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by Steve Wright
Compositing Visual Effects, 2nd Edition
Cover
Title
Copyright
Contents
Introduction
Acknowledgements
Chapter 1: Visual Effects Today
1.1 Digital Compositing with CGI
1.1.1 CGI Compositing
1.1.2 Set Extension
1.1.3 Match Move
1.2 Compositing Visual Effects
1.2.1 Bluescreen Compositing
1.2.2 Motion Tracking
1.2.3 Warping and Morphing
1.2.4 Bullet Time Shots
1.2.5 Crowd Duplication
1.2.6 Atmospherics
1.2.7 Rotoscoping
1.2.8 Wire Removal
1.2.9 Scene Salvage
1.3 3D Compositing
1.4 Stereo Compositing
1.5 Stereo Conversion
1.6 Compositing Programs
1.6.1 Node-based Compositors
1.6.2 Layer-based Compositors
Chapter 2: Digital Images
2.1 Structure of Digital Images
2.1.1 The Pixel
2.1.2 Grayscale Images
2.1.3 Color Images
2.1.4 Four-channel Images
2.2 Attributes of Digital Images
2.2.1 Digitizing Images
2.2.2 Image Resolution
2.2.3 Image Aspect Ratio
2.2.4 Pixel Aspect Ratio
2.2.5 Display Aspect Ratio
2.2.6 Bit Depth
2.2.7 Floating Point
2.2.8 Multiplying Images
2.3 Image File Formats
2.3.1 Photographic Images vs. Graphics
2.3.2 Indexed Color Images (CLUT)
2.3.3 Compression
2.3.4 EXR
2.3.5 File Formats
2.4 DPI
Chapter 3: Compositing CGI
3.1 The CGI Composite
3.1.1 Scaling the Background
3.1.2 Semi-transparent Pixels
3.1.3 Summing the Layers
3.2 Multipass Compositing
3.2.1 Diffuse and Specular Passes
3.2.2 Occlusion and Shadow Passes
3.2.3 Reflection Pass
3.2.4 Creative Control
3.3 Depth Compositing
3.4 Multiplane Compositing
3.5 Sims
3.6 Particle Systems
3.7 Working with Premultiplied CGI
3.7.1 Color Correcting
3.7.2 Transformations and Filters
3.7.3 The Common Mistake
3.8 3D Compositing
3.8.1 The 3D Compositing Environment
3.8.2 Placing 3D in Live Action
3.8.3 Placing Live Action in 3D
3.8.4 Set Extensions
3.8.5 Camera Tracking
3.8.6 Small 3D Tasks
3.8.7 Conclusion
Chapter 4: Bluescreen Compositing
4.1 The Bluescreen Composite
4.1.1 Pulling the Matte
4.1.2 The Basic Composite
4.2 About Keyers
4.2.1 How Keyers Work
4.2.2 Despill
4.2.3 Color Correction
4.2.4 Scaling the Foreground and Background
4.2.5 Sum the Layers
4.2.6 The Final Composite
4.3 Helping the Keyer
4.3.1 Garbage Mattes
4.3.2 Procedural Garbage Mattes
4.3.3 Holdout Mattes
4.3.4 Degrain
4.4 Compositing Outside the Keyer
4.4.1 Merging Multiple Mattes
4.4.2 Performing the Despill
4.4.3 Color Correcting
4.4.4 The Composite
4.5 Shooting Bluescreens (and Greenscreens)
4.5.1 Lighting the Backing
4.5.2 Lighting the Talent
4.5.3 The Backing Material
4.5.4 Bluescreen vs. Greenscreen
4.5.5 Bluescreen Floors
4.5.6 Film Issues
4.5.7 Video Issues
4.5.8 Photography Tips
Chapter 5: Creating Masks
5.1 Key, Matte, Alpha, and Mask
5.2 Creating a Luma-key
5.3 Creating a Chroma-key
5.4 Creating a Mask
5.4.1 The Difference Mask
5.4.2 The Color Difference Mask
5.4.3 Geometric Primitives
5.4.4 Drawing Shapes
5.4.5 Painting a Mask
5.4.6 Combo Masks
Chapter 6: Rotoscoping
6.1 About Rotoscoping
6.2 Splines
6.3 Articulated Rotos
6.4 Interpolation
6.5 Keyframes
6.5.1 On 2’s
6.5.2 Bifurcation
6.5.3 Extremes
6.5.4 Final Inspection
6.6 Motion Blur
6.7 Semi-transparency
Chapter 7: Image Blending
7.1 The Mix Operation
7.2 The Multiply Operation
7.3 The Screen Operation
7.4 The Maximum Operation
7.5 The Minimum Operation
7.6 The Add Operation
7.7 The Subtract Operation
7.8 No-change Summary Table
7.9 Adobe Photoshop Blending Modes
7.10 Speed Changes
7.10.1 Skip Print/Frame Duplication
7.10.2 Frame Averaging
7.10.3 Optical Flow
Chapter 8: Animation
8.1 Transforms and Pixels
8.2 Filters
8.3 Pivot Points
8.4 Transformation Order
8.5 Keyframe Animation
8.6 Motion Blur
8.7 Motion Tracking
8.8 Stabilizing a Shot
8.9 Planar Tracking
8.9.1 How Planar Tracking Works
8.9.2 What Planar Tracking is Used for
8.10 Match Move
8.11 The Wonder of Warps
8.11.1 Mesh Warps
8.11.2 Spline Warps
8.11.3 Procedural Warps
8.12 The Magic of Morphs
Chapter 9: The Art of Compositing
9.1 Color Correcting
9.1.1 The Black and White Points
9.1.2 Gamma
9.1.3 Color
9.1.4 Color Adjustments
9.1.5 Pre-balancing the Color Channels
9.1.6 Gamma Slamming
9.2 Matching Layer Attributes
9.2.1 Grain Structure
9.2.2 Depth of Field
9.2.3 Shadows
9.2.4 Lens Distortion
9.3 Sweetening the Composite
9.3.1 Light Wrap
9.3.2 Edge Blend
9.3.3 Layer Integration
9.3.4 Artistic Embellishment
9.4 A Checklist
9.4.1 Color Correction
9.4.2 Lighting
9.4.3 Layer Attributes
Chapter 10: Scene Salvage
10.1 Dust-busting
10.2 Wire Removal
10.3 Rig Removal
10.4 Hair Removal
10.5 Scratch Removal
10.6 Light Leaks
10.7 Deflicker
Chapter 11: Working with Video
11.1 SDTV (Standard Definition Television)
11.1.1 Coping with Interlaced Video
11.1.2 Coping with Non-square Pixels
11.1.3 Coping with Color Sub-sampling
11.1.4 Coping with Edge Enhancement
11.1.5 Coping with Frame Rates
11.1.6 Coping with Timecode
11.2 HDTV (High Definition Television)
11.2.1 Image Size
11.2.2 Scan Modes
11.2.3 Frame Rates
11.2.4 Nomenclature
11.2.5 Anamorphic HD
11.2.6 The 24P Master
11.3 Title Safe
11.4 3:2 Pull-down
11.5 3:2 Pull-up
11.6 DV Compression Artifacts
Chapter 12: Working with Film
12.1 Capture vs. Display Formats
12.2 Academy and Full Aperture
12.3 Projection Formats
12.3.1 2.35
12.3.2 1.85
12.3.3 1.66
12.4 Cinemascope
12.5 VistaVision
12.6 3-perf Film
12.7 70mm Film
12.8 Super 16 Film
12.9 Fitting Film into Video
12.9.1 Letterbox
12.9.2 Pan and Scan
12.9.3 HTDV
12.9.4 Title Safe
12.10 Digitizing Film
12.11 Log Film Data
12.12 Recording Film
12.13 The Digital Intermediate Process
12.13.1 Editing the Film
12.13.2 Color Correcting
12.13.3 The Print Master
12.13.4 How DI Works
12.13.5 DI and You
Chapter 13: Digital Capture
13.1 Introduction
13.2 Image Sensors
13.2.1 Bayer Array
13.2.2 CCD Arrays
13.3 HDR Images
13.3.1 LDR vs. HDR Images
13.3.2 HDR Images on LDR Displays
13.3.3 HDR Cinema Clips
13.3.4 HDR Still Pictures
13.4 Log Images
13.4.1 The Virtue of Log
13.4.2 What is Log?
13.4.3 Working with Log Images
Chapter 14: Stereo Compositing
14.1 Introduction
14.2 Stereography
14.2.1 Stereo Cinematography
14.2.2 Viewing Stereo
14.2.3 Stereo Space
14.2.4 Convergence
14.3 Stereo Compositing
14.3.1 Prepping the Stereo Plates
14.3.2 Compositing Greenscreen Shots
14.3.3 Compositing CGI
14.4 Stereo Conversion
14.4.1 The Rubber Sheet Method
14.4.2 Separate Layers
14.4.3 The Semi-transparency Problem
14.4.4 Rotoscoping
14.4.5 Keying and Painting
14.4.6 Creating the Depth Map
14.4.7 Stereo Paint
14.4.8 Clean Plates
14.4.9 Depth Grading
Chapter 15: Life of a VFX Shot
15.1 Introduction
15.2 Sylvia Binsfeld—Writer, Director, Producer
15.3 The Dorme Storyboard
15.4 Svetlana Cvetko—DP
15.5 Nicholas Barnes—3D Generalist
15.6 Steve Wright—Senior Compositor
15.7 Conclusion
Glossary
Index
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Compositing Visual Effects
Essentials for the Aspiring Artist
Steve Wright
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