Apparatus and method for producing digital graphic outputs with integrated post-production effects with or without software-based technologies

Abstract

The present invention relates to the field of video-making and video-editing, and specifically concerns apparatus and a process for creating videos with graphic postproduction effects without the use of software technology. A key feature of the invention is the creation of physical sets, which are essential for contextualizing narratives that require settings not physically present on location. This approach enables video-making and editing to more fully embrace the language and visual perspectives of cinema, contributing significantly to digital design through an innovative technique referred to as "manual rendering." At the same time, the invention remains versatile for applications that do not rely on software-based editing. In addition to videos, other digital graphic products, such as photographs and photographic series, can be created using the same technique and apparatus.

Description

[0001] APPARATUS AND METHOD FOR PRODUCING DIGITAL GRAPHIC OUTPUTS

[0002] WITH INTEGRATED POST-PRODUCTION EFFECTS WITH OR WITHOUT SOFTWARE-BASED TECHNOLOGIES

[0003] DESCRIPTION

[0004] Technical field of the invention

[0005] The present invention relates to the field of video production and editing, and more specifically to an apparatus and method for generating videos with various graphic post-production effects, while also making a significant contribution to digital drawing through an innovative technique called 'manual rendering', and at the same time proving versatile for applications that do not rely on software technology. A distinctive feature of the invention is the creation of actual physical sets, which are essential for contextualizing narratives that require settings not available on the filming location. In this regard, the invention enables video production and editing to more fully embody the expressive language and visual perspectives characteristic of cinematic art, while possibly even making software- based processing not strictly essential. In addition to videos, other digital graphic products - such as photographs and photographic series - may also be produced using the same apparatus and technique.

[0006] Background of the invention

[0007] It is well established that increasingly sophisticated software-based techniques are employed to digitally process video productions, enabling a wide range of effects such as montage, retouching, correction, editing, and even advanced graphic manipulation.

[0008] Analogic techniques for creating video post-production effects are also well known and have a much longer history than digital techniques. One of the most renowned is the so-called matte painting: a technique involving the modification of film frames using graphic media - typically paintings on glass - to recreate convincing environments around actors who, in reality, move within spaces only partially integrated with scenic elements.

[0009] Modifying a film setting using a drawing is a technique that is almost as old as cinema itself, which has always involved the creation of films integrating projections with paintings, or films whose exposure to light was deferred in two distinct moments, in order to create "gaps" in individual frames - areas left unshot - which could then be filled in with a subsequent shot. In this technique, a well-defined section of the individual frames is prevented from being exposed to light by placing opaque surfaces (matte paintings) in front of the camera, around which painted scenery on glass is integrated. At a later stage, the film is re-exposed to the light of a new shooting, but only the “gaps” left unexposed during the first phase are utilized - and thus “filled” - by the subsequent footage.

[0010] In any case, in its conventional form, analogic matte painting requires - as previously noted - the use of both a camera and a projector, along with highly specialized expertise.

[0011] Summary of the invention

[0012] The present invention follows certain principles of analogic matte painting, reconfiguring and applying them within a framework that, to the applicant’s knowledge, is unprecedented - both in terms of implementation and results. This novel configuration yields unexpectedly advantageous outcomes, including a wide variety and richness of visual effects, the possibility of using handcrafted components, and the avoidance of costly and complex software and hardware systems. Instead, the invention relies on relatively simple, widely available, and inexpensive material components.

[0013] These and other objects and advantages concerning the contribution that the apparatus according to the invention can offer to digital drawing and, more generally, to video-editing software, are achieved through the apparatus and method for producing videos with various graphic post-production effects even without resorting to softwarebased technologies the essential features of which are defined in claims 1 and 18, respectively.

[0014] As further described below, this contribution may consist, by way of example but not limitative, in applications of the chroma key effect, in the aforementioned “manual rendering” technique, as well as in various methods by which the apparatus can be employed, including the ability to combine certain aspects of analogic matte painting with the freedom to perform unrestricted camera movements. An apparatus for producing a graphic product - such as a video, a photograph, or a series of photographs edited with post-production effects applied to an original video

[0015] - essentially comprises:

[0016] - two blackout panels, positioned vertically, parallel to each other and spaced apart; these panels rest either on a surface parallel to the ground or directly on the ground, defining the lateral boundaries of the shooting area;

[0017] - a first and a second layer, both substantially flat and arranged vertically between the two blackout panels in a parallel and spaced-apart configuration. At least the second layer is made of transparent material, allowing the original graphic product to be shot through it, this product may be affixed to the first layer or transmitted from a flat television screen positioned behind and parallel to the first layer; shooting is performed by video shooting means located externally, facing the second layer;

[0018] - an upper crossbeam extending above the filming region along a horizontal axis and parallel to the first and second layers, comprising at least some fixed end sections that are structurally integrated with the blackout panels;

[0019] - at least one central section of the upper crossbeam that can be rotated around the aforementioned axis and supports a primary lighting device along with a mechanism for controlling and attenuating the radiation emitted by said device. This configuration enables the lighting device to direct light radiation toward the first and / or second layer, thereby creating a lighting gradient between the two layers; wherein at least the material of the second transparent layer is suitable for the application of pictorial elements, or graphic representations in general. The shooting means are configured to capture the original graphic product, positioned on the first layer and illuminated directly by at least the primary lighting source, through at least a second layer bearing the aforementioned marks, drawings, or pictorial or graphic representations, which are themselves illuminated at least indirectly by the light reflected from the primary lighting source and the original graphic product on the first layer, in order to obtain the edited graphic product relative to the original graphic product transmitted by the screen or applied to the first layer.

[0020] For a maximally simplified explanation that nonetheless suffices to convey the conceptual essence of the invention, it is useful to consider a first exemplary embodiment. This example illustrates a basic implementation that nonetheless effectively highlights the invention’s novel functional prerogatives and the advantageous outcomes it enables - features that are also present in various alternative and / or more complex implementations. The discussion of this example is particularly significant, as it underscores the substantial contribution the apparatus according to the invention can make to digital design. In this case, as in all other techniques involving the use of the apparatus according to the invention, two essential operational features emerge: the critical role of targeted lighting, designed to create a luminance gradient between the two layers (one being more illuminated and the other shaded), and the mobility of said layers, which are capable of entering or exiting the camera’s depth of field. Additionally, the spacing between the layers enables the artist or video maker to physically access the interstitial space, thereby allowing the execution of the techniques described herein, beginning with the example now under analysis.

[0021] In this embodiment, the invention is employed to advantageously develop an original two-step technique - typically involving rigid material layers - referred to as “manual rendering.” This technique begins with traditional design and transitions to digital design, facilitated by the structure of the apparatus. Specifically, the machine enables selective illumination of one of its two layers while keeping the other unilluminated. This configuration recreates a light gradient between the two layers: the first layer is appropriately illuminated, while the second remains unlit due to the presence of blackout panels and the orientation of the primary light source.

[0022] First, the artist or video maker is expected to create a figurative work on paper, canvas, or similar materials. This artwork must then be affixed - using glue, adhesive tape, or other means - to the glass surface of the first layer, after separating it from the second layer. Once the design has been laid out and secured to adhere to the first glass layer, it is illuminated by the primary lighting source, and preferably by additional sources as well. The composition can then be photographed by the video camera positioned directly in front of it, at the centre of the designated region.

[0023] The originality of the apparatus lies in the fact that these photographs will reproduce the design affixed to the first layer with exact fidelity - without any variation - just as the artist created it. This effect is achieved only when the second layer is not used and remains invisible. Because the second layer is unlit, the camera does not capture any dust or minor imperfections that may be present on it. When the apparatus is placed on a support surface in a dark environment, optimal conditions are created for the video camera to capture the illuminated first layer at maximum performance, with the second layer remaining unseen.

[0024] However, the artist could paint or spray colours onto the second layer, such that the design affixed to the first layer is captured by a video camera through the now diffused surface of the second layer. This configuration produces an optical illusion whereby the resulting photographic image depicts the original design as though the colours applied to the second layer had been directly affixed to the surface of the first layer. This specific optical illusion is made possible by the light gradient between the two layers, because, as we will see, the blending effect between the initial drawing and the colours on the second layer can only be recreated by keeping the second layer unlit and outside the camera’s depth of field. Clearly, the spatial distribution of the applied colours on the second layer is not arbitrary; rather, it is guided by a real-time feedback mechanism. Specifically, during the application process, the artist observes a live video feed on a display device connected to the output of the video camera, thereby receiving continuous visual guidance to inform and adjust their movements.

[0025] As a result, the basic design is transposed into a high-definition photograph, enriched with visual effects - such as blurring or dark halos - traced along one or more of the design’s defining lines. These additions, painted on the second layer, are carefully aligned from the camera’s perspective to fall precisely on the original lines, creating shadow-like elements within the composition.

[0026] As previously noted, the visual impact of the colours distributed across the second layer depends on two fundamental characteristics of the apparatus according to the invention: the creation of a light gradient and the mobility of the layers. If, by contrast, the second layer were positioned within the depth of field of the video camera and illuminated directly by light sources in the same manner as first layer 14, the visual effects rendered on it would interfere with the camera’s view of the apparatus. Instead, the optical illusion of fusion between the design applied to the first layer and the effects recreated on the second layer (such as moistening, colour tints, and similar treatments) is ensured by the operation of the apparatus. This is due to the reduced brightness of the colours on the second layer, resulting from the strategic positioning of the lighting, which causes them to be irradiated primarily by the colours reflected from the original graphic image affixed to the first layer. In addition, any shading applied to the second layer while it is positioned outside the depth of field of the video camera will inherently appear blurred in the captured image. The video camera is configured to maintain the first layer, which contains the primary design, in continuous focus. However, the colour elements applied to the second layer may enter or exit the depth of field depending on the spatial positioning of the second layer, which is preferably mobile. This mobility results in variable degrees of image sharpness for the second-layer elements.

[0027] In a subsequent phase, within the digital domain, the photographs representing the design in various forms - captured through the second layer and stored in the memory of the video camera or another shooting medium - may be imported into digital design software to refine and enhance the "manual rendering" technique. This technique leverages the quality and complexity of the chromatic effects produced on the second layer, which may include detailed shading and halo formations through which the texture of the design affixed to the first layer remains perceptible. These colours will therefore appear dense and concealing in some areas, and blurred in others, depending on the interventions of the artist or video maker, forming a complex network of shades that are essential to the second phase of “manual rendering”.

[0028] Those photographs taken using the apparatus represent a fusion between the design applied to the first layer and the blurred colours on the second layer, which may manifest as halos or "spots." Due to the complexity of these chromatic "stains," a real image - or any photograph captured outside the context of using the apparatus according to the invention - can be blended and amalgamated with photographs produced by said apparatus through opacity adjustment in drawing software, thereby enhancing the sense of realism. Such an effect would not be achievable, for instance, by simply importing a real image (e.g., a photograph) of a subject similar to or corresponding with that depicted in the basic drawing into the software, as the heterogeneity in texture between the two images impedes their blending and amalgamation through opacity variation. However, a comparable result can be obtained if the aforementioned real image is accompanied by a shaded drawing image derived from the second layer. Specifically, by adjusting the opacity of this second image - superimposed onto the real image with its inherent texture - within the drawing software, a final composition resulting in a seamless amalgamation can be achieved.

[0029] The process that transforms a basic paper drawing into a final image, as described in the previous steps, constitutes a form of rendering, distinguished by the novelty of being executed manually - aptly referred to in this case as “manual rendering”. It begins with traditional drawing methods and continues through a digital phase involving the use of a small tablet or graphics tablet. This approach redefines a typically computerized operation - namely, rendering - as an artistic practice conducted within a digital drawing environment, wherein the artist exercises precise control over each stage of transformation, mastering in detail the progression from paper-based illustration to realistic representation.

[0030] As mentioned, "manual rendering" finds its keystone in the so-called shaded image - an image produced through the second layer, bearing traces of marks, drawings, or pictorial and graphic representations affixed to it. This is the only image that presents a complex harmony between the original drawing and the variety of halos, blurs, and lumps of colour distributed across the second layer. Its distinctive pastiness allows it to blend seamlessly with realistic textures or to enhance the visual effect of opacity variations generated via software. Such an outcome could not be achieved without the apparatus of the present invention, as the details of both the original drawing and the shaded image’s halos are intrinsically linked to the surface area employed. Indeed, the two layers of the device occupy a larger area than most graphics tablets, offering the artist or video maker greater confidence when tracing the lines of a large-scale drawing applied to the first layer, and enabling broad gestures - such as blurring or scratching colour masses on the second layer using brushes or cloth. In addition to the freedom to manually intervene on both layers (for instance, when made of glass), the device also provides the advantage of a continuous, comprehensive view of the work in progress. In contrast, on a tablet or graphics tablet, the artist must frequently zoom in and out to manage both the fine details and the overall composition of their drawing on the device’s display.

[0031] The two-step technique of "manual rendering" described above represents only one - albeit significant - method that can be advantageously implemented using the apparatus according to the invention, and will be further elaborated in the detailed description that follows. Among the additional techniques is the ability of the two layers to recreate highlights or shadows from paper drawings affixed to the first layer. This capability, like others, is enhanced by various implementation options that will be discussed in detail below. For example, instead of rigid panels, the layers may be constructed using flexible materials such as PVC films or sheets. Additionally, the supporting frames may be designed to be mobile, allowing dynamic manipulation of the layers. Another possibility includes using the video screen to display a video that can be edited through a technique involving marks applied - also - to a first transparent layer.

[0032] Brief description of the drawings

[0033] The features and advantages of the apparatus and method for creating digital graphic products with various post-production effects even without reliance on software-based technology will become apparent from the following description of an exemplary, non-limiting embodiment, with reference to the accompanying drawings, in which:

[0034] Figure 1 is an isometric view of the apparatus according to the invention, shown schematically with certain components omitted;

[0035] Figure 2 is a view similar to that of Figure 1, illustrating the central section oriented at a different angle;

[0036] Figure 3 is another view similar to those in the previous figures, with the central section configured in a complete and ready-to-use manner;

[0037] Figure 4 is a more detailed view of the central section from a different angle, again with parts omitted;

[0038] Figures 5 to 7 are axonometric views of the device from a lateral perspective, illustrating a television screen with which the device is configured to operate, along with progressively added transparent front layers;

[0039] Figure 8 is an isometric view of the device in an alternative configuration, differing in shape from the embodiments shown in the previous figures;

[0040] Figures 9 to 34 are various schematic representations illustrating the use and operation of the apparatus, as well as the visual effects achievable through its implementation, as further detailed in the following description.

[0041] Detailed description of the invention

[0042] With reference to the accompanying figures - and in particular to Figures 1 to 7, which illustrate a prototype embodiment - an apparatus according to the invention is configured as follows (note that certain components are omitted in the figures for clarity of illustration).

[0043] Two blackout panels 1, arranged in parallel and spaced apart, are held vertically by bases 2 resting on a surface parallel to the ground, or directly on the ground itself. These panels define a region R intended to accommodate a television screen S, which will be described in greater detail below. By way of example, each panel may have a base width of approximately 20 cm or more, a thickness of approximately 3 cm, and a height of approximately 100 cm. The panels 1 , placed on either side of the aforementioned television screen, serve to shield the screen from ambient light on the lateral sides of the apparatus. Accordingly, they may be referred to as blackout panels. In addition to their light-blocking function, the panels also serve a structural role, supporting other components described herein. Notably, they support a transparent film 15 - such as a PVC sheet - stretched between the panels to intercept region R, positioned in front of and parallel to the television screen S. The depth of each panel, defined as the dimension orthogonal to the plane of the screen S, is preferably at least 20 cm. This depth is sufficient to generate a shadow cone of adequate size on the screen, particularly for screens of standard or moderate dimensions.

[0044] The support bases 2 also sustain a sheet 13 made of transparent material, typically Plexiglas®, which is positioned within region R, parallel to the transparent film 15 and located in front of the screen S. The dimensions of sheet 13 are such that it fully intercepts the surface of the screen, and is therefore larger than the screen itself. Sheet 13 is configured to support, in direct contact, an additional film 14 made of transparent material, such as PVC or a similar substrate. In this context, sheet 13 serves as a beneficial - though not strictly essential - component, and may be omitted during certain phases of operation of the apparatus. For clarity of reference, film 14, being closest to sheet 13, will hereinafter be referred to as the “first layer” 14, while film 15, positioned further forward, will be referred to as the “second layer” 15.

[0045] The first layer 14 is a film or sheet of variable thickness, stretched over sheet 13 and secured to it, typically by means of hooks along the upper edge of the plate and a simple interlocking joint between the plate and the bases 2 at the lower portion near the support surface of the apparatus. Sheet 13 proves useful and appropriate during specific phases of operation, particularly when the artist executes drawings or pictorial representations on the first layer 14, such as transferring a scenographic outline related to what is seen on the screen. In this phase, sheet 13 serves as a rigid contrasting surface and provides protection against potential damage to screen S. In other phases, such as filming, the plate may be omitted; however, it remains advantageous for maintaining the tautness of the first layer and preventing the formation of wrinkles. In this regard, the plate may alternatively be replaced by a frame on which to stretch the layer. In any case, it is preferable that the plate or frame be mobile, i.e., capable of remaining in close proximity to the screen in all its positions. Further below, we will also examine an embodiment of the apparatus according to the invention in which two frame structures (and rigid structural layers) are employed.

[0046] Sheet 13 is supported, in particular, by a slat 3 that runs vertically along each panel 1 , positioned near its rear side and intended to be placed a few millimetres from the television screen S. Slat 3 also functions as a spacer between the Plexiglas® and screen S, preventing direct contact between them despite any actions the user may perform on the Plexiglas® - the nature of which will be clarified later.

[0047] Support bases 2 are structurally integrated into their respective support platforms 4, which themselves serve a load-bearing function and contribute to the stability of the blackout panels 1. The support bases additionally incorporate respective uprights 12 forming part of a portal structure, designated overall as 17, which surrounds and surmounts region R. Each upright 12 advantageously includes, at approximately midheight, a cross-connection 18 that links it to the corresponding blackout panel 1, thereby enhancing the structural stability of the apparatus.

[0048] Portal 17 also comprises a transverse member or upper crossbar 19, which includes two fixed side sections 5, integrally connected to the respective uprights 12, and a central section 10 configured to rotate about an X axis parallel to crossbar 19. (In practice, this axis is parallel to the plane of the layers and / or sheet 13, and horizontal, taking as a reference the operational position in which bases 2 and platforms 4 rest on a horizontal surface.) The central section 10, which will be described in greater detail below, is rotatable about the aforementioned axis via hinges 9 that connect it to a support bar 8. In the illustrated and preferred embodiment, support bar 8 is pivotally connected at its ends to the respective ends of two arms 7, along a substantially vertical pivot axis. The opposite ends of arms 7 are likewise pivotally connected to the fixed sections 5. Thanks to this kinematic configuration - which may, of course, be replaced by equivalent mechanisms - it is possible to adjust the width of portal 17 as needed by moving the two lateral structures (bases, platforms, uprights, fixed sections) either closer together or further apart, and / or by repositioning the central section 10 to a more or less advanced location along the depth axis (orthogonal to the X axis and to the plane of sheet 13). Furthermore, the mobility afforded by this articulation facilitates user access to the apparatus components, such as sheet 13 and layers 14 and 15, enabling their replacement or precise positioning.

[0049] The inclination of the central section 10 - i.e. , its degree of rotation around the X- axis - is controlled by adjustment means which, in the illustrated example (notably of a prototype nature), include a cord 6 tied at one end to the central section 10. This cord runs around pulleys positioned on a central rise 8a of bar 8 and on one of the fixed sections 5, and terminates in a second free end that can be manually grasped and either pulled or released to activate the adjustment. The aforementioned free end may then be secured - e.g., by tying it around one of the cross connectors 18 - to stabilize the tension corresponding to the desired angular position of the central section 10.

[0050] Returning to central section 10, it comprises a box-like structure that houses a primary lighting element - preferably, though not necessarily, an RGB LED strip 11 - extending in a direction parallel to the X-axis. The structure is configured such that the light radiation emitted by strip 11 is released in a controlled manner, for example, through a distribution of perforations 20 designed to direct the radiation toward layers 14 and 15. In practical terms, this configuration may be realized by a parallelepiped box elongated along the X-axis, bounded by two sides 10a (the opposing walls with the smaller surface area) and a rear wall 10b, to which hinges 9 are affixed and which supports the LED strip 11. The strip is powered via a cable that may pass through a slot 10c formed in one of the side walls. In this rigid structure, the remaining three larger consecutive walls are omitted, leaving the box open on three sides. These open sides are intercepted by a radiation control and attenuation element, such as a covering 16 - made, for example, of transparent or opaque plastic, fabric, cloth, paper, or similar material - into which perforations 20 are made.

[0051] Covering 16 serves to attenuate and regulate the light radiation emitted by the illuminating strip - an essential function for achieving the visual effects described later. It may consist of a sheet of transparent or coloured plastic, cardboard, or other similar materials, which can be modified with folds or perforations to selectively filter specific light rays, thereby illuminating only targeted areas of layers 14 and 15. This component is fully interchangeable and may be configured at the discretion of the user or video maker, depending on the desired outcome.

[0052] As previously noted, the central section may incorporate various alternative solutions, both in terms of mechanical assembly and dynamic behaviour, as well as in the methods of light diffusion or the generation of other lighting effects, executed in a precise and targeted manner.

[0053] Index L represents a possible auxiliary light source positioned on the outer sides of the blackout panels 1, which may also be integrated into the apparatus. This source is capable of illuminating only the second layer 15, as the first layer 14 remains shaded by the aforementioned panels. Similarly, in configurations employing frame structures - as will be discussed - the blackout panels ensure that the auxiliary sources L illuminate only one plane at a time. However, this illuminated plane is not necessarily the second layer 15; the first layer 14 may be illuminated in conjunction with the adjacent screen, leaving the second layer 15 in shadow. Accordingly, the apparatus according to the invention offers a distinct advantage in generating a light gradient between two transparent layers, providing the user with the ability to selectively illuminate one layer while shading the other.

[0054] For the time being, we shall limit the explanation to the operation of the apparatus as depicted in Figures 1 to 7, wherein the blackout panels serve to direct light from the lateral sources L exclusively onto the second layer 15, thereby shading the first layer 14.

[0055] Second layer 15, stretched between the blackout panels and positioned parallel to both the screen S and first layer 14, receives light radiation from the illuminating strip 11 as well as from any auxiliary source L located laterally. Any paint or graphic applied to second layer 15 will appear more luminous than images affixed to first layer 14 or those displayed in the video transmitted by screen S.

[0056] Ultimately, central section 10 - with its capacity for movement and rotation - enables illumination of both layers, though not necessarily with equal intensity. This variation is due in particular to the directional effect achievable through perforations 20, which allow radiation to be directed toward specific areas of a given layer. In general, light is attenuated by covering 16, thereby enhancing the perceptibility of the contribution from auxiliary source(s) L and producing a gradient effect favouring one of the two layers.

[0057] As previously noted, the television screen or display S is housed within region R, as defined by the apparatus. According to the invention, the images displayed on screen S are intended to be captured by a video camera C positioned in front of the apparatus, which may also be integrated into the system, along with screen S and auxiliary light sources L. Such integration may be facilitated by connection means incorporated into the apparatus and configured to enable mechanical coupling with the aforementioned components. The shooting produced by video camera C - owing to the presence of layers 14 and 15 and the visual effects achievable through their interaction, as will be detailed below - results in the generation of videos that are modified relative to the original content transmitted by screen S. These modifications consist of post-production graphic effects applied without the use of software tools.

[0058] Screen or display S is a flat screen, with no particular technological specification beyond those required to ensure high image quality and the ability to adjust frame rate to mitigate potential flickering in the video camera - although this is more a factor to be taken into account in the frequency of video shootings that will be played back on the screen, and not so much related to the characteristics of the screen itself. As previously noted, the apparatus demonstrates notable versatility in generating a brightness gradient between first layer 14 and second layer 15. Up to this point, we have examined the configuration in which second layer 15 is illuminated more intensely, while first layer 14 remains shaded. However, this gradient can be readily reversed by designating first layer 14 as the brighter plane and second layer 15 as the shaded one. This is achieved by positioning the auxiliary light sources L to illuminate only first layer 14, directing their radiation through the space between that layer and the blackout panels. Simultaneously, central section 10 must be repositioned to illuminate exclusively first layer 14, occupying the space - approximately 20 cm in depth - that separates first layer 14 from second layer 15.

[0059] Thus, the latter - which in the configuration described thus far was more intensely illuminated - becomes the shaded layer, while first layer 14, positioned in close contact with screen S, appears brighter due to the orientation of central section 10 and the lateral light sources. Additional low-intensity light sources (sufficiently dim so as not to intrude into the vertical visual field and remaining close to the support surface) may also be positioned on said surface, within the space between the layers and laterally bounded by the blackout panels, to selectively illuminate the lower regions of layer 14. Layer 15, consequently, remains in shadow, receiving only partial illumination via reflection from first layer 14 and, to a limited extent, from central section 10.

[0060] This particular configuration proves advantageous when rigid layers - such as Plexiglas® or glass - are employed, as these materials, unlike transparent PVC, are capable of reflecting ambient light or reflections from layer 15 onto layer 14. By concentrating illumination on first layer 14, any reflective projection from second layer 15 onto layer 14 is effectively suppressed, since the light reaching layer 15 originates from reflection off layer 14. To eliminate residual environmental reflections entirely, it is sufficient to operate the apparatus in a dark environment and, if necessary, cover the support surface with a black cloth.

[0061] The apparatus may also accommodate layers made of rigid material (Plexiglas® or glass), supported by movable frames, as illustrated in the variant shown in Figure 8, to which specific reference is made below, with a description limited to the components that differ from the configuration previously described. In particular, two frames 114 and 115 are provided, supporting layers 14 and 15 respectively, each consisting of a corresponding sheet of Plexiglas® or glass. Preferably, both frames are mobile, in this case via trolleys 114a and 115a mounted on wheels, allowing translational movement along the axis orthogonal to the plane of the layers.

[0062] Frame 114 may be positioned movably on platforms 4 and stabilized by a guide joint integrated with uprights 12, thereby enhancing the structural stability and compactness of the apparatus while optimizing spatial efficiency. Frame 115, on the other hand, transfers its weight directly to the support surface via trolleys 115a and is preferably stabilized by a movable coupling with uprights 12. This configuration allows for an adjustable depth between the two layers - exceeding one meter if desired - which is particularly advantageous for video makers, enabling them to physically position themselves between the layers to apply their techniques on first layer 14 without the need to remove second layer 15 from the apparatus.

[0063] With the addition of sliding frames designed to support rigid material layers (Plexiglas® or glass), the position of both layers can be varied, offering further significant advantages, such as the ability to adjust the focus of second layer 15 while keeping screen S and the corresponding first layer 14 stationary, without altering the position of the camera lens C. This adjustment is achieved simply by sliding the frame equipped with its own trolley for layer 15.

[0064] Given that the use of rigid material layers is both viable and, in many cases, preferable - particularly when first layer 14 serves as the primary illuminated surface and second layer 15 functions as the shading layer - this variant also involves repositioning central section 10 into the space between the two layers, allowing it to precisely illuminate only first layer 14. In this configuration, lateral space between the layers permits the placement of additional low-intensity light sources L, which irradiate first layer 14 through the gap between the blackout panels and frame 114. It is also possible to position additional light sources L on the support surface within the apparatus, between frames 114 and 115, provided these sources remain sufficiently low so as not to intrude into the visual field vertically - ideally situated close to the support surface to selectively illuminate even the lowest regions of layer 14. The functional characteristics of the apparatus apply equally to both configurations of the light gradient, as do the advantageous results achievable through its use. These will be examined in detail in the following chapters, which explore the principal operational scenarios and most valuable applications.

[0065] 1. Integrating video shootings displayed on a television screen with drawings, photographs, or handcrafted elements to recreate a three-dimensional optical effect in chromatic continuity with the video content.

[0066] Referring to the example illustrated in Figures 9 to 16, an original video - previously filmed and shot - is transmitted and displayed on the television screen S. This video is typically sourced from either a local storage medium (e.g., DVD, hard disk) or a remote server via internet connection, as exemplified by the frame in Figure 11. Using the described apparatus, the video can be enhanced with drawings or even physical models positioned in front of video camera C (see Point 8 below for further details). Drawings, in particular, may be arranged to create the optical illusion of three- dimensionality. For this reason, they serve as the primary medium, although they may be substituted with photographs or other printed images. When properly configured, the perspective effect becomes visible on the camera display and subsequently in a second, post-produced video - resulting from the camera’s shooting - as shown in the frame in Figure 12, provided that the camera is correctly positioned in front of region R of the apparatus, such that it captures solely the television screen and the layers arranged parallel and superimposed upon it, while excluding any other components of the apparatus.

[0067] Going into greater detail on how the video maker can create drawings suitable for the aforementioned perspective technique, they may begin by working on the first layer 14, located on sheet 13. This involves sketching the contours of a stationary object as it appears in the initial video displayed on screen S. The outlines thus sketched will be the fundamental reference point that the user can draw inspiration from when creating drawings or photos that align with the profile and perspective of the structures originally filmed on set. It is essential that the original video be shot with a stationary camera, without tracking shots or axis shifts, which, on the other hand, may be allowed for the technique described in point 5 below.

[0068] During the sketching phase, only elements that remain static should be traced. This excludes objects that shift due to changes in camera position, or due to their own movement (such as objects moved by the wind or any other cause), or because they are crossed by moving figures (e.g., actors).

[0069] Once the outline of the architecture or set design - as it appears on screen S - has been sketched onto the first layer 14, this outline serves as a reference for creating D1 drawings that replicate the same dimensions and profile. These D1 drawings must be positioned on the first layer 14 (see Figures 9, 12, and 14 for a realistic photographic representation of a portion of the first layer with D1 drawings attached, specifically depicting a segment of a medieval castle featuring a turret, battlements, and a portal). The placement of the drawings should align with the edges of the set, according to the intended function, proportions, and aesthetic preferences of the video maker. The drawings may be affixed directly onto the film that contains the initial hatching, or alternatively onto a new film traced from the original. The latter option is preferable when a clean surface is required, free from stains or unintended colour marks.

[0070] Ideally, the first layer 14 should remain a single film to preserve the visual quality of the video displayed on screen S. Using two closely stacked films may compromise clarity, and the original film with hatching may be subject to staining. If necessary, the PVC film used for hatching can be relocated to a separate workspace for drawing, after which the final (single) film containing the completed drawings can be assembled.

[0071] If, alternatively, rigid material layers (such as Plexiglas® or glass) are used, the designs created externally - using the film with hatching as a reference - are affixed directly to first layer 14. In this configuration as well, the hatching does not come into direct contact with screen S, since first layer 14, being composed of rigid material, inherently serves as a protective and contrasting element.

[0072] The third dimension is then recreated through second layer 15, onto which translucent colours are preferably applied, forming “strokes of light” D2 over the underlying designs D1 - i.e., those previously rendered on first layer 14. Figure 10 illustrates the D2 drawing of these strokes of light, which are physically smaller than D1. Indeed, for camera C to capture the illusion that D1 and D2 (e.g., a turret and its illuminated sections) are of equal size, D2 must occupy a smaller physical area than D1 , depending on its position within the camera’s visual cone. Refer again to Figures 12 and 15 for a realistic photographic representation of second layer 15 with the applied light strokes D2. The placement and execution of highlights on the surface of second layer 15 are determined by the user’s eye and skill, guided by observation of the image captured by camera C - either via its integrated display or an external monitor - fixed in the position assumed and stabilized during the hatching process.

[0073] Typically, during this procedure, the goal is to emphasize the areas intended for visual enhancement, as seen through the camera display, by following the perspective effect recreated within it. The reason for the increased brightness in certain regions lies in the supplementary lighting relative to the drawings on first layer 14 - specifically, illumination from auxiliary sources such as source L, which does not reach first layer 14 due to shading by blackout panels 1 , but instead directly illuminates second layer 15. The use of translucent colours - i.e. , colours that allow the designs on first layer 14 to remain visible without being obscured - is advantageous. This ensures optical alignment, so that a unified image appears in the camera display and, consequently, in the resulting post-produced video: a single composite image with areas of light and shadow, unless the user intentionally chooses to create highlights that stand out distinctly against the background.

[0074] What has been described thus far, and what follows, is equally applicable in cases where the invention employs blackout panels to concentrate auxiliary light sources on first layer 14, in conjunction with central section 10 positioned to illuminate only that layer. This configuration transforms second layer 15 into a surface not for highlights, but for the shadows of the designs affixed to first layer 14. In this arrangement, the display of video camera C effectively recreates the illusion of three- dimensionality, presenting well-lit designs on first layer 14 and their corresponding shadows - characterized by reduced light intensity - on second layer 15.

[0075] All of this enables the exploitation of a wide range of effects, depending on the chosen lighting configuration, the painting technique employed, the media used to create the drawings, the colours selected for shading, and other technical considerations. Such artistic versatility allows for the recreation of three-dimensional scenes that appear as if they were physically staged, rather than the result of an optical illusion generated by the “merging” of three parallel layers: the original video on the screen, first layer 14 with its drawings, and second layer 15 with its corresponding light effects. This illusion can ultimately be achieved in two distinct ways:

[0076] A) By omitting physical sets during the original video shoot and subsequently adding the drawings through post-production using the apparatus;

[0077] B) By incorporating physical sets during the original shoot and then enhancing them with additional drawings using the apparatus.

[0078] Method A) may be faster and more cost-effective when, for example, the apparatus is used to “transform” a plastered wall (the modern, real construction shown in Figure 11), in front of which a character moves on set, into the rock face of a castle with added architectural elements such as a turret, battlements, and portal. This transformation is achieved by simply applying a design with a rocky texture to first layer 14. To ensure continuity between the "rocky texture" design applied to the layer and the plastered background of the original video, which will still be partially visible, for example because it is not completely covered by the character in the video, it is advantageous for the texture to match the colour of the plaster. This allows the design to blend seamlessly without visual breaks with the video content displayed on screen S. As a result, the applied design appears to share characteristics with the plastered wall shot in the original footage. This effect is illustrated in the final frame shown in Figure 12.

[0079] Method B), continuing with the castle example, involves the original video showing an actor or character on screen S with a rocky wall backdrop (even an artificial one) behind them, which is then blended with the designs applied to first layer 14, provided they are executed in a consistent style. In this way, the post-produced video presents a single, cohesive backdrop in which the features of the live footage are seamlessly integrated with the drawing (Figures 13 to 16).

[0080] To create the video shown in frame 12, highlights were applied to second layer 15 to enhance the entire castle depicted on first layer 14, with particular emphasis on its tower. Shadows of the tower were also rendered on second layer 15, appearing in a more vivid black. This demonstrates that second layer 15 is not only suitable for generating light tones that function as true highlights, but also for producing other colours which - being more directly exposed to the primary light source from central section 10 and the auxiliary sources L - appear more vivid and are thus capable of blending seamlessly with the pre-produced (original) video transmitted by screen S. However, similar shading effects can also be created on first layer 14, as evidenced by the dark halo at the bottom right (at ground level) in Figure 12. This example clearly corresponds to method A), as no traditional scenery was present on set. Instead, the pink plaster of the actual building was blended with pinkish tints applied to second layer 15, covering most of the design. In achieving the “colour blending” effect, the attenuated light projection from central section 10 - filtered through coating 16 - also plays a significant role in shaping the final visual result.

[0081] Figures 13 to 16 illustrate an example of the implementation of the variant described in technique B. Figure 13 (a frame from the original video) depicts a physical - albeit rudimentary - set design consisting of a drawing of a stone wall painted on paper and affixed to a portion of the house wall, visible on the left side of the image. The upper edge of this painted sheet serves as the “seam” with drawing D1 , which is affixed to first layer 14 as shown in Figure 14. That figure features a broken arch which, in the perspective captured by camera C, visually merges with the aforementioned upper edge of the set. To achieve optimal alignment, as previously noted, it is advantageous to draw or sketch reference profiles directly onto first layer 14 while it is laid flat over sheet 13.

[0082] On second layer 15 (Figure 15), there are figures that, when viewed in isolation, may appear abstract or without clear meaning. However, these are in fact the “strokes of light” that gain significance when combined with the original video and the drawing on first layer 14 - for example, highlighting certain rocks in the latter - thanks to the illumination provided by central section 10 and one or more lateral light sources L (where the drawing on first layer 14 is illuminated only from above by the LED strip radiation emitted by central section 10).

[0083] Figure 16 shows a final frame of the post-produced video, depicting the character entering beneath the arch of the loggia. As evident, the images from Figures 13, 14, and 15 have been seamlessly merged into a single cohesive scene.

[0084] Obviously, numerous variations can be introduced to this approach, such as adjusting the tilt of central section 10 to reduce illumination on first layer 14 while increasing it on second layer 15. In this manner, even if the light strokes are fewer in number, they can appear brighter and more pronounced.

[0085] It is important to note that an effective “merging” effect has been achieved between the various elements - the original video, the drawings on first layer 14, and the light strokes on second layer 15 - and this effect is not diminished by the increasing quality of the video camera used. On the contrary, as the resolution and overall performance of video camera C improve, the post-produced video becomes even more realistic, not only due to enhanced capabilities such as higher pixel density, improved white balance, or other technical reasons. Notably, the physical distance between the two layers allows the camera to focus selectively on one layer at a time - particularly when using a lens with a shallow depth of field - while the other layer appears blurred. This selective focus effectively recreates the perception of three-dimensionality, with some objects rendered sharply and others appearing more distant.

[0086] Since it is possible to move the television screen associated with first layer 14 away from the apparatus while maintaining illumination and precise alignment with second layer 15, a professional cinema lens can blur one of the two layers - typically the second layer with the light strokes - by focusing on the first layer. This effect is achieved by physically positioning one or both layers outside the lens’s depth of field. The term “layers” is used in the plural because, with the addition of sliding frames designed to support layers made of rigid materials (such as Plexiglas® or glass), the position of both layers can be adjusted. Making the layers mobile through these frames also enables variation of the focus on second layer 15 while keeping screen S and its corresponding first layer 14 stationary, without the need to adjust camera lens C; this is accomplished simply by sliding the frame carrying second layer 15.

[0087] Softening the light strokes is effective in making them resemble glows with gentle edges (see, for example, Figure 16, lower right area). This approach also helps mask the transition zones where the drawings meet the image on the screen - areas where viewers might otherwise notice a discontinuity between the set design and the artwork on first layer 14 - thereby enhancing the overall three-dimensional effect. Adjusting the distance between first layer 14 and camera C is not merely a technique to blur the drawing, but a deliberate emulation of the methods photographers and filmmakers have long used to impart visual depth to their images, closely mirroring the natural perception of the human eye. In this way, the apparatus according to the invention skillfully leverages the principle of depth-of-field variation to enhance the range of cinematographic techniques available to a wide audience of video amateurs and artists.

[0088] The use of a covering 16 with holes, or similar devices designed to attenuate and control the radiation into limited, directed beams, is considered essential for creating a chiaroscuro effect. This feature enables the apparatus to function effectively even with only the first layer (as will be discussed in point 5 below), since the holes themselves provide sufficient three-dimensionality to the drawings on that layer. To achieve this, it will be sufficient for the video maker or user to create a hole at a position calculated to filter a beam that appropriately illuminates the desired part of the design. Additional methods for varying the light flow include adjusting the orientation of central section 10, modifying brightness levels and colour variations of the light source, and changing the positioning of the bases that commercial light sources are generally equipped with. Rotation around hinges 9, which controls the exposure or blockage of light reaching the layers, allows precise and deliberate diffusion of light onto the drawings within the apparatus, ensuring compatibility with the original videos displayed on the television screen.

[0089] Attenuating brightness by using covering 16 is preferable than employing a “weak” light source, as the latter is unlikely to filter rays with sufficient lumens to effectively highlight specific parts of the layers. Without covering 16 integrated with the components of section 10, the result would be disappointing, as the design on first layer 14 would be exposed to excessive light energy, compromising image sharpness and, consequently, its compatibility with the screen below. Moreover, the covering enables the brightness of designs on the television screen to be adjusted according to the particular requirements of each scene. Loss of detail due to excessive lighting inevitably reduces the quality of captured images, especially during the final digital editing phase. This issue is particularly critical when applying the Chroma key technique (see point 2 below). Green screen designs subjected to excessive lighting lose colour uniformity - resulting in excessively bright areas - and, more importantly, suffer a reduction in contour precision and sharpness, making it impossible to effectively remove the green components during post-production.

[0090] Another advantage to note is that by placing the invention in a dark environment, the light sources illuminating its layers enable camera C to achieve high-performance video shooting. In fact, the excellent overall lighting provided by the apparatus allows the video maker to enhance footage quality by lowering the camera's ISO value to a minimum.

[0091] Finally, a few additional observations are warranted regarding the use of rigid material layers. Materials such as glass and Plexiglas® can reflect ambient light, and even first layer 14 may reflect the second layer 15 positioned in front of it. Simple measures can often resolve this issue, such as increasing the brightness of screen S or placing a black cloth on the machine’s support surface. If these steps prove insufficient, it is advisable to use second layer 15 as a shading layer to fully eliminate unwanted reflections. To recreate the technique described above and insert a very bright design into the apparatus against a background that appears very dark on screen S - where reflections could be more noticeable - simply activate only the side light sources. These illuminate the drawings on first layer 14 through the gap created between frame 114 of the first layer and the blackout panels. As the on-set scenes become brighter, the video maker will also employ the lighting from central section 10 (which, in this mode, is positioned to illuminate only first layer 14) or increase the gap between the frame of layer 14 and the blackout panels. All of these adjustments allow more light from the side sources to pass through, thereby enhancing the illumination of the drawing in harmony with the background visible on screen S.

[0092] 2. Enhancing green screens with coloured layers enriched by graphic and pictorial elements to create the illusion of three-dimensionality.

[0093] With reference to Figures 17 to 20, another advantageous option offered by the apparatus according to the invention is to utilize the Chroma key technique, as previously mentioned, by applying areas of uniform background colour, typically green, that serve as a base to be removed and replaced with other images, potentially integrating effects similar to those described in point 1. This technique can be particularly useful as a simpler and more cost-effective alternative to using physical sets (technique 1.B) in live filming.

[0094] With the apparatus according to the invention, the well-known Chroma key technique can be significantly expanded and applied in creatively surprising ways. A green screen with its support and frame may remain upright in a square or, less commonly, circular shape during filming on set, but these simple geometric shapes can take on a wide variety of appearances thanks to the use of the apparatus, and the illusion can be greatly enhanced.

[0095] If a square green screen measuring 200 cm x 200 cm is positioned behind an actor in a long shot, it may appear as a 500 cm-high, perhaps triangular, shape in the post-produced video using the present apparatus with layered elements. It is up to the user’s skill to match the exact shade of green as it appears on the display of camera C in front of the apparatus and, after mixing the appropriate colour using tempera, oil, watercolour, or another medium, the user should apply it with a brush onto one of the layers - preferably the first layer 14 - to better integrate with the video images on the screen below, leaving the second layer 15 free for any highlights. This setup is illustrated in Figure 17, where the green area on the first layer 14 is marked with V. Thus, continuing with the example, a 200 cm x 200 cm square can be transformed into a triangle that appears much taller relative to the actor or character. A physically created green background shot by the camera, as in this case, is generally easier to remove in editing software than a digitally coloured green drawing created with the bucket fill or similar tools. In the latter case, the edges of the removed green silhouette often retain a halo of the same colour, whereas a physically coloured layer shot with good definition minimizes this issue.

[0096] For further clarification and integration of these concepts, refer to Figure 17 in conjunction with Figures 18 to 20. The inverted L-shaped green area V is shown in Figure 19 being painted (above a door in an interior, representing a frame from the original video) on first layer 14. In Figure 18, the same interior is covered with green wallpaper on all the walls, leaving some hard-to-cover areas exposed. In this context, the painting on first layer 14 represents a crucial contribution to the success of postproduction. Post-production (Figure 20, final result; Figure 19, intermediate result) is completed in this case by a digital reworking step using editing software, where the green cloth is removed and replaced with a different image - in this instance, a brocade-patterned wallpaper. The final result (Figure 20) surpasses a simple green colour overlay, thanks to the digital design filling the inverted L-shaped area not covered by the green sheets on the set, at least when using software accessible to the average user (video amateur).

[0097] Figure 19 (and Figure 20, with added light effects) also illustrates the pictorial addition of lacunars on the ceiling of the room, following the technique described in point 1.

[0098] It is important to emphasize that not removing the background behind the actors or characters does not constitute a regression in cinematographic technique. In fact, the optical and chromatic balance between actors and background is inversely proportional to the extent of background removal. In other words, the more the background is removed, the less natural the interaction between the actors and their surroundings becomes; notably, the shadows they cast would also disappear. From this perspective, rather than removing the background behind an actor, it can be advantageous to cover it with a physical set, following the style of traditional theatre - a set that, with the apparatus according to the invention, blends seamlessly with the images displayed on the television screen, thanks to the pictorial effects applied on the layers. Whether employing a life-size theatrical set or a green screen, these approaches provide ample space for actors to move naturally within the setting envisioned by the director.

[0099] Furthermore, it should be noted that most of the examples described so far use a medium shot, which allows the camera greater scope to capture the hypothetical character or actor while providing less space for the set design. This choice is deliberate, as medium shots are theoretically more challenging to achieve. In contrast, with long or very long shots, it is sufficient to leave a small area in the scene for the actor to move, making the ‘seams’ - the points where the paint on the first layer must blend the outline of the relevant drawing with the scene displayed on the screen - less significant. The medium shot is actually the most demanding case because it provides ample room for the actor or character to move, yet the figure occupies a large portion of the set and a considerable area reserved for the sets and their corresponding ‘seams.’ Despite these challenges, the results achievable in terms of realism and effectiveness in the post-produced video - particularly regarding the blending described - are remarkably successful, as demonstrated by the example frames.

[0100] In addition to the considerations outlined above regarding the Chroma key technique, the invention enhances images (or moving models, as described in point 8 below) that, when filmed against a green background covering part or all of the S screen, become green-background files tied to the integration of a specific scenario. Filming drawings surrounded by green screens - created using the technique described in point 1 - results in actual archives of digital images with green backgrounds. These archives are valuable for enriching the footage shown on screen S, enabling a straightforward removal of the green screen using software.

[0101] 3. Implementing a "manual rendering" technique

[0102] This technique has already been introduced in the chapter “Summary of the Invention” and is described in greater detail below with reference to Figures 21a-d, 22, and 23a-b.

[0103] For this technique, a variant involving frames designed to support rigid material layers is used. The rigidity of these layers is advantageous for performing various painting techniques - such as shading, moistening, and scraping - with the latter being particularly effective due to special blurring effects that can be achieved through the mobility of the frames relative to the depth of field of camera C. The technique begins with traditional drawing and is subsequently enhanced through digital drawing; its results are illustrated in Figures 21a to 21d. The artist or video maker creates a figurative work on paper, canvas, or similar materials, as shown in Figure 21a, which depicts a drawing of a masonry surface with stone bosses. This artwork is then affixed - using glue, adhesive tape, or other means- to the rigid surface of the first layer within frame 114 (Figure 22). Once the drawing has been laid out and securely adhered to the first layer with frame 114, it is illuminated by the primary light source 10 and possibly additional sources, and can be photographed by the shooting device - a camera or video camera C - positioned directly in front of it, at the centre of region R.

[0104] Thanks to the characteristics of the apparatus, photographs captured by camera C will depict the drawing on the first layer with frame 114 exactly as created by the artist, without any alteration - provided the second layer with frame 115 remains unused and invisible, as it is not illuminated. Under these optimal conditions, camera C captures the illuminated first layer at maximum fidelity, with the second layer effectively absent from the image. However, if the artist applies paint or sprays colours onto the second layer, the design on the first layer will be photographed through the now nontransparent surface of the second layer. As a result, the initial design appears as if the colours painted on the second layer were directly applied to it. This is illustrated in Figure 21b, which shows the same image as Figure 21a but with reduced sharpness and darker halos, caused by water sprayed on the second layer with frame 115 and black paint lines drawn onto it. This particular effect is made possible by the light gradient between the two layers.

[0105] If, on the other hand, the second layer were also illuminated and adorned with special colours or markings, these would interfere with the field of view of video camera C, and their light would conceal the details of the graphic representation on the first layer. By illuminating only the first layer, however, video camera C captures the graphic representation through the colours applied to the second layer, which remains unlit.

[0106] The “manual rendering” technique requires that the sole graphic representation (drawings, photographs, or similar) be applied to the first layer with frame 114, while the second layer with frame 115 is reserved exclusively for applying colours that are not directly illuminated by the machine’s light sources, but only by the light reflected from the first layer. As previously mentioned, varying the density of these colours can produce different effects within the visual cone of camera C - ranging from shading to blurring - yet always maintaining a harmonious chromatic relationship with the sole graphic representation on the first layer. This is because the first layer is the only surface directly illuminated by the machine, and the light transmitted to video camera C passes through the shaded and blurred colours applied to the second layer with frame 115.

[0107] In particular, the blurring effect is enhanced by the useful feature that allows the layers’ positions to be adjusted, moving them closer to or farther from the camera. It is no coincidence that the shading in Figure 21b appears blurred: it was painted on the second layer while that layer was outside the depth of field of camera C. During the “manual rendering” technique, the camera keeps the first layer - with the drawing on it - in focus at all times, but not necessarily the colours applied to the second layer. Depending on the position of the second layer, which is movable in the frame-equipped version of the machine (Figure 23), these colours may enter or leave the camera’s depth of field, resulting in varying degrees of sharpness.

[0108] To guide the artist’s movements and ensure non-random marks, an M display connected to or integrated with the C video camera can be used. This display shows the image as it is captured in real time - thus displaying both the drawing on the first layer and the artist’s brush on the second layer. The captured image (Figure 21b) is essentially a high-definition photograph of the original drawing (Figure 21a), but with blurring and black halos, for example, along the lines separating the stone bosses. These halos were painted to align precisely, from the perspective of video camera C, with the division lines of the boss design, serving as shading within the composition.

[0109] The second phase, which is primarily digital, proceeds after saving the photographs of the design in Figure 21a, stored via the second layer with frame 115 in the memory of video camera C (or an external medium). By importing these photographs into digital drawing software, the artist can make use of the qualities of the colours created on the second layer - as seen in Figure 21b - including both detailed shading and halos, through which the texture of the original (or base) design on the first layer remains visible.

[0110] The complexity of these marks is crucial. For example, if a photograph - such as the one shown in Figure 21c, depicting a group of real stones - were imported into a drawing software, it could never be blended seamlessly with the base design in Figure 21a by simply adjusting opacity. Consequently, relying on opacity variations within drawing software to reveal the photograph of a real stone beneath the original drawing is not feasible, as the textures of the paper drawing and the real stone image are too heterogeneous. It is instead possible to carry out a similar procedure if the image in Figure 21b is placed alongside the same photograph in Figure 21c, which shows a group of stones. By adjusting the opacity of the image in Figure 21b in drawing software against the rocky texture of Figure 21c, the photograph blends perfectly into a new composite drawing. This method is how the image in Figure 21 d was created.

[0111] The process that transforms the paper drawing in Figure 21a into the result shown in Figure 21d involves hand-executed “rendering” followed, typically, by digital processing on a tablet or graphics tablet - commonly referred to as “manual rendering”. This manual technique allows for variation in opacity, whether using a stylus or not, leveraging the complex network of shades and gradations captured in the photographs taken by camera C after the colours have been applied and blended on the second layer. As mentioned, the image in Figure 21b is the cornerstone of this process and can only be achieved through the apparatus described in the invention, for reasons detailed in the chapter “Summary of the Invention.” It presents a complex harmony between the original design and the diverse halos, blurring, and patches of colour applied in various ways on the second layer, of which only a limited portion is clearly illustrated here as an example.

[0112] This resulting image possesses a texture that can be effectively blended with realistic textures, such as the cluster of stones shown in Figure 21c. The black spots, while blurred, retain details of the design applied to the first layer 114, and in their thickening create a homogeneous surface where opacity variations facilitate glimpses of the photograph during the digital phase of the technique.

[0113] 4. Implementing the film matte technique

[0114] With reference to Figures 24 to 26, the apparatus according to the invention is also advantageous for applying the so-called “film matte” technique - that is, the method whereby a first scene contains a smaller second scene (inset), or an effect in which a reduced frame is placed over another. An inset typically highlights a detail within the main frame.

[0115] The possible applications of the film matte are virtually unlimited, and all are easy to achieve with the apparatus described in the invention. Focusing on the specific case of one shot framed within another, the effect is achieved through a design created on the first layer 14 that includes an empty area, such as the wall with a porthole shown in Figure 24. The porthole features metal nail heads or rivets (or similar fasteners) along its frame, whose three-dimensionality and realism are rendered by applying light strokes on the second layer 15 (Figure 26) as a crown of D21 dots corresponding to the heads of the porthole fasteners, as seen by camera C. The resulting effect is shown in Figure 25, which illustrates the shot as seen on the display of camera C. In the porthole window - empty here - the images displayed on screen S are visible through the transparency of the layers. Similarly, three-dimensional effects can be recreated in other parts of the design, with covering 16 responsible for providing accurate shading, and side light sources enhancing the raised details, in this case, the heads of the fasteners.

[0116] 5. Performing camera movements using the apparatus, limited to the first layer

[0117] With reference to Figures 27 to 34, we now examine a use of the apparatus that, perhaps more than any other, brings the resulting videos closer to true cinematographic works. While the examples presented so far allow designers ample creative freedom, they nonetheless constrain the originality of the director, whose primary expressive tool is the mobility of the video camera. Moving a shot within a setting reworked using graphic, pictorial elements or photographs is no easy task, but with the apparatus in question, it becomes reliably achievable.

[0118] In this case, however, it is preferable to use a specific variant of the apparatus, namely, one without the second layer 15, which is typically used to produce light strokes (in systems employing a PVC layer). This is because the presence of both layers may prevent the camera from approaching the screen closely and, more generally, hinder the video maker’s movements, which are central to this technique. That said, it should be noted that the distance between the camera and screen S is closely tied to the type of lens used. Therefore, it may still be possible to retain both layers without obstructing the camera’s proximity to screen S, as required by this technique. For this reason, the setup is also fully compatible with frames featuring rigid layers (such as Plexiglas® or glass); the graphic components should simply be placed on the first layer 14, leaving layer 15 free of any imagery.

[0119] This setup can be used to guide the visual narrative through a building, from one interior to another, or from an open panoramic view back into the house, and in many other scenarios. These camera movements incorporate the drawings placed on the first layer, recreating the illusion that the scenes were filmed on set with live actors

[0120] Considering Figure 27, which shows a virtual base supporting the apparatus, a Cartesian coordinate system is ideally traced onto this base, serving as a reference for camera movements. The screen S displays a video, frozen on a frame depicting two open doors that reveal their respective interiors. In the following Figure 28, images (drawings and shading) have been applied to the first layer to simulate a stone surface finish and other architectural effects on the wall where the doors open, maintaining continuity with the doors shown on the screen. What appears on the screen, viewed through the first layer, is the wall as visually altered by these additions.

[0121] In Figure 29, which presents the elements from Figure 28 in a perspective view of the apparatus, an arrow labelled as F indicates a camera movement in front of the television screen, following a diagonal path (from left to right and simultaneously approaching the screen) from the point with coordinates (2;1) to the point (6;4), according to the Cartesian system traced on the base plane. Figure 30a shows a frame captured by the video camera at the starting position (2; 1), primarily filming the left side of the screen. Figure 30b presents the corresponding frame captured at the arrival position (6;4), offering a predominantly enlarged view of the right side of the screen - specifically, the right door opening and the interior visible beyond it, in this case a table with a piece of fruit placed on top (excluding the drawings on the first layer because at position (6;4) they are too close to the camera and therefore fall outside its shooting range).

[0122] Up to this point, the video has remained frozen. However, if at this stage the camera is kept stationary and the video on screen S begins to play - showing footage shot from camera movements inside the room or on a real set - the displayed image changes accordingly. This is exemplified in Figure 27c, where the same table is visible, now in a portion that was previously hidden, along with part of a window in the background. Ultimately, the video captured in frames 30a to 30c (as seen on the display of camera C) represents the “finished product” of the filming process carried out with the apparatus. It is obtained by moving the lens in front of the sets drawn on the first layer, transitioning to shots inside the room. In theory, the video on screen S does not need to remain frozen at the start of this technique; it may already be in playback mode, provided it initially displays a static shot. Camera movements within the video can then occur at a later stage, allowing the video maker to perform their own movement in sync, as illustrated by the diagonal path in Figure 26.

[0123] Figure 31 is similar to Figure 28, but in this case, a green screen has been added to the left door by attaching green cardboard (or a sheet) to the first layer, or more simply by painting it directly onto the surface. As the camera moves from left to right, it initially captures the green screen, which then gradually disappears from its field of view. In the resulting shooting, the green screen can be removed in post-production using appropriate software. If, on the other hand, the videographer intended to enter the room on the left side of the set - even while positioned in front of the apparatus - they would need to move the camera from right to left and place the green screen on the right side of the television instead. As this example illustrates, there is considerable flexibility in how the footage can be constructed, and nothing prevents the user from reworking the scene differently, for instance, by inserting two green screens, one on each side.

[0124] As shown in Figure 31, the room on the left may be entirely imaginary or represent any other set design, rather than a real physical space. This concept is illustrated by the images in Figures 32 and 33, which depict successive frames obtained through the following operating modes.

[0125] The first video was shot by moving the camera - e.g., from left to right - in front of a green cloth stretched across a real doorway. This cloth was later removed in postproduction using software and replaced with images of a virtual room furnished in a period style, creating the impression of gradually revealing the details of the virtual living room beyond the real doorway. A second video was then produced using the apparatus, with screen S displaying a video similar to that in Figure 31. In this case, camera C was used to film the scenario and context of the apparatus, again moving from left to right along the left side of the television screen. On the first layer, a drawing of a capital and an arch was superimposed, silhouetted on green cardboard. During software editing, this green screen element was removed and replaced with the same virtual period room shown in the first video. Figures 32 and 33 demonstrate how the final post-produced video reveals a virtual room gradually opening behind a fictitious capital and portion of an arch, pictorially rendered on the first layer. In the subsequent frames, the video transitions into a room that was actually filmed and served as the real set for the production.

[0126] Although the design of the capital is schematic and not intended to be realistic, its presence in the video is entirely harmonious, creating the impression that a life-size set was shot - actually present on location, rather than a small drawing superimposed on the screen. This leads to an evident conclusion: thanks to the apparatus, a simple, quickly painted sheet of paper can be used to recreate effects comparable to those of a three-dimensional, full-scale set in seamless continuity with the filmed interiors - effects that would otherwise require days of work to construct. By following the technique described in this fourth section, it is possible to achieve a remarkably effective result, in which the apparatus enables moving shots that transition smoothly from imaginary or fictional scenarios to real ones. And all in a fraction of the time.

[0127] A similar approach can be applied to the cinematic curtain technique. This method is effective due to a design that divides the television screen into two sections, maintaining continuity with only one side - either the right or the left. The curtain serves as a visual transition between scenes, which is why, unlike the previously discussed video where architectural elements were compatible with both sides of the screen, the curtain must feature a design that is clearly distinct from one of the two sides of the screen. If, on the other hand, the design functions solely as a divider and is not integrated with the background elements on either side, it results in an artistically reinterpreted version of the split-screen technique.

[0128] A further development of this technique involves the advantage that camera movements can gain from the so-called parallax error. In the previously discussed curtain example, point 5 introduced the premise of placing designs exclusively on the first layer 14. By also applying designs to the second layer 15 and moving the camera diagonally, as shown in Figure 26, the parallax error is effectively amplified. As a result, the drawings on the second layer 15 acquire their own acceleration in distancing themselves, in perspective, from the images displayed on screen S and those on the first layer 14. This is not a minor trick; it allows for a convincing imitation of a real tracking shot. Even though both layers remain stationary, camera C, as it moves closer, produces the visual effect of a tracking shot - as if filmed on a set with scenic components physically spaced apart. For this reason, if a graphic element is placed on the left side of the second layer 15, and the camera moves rightward (as in the example), the drawings will “exit the scene” with an acceleration directly proportional to camera C’s approach toward layer 15.

[0129] Digitally recreating the natural fluidity of a real tracking shot using software alone is notoriously difficult. In contrast, the example just described demonstrates how easily this effect can be achieved using the apparatus according to the invention. The results become even more striking when images containing a green screen - removable via Chroma key - are applied to the second layer 15. These can then be replaced during editing with a video that “exits” the frame with a naturally accelerated motion, generated by the parallax error as camera C moves closer.

[0130] 6. Avoiding rendering processes

[0131] The process by which animation software - or, more broadly, computergenerated imagery (CGI) applications - recreate a surface by realistically rendering all its virtually created 3D components, as influenced by light and other variables, is known as rendering. Even for modern computers equipped with powerful graphics cards, rendering remains one of the most demanding operations. Many consumergrade machines may require several hours to render a single video. With the apparatus described in this invention, however, the video camera captures any object positioned between itself and the television screen, eliminating the need to model and render digital images entirely. Moreover, when using Al-based software, subtle traces of algorithmic processing often remain visible in the final output. In contrast, the works produced manually by a single artist or user within the context of the present apparatus retain their original form in the final rendering - identical to their source and free from any signs of artificial video manipulation.

[0132] Not only that, but the apparatus can produce a wide range of optical effects depending on the type of LEDs used (let’s consider for example how the colours of the drawings produce particular effects when illuminated with purple LEDs), and more importantly, it enables very different surfaces to interact with the lighting, generating dynamic shadow movements. These surfaces may include drawings, as previously discussed, but not exclusively. While the primary medium examined is a smooth surface, other components that protrude from the design can also be affixed above, or positioned near, the two layers. Models or representations based on the bas-relief technique can be placed between the camera and the apparatus. On these, variations in lighting can produce unexpected visual effects and shadow play, which become integral to the creative process. Further details on this will be discussed in point 8 below.

[0133] In addition to LED sources, actual projectors can also be used. By applying a highly reflective paint to one of the two layers - shaped freely according to the artist’s imagination - this surface can serve as a base for reflecting projected video scenes, which are then captured by the camera positioned in front of the apparatus. While similar effects can be achieved using professional software, the operations involved are often too demanding for many amateur videographers and the apparatus available to them. Rendering digital surfaces in 3D under a single variable light source is already a complex task; the difficulty increases exponentially when using projector lights to illuminate surfaces where video scenes must appear fluidly, revealing the texture of the surface onto which the video is projected.

[0134] 7. Avoiding the need for software setup when customizing environmental elements in a video without removing them, specifically in the case of complex textures

[0135] While the previous sections of this description have relied on examples that are not particularly rich in detail, it is now useful to focus on this aspect, which is essential for appreciating additional features that enhance the apparatus. In this context, it is especially relevant to consider how the apparatus can simplify the production of a short film, particularly one with a complex plot.

[0136] Consider a video in which a long shot captures a house with a clearly visible door and window, through which part of the interior is also seen. The director guides the actors in a style consistent with the design that will cover the exterior of the house - for instance, a group of knights in front of a castle. For narrative reasons, however, the interior of the house reflects a completely different architectural style. Through the window, people and objects are visible, though difficult to identify - either because they are partially obscured by perspective, or physically distant from the camera lens on set. These elements possess unique and hard-to-describe characteristics, as they originate entirely from the video maker’s imagination. The plot requires interaction between the actors outside and those inside the house, resulting in unpredictable variations in light and colour - perhaps involving torches or lanterns.

[0137] Teaching a software to interpret all these details (and many others, even more specific and necessary) would require an enormous amount of time, as would configuring a CGI program or 3D matte painting system not based on structured data provided by programmers, but on the evolving and unpredictable imagination of a video maker.

[0138] Moreover, the need for cuts - i.e., transitions between shots - would further complicate the process. Entrusting Al-based software with the task of reconstructing long shots with expansive sets from medium shots filmed on set (or vice versa) would be impossible. The set details cropped by perspective in the medium shot cannot be interpreted by the Al according to the director’s precise vision of what they are and where they should appear in the long shot.

[0139] With the present apparatus, however, if the videographer already has some predesigned elements available, editing the final video requires very little time - and the result will always be unique, personal, and unrepeatable. Furthermore, creating colour variations in the sets filmed within the apparatus - following the method described in point 1 - is quick and intuitive. Simply introduce a light source on set and bring it close to the layers of the apparatus. Whether it’s a candle flame, a red spotlight, or any other light source, the effect will be consistent both on the set and within the apparatus. Therefore, Al-based software - despite its speed, which relies on data provided by humans or other programs - offers no advantage over the present apparatus in this regard. On the contrary, the apparatus is superior in terms of customization and creative freedom.

[0140] Globally, there are numerous applications capable of identifying human subjects and isolating them from their video backgrounds, replacing the latter with virtual environments. However, this approach presents a significant limitation: actors cannot be expected to perform convincingly while imagining scenographic elements in a set devoid of any tangible reference to the narrative. In contrast, with the present invention - as demonstrated in the wallpapered environment - the filmed actor was able to open and close a real door within an imaginary living room composed of coffered ceilings and luxurious fabrics. All of this was achieved simply and economically, without the need for large investments, painting entire warehouses green or blue, or filling them with costly apparatus to provide spatial freedom for the actors, followed by entrusting a specialized technician with the task of digitally constructing the settings using CGI.

[0141] 8. Achieving multiplane camera-like effects

[0142] With reference to Figure 34, one aspect not yet analysed is the possibility of leaving the drawings unfixed on their respective layers, allowing them to move freely, or of sliding model M, as previously mentioned in point 6. By placing the models between the camera and the television screen, and keeping the screen in focus with any drawings superimposed on the first layer, any moving object will acquire a distinctive blur in the shooting (provided appropriate lenses are used).

[0143] These moving models can recreate the perspective of a landscape both horizontally and vertically, gradually revealing its details. Alternatively, one can show a model in focus and then shift the lens focus to the television screen, either by moving the model or by making small adjustments with the video camera. Using the apparatus described in the invention for this technique offers a dual advantage: it enhances the expressive potential of focus in relation to moving objects, and it enables the recreation of a shot in a perfectly vintage cartoon style. When using the TV screen to extend the design of a scenic horizon - across which models are moved - it is generally advisable to use only the first layer, in order to avoid parallax errors caused by the light strokes described in point 1. These strokes are effective only when the camera remains stationary. To recreate a three- dimensional effect on the drawn horizon, one must rely solely on the light source from central section 10, attenuated by covering 16. The digital image in Figure 34 does not depict a horizon, but rather the drawing of a small tree D12 placed on the first layer 14. This tree can appear three-dimensional thanks to the targeted arrangement of rays from central section 10, which illuminate only the areas the artist wishes to highlight. The artist is then free to move the three-dimensional model M of a tree in front of the screen. Adding highlights to the second layer would restrict camera movement, resulting in parallax error. However, this error can also be intentionally used to create specific effects, particularly atmospheric ones. For example, by building a model of a snow-covered tree and placing a drawing in the same winter style on the first layer, with various snowflakes and crystals, the second layer can be used to add brighter crystal elements. In this scenario, the snowflakes on the second layer are not highlights of the designs on the first layer, but rather an additional visual layer that lends itself to parallax error. Camera C, positioned in front of the apparatus, could then - by moving across the scene - capture the illusion of a snowstorm.

[0144] 9. Eliminating the need for video editing software

[0145] So far, we have highlighted how the apparatus described in the invention simplifies and accelerates various post-production techniques, thanks to devices specifically designed for video production. It can also be seen as a novel solution to a longstanding challenge: the ability to edit an entire video extremely quickly, without even resorting to software. In this context, "post-production" generally includes the editing phase, where the first step involves reordering footage stored in the memory of professional video cameras - or even a modern smartphone - and importing it into software to coordinate it temporally. These operations are unavoidable and far from quick.

[0146] With the apparatus according to the invention, however, this step may not be necessary. While it is true that in many of the cases previously described (such as Chroma key or the “manual rendering” technique), footage must still be imported into software, there are also scenarios where this step - and therefore the use of editing software - can be entirely omitted. If the video maker has carefully reviewed the script and filmed the sequences for a video clip, they can simply play them back on the S television screen in the order in which they were shot and saved on the camera. If the footage is stored on a smartphone, it can be easily played back without interruption on a television screen via HDMI, wireless, or other connection methods. However, this is not just any screen - it is the one selected to work in tandem with the apparatus, adapted to blend the footage with special effects, scenery, film mattes, or any other visual elements previously described. Returning to the example of the porthole in Figures 20-22: if a large number of underwater clips are saved on a smartphone, a simple touch of the screen can trigger the chosen film matte to appear - sometimes showing schools of fish, sometimes submarines, sometimes coral reefs. Camera C can also perform movements as described in point 5, shifting the frame beyond the porthole to the seabed. All that remains is to shoot this vibrant sequence of clips using another smartphone placed in front of the apparatus, and then share the final video, on social media, for instance. In this way, a simple HDMI cable connected to a television enables the complete omission of editing software, while still allowing for artistic reworking of the footage through graphic and pictorial supports. Limiting ourselves to the example provided, the resulting productions may not be as elaborate as a full-length film (nor are social media clips expected to be), but they can still be able to quickly create impressive transitions - including the so-called "rope match" - by making videos that are not necessarily short in length.

[0147] 10. Eliminating the need for software or a graphics tablet to create, edit, or retouch digital images

[0148] In yet another aspect, the invention presents itself as a novel solution to a longstanding problem. It should be noted that, in order to make any changes to a digital image, one typically needs to import the file into drawing or photo editing software and then save a new version with the applied modifications. This seemingly simple step can become time-consuming, especially when integrating the original image with numerous retouches or adding objects imported from a camera (which must first be isolated from their layer). On top of this, the graphics card must process and save the image, often at high pixel resolutions. By contrast, placing a photograph or drawing on the S television screen - as in the example just mentioned - allows the process to begin with a digital image (displayed on the S screen) and end with a new digital image captured by the video camera positioned in front of the apparatus, for which a large number of pixels are not a problem, at least not for most modern video cameras.

[0149] This approach yields a dual benefit: it produces a new digital file while preserving all additions made on-screen, which consist of physical supports that can be reused in other contexts. Another innovative aspect of this method is the ability to dispense with a graphics tablet. The invention allows the S screen to function similarly to a graphics tablet, as the effects described in previous sections enable the user to modify a digital image by drawing on layers parallel to the screen, while also offering the advantage of creating shadows and highlights with real light gradients.

[0150] It is reasonable to believe that this advantage will be highly significant for digital design, both now and in the future. In fact, it is entirely plausible that the cost of producing a television screen will remain well below that of manufacturing a graphics tablet with a built-in display - a device that remains expensive on today’s market. This consideration is further reinforced by the size of a standard television, which is much larger than most graphics tablets and yet more affordable. Moreover, this larger size is extremely beneficial, given that graphic tablets with substantial screen dimensions are essential for designing digital sets. It is therefore clear that the invention, along with the S screen, offers a considerable advantage to artists and video makers. The present invention enables them to use a large screen as if it were a graphics tablet of equivalent size.

[0151] 11. A single device for a variety of uses

[0152] A further aspect to be emphasized, by way of summary, is the comprehensive nature of the techniques enabled by this device - techniques which, to the applicant’s knowledge, are not found in any other known machines or systems. None of these alternatives perform effectively across all the use cases examined above. Commonly used software, even when state-of-the-art and capable of addressing several of the challenges tackled by the present apparatus, remains specialized - each program designed for a specific domain. The hyper-specialization and cost of existing techniques have already been highlighted (particularly in point 7). Another factor to consider is the dispersion of potential: while a well-funded director may have access to the most advanced filmmaking systems, they still require a full studio with multiple departments to operate them. By contrast, the present invention is a portable device capable of managing multiple aspects simultaneously - an effective “all-in-one” tool that can be used to modify backgrounds on large sets, within confined spaces, or to add new and original components without obstructing camera movement. It is also a tool that can accelerate the production of video clips to the point where editing software becomes unnecessary.

[0153] The invention further enables the creation of a compact film studio at one’s fingertips, restoring the unique originality and craftsmanship of individual video makers to a central role. This is especially valuable in a context increasingly dominated by Al- based systems, which tend to depersonalize the creative process and diminish the individuality and quality of artistic expression. While Al-based software may one day produce entire films without the involvement of human actors, the present invention instead celebrates the participation of artists in designing sets around which actors can move and perform - resulting in a work of art with unexpected creative potential. To give another example, videos produced using this invention can be projected onto the big screen, perhaps interspersed with a live theatrical performance featuring the same actors who appeared in the settings created with the described apparatus.

[0154] In conclusion, the value of this invention lies not only in achieving higher quality in video editing and in modifications inspired by the matte-painting technique, but above all in the high level of craftsmanship required for its use. It is not merely a device for making videos, but a tool capable of creatively immersing physical artifacts into the editing process. Incorporating graphic and pictorial works means that only a skilled artist will be able to achieve a convincing degree of realism. This is not a flaw, but rather a strength: setting a goal that is not easily attainable fosters healthy competition and elevates the value of individual artistic skill, allowing artists to reproduce cinematographically what would otherwise require a highly specialized technician. After all, abandoning the principle of mimesis could be a deliberate choice, aimed at unleashing the broadest possible variety of graphic and pictorial techniques - whether drawn from the observation of nature, pure experimentation, or inspiration from the great masters of the past.

[0155] The present invention, which clearly includes a graphic product recorded on a physical medium, televised or streamed, and obtained using the apparatus and / or process described above, has been illustrated with reference to its preferred embodiments. It is understood that other embodiments may exist that share the same inventive core, all falling within the scope of protection defined by the claims set forth below.

Claims

CLAIMS1. An apparatus for creating a digital graphic product such as an image, a set of images, or a video, edited with post-production effects on an original graphic product, comprising: two blackout panels (1), configured to be kept parallel and spaced apart in a vertical position, resting on a surface parallel to the ground plane or directly on the ground plane, thereby laterally delimiting a shooting area (R); a first layer (14) and a second layer (15), each substantially flat and arranged vertically to extend throughout said shooting area (R) between said blackout panels (1), in a parallel and spaced relationship, wherein at least said second layer (15) is made of transparent material to allow shooting through it of said original graphic product, which is either affixed to said first layer (14) or transmitted from a flat television screen (S) arranged behind and parallel to said first layer (14), said shooting being performed by shooting means (C) that frame said shooting region (R) from an external position facing said second layer (15); an upper crossbar member (19) extending above said shooting area (R) along a horizontal axis (X) parallel to said first and second layers (14, 15), said crossbar member comprising at least fixed end sections integral with said blackout panels (1); at least one central section (10) of said upper crossbar member (19), rotatably articulated about said axis (X), and carrying a primary lighting means (11) together with a means (16) for controlling and attenuating the radiation emitted by said primary lighting means (11), said lighting means being configurable to direct light radiation toward said first and / or second layer (14, 15), thereby generating an illumination gradient between said layers; wherein at least the material of said second transparent layer (15) is apt for the application of signs, designs, or pictorial or graphicrepresentations in general (D2), and said shooting means (C) are configured to shoot said original graphic product on said first layer (14), directly illuminated by at least said primary lighting means (11), through at least said second layer (15) to which said signs, designs, or representations (D2) are applied, which in turn are also indirectly illuminated by the light reflected from said original graphic product on said first layer (14), thereby producing said edited graphic product with respect to the original graphic product transmitted by said screen (S) or affixed to said first layer (14).

2. The apparatus according to claim 1, wherein said first layer (14) and / or said second layer (15) are sheets of rigid material.

3. The apparatus according to claim 1 or 2, wherein both said first layer (14) and said second layer (15) are made of transparent material.

4. The apparatus according to claim 3, comprising a sheet (13) of rigid transparent material positioned between said blackout panels (1) and adapted to support said first layer (14), superimposed on the sheet (13) and stretched thereover.

5. The apparatus according to claim 4, wherein said rigid transparent material is Plexiglas® or glass.

6. The apparatus according to claim 1, wherein said first and second layers (14, 15) comprise respective films of transparent PVC or similar material.

7. The apparatus according to any of the previous claims, wherein said first and second layers (14, 15) are supported by respective frames (114, 115), at least one of which is movable in translation along the direction orthogonal to the plane of the first or second layer (14, 15).

8. The apparatus according to claim 7, wherein said frames are movable by means of respective wheeled carriages (114a, 115a) that can be moved on the support plane independently of each other, reference and guide means being further provided, for referring and guiding the frames with respect to a fixed structure of the apparatus, of which at least said blackout panels (1) and said fixed sections (5) of said crossbar member (19) are part.

9. The apparatus according to any of the previous claims, wherein at least one ofsaid first and second layers (14, 15) is associated with the apparatus in a removable and / or replaceable manner.

10. The apparatus according to any of the previous claims, wherein said central section (10) of said upper crossbar member is movably supported so as to vary its position by advancing and retreating at least in a direction orthogonal to said axis (X).

11. The apparatus according to claim 10, wherein said central section (10) is rotatable about said axis (X) with respect to a support bar (8), which is pivotally engaged at its ends, according to a substantially vertical pivot axis, with respective ends of two arms (7) which, with their further ends, are in turn pivotally engaged to fixed sections (5) of said upper crossbar member.

12. The apparatus according to any of the previous claims, wherein said primary lighting means (11) comprises at least one LED strip extending along said axis (X).

13. The apparatus according to any of the previous claims, wherein said means (16) for controlling and attenuating the radiation emitted by said primary illumination means (11) comprises a shielding covering (16) on which a distribution of perforations (20) is formed to selectively direct the light radiation toward specific regions of said first and second layers (14, 15).

14. The apparatus according to claim 6, wherein said central section (10) has a box-like structure housing said primary illumination means (11), with at least one open side facing said region (R) shut by said shielding covering (16).

15. The apparatus according to any of the previous claims, wherein at least one of said screen (S), said shooting means (C) and at least one additional light source (L) arranged laterally and externally to said blackout panels (1) are integrated into the apparatus, or said apparatus is provided with connection means for these components.

16. The apparatus according to any of the previous claims, wherein said blackout panels (1) have a base supporting them on the ground with a shorter side of at least 20 cm, a thickness of about 3 cm, and a height of about 100 cm.

17. The apparatus according to any of the previous claims, comprising means (6) for controlling and stopping the rotation of said central section (10) at a selected position.

18. A method for creating a digital graphic product such, as an image, a set of images, or a video, edited with post-production effects on an original graphic product using the apparatus according to any of the previous claims, comprising: transmitting said original graphic product onto said screen (S) or affixing it to said first layer (14); using at least said second layer (15) for the application of said marks, designs, or representations, or more generally, two-dimensional or three-dimensional graphics or photographs (D1, D2), created on the basis of said original graphic product and in relation to it; providing at least one additional light source (L) arranged laterally and externally to said blackout panels (1); configuring at least one of said primary lighting means (11) and said additional light source (L) to direct the light radiation toward said first and / or said second layer (14, 15), based on and in relation to said original graphic product and said signs, designs or representations in general (D1, D2), so as to determine a lighting gradient between the two layers (14, 15); shooting said original graphic product with said shooting means (C) through at least said second layer (15) with said signs, designs or pictorial or graphic representations in general (D1 , D2) applied thereto, at least said primary illumination means (11) being configured as in the previous step, to obtain said edited video product with respect to said original graphic product.

19. The method according to claim 18, wherein said original graphic product is transmitted on said screen (S), said signs, designs or representations in general (D1 , D2) being also or only applied to said first layer (14).

20. The method according to claim 18, wherein said original graphic product is affixed to said first layer (14), said signs, designs, or representations in general (D1 , D2) being applied only to said second layer (15).

21. The method according to any of claims 18 to 20, wherein the application of said signs, designs or representations in general (D1, D2) is guided by a real-time display of the image captured by said shooting means (C).

22. The method according to any of claims 18 to 21 , wherein said second layer (15) is moved to vary the focus of said signs, designs or representations in general (D1, D2) as a function of the depth of field of said shooting means (C).

23. Method according to any of claims 18 to 22, wherein said edited graphic product comprises an image or set of images presenting combinations of manual graphic representations and shades given by said lighting gradient, said edited graphic product being subjected to software treatment for digital balancing or variation of opacity and / or amalgamation with a real or realistic image of the same subject.

24. A digital graphic product such as a video, photograph, or set of photographs, recorded on physical media, televised, or streamed, obtained using the apparatus according to one or more of claims 1 to 17 and / or the method according to one or more of claims 18 to 23.

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