Brinkmann The Art and Science of Digital Compositing

1. Auflage 1999
ISBN: 978-0-08-049932-1
Verlag: Elsevier Science & Techn.
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 364 Seiten, Web PDF

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.

Balances fundamental hard science topics with the more qualitative/artistic challenges which face anyone involved in a digital composition project
Provides examples and illustrations from motion picture work
CD-ROM contains additional composition examples, illustrations, and development software
Includes 32 pages of colour

Autoren/Hrsg.

Brinkmann, Ron

Inhaltsverzeichnis

1;Cover;1
2;Copyright Page;5
3;Contents;8
4;Acknowledgments;16
5;Preface;18
6;Chapter 1. Introduction to Digital Compositing;20
6.1;Definition;21
6.2;Historical Perspective;23
6.3;Terminology;26
6.4;Organization of the Book;27
7;Chapter 2. The Digital Representation of Visual Information;32
7.1;Image Generation;32
7.2;Image Input Devices;41
7.3;Digital Image File Formats;42
8;Chapter 3. Basic Image Manipulation;52
8.1;Terminology;53
8.2;Color Manipulations;55
8.3;Spatial Filters;65
8.4;Geometric Transformations;71
9;Chapter 4. Basic Image Compositing;84
9.1;The Matte Image;85
9.2;The Integrated Matte Channel;86
9.3;Multisource Operators;87
9.4;Masks;93
9.5;Compositing With Premultiplied Images;93
10;Chapter 5. Matte Creation and Manipulation;98
10.1;Procedural Matte Extraction;99
10.2;Matting Techniques;105
11;Chapter 6. Time and Temporal Manipulations;112
11.1;Apparent Motion;112
11.2;Temporal Resolution;113
11.3;Temporal Artifacts;114
11.4;Changing the Length or Timing of a Sequence;115
11.5;Keyframing;118
12;Chapter 7. Image Tracking and Stabilization;122
12.1;Tracking an Element Into a Plate;123
12.2;Human Intervention;128
12.3;Stabilizing a Plate;130
12.4;Tracking Multiple Points;132
13;Chapter 8. Interface Interactions;134
13.1;Workflow;135
13.2;Online Versus Batch;137
13.3;Methods of Representing the Compositing Process;140
13.4;Curve Editors;145
13.5;Working With Proxy Images;149
14;Chapter 9. Image Viewing and Analysis Tools;152
14.1;Image Viewers;153
14.2;Flipbooks;153
14.3;Image Statistics;154
15;Chapter 10. Formats: Media, Resolution, and Aspect Ratios;160
15.1;Aspect Ratio;162
15.2;Deciding on a Resolution When You Have an Aspect Ratio;165
15.3;Format Conversion Pipeline;166
15.4;Film Formats;171
15.5;Video Formats;177
15.6;Other Formats;183
15.7;Working With Nonsquare Pixels;184
15.8;Combining Formats;189
15.9;Converting Between Film and Video;189
16;Chapter 11. Quality and Efficiency;192
16.1;Quality;192
16.2;Efficiency;193
16.3;Minimizing Data Loss;194
16.4;Consolidating Operations;199
16.5;Region of Interest;203
16.6;Working in a Networked Environment;204
16.7;Disk Usage;204
16.8;Precompositing;205
17;Chapter 12. Learning to See;208
17.1;Judging Color, Brightness, and Contrast;209
17.2;The Camera;211
17.3;Distance and Perspective;212
17.4;Lens Flares;219
17.5;Focus;220
17.6;Motion Blur;220
18;Chapter 13. Creating Elements;222
18.1;Lighting;223
18.2;Matched Cameras;226
18.3;The Reference Stand-in;228
18.4;Clean Plates;230
18.5;Film Stock;230
18.6;Filters;232
18.7;Choosing a Format;233
18.8;Lighting and Shooting with Bluescreens;235
18.9;Shooting Order;240
19;Chapter 14. Integration Techniques;242
19.1;Scene Continuity;243
19.2;Lighting;244
19.3;Shadows;245
19.4;Lens Flares;247
19.5;Atmosphere;248
19.6;Camera Mismatches;249
19.7;Camera Movements;251
19.8;Focus;252
19.9;Motion Blur;252
19.10;Film Grain;253
19.11;Bluescreen Integration;255
19.12;Digital Integration;257
20;Chapter 15. Advanced Topics;260
20.1;Beyond Black and White;260
20.2;Nonlinear Color Spaces;264
20.3;Working with 3D Elements;272
20.4;Related 2D Disciplines;280
21;Chapter 16. Case Studies;288
21.1;James and the Giant Peach;288
21.2;Speed;290
21.3;Star Trek: Insurrection;292
21.4;Con Air;293
21.5;Budweiser Lizards Commercial;295
21.6;Independence Day;297
21.7;X-Files: Fight the Future;299
21.8;T-Rex: Back to the Cretaceous;300
21.9;The Prince of Egypt;304
21.10;Titanic;307
22;Appendix A: Digital Compositing Software: Tools and Features;310
22.1;Color Correction;311
22.2;Spatial Filtering;312
22.3;Geometric Transformation;313
22.4;Miscellaneous;314
22.5;Image Combination;314
22.6;Control;315
22.7;Field Controls;316
22.8;Matte Generation;316
22.9;Timing/Duration;316
22.10;Image Generation;317
22.11;Tracking;317
22.12;Other;318
23;Appendix B: Digital Compositing Software: Manufacturers;320
24;Appendix C: Digital Image File Formats;322
24.1;Common File Formats;322
24.2;The Cineon File Format;325
25;Appendix D: Common Film and Video Formats;332
25.1;Film;332
25.2;Video;336
26;Bibliography;340
27;Glossary;344
28;Index;374