The Art and Science of Digital Compositing
- 1st Edition - June 2, 1999
- Latest edition
- Author: Ron Brinkmann
- Language: English
Computer-generated visual effects are now used extensively in feature films, commercials, music videos, and multimedia. The backbone of this process, the final and most im… Read more
Description
Description
Computer-generated visual effects are now used extensively in feature films, commercials, music videos, and multimedia. The backbone of this process, the final and most important step, is known as digital compositing. The Art and Science of Digital Compositing is a comprehensive reference that provides a complete overview of the technical and the artistic nature of this process. This book covers a wide range of topics from basic image creation, representation, and manipulation, to a look at the visual cues that are necessary to create a believable composite. Designed as both an introduction to the field as well as a valuable technical reference, this book should be of interest to both novices and professionals alike.
Written by a working professional in the visual effects industry, the book provides over 250 different images and illustrations (including a 40-page color insert) as well as a complete glossary of compositing and visual-effects terminology. Also included are in-depth case studies from well-known films such as Speed, Independence Day, and Titanic.
Key features
Key features
Balances fundamental "hard science" topics with the more qualitative/artistic challenges which face anyone involved in a digital composition projectProvides examples and illustrations from motion picture workCD-ROM contains additional composition examples, illustrations, and development softwareIncludes 32 pages of colour
Readership
Readership
Computer designers working in the film industry, primarily those who create the work but also those who supervise, produce, commission, design or direct
Table of contents
Table of contents
AcknowledgmentsPrefaceChapter 1 Introduction to Digital CompositingDefinitionHistorical PerspectiveTerminologyOrganization of the BookChapter 2 The Digital Representation of Visual InformationImage GenerationPixels, Components, and ChannelsSpatial ResolutionBit DepthNormalized ValuesAdditional ChannelsThe HSV Color RepresentationImage Input DevicesDigital Image File FormatsFile Format FeaturesVendor Implementations of File FormatsCompressionChoosing a File FormatNonlinear Color SpacesChapter 3 Basic Image ManipulationTerminologyColor ManipulationsRGB MultiplyAddGamma CorrectionInvertContrast Channel SwappingHSV ManipulationsLook-up Table ManipulationsExpression LanguageSpatial FiltersConvolvesBlurring Sharpen Median FilterGeometric TransformationsPanningRotation Scale3D TransformsWarping Expression LanguageFiltering AlgorithmsChapter 4 Basic Image CompositingThe Matte ImageThe Integrated Matte ChannelMultisource OperatorsOverMixSubtractInOutAtopMasksCompositing With Premultiplied ImagesColor-Correcting and Combining Premultiplied ImagesLuminosityChapter 5 Matte Creation and ManipulationProcedural Matte ExtractionKeying Based on LuminanceKeying Based on ChrominanceDifference MattingThe Color Difference MethodSpecialized Keying SoftwareMatting TechniquesGarbage MattesEdge MattesCombining MattesManipulating MattesChapter 6 Time and Temporal ManipulationsApparent Motion Temporal ResolutionTemporal ArtifactsChanging the Length or Timing of a SequenceKeyframingChapter 7 Image Tracking and StabilizationTracking an Element Into a PlateChoosing the Feature to TrackLimiting the Search AreaHuman InterventionUsing Tracking Curves ManuallyStabilizing a PlateTracking Multiple PointsChapter 8 Interface InteractionsWorkflowOnline Versus BatchMethods of Representing the Compositing ProcessCompressed TreesTimelinesCurve EditorsWorking With Proxy ImagesChapter 9 Image Viewing and Analysis ToolsImage ViewersFlipbooksImage StatisticsPixel or Regional Information ToolsHistogramsChapter 10 Formats: Media, Resolution, and Aspect Ratiosr>Aspect RatioNonsquare Pixels Deciding on a Resolution When You Have an Aspect RatioFormat Conversion PipelineA Format Conversion ExampleFilm Formats35mm Formats16mm FormatsSpecialized Film FormatsVideo FormatsLines of ResolutionFieldsColor ResolutionGammaNTSCPALSECAMHDTVOther FormatsWorking With Nonsquare PixelsCombining FormatsConverting Between Film and VideoChapter 11 Quality and EfficiencyQualityEfficiencyMethodologyMinimizing Data LossInternal Software AccuracyConsolidating OperationsRegion of InterestWorking in a Networked EnvironmentDisk UsagePrecompositingChapter 12 Learning to SeeJudging Color, Brightness, and ContrastThe CameraDistance and PerspectivePerspective and the CameraDepth CuesCombining Depth CuesLens FlaresFocusMotion BlurChapter 13 Creating ElementsLighting Interactive LightingMatched CamerasThe Reference Stand-inClean PlatesFilm StockFiltersChoosing a FormatLighting and Shooting with BluescreensBluescreen versus GreenscreenShooting OrderChapter 14 Integration TechniquesScene ContinuityLighting Shadows Lens FlaresAtmosphereCamera MismatchesCamera MovementsFocusMotion BlurFilm GrainBluescreen IntegrationDigital IntegrationChapter 15 Advanced TopicsBeyond Black and WhiteWhite Point and Black PointNonlinear Color SpacesWorking with Nonlinear Color SpacesWorking with 3D ElementsZ-Depth CompositingRelated 2D DisciplinesMorphingDigital PaintingEditingChapter 16 Case StudiesJames and the Giant Peach SpeedStar Trek: InsurrectionCon AirBudweiser Lizards CommercialIndependence DayX-Files: Fight the FutureT-Rex: Back to the CretaceousThe Prince of EgyptTitanicAppendix A Digital Compositing Software: Tools and FeaturesColor CorrectionSpatial FilteringGeometric Transformation MiscellaneousImage CombinationControlField ControlsMatte Generation Timing/Duration Image Generation TrackingOtherAppendix B Digital Compositing Software: ManufacturersAppendix C Digital Image File FormatsCommon File FormatsThe Cineon File FormatAppendix D Common Film and Video FormatsFilmScanning Resolutions and File SizesVideoHDTVBibliographyGlossaryIndex
Product details
Product details
- Edition: 1
- Latest edition
- Published: June 2, 1999
- Language: English
About the author
About the author
RB
Ron Brinkmann
Ron M. Brinkmann has been working in the field of Computer Graphics for over a decade, involved with both hardware and software design, development and use. His primary field of expertise is in visual effects for feature films, and his personal feature-film credits include: Contact, The Ghost and the Darkness, James and the Giant Peach, Die Hard with a Vengeance, Speed, Hideaway, Tall Tale, Last Action Hero, and In the Line of Fire. He has had articles published in a number of magazines, and has lectured on the topics of digital compositing and visual effects in the U.S., Europe, Australia and China.
Affiliations and expertise
Hermosa Beach, CA, USA