Download Digital Compositing for Film and Video by Steve Wright PDF

By Steve Wright

ISBN-10: 024081309X

ISBN-13: 9780240813097

This functional, hands-on consultant addresses the issues and hard offerings that pro compositors face every day. you're provided with counsel, suggestions, and suggestions for facing badly shot parts, colour artifacts, mismatched lighting fixtures and different generally confronted compositing stumbling blocks. useful, in-depth classes are featured for bluescreen matte extraction, despill operations, compositing operations, in addition to color-corrections.

The publication is gifted completely in an application-agnostic demeanour, permitting you to use classes realized for your compositing whatever the software program program you're utilizing. The DVD comprises ahead of and after examples in addition to workout documents so that you can refine your personal suggestions on.

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Extra resources for Digital Compositing for Film and Video

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Both the left and right ends are brighter, because they are much darker and lighter than the background, resulting in greater difference values. Figure 2-20 Complex Figure 2-21 Raw Figure 2-22 Hicon target difference matte difference matte When the raw difference matte is scaled up to create the solid hicon version shown in Figure 2-22, there is a serious “hole” in the matte. And this is the problem with difference mattes. The target object will very often have pixel values that are very close to the background, resulting in holes in the matte.

There you have it: an adaptive matte extraction algorithm that switches behavior depending on what the pixel values are. Figure 2-40 shows the new and improved flowgraph that would create the more sophisticated raw color difference matte. The red and blue channels go to a maximum node that selects whichever channel is greater on a pixel-bypixel basis. The subtract node now subtracts this maximum(R,B) pixel value from the green channel, which creates the raw matte. It is called the raw matte at this stage, because it is not ready to use yet.

How film captures images, and what the heck log film data is anyway. Why log is the best digital representation for film and what happens to your pictures when you go linear anyway. Chapter 15: Working with log images. How to convert log images to linear and back to minimize the picture losses with Cineon film scans. For the brave souls that work with log images and those that want to try, the procedures for doing digital effects in log space are explained. 4 TOOL CONVENTIONS The slice tool, flowgraphs, and color curves are used extensively throughout this book to analyze images, show procedures, and modify pixel values.

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Digital Compositing for Film and Video by Steve Wright


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