Digital Compositing for Film and Video. (Record no. 962845)

001 - CONTROL NUMBER
control field EBL535302
006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS
additional material characteristics m d
007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION
fixed length control field cr -n---------
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 161219s2013||||||| s|||||||||||eng|d
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9780240813103
Terms of availability 89.93 (NL),74.94 (3U),59.95 (1U)
035 ## - SYSTEM CONTROL NUMBER
System control number EBL535302
035 ## - SYSTEM CONTROL NUMBER
System control number (OCoLC)645093368
040 ## - CATALOGING SOURCE
Original cataloging agency AU-PeEL
Language of cataloging eng
Transcribing agency AU-PeEL
Modifying agency AU-PeEL
050 #4 - LIBRARY OF CONGRESS CALL NUMBER
Classification number TR850 -- .W75 2010
082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number 778.5345
090 ## - LOCALLY ASSIGNED LC-TYPE CALL NUMBER (OCLC); LOCAL CALL NUMBER (OCLC)
Classification number (OCLC) (R) ; Classification number, CALL (RLIN) (NR) TR850 -- .W75 2010
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Wright, Steve.
245 10 - TITLE STATEMENT
Title Digital Compositing for Film and Video.
250 ## - EDITION STATEMENT
Edition statement 3rd ed.
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Place of publication, distribution, etc Burlington :
Name of publisher, distributor, etc Taylor and Francis,
Date of publication, distribution, etc 2013.
300 ## - PHYSICAL DESCRIPTION
Extent 1 online resource (513 p.)
490 0# - SERIES STATEMENT
Series statement eBooks on Demand
505 0# - FORMATTED CONTENTS NOTE
Formatted contents note Digital Compositing for Film and Video -- Copyright -- Contents -- Acknowledgements -- Preface -- Chapter 1: Introduction -- 1.1 What's New in the Third Edition -- 1.1.1 Stereo Compositing -- 1.1.2 Multi-Pass CGI Compositing -- 1.1.3 3D Compositing -- 1.2 Special Features -- 1.2.1 Adobe Photoshop -- 1.2.2 Production Tips -- 1.2.3 Dvd Videos -- 1.2.4 Dvd Production Exercises -- 1.3 How This Book Is Organized -- Part I: Making the Good Composite -- Part II: The Quest for Realism -- Part III: Things You Should Know -- 1.4 Tool Conventions -- 1.4.1 The Slice Tool -- 1.4.2 Flowgraphs
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note 1.4.3 The Color Curve -- 1.4.4 Data Conventions -- 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 -- 2.1.2.1 Variations on the Luminance Equation -- 2.1.2.2 Nonluminance Monochrome Images -- 2.1.3 Making Your Own Luma-Key Matte -- 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 Mattes -- 2.5 Keyers -- 2.6 Color Difference Mattes
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note 2.6.1 Extracting the Color Difference Matte -- 2.6.1.1 The Theory -- 2.6.1.2 Pulling the Raw Matte -- 2.6.1.3 A Simplified Example -- 2.6.1.4 A Slightly More Realistic Case -- 2.6.1.5 And Now, the Real World -- 2.6.1.6 Matte Edge Penetration -- 2.6.2 Scaling the Raw Matte -- 2.6.3 Refining the Color Difference Matte -- 2.6.3.1 Preprocessing the Greenscreen -- 2.6.3.2 Local Suppression -- 2.6.3.3 Channel Clamping -- 2.6.3.4 Channel Shifting -- 2.6.3.5 Degraining -- 2.6.4 Poorly Lit Greenscreens -- 2.6.4.1 Too Bright -- 2.6.4.2 Too Dark -- 2.6.4.3 Impure Greenscreens -- 2.6.4.4 Uneven Lighting
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note 2.6.5 Screen Leveling -- 2.6.6 Screen Correction -- 2.6.6.1 Screen Correction with Ultimatte -- 2.6.6.2 Doing Your Own Screen Correction -- 2.7 Adobe After Effects Matte -- Chapter 3: Refining Mattes -- 3.1 The Matte Monitor -- 3.2 Garbage Mattes -- 3.3 Filtering the Matte -- 3.3.1 Noise Suppression -- 3.3.2 Softer Edges -- 3.3.3 Controlling the Blur Operation -- 3.3.3.1 The Blur Radius -- 3.3.3.2 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
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note Chapter 4: Despill -- 4.1 The Despill Operation -- 4.2 Despill Artifacts -- 4.3 Despill Algorithms -- 4.3.1 Green Limited by Red -- 4.3.1.1 Implementing the Algorithm -- 4.3.1.2 The Spillmap -- 4.3.2 Green Limited by Blue -- 4.3.3 Green by Average of Red and Blue -- 4.3.4 Green Limited by Other Formulations -- 4.3.4.1 Limit Green to 90% of the Red Channel -- 4.3.4.2 Limit Green to Exceeding the Average of the Red and Blue by 10% -- 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
505 8# - FORMATTED CONTENTS NOTE
Formatted contents note 4.5 Unspill Operations
520 ## - SUMMARY, ETC.
Summary, etc This practical, hands-on guide addresses the problems and difficult choices that professional compositors face on a daily basis. You are presented with tips, techniques, and solutions for dealing with badly shot elements, color artifacts, mismatched lighting and other commonly-faced compositing obstacles. Practical, in-depth lessons are featured for bluescreen matte extraction, despill operations, compositing operations, as well as color-correction. The book is presented entirely in an application-agnostic manner, allowing you to apply lessons learned to your compositing regardless of the soft
588 ## -
-- Description based upon print version of record.
650 #4 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Cinematography -- Special effects.
650 #4 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Computer graphics.
650 #4 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Image processing -- Digital techniques.
650 #4 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element Video recording.
655 #0 - INDEX TERM--GENRE/FORM
Genre/form data or focus term Electronic books.
776 08 - ADDITIONAL PHYSICAL FORM ENTRY
Display text Print version:
Main entry heading Wright, Steve
Title Digital Compositing for Film and Video
Place, publisher, and date of publication Burlington : Taylor and Francis,c2013
International Standard Book Number 9780240813097
856 40 - ELECTRONIC LOCATION AND ACCESS
Public note
Uniform Resource Identifier <a href="http://uttyler.eblib.com/patron/FullRecord.aspx?p=535302">http://uttyler.eblib.com/patron/FullRecord.aspx?p=535302</a>
Link text
901 ## - LOCAL DATA ELEMENT A, LDA (RLIN)
Platform EBL
942 ## - ADDED ENTRY ELEMENTS (KOHA)
Koha item type Electronic Book
Source of classification or shelving scheme
Holdings
Withdrawn status Lost item Source of classification or shelving scheme Damaged status Not for loan Permanent Location Current Location Shelving location Date acquired Full call number Barcode Date last seen Uniform Resource Identifier Price effective from Koha item type
          UT Tyler Online UT Tyler Online Online 2017-01-06 TR850 -- .W75 2010 EBL535302 2017-01-06 http://uttyler.eblib.com/patron/FullRecord.aspx?p=535302 2017-01-06 Electronic Book