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The Art and Science of Digital Compositing - Techniques for Visual Effects, Animation and Motion Graphics
Ron Brinkmann
Verlag Elsevier Trade Monographs, 2008
ISBN 9780080879260 , 704 Seiten
2. Auflage
Format PDF
Kopierschutz DRM
Front Cover
1
The Art and Science of Digital Compositing: Techniques for Visual Effects, Animation and Motion Graphics
4
Copyright Page
5
Contents
6
Introduction to the Second Edition
14
Chapter 1 Introduction to Digital Compositing
22
Definition
23
Historical Perspective
24
Terminology
28
Organization of the Book
32
Chapter 2 Learning to See
36
Judging Color, Brightness, and Contrast
37
Light and Shadow
40
The Camera
48
Resolution Limits
48
Focus and Depth of Field
51
Lens Flares and Other Lens Artifacts
53
Motion Blur
60
Depth, Distance, and Perspective
62
Perspective and the Camera
63
Depth Cues
66
Visual "Correctness"
72
Chapter 3 The Digital Representation of Visual Information
74
Image Generation
74
Pixels, Components, and Channels
76
Spatial Resolution
80
Bit Depth
81
Normalized Values
84
Beyond Black and White
85
Floating-point and High Dynamic Range Imagery (HDRI)
92
The HSV Color Representation
95
The YUV Color Representation
98
Image Input Devices
101
Digital Image File Formats
102
File Format Features
103
Variable Bit Depths
103
Different Spatial Resolutions
103
Compression
103
Comment Information in a Header
103
Additional Image Channels
103
Vendor-specific File Format Implementations
104
Compression
104
Run-length Encoding
104
Lossy Compression
107
Chroma Subsampling
108
Image Sequence Compression
111
Choosing a File Format
111
Nonlinear Color Encoding
112
Chapter 4 Basic Image Manipulation
114
Terminology
115
Color Manipulations
118
RGB Multiply
118
Add
119
Gamma Correction
121
Invert
123
Contrast
124
Channel Swapping
127
HSV Manipulations
128
Look-up Table Manipulations
129
Expression Language
131
Spatial Filters
134
Convolves
134
Blurring
137
Sharpen
140
Median Filter
145
Geometric Transformations
146
Panning
147
Rotation
150
Scale
151
3D Transforms
154
Warping
156
Expression Language
159
Filtering Algorithms
160
Motion Blur
165
Chapter 5 Basic Image Compositing
170
Multisource Operators
170
Add
170
Subtract
172
Mix
174
The Matte Image
175
The Integrated Matte Channel
178
Over
179
Additional Operators
181
Multiply
183
Screen
183
Maximum and Minimum
187
In
189
Out
190
Atop
191
Masks
193
Compositing with Premultiplied Images
195
Color Correcting and Combining Premultiplied Images
199
Luminosity and the Image–Matte Relationship
202
Morphing
204
Chapter 6 Matte Creation and Manipulation
210
Rotoscoping
213
Techniques
216
Motion Blur
224
Limitations
227
Procedural Matte Extraction
227
Keying Based on Luminance
228
Keying Based on Chrominance
231
The Color Difference Method
235
Difference Matting
239
Specialized Keying Software
240
Matte Manipulations
243
Checking the Solidity of your Matte
244
Garbage Mattes
244
Edge Mattes
248
Combining Mattes
249
Image Processing on Mattes
249
Chapter 7 Time and Temporal Manipulations
254
Apparent Motion
254
Temporal Resolution
255
Temporal Artifacts
256
Changing the Length or Timing of a Sequence
257
Keyframing
265
Chapter 8 Image Tracking and Stabilization
270
Tracking an Element into a Plate
271
Choosing the Feature to Track
273
Limiting the Search Area
275
Human Intervention
276
Using Tracking Curves Manually
277
Tracking Multiple Points
278
Stabilizing a Plate
279
Camera Tracking
283
Chapter 9 Interface Interactions
284
Workflow
285
The Evolution of Interactivity
287
Methods of Representing the Compositing Process
289
Layer Lists
290
Trees
291
Compressed Branches
294
Timelines
296
Curve Editors
298
Working with Proxy Images
302
Image Viewing and Analysis Tools
303
Image Viewers
304
Pixel or Regional Information Tools
306
Histograms
308
Chapter 10 Film Formats: Media, Resolution, and Aspect Ratios
312
Aspect Ratio
314
Nonsquare Pixels
315
Deciding on a Resolution When You Have an Aspect Ratio
317
Format Conversion Pipeline
318
A Format Conversion Example
320
Film Formats
323
Common 35 mm Formats
324
16 mm Formats
326
Specialized Film Formats
327
Video Formats
329
Fields
329
Color Resolution
332
Gamma
333
Common Video Formats
333
Other Formats
335
Working with Nonsquare Pixels
335
Converting and Combining Formats
340
Converting between Film and Video
344
Chapter 11 Quality and Efficiency
348
Quality
348
Efficiency
349
Production Methodologies
349
Minimizing Data Loss
350
Internal Software Accuracy
354
Consolidating Operations
357
Region of Interest
361
Working in a Networked Environment
362
Disk Usage
362
Precompositing
363
Chapter 12 Creating Elements
366
Lighting
367
Interactive Lighting
369
Matched Cameras
370
The Reference Stand-in
372
Clean Plates
374
Film Stock
374
Filters
377
Choosing a Format
377
Lighting and Shooting with Bluescreens
379
Bluescreen versus Greenscreen
385
Shooting Order
387
Chapter 13 Additional Integration Techniques
388
Scene Continuity
390
Color and Lighting
390
Lighting
391
Light Wrapping
392
Shadows
397
Digital Color Matching
400
Spill Suppression
403
Atmosphere
409
Camera Characteristics
410
Camera Mismatches
410
Camera Movements
414
Scale and Perspective
415
Focus
416
Motion Blur
418
Lens Flares
419
Film Grain and Sensor Noise
420
Chapter 14 Advanced and Related Topics
426
The Digital Representation of Images, Revisited
426
High Dynamic Range Imaging
427
Color Reproduction
435
Working with Limited Bit Depth
438
Conclusions
449
3D Compositing
449
Working with CG Elements
456
Z-Depth Compositing
458
Multi-pass Rendering
469
Related 2D Disciplines
476
Digital Painting
477
Editing
478
The Digital Intermediate
479
Chapter 15 Case Studies
482
James and the Giant Peach
482
Speed
485
Independence Day
487
The Prince of Egypt
491
Budweiser Lizards Commercial
497
Titanic
499
A Gentlemen's Duel
504
Battlestar Galactica
511
Carlton Draught "Big Ad"
515
Chronicles of Narnia: The Lion, the Witch, and the Wardrobe
520
Golden Compass
525
The Incredibles
528
I, Robot
531
King Kong
535
Lost
541
The Lord of the Rings: The Return of the King
545
The Orion Nebula from The Hubble Space Telescope
549
Sin City
557
Sky Captain and the World of Tomorrow
560
Spider-Man 2
568
Underworld: Evolution
575
Wallace and Gromit: The Curse of the Were-Rabbit
582
Star Wars: Episode 3—Revenge of the Sith
588
Breaking Down the Shot—ccm436
589
Creating the Background
591
Creating the Foreground
595
Effects
607
Final Assembly and Reframing
612
Summary
614
Appendix A: Digital Compositing Software: Tools and Features
616
Color Corrections
617
Filters
618
Geometric Transformations and Warps
619
Image Combination
620
Field Controls
621
Matte Generation
621
Timing and Animation
622
Image Generation
622
Tracking
622
Control
623
Other
623
Appendix B: Digital Image File Formats
626
Common Image File Formats
626
The Cineon File Format
627
The OpenExr File Format
633
Using OpenEXR for Visual Effects Production
633
Abstract
633
Floating-point Pixels
634
Compression
635
Open Source
636
How OpenEXR is used at ILM
636
Color Management
636
Why not Cineon/DPX?
637
Real-time Playback
638
References
639
Appendix C: Common Film and Video Formats
640
Film
640
Scanning Resolutions and File Sizes
641
Digital Cinema Projection
645
Video
645
Aspect Ratios
646
Resolutions
646
Interlacing
647
Frame Rates
647
Bibliography
648
Glossary
652
A
652
B
655
C
657
D
661
E
664
F
666
G
669
H
670
I
671
J
672
K
673
L
673
M
675
N
677
O
678
P
679
Q
682
R
682
S
683
T
688
U
691
V
692
W
693
X
694
Y
694
Z
694
Index
696
A
696
B
696
C
696
D
698
E
698
F
699
G
699
H
700
I
700
J
701
K
701
L
701
M
702
N
702
O
702
P
702
Q
703
R
703
S
703
T
704
U
705
V
705
W
705
Y
705
Z
705
