Compositing visual effects essentials for the aspiring artist
Put the essential concepts and techniques of digital compositing to work for you without the need of a single mathematical equation. Compositing Visual Effects is lavishly illustrated with hundreds of film shots, figures, illustrations and diagrams to help the visual reader gain a valuable vocabular...
| Otros Autores: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, Mass. :
Focal Press, an imprint of Elsevier
2008.
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627523906719 |
Tabla de Contenidos:
- Compositing Visual EffectsEssentials for the Aspiring Artist; Copyright; Contents; Introduction; Acknowledgements; Chapter1 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 Compositing Programs; 1.3.1 Node-Based Compositors; 1.3.2 Layer-Based Compositors; Chapter2 Digital Images
- 2.1 Structure of Digital Images2.1.1 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 Dots Per Inch (DPI); Chapter3 Compositing CGI; 3.1 The CGI Composite; 3.1.1 Scaling the Background
- 3.1.2 Semi-Transparent Pixels3.1.3 Summing the Layers; 3.2 Multipass Compositing; 3.2.1 Diffuse and Specular Passes; 3.2.2 Occlusion and Shadow Passes; 3.2.3 Re. ection 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; Chapter4 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 Background4.2.5 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
- Chapter5 Creating Masks5.1 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; Chapter6 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; Chapter7 Image Blending; 7.1 The Mix Operation; 7.2 The Multiply Operation
- 7.3 The Screen Operation
