
AU2000267822A1 (en) 2001-09-17

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