Professional digital compositing essential tools and techniques
Learn professional secrets of digital compositing with this detailed guide After filming is done, digital compositors move in to manipulate color, retouch, and perform other behind-the-scenes tricks that are necessary to improve or finalize movies, games, and commercials. Now you can learn their sec...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Indianapolis, Ind. :
Wiley Pub
c2010.
|
| Edición: | 1st edition |
| Colección: | Serious skills Professional digital compositing
|
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627861206719 |
Tabla de Contenidos:
- Professional Digital Compositing: Essential Tools and Techniques; Acknowledgments; About the Author; Contents; Introduction; Who Should Buy This Book; After Effects and Nuke; The Companion DVD; Naming Conventions; How to Contact the Author; Chapter 1: Setting Up a Composite; Compositing Challenge; Compositing Examples; Layers vs. Nodes; Resolutions and Frame Rates; Setting Up a Composite; Interview: Dorne Huebler, Industrial Light & Magic, San Francisco; Interview: Michael Coleman, Adobe, Seattle, Washington; Interview: Richard Shackleton, The Foundry, London
- Chapter 2: Choosing a Color SpaceColor Theory Overview; Color Space and Monitor Calibration; Understanding Bit Depth; Bit Depth Conversions; Log vs. Linear; Integer vs. Float; Favored Image Formats; Working with Color Space; Interview: Jason Greenblum, Sony Pictures Imageworks; Interview: Rod Basham, Imaginary Forces, Hollywood; Chapter 3: Interpreting Alpha and Creating Mattes; Alpha Support and Premultiplication; Fundamental Math Operations; Chroma Key; Working with Alpha; Interview: Johnathan R. Banta, Zoic Studios, Culver City, California; Chapter 4: Channel Manipulation
- Histograms and Tonal RangesWorking with Channel Manipulation; Interview: Andy Davis, Method Studios, Santa Monica, California; Chapter 5: Transformations and Keyframing; Understanding Transformations; Working with Transformations; Interview: Erik Winquist, Weta Digital, Wellington, New Zealand; Interview: Darren Poe, Digital Domain, Venice, California; Chapter 6: Convolution Filters; Filter Matrices; Working with Filters; Interview: Alex Lovejoy, The Mill NY, New York City; Chapter 7: Masking, Rotoscoping, and Motion Tracking; Mattes vs. Masks; The History of Rotoscoping
- Rotoscoping ApproachesMotion Tracking Overview; Applying Masking and Tracking Techniques; Interview: Entae Kim, Freestyle Collective, New York City; Chapter 8: DI, Color Grading, Noise, and Grain; Digital Intermediates; Color Grading without DI; Noise and Grain; Working with Noise and Grain; Interview: Shawn Jones, NT Picture & Sound, Hollywood; Chapter 9: Integrating Render Passes; Dividing a CG Render; Working with Render Passes; Interview: Dan Rice, Blur Studio, Venice, California; Chapter 10: Warps, Optical Artifacts, Paint, and Text; Warping and Morphing; Adding Text
- Adding Optical ArtifactsPainting in the Composite; Interview: Aron Baxter, Guava /Nice Shoes, New York City; Chapter 11: Working with 2.5D and 3D; 2D vs. 2.5D vs. 3D; Compositing 2.5D and 3D; Interview: David Schnee, Tippett Studio, Berkeley, California; Interview: Aaron Vasquez, Click 3X, New York City; Chapter 12: Advanced Techniques; High Dynamic Range Images; Stereoscopic 3-D; Time Warping and Optical Flow; Working with Advanced Techniques; Interview: Jerry van der Beek, Little Fluffy Clouds, Marin, California; Interview: Tonya Smay, Freelance /Stardust Studios, New York City
- Interview: Chris Staves, Justin Lane, and Jeffrey Dates, MassMarket /Psyop, New York City
