|The Campanile Movie
SIGGRAPH 97 Electronic Theater
|This page provides images and links relating to the Campanile movie, a short film led by Paul Debevec made in the spring of 1997 that used image-based modeling and rendering techniques from his Ph.D. thesis to create photorealistic aerial cinematography of the UC Berkeley campus. This page supplements the articles "Putting More Reality Into Virtual Reality" in the Los Angeles Times, "Rendering Reality, Bit by Bit" in the Hollywood 2.0 issue of WIRED, and "Every Picture Tells a Story" in Computer Graphics World.|
|In February 2002 Mark Ramshaw wrote an article about the Campanile Movie for the "Looking Back" feature of 3D World Magazine.|
|The Campanile Movie and The
Campanile project Master's student George Borshukov, now at Manex Entertainment, applied our Campanile Movie virtual cinematography techniques to create some of the most memorable shots in the 1999 Keanu Reeves film The Matrix. Watch the backgrounds in the "bullet time" shots in the film (see Quicktime movies of the principal bullet time shot and the trailer at The Matrix website) to see how photogrammetric modeling and projective texture-mapping were used in the film. Articles on this technique and others that gave the film its mind-blowing effects are in the April 1999 issue of American Cinematographer magazine, the October 1999 issue of Cinefex, and the August 1999 issue of SoftImage Magazine. The techniques are were also applied in shots of the Tom Cruise film Mission Impossible II.
The Matrix won the 1999 Academy Award for Best Visual Effects. The visual effects supervisor was Campanile Movie fan John Gaeta; the bullet time supervisor was Kim Libreri, and the director of research at Manex was Dan Piponi.
|Download the Movie!
The Campanile Movie as seen at the SIGGRAPH 97 Electronic Theater (minus the introductory title screens) is available in the QuickTime 4 format using the Sorenson compressor. (Quicktime .mov, 39.9MB, 320x240, 30fps, 150sec.)
|Short clips from the film(Quicktime Cinepak, 160x120
|Stills from the film (Click for full-size versions)
A view of the Berkeley Campus model, constructed from 15 photographs. Since it was constructed specifically for the Campanile movie, it is more detailed near the tower and fades out in complexity further away. Forty of the campus's buildings are represented. The film model also includes photogrammetrically recovered terrain geometry that extends out to the horizon. Two more views can be found here and here.
|High-resolution stills (972x720, click for full-size versions)|
|The photographs of the tower and the environment that were used as reflectance data to produce renderings. Four additional aerial photographs were used in the modeling process to recover the campus geometry. (Click on images for larger versions.)|
|Photographing the Tower from a Kite
Several of the photographs used to produce the Campanile model were taken from above the Campanile using kite aerial photography by UC Berkeley professor Charles Benton. Benton documented the campanile kite aerial photography process as part of his extensive Kite Aerial Photography page.
|Photographing the Environment
Most of the photos of the campus environment were taken from the lantern at the very top of the Campanile. The fisheye photo on the left offers an extreme perspective of the tower and campus. Many thanks to carillonist Jeff Davis for his assistance in acquiring the imagery as well as contributing to the soundtrack for the film.
|The First Test Animation
This 10-second test sequence was the first animation from the Campanile Movie production effort rendered on April 10, 1997 (a full two weeks before the ET deadline.) Stand-in photographs of the Campanile from the SIGGRAPH 96 paper and stand-in aerial photographs of the campus buildings were used. The models are far simpler than those in the final film, and the animation path interpolation algorithm wasn't yet working correctly.
|Awards and Venues
The Campanile movie was shown at the SIGGRAPH 97 Electronic Theater August 4-7 at the Los Angeles Shrine Auditorium. It was accompanied by a short documentary feature in the Festival Screening rooms. Since then, it has appeared in several festivals and on television other venues, including the Premio Immagine '97 film festival Milan, TV NHK Japan, "Metropolis" TVE Spain, "The Digital Palette and the Independent Filmmaking Community" Sundance 1998 film festival, "Le Festival du Dessin Anime" 1997 Brussels, South by SouthWest (SXSW) festival Austin, Conduit '98 film festival Austin, "Science" television Osaka, and "Cyberculture" television Canal+ France. The Campanile Movie won the Industry Award at the Multimedia Content Association of Japan's "Multimedia Grand Prix '97" festival.
Log, a daily chronology of the 8-week production schedule.
Some Trivia about the film.
Some Pictures of the crew during and after the production.
The Berkeley Campus Model used in The Campanile Movie was shown as a realtime demo in Silicon Graphics' booth at the SIGGRAPH 97 exposition. The demo was also shown during the SIGGRAPH 97 paper "InfiniteReality: A Real-Time Graphics System" and for several years was an internationally touring InfiniteReality demo. For the opening of the Institute for Creative Technologies in September 2000, the demo was ported to a 3-Screen IR3 VR Theater using Performer by Jonathan Cohen.
The techniques used to create the Campanile Demo demo were used at MVFX for photorealistic, interactive shot pre-visualizations in films such as The Matrix and Mission: Impossible II.
The Campanile Movie was created by Paul
Debevec, George Borshukov, Yizhou Yu, Jason Luros, Vivian Jiang, Chris
Wright, Sami Khoury, Charles Benton, Tim Hawkins, and Charles Ying, with
many thanks to Jeff Davis, Susan Marquez, Al Vera, Peter Bosselman,
Camillo Taylor, Eric Paulos, Jitendra Malik, Michael Naimark, Dorrice
Pyle, Russell Bayba, Lindsay Krisel, Oliver Crow, and Peter Pletcher, as
well as Charlie and Thomas Benton, Linda Branagan, John Canny, Magdalene
Crowley, Brett Evans, Eva Marie Finney, Lisa Sardegna, and Ellen Perry.
The research behind the Campanile Movie was realized by Paul Debevec,
Camillo J. Taylor, George Borshukov, and Yizhou Yu. The Berkeley Computer
Vision Group, the Berkeley Multimedia Research Center, the Berkeley
Computer Graphics Group, the ONR MURI Program, Interval Research
Corporation, and Silicon Graphics, Inc. are all to be thanked for helping
make this project possible.