The Art and Science of Digital Compositing, 2nd Edition

Readership

Developers, artists, and creative directors in film and computer graphics special effect, and students in these disciplines.

The Art and Science of Digital Compositing, 2nd Edition

Acknowledgments
Preface
Chapter 1 Introduction to Digital Compositing
Definition
Historical Perspective
Terminology
Organization of the Book
Chapter 2 Learning to See
Judging Color, Brightness, and Contrast
Light and Shadow
The Camera
Depth, Distance, and Perspective
Visual ‘Correctness’
Chapter 3 The Digital Representation of Visual Information
Image Generation
Pixels, Components, and Channels
Spatial Resolution
Bit Depth
Normalized Values
Beyond Black and White
Floating-Point and High Dynamic Range Imagery
The HSV Color Representation
The YUV Color Representation
Image Input Devices
Digital Image File Formats
File Format Features
Vendor-Specific File Format Implementations
Compression
Choosing a File Format
Nonlinear Color Encoding
Chapter 4 Basic Image Manipulation
Terminology
Color Manipulations
Spatial Filters
Geometric Transformations
Motion Blur
Chapter 5 Basic Image Compositing
Multisource Operators
The Matte Image
The Integrated Matte Channel
Additional Operators
Masks
Compositing With Premultiplied Images
Morphing
Chapter 6 Matte Creation and Manipulation
Rotoscoping
Procedural Matte Extraction
Matte Manipulation
Chapter 7 Time and Temporal Manipulations
Apparent Motion
Temporal Resolution
Temporal Artifacts
Changing the Length or Timing of a Sequence
Keyframing
Chapter 8 Image tracking and Stabilization
Tracking an Element Into a Plate
Human Intervention
Tracking Multiple Points
Stabilizing a Plate
Camera Tracking
Chapter 9 Interface Interactions
Workflow
The Evolution of Interactivity
Methods of Representing the Compositing Process
Timelines
Curve Editors
Working With Proxy Images
Image Viewing and Analysis Tools
Chapter 10 Formats: Media, Resolution, and Aspect Ratios
Aspect Ratio
Format Conversion Pipeline
Film Formats
Video Formats
Other Formats
Working With Nonsquare Pixels
Converting and Combining Formats
Chapter 11 Quality and Efficiency
Quality
Efficiency
Production Methodologies
Minimizing Data Loss
Internal Software Accuracy
Consolidating Operations
Region of Interest
Working in a Networked Environment
Disk Usage
Precompositing
Chapter 12 Creating Elements
Lighting
Interactive Lighting
Matched Cameras
The Reference Stand-In
Clean Plates
Film Stock
Filters
Choosing a Format
Lighting and Shooting With Bluescreens
Bluescreen vs. Greenscreen
Shooting Order
Chapter 13 Additional Integration Techniques
Scene Continuity
Color and Lighting
Camera Characteristics
Chapter 14 Advanced and Related Topics
The Digital Representation of Images, Revisited
3D Compositing
Working With CG Elements
Related 2D Disciplines
Chapter 15 Case Studies
James and the Giant Peach
Speed
Independence Day
The Prince of Egypt
Budweiser Lizards Commercial
Titanic
A Gentlemen’s Duel
Battlestar Galactica
Carlton Draught ‘Big Ad’
Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Golden Compass
Incredibles Case Study
I, Robot
King Kong
Lost
The Lord of the Rings: The Return of the King
The Orion Nebula from The Hubble Space Telescope: One Image from A Billion Pixels
Sin City
Sky Captain and the World of Tomorrow
Spider-Man 2
Underworld: Evolution
Wallace and Gromit: The Curse of the Were-Rabbit
Star Wars: Episode 3 – Revenge of the Sith
Appendix A Digital Compositing Software: Tools and Features
Color Corrections
Filters
Geometric Transformations and Warps
Image Combination
Field Controls
Matte Generation
Timing and Animation
Image Generation
Tracking
Control
Other
Appendix B Digital Image File Formats
Common Image File Formats
The Cineon File Format
The OpenEXR File Format
Appendix C Common Film and Video Formats
Film
Digital Cinema Projection
Video
Bibliography
Glossary
Index