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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 movement of the live camera as it was shooting the footage. Such prep work, artists agree, would simplify and expedite the compositing process, eliminating the need to laboriously hand-track 3D elements in live footage frame by frame.
Of course, this ...