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Digital Compositing for Film and Video.

By: Wright, Steve.
Material type: TextTextSeries: eBooks on Demand.Publisher: Burlington : Taylor and Francis, 2013Edition: 3rd ed.Description: 1 online resource (513 p.).ISBN: 9780240813103.Subject(s): Cinematography -- Special effects | Computer graphics | Image processing -- Digital techniques | Video recordingGenre/Form: Electronic books.Additional physical formats: Print version:: Digital Compositing for Film and VideoDDC classification: 778.5345 Online resources:
Contents:
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
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
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
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
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
4.5 Unspill Operations
Summary: 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
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Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
Online
TR850 -- .W75 2010 (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=535302 Available EBL535302

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

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

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

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

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

4.5 Unspill Operations

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

Description based upon print version of record.

Author notes provided by Syndetics

Steve Wright is a visual effects compositing veteran with 70 broadcast television commercials and over 60 feature films credits. He's developed video games at Atari, done 3D animations for Robert Abel and Associates, and was senior compositor and 2D technical director at Kodak's Cinesite. Steve is now a freelance, digital-compositing guru, who teaches, trains, writes, and develops on-line training programs.

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