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Digital Compositing For Film And Video, 2nd Edition
Digital Compositing For Film And Video, 2nd Edition

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Product Code: 11287


Steve Wright

Digital Compositing for Film and Video is a hands-on, how-to guide that addresses the problems and difficult choices faced by the professional compositor in real-life situations. This book presents you with tips, tricks and techniques for dealing with the badly shot elements, color artifacts, and mismatched lighting that bedevil compositors. Included in this book is: in-depth, practical methods for bluescreen matte extraction, despill operations, compositing operations, and color correction_the "meat and potatoes" of all digital effects. Written in a completely software independent style, it is totally applicable to any brand of compositing software.
The second edition contains many important additions:
printed in full color with over 400 color photos and illustrations
companion DVD with 3.7 gigabytes of test images, including hard to get HiDef video and feature film scans
new section on working with HiDef video
new section on digital intermediate, the feature film finishing process of today
more Adobe Photoshop blending modes and procedures
new material that reveals the add-mix composite, light wrap, slot gags, and how to defeat banding problems
Chapter 1 _ Introduction
1.1 How this book is organized
1.2 Tool conventions
1.2.1 The slice tool
1.2.1 Flowgraphs
1.2.3 The color curve
Chapter 2 _ Pulling Mattes
2.1 Luma-key mattes
2.1.1 how luma-key mattes work
2.1.2 making your own luminance image variations on the luminance equation non-luminance monochrome images
2.1.3 making your own luma-key mattes
2.2 chroma-key mattes
2.2.1 how chroma-key mattes work
2.2.2 making your own chroma-keyer
2.3 difference mattes
2.3.1 how difference mattes work
2.3.2 making your own difference matte
2.4 bump maps
2.5 keyes
2.6 color difference mattes
2.6.1 extracting the color difference matte the theory pulling the raw matte a simplified example a slightly more realistic case and now, the real world matte edge penetration
2.6.2 scaling the raw matte
2.6.3 refining the color difference matte preprocessing the greenscreen local suppression channel clamping channel shifting degraining
2.6.4 poorly lit greenscreens too bright too dark impure greenscreens uneven lighting
2.6.5 screen leveling
2.6.6 screen correction screen correction with Ultimatte doing your own screen correction
Chapter 3 _ Refining Mattes
3.1 the matte monitor
3.2 garbage matting
3.3 filtering the matte
3.3.1 noise suppression
3.3.2 softer edges
3.3.3 controlling the blur operation the blur radius the blur percentage
3.3.4 blurring selected regions
3.4 adjusting the matte size
3.4.1 shrinking the matte with blur and scale
3.4.2 expanding the matte with blur and scale
Chapter 4 _ Despill
4.1 the despill operation
4.2 despill artifacts
4.3 despill algorithms
4.3.1 green limited by red implementing the algorithm the spillmap
4.3.2 green limited by blue
4.3.3 green by averaged of red and blue
4.3.4 green limited by other formulations
4.4 refining the despill
4.4.1 channel shifting
4.4.2 spillmap scaling
4.4.3 mixing despills
4.4.4 matting despills together
4.4.5 blue degraining
4.5 unspill operations
4.5.1 how to set it up
4.5.2 grading the backing color
Chapter 5 _ The Composite
5.1 the compositing operation
5.1.1 inside the compositing operation scaling the foreground layer scaling the background layer compositing the foreground and background
5.1.2 making a semi-transparent composite
5.2 the processed foreground method
5.2.1 creating the processed foreground
5.2.2 compositing the processed foreground
5.2.3 some issues residual grain uneven backing colors
5.3 add-mix compositing
5.3.1 when to use it
5.3.2 how it works
5.3.3 how to control it
5.3 refining the composite
5.3.1 edge blending
5.3.2 soft comp/hard comp
5.3.3 layer integration
5.4 compositing CGI images
5.4.1 the premultiplied CGI image
5.4.2 the unpremultiplied CGI image the zero black alpha pixel problem the partially transparent alpha pixel problem
5.4.3 adjusting the composite for unpremultiplied CGI
5.4.4 unpremultiply highlight clipping what goes wrong how to fix it
5.5 other ways to blend images
5.5.1 the screen operation (no label _ ooops) adjusting the appearance
5.5.2 the weighted screen operation
5.5.3 multiply adjusting the appearance
5.5.4 maximum
5.5.5 minimum
5.6 Adobe Photoshop blending modes
5.6.1 overlay
5.6.2 softlight
5.6.3 hardlight
5.6.4 vividlight
5.6.5 linearlight
5.7 _slot gags"
5.7.1 when to use them
5.7.2 how to make them
5.7.3 how to animate them
Chapter 6 _ Lighting
6.1 the color of nature
6.1.1 visible light
6.1.2 the color of lights color temperature
6.1.3 the effects of filters
6.1.4 the color of objects
6.2 the behavior of light
6.2.1 the inverse square law
6.2.2 diffuse reflections
6.2.3 specular reflections
6.2.4 interactive lighting
6.2.5 scattering
6.3 matching the lightspace
6.3.1 brightness and contrast matching the black and white points increasing the contrast with the _S" curve when you don't have good black and white points matching the midtone gamma slamming histogram matching
6.3.2 color matching grayscale balancing matching the fleshtones the _constant green" method of color correction daylight specular highlights
6.3.3 light direction
6.3.4 quality of light sources creating softer lighting creating harsher lighting
6.3.5 interactive lighting
6.3.6 shadows edge characteristics density color faux shadows
6.3.7 atmospheric haze
6.3.8 non-linear color correction masks edge control large area control
6.3.9 how to add a glow
6.3.8 a checklist
Chapter 7 _ Camera
7.1 matching the focus
7.1.1 using a blur for defocus
7.1.2 how to simulate a defocus
7.1.3 focus pull
7.1.4 sharpening sharpening kernels unsharp masks making your own unsharp mask
7.2 depth of field
7.3 lens flare
7.3.1 creating and applying lens flares
7.3.2 animating lens flares
7.3.3 channel swapping
7.4 veiling glare
7.5 grain
7.5.1 the nature of grain
7.5.2 making grain generating the grain applying the grain
7.5.3 matching the grain of two film layers
7.5.4 adding grain to grainless layers
7.5.5 making a grainless plate with frame averaging
7.6 a checklist
Chapter 8 _ Action
8.1 geometric transformations
8.1.1 2D transformations translation floating point versus integer source and destination movement rotation pivot points scaling and zooming pivot points skew corner pinning
8.1.2 3D transformations
8.1.3 filtering the effects of filtering twinkling starfields choosing a filter
8.1.4 lining up images offset mask lineup display edge detection lineup display the pivot point lineup procedure
8.2 motion tracking
8.2.1 the tracking operation selecting good tracking targets enable/disable tracking points keep shape and follow shape
8.2.2 applying the tracking data
8.2.3 stabilizing the repo problem smoothing
8.2.4 3D motion tracking
8.2.5 tips and techniques tracking preview low-resolution/high-resolution tracking preprocessing the shot increase the contrast degrain lens distortion point stacking difference tracking
8.3 warps and morphs
8.3.1 warps
8.3.2 morphs
8.3.3 tips and techniques
Chapter 9 _ Gamma
9.1 what is gamma
9.2 the effects of gamma changes on images
9.3 the 3 gammas of a display system
9.3.1 monitor gamma
9.3.2 monitor gamma correction the monitor LUT
9.3.3 the end-to-end gamma
9.4 measuring your monitor gamma
9.5 the dim surround effect
9.5.1 dim surround for TV
9.5.2 dark surround for film
9.6 the gamma of video
9.7 the gamma of film
9.8 gamma and the Mac
9.9 monitor display temperature
9.9.1 black body radiation
9.9.2 your monitor temperature
Chapter 10 _ Video
10.1 getting video to and from a workstation
10.2 how video works
10.2.1 frame construction the scanning raster interlaced fields effects on motion blur field dominance color resolution
10.2.2 NTSC and PAL differences frame rate NTSC drop frame time code PAL image size NTSC PAL pixel aspect ratio NTSC PAL country standards
10.2.3 types of video component video composite video digital and analogue interlaced vs progressive scan
10.2.4 video formats the all-digital formats Sony consumer/commercial HiDef (delete)
10.3 HiDef Video
10.3.1 image sizes
10.3.2 scan modes progressive interlaced progressive segmented frame
10.3.3 video tape formats D5 Hdcam DVCPro
10.4 Video compression
10.4.1 sampling schemes
10.4.2 data compression
10.3 telecine
10.3.1 the 3:2 pulldown
10.3.2 pin registration
10.3.3 recommendations to the client
10.4 working with video
10.4.1 de-interlacing scan line interpolation field averaging field separation
10.4.2 the 3:2 pullup
10.4.3 non-square pixels manipulating an existing video image creating a new image for video PAL pixels
10.4.4 interlace flicker
10.5 working with video in a film job
10.5.1 best video formats
10.5.2 video mastered on video
10.5.3 video mastered on film
10.5.4 gamma correction
10.5.5 frame size and aspect ratio
10.5.6 cropping non-square pixel frames
10.6 working with film in a video job
10.7 working with CGI in a video job
Chapter 11 _ Film
11.1 terms and definitions
11.1.1 conversions
11.1.2 apertures
11.1.3 composition
11.1.4 aspect ratio
11.1.5 image resolutions
11.2 film formats
11.2.1 full aperture super 35 common top and common center
11.2.2 academy aperture
11.2.3 cinemascope working with Cscope reformatting other formats to Cscope
11.2.4 vistavision
11.25 65/70mm
11.26 IMAX
11.3 film scanners
11.4 film recorders
11.4.1 how film recorders work
11.4.2 comparison of laser vs crt film recorders
11.4.3 calibrating the workstation to the film recorder dark surround contrast ratio primary colors film layer effects monitor calibration
Chapter 12 _ Log vs. Linear
12.1 dynamic range in the real world
12.2 the behavior of film
12.2.1 film response curves
12.2.2 exposure
12.2.3 the balloon story
12.2.4 meanwhile, back at the film_
12.2.5 opacity
12.3 representing film data in log format
12.3.1 the three film zones
12.3.2 the three reference points
12.3.3 over and under exposure
12.4 digitizing film
12.4.1 linear data problems banding data inflation limited dynamic range
12.4.2 log data virtues banding full dynamic range data efficiency conclusion
12.5 bit depth
12.5.1 affect on images
12.5.2 changing bit depth
12.5.3 coping with low bit depth eliminating banding the moray mask
12.6 issues of gamut
Chapter 13 _ Working with log images
13.1 converting Cineon log images
13.1.1 log to linear conversions the conversion parameters the white reference the black reference display gamma customizing the conversion parameters soft clip
13.1.2 linear to log conversions the conversion parameters the white reference the black reference display gamma
13.2 working with Cineon log images
13.2.1 viewing cineon log images
13.2.2 color correcting
13.2.3 compositing log images converting log to linear the compositing operation converting back to log color correction transparency
13.2.4 compositing a linear image with log images
13.2.5 the screen operation screening a linear image with a log image the weighted screen
13.2.6 matte paintings tips and techniques
13.2.7 CGI rendering compositing
13.2.8 transformations and blur operations
Additional Info
    • Publisher: Focal Press
    • Page Count: 472
    • ISBN#: 978-0-240-80760-7