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Digital Compositing for Film and Video 3rd Edition+DVD


Год: 2010
Автор: Steve Wright
Жанр: CG Video Production
Издательство: Focal Press
ISBN: 978-0240813097
Язык: Английский
Формат: PDF
Качество: Отсканированные страницы + слой распознанного текста
Интерактивное оглавление: Нет
Количество страниц: 490
Описание: 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-corrections.

The book is presented entirely in an application-agnostic manner, allowing you to apply lessons learned to your compositing regardless of the software application you are using. The DVD contains before and after examples as well as exercise files for you to refine your own techniques on.
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Это практические, в режиме "свободные руки" в руководстве рассматриваются проблемы и трудные решения, professional режиссеров компоновочного видеомонтажа на ежедневной основе. Вы представлены советы, методики, и решения для борьбы с сильно shot элементы, цвета артефактов, несоответствующие освещения и других часто сталкиваются с композитинг препятствия. Практические, углубленный анализ уроков, избранные на голубой экран матовый извлечения despill операций, композитинг операций, а также цветовой коррекции.в книге представлены исключительно в приложении, не зависящие от таким образом, что позволяет применить накопленный опыт на композитинг независимо от приложения. DVD-диск содержит примеры "до" и "после, а также осуществлять файлы для уточнения ваших собственных методов.

РАЗДАЮ ПО МЕРЕ ВОЗМОЖНОСТИ!!!

Acknowledgments xvii
Preface xix
Chapter 1
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1 What’s New in the Third Edition 2
1.1.1 Stereo Compositing 2
1.1.2 Multi-pass CGI Compositing . 2
1.1.3 3D Compositing . 3
1.2 Special Features 3
1.2.1 Adobe Photoshop . 3
1.2.2 Production Tips 4
1.2.3 DVD Videos . 4
1.2.4 DVD Production Exercises . 4
1.3 How This Book Is Organized 5
Part I: Making the Good Composite . 5
Part II: The Quest for Realism . 6
Part III: Things You Should Know 6
1.4 Tool Conventions . 7
1.4.1 The Slice Tool 7
1.4.2 Flowgraphs 10
1.4.3 The Color Curve . 11
1.4.4 Data Conventions . 13
Chapter 2
Pulling Mattes . 15
2.1 Luma-Key Mattes . 16
2.1.1 How Luma-Key Mattes Work 16
2.1.2 Making Your Own Luminance Image 18
2.1.2.1 Variations on the Luminance Equation 18
2.1.2.2 Nonluminance Monochrome Images 20
2.1.3 Making Your Own Luma-Key Matte 21
2.2 Chroma-Key Mattes . 23
2.2.1 How Chroma-Key Mattes Work 23
2.2.2 Making Your Own Chroma-Keyer . 25
v
vi Table of Contents
2.3 Difference Mattes . 27
2.3.1 How Difference Mattes Work 27
2.3.2 Making Your Own Difference Matte 29
2.4 Bump Mattes . 31
2.5 Keyers 33
2.6 Color Difference Mattes . 34
2.6.1 Extracting the Color Difference Matte 35
2.6.1.1 The Theory . 35
2.6.1.2 Pulling the Raw Matte 36
2.6.1.3 A Simplified Example . 36
2.6.1.4 A Slightly More Realistic Case . 39
2.6.1.5 And Now, The Real World 41
2.6.1.6 Matte Edge Penetration 42
2.6.2 Scaling the Raw Matte . 43
2.6.3 Refining the Color Difference Matte . 45
2.6.3.1 Preprocessing the Greenscreen . 46
2.6.3.2 Local Suppression 47
2.6.3.3 Channel Clamping . 47
2.6.3.4 Channel Shifting 49
2.6.3.5 Degraining . 50
2.6.4 Poorly Lit Greenscreens 52
2.6.4.1 Too Bright 53
2.6.4.2 Too Dark . 55
2.6.4.3 Impure Greenscreens 56
2.6.4.4 Uneven Lighting . 58
2.6.5 Screen Leveling 60
2.6.6 Screen Correction 62
2.6.6.1 Screen Correction with Ultimatte . . . . . . . . . . . . . . . . 64
2.6.6.2 Doing Your Own Screen Correction . 64
2.7 Adobe After Effects Matte 67
Chapter 3
Refining Mattes 71
3.1 The Matte Monitor . 71
3.2 Garbage Mattes 72
3.3 Filtering the Matte . 75
3.3.1 Noise Suppression . 75
3.3.2 Softer Edges 76
3.3.3 Controlling the Blur Operation 78
3.3.3.1 The Blur Radius 78
3.3.3.2 The Blur Percentage . 80
3.3.4 Blurring Selected Regions . 80
Table of Contents vii
3.4 Adjusting the Matte Size 81
3.4.1 Shrinking the Matte with Blur and Scale 82
3.4.2 Expanding the Matte with Blur and Scale 83
Chapter 4
Despill . 85
4.1 The Despill Operation 86
4.2 Despill Artifacts . 88
4.3 Despill Algorithms . 88
4.3.1 Green Limited by Red . 89
4.3.1.1 Implementing the Algorithm 90
4.3.1.2 The Spillmap 91
4.3.2 Green Limited by Blue 93
4.3.3 Green by Average of Red and Blue 95
4.3.4 Green Limited by Other Formulations 96
4.3.4.1 Limit Green to 90% of the Red Channel . 97
4.3.4.2 Limit Green to Exceeding the Average of the Red
and Blue by 10% . 97
4.4 Refining the Despill 99
4.4.1 Channel Shifting 99
4.4.2 Spillmap Scaling 99
4.4.3 Mixing Despills 99
4.4.4 Matting Despills Together . 99
4.4.5 Blue Degraining . 100
4.5 Unspill Operations . 100
4.5.1 How to Set It Up 100
4.5.2 Grading the Backing Color . 101
Chapter 5
The Composite 103
5.1 The Compositing Operation . 104
5.1.1 Inside the Compositing Operation . 104
5.1.1.1 Scaling the Foreground Layer . 105
5.1.1.2 Scaling the Background Layer 107
5.1.1.3 Compositing the Foreground and Background 107
5.1.2 Making a Semi-transparent Composite 108
5.2 The Processed Foreground Method . 110
5.2.1 Creating the Processed Foreground . 110
5.2.2 Compositing the Processed Foreground . 112
5.2.3 Some Issues . 112
5.2.3.1 Residual Grain . 113
5.2.3.2 Uneven Backing Colors 114
viii Table of Contents
5.3 The Add-Mix Composite 114
5.3.1 When to Use It 115
5.3.2 Creating the Add-Mix Composite 117
5.4 Refining the Composite 118
5.4.1 Edge Blending . 118
5.4.2 Light Wrap 120
5.4.3 Soft Comp/Hard Comp 122
5.4.4 Layer Integration 123
5.5 Stereo Compositing . 125
5.5.1 Stereoscopy . 126
5.5.2 Anaglyph 127
5.5.3 The Conversion Process 128
5.5.4 Depth Grading 130
5.5.4.1 Scene Transition . 130
5.5.4.2 The Dashboard Effect . 130
5.5.4.3 Floating Window . 131
5.5.4.4 Miniaturization . 131
5.5.4.5 Divergence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
5.5.5 Stereo Compositing 132
5.5.5.1 Dual-View Display 133
5.5.5.2 Split and Join Views . 133
5.5.5.3 Disparity Maps 133
Chapter 6
CGI Compositing 135
6.1 Premultiply and Unpremultiply 136
6.1.1 The Premultiplied CGI Image 136
6.1.2 The Unpremultiply Operation 137
6.1.2.1 The Zero Black Alpha Pixel Problem . 137
6.1.2.2 The Partially Transparent Alpha Pixel Problem 138
6.1.2.3 How to Unpremultiply 140
6.1.3 Unpremultiply Highlight Clipping 141
6.1.3.1 What Goes Wrong 141
6.1.3.2 How to Fix It 142
6.2 Multi-pass CGI Compositing . 143
6.2.1 Render Layers 144
6.2.2 Render Passes 144
6.2.3 Lighting Passes . 146
6.2.4 Data Passes . 147
6.2.5 Matte Passes 148
6.2.6 Multichannel Files . 150
6.3 HDR Images 151
6.4 3D Compositing 153
Table of Contents ix
6.4.1 What Is 3D Compositing? . 154
6.4.2 A Short Course in 3D . 155
6.4.2.1 The 3D Coordinate System . 155
6.4.2.2 Vertices 156
6.4.2.3 Surface Normals 157
6.4.2.4 UV Coordinates . 158
6.4.2.5 Map Projection 159
6.4.2.6 3D Geometry . 160
6.4.2.7 Geometric Transformations . 161
6.4.2.8 Geometric Deformations . 162
6.4.2.9 Lights . 164
6.4.2.10 Environment Lighting 165
6.4.2.11 Cameras 166
6.4.2.12 Shaders . 167
6.4.3 Matchmoving . 168
6.4.4 Camera Projection . 170
6.4.5 Set Extension . 172
6.4.6 3D Backgrounds 173
Chapter 7
Blend Operations 177
7.1 Image Blending Operations 177
7.1.1 The Screen Operation 178
7.1.1.1 Adjusting the Appearance 179
7.1.2 The Weighted Screen Operation . 180
7.1.3 Multiply . 182
7.1.3.1 Adjusting the Appearance 183
7.1.4 Maximum 184
7.1.5 Minimum . 186
7.2 Adobe Photoshop Blending Modes . 186
7.2.1 Simple Blending Modes 187
7.2.2 Complex Blending Modes . 188
7.3 Slot Gags 191
Chapter 8
Color-Correction . 193
8.1 The Color of Nature 194
8.1.1 Visible Light . 194
8.1.2 The Color of Lights . 195
8.1.2.1 Color Temperature . 196
8.1.2.2 Monitor Color Temperatures . 197
8.1.2.3 Film Color Temperatures . 198
8.1.3 The Effects of Filters 198
8.1.4 The Color of Objects 200
x Table of Contents
8.2 The Behavior of Light . 201
8.2.1 The Inverse Square Law 202
8.2.2 Diffuse Reflections 203
8.2.3 Specular Reflections 204
8.2.4 Interactive Lighting . 205
8.2.5 Scattering 206
8.3 Matching the Light Space . 208
8.3.1 Brightness and Contrast 209
8.3.1.1 Matching the Black and White Points . 210
8.3.1.2 Matching the Midtones 214
8.3.1.3 Histogram Matching . 216
8.3.2 Color-Matching 218
8.3.2.1 Grayscale Balancing 219
8.3.2.2 Matching the Flesh Tones . 220
8.3.2.3 The “Constant Green” Method of Color-Correction . 221
8.3.2.4 Daylight . 222
8.3.2.5 Specular Highlights 222
8.3.3 Light Direction 223
8.3.4 Quality of Light Sources . 224
8.3.4.1 Creating Softer Lighting 224
8.3.4.2 Creating Harsher Lighting 224
8.3.5 Interactive Lighting . 225
8.3.6 Shadows . 225
8.3.6.1 Edge Characteristics . 226
8.3.6.2 Density . 226
8.3.6.3 Color . 228
8.3.6.4 Faux Shadows . 229
8.3.7 Atmospheric Haze 230
8.3.8 Nonlinear Gradients for Color-Correction 232
8.3.9 Adding a Glow 233
8.3.10 A Checklist 234
Chapter 9
Camera Effects . 237
9.1 Matching the Focus 237
9.1.1 Using a Blur for Defocus . 238
9.1.2 How to Simulate a Defocus . 240
9.1.3 Focus Pull 242
9.1.4 Sharpening 243
9.1.4.1 Sharpening Kernels 243
9.1.4.2 Unsharp Masks 244
9.1.4.3 Making Your Own Unsharp Mask 244
9.2 Depth of Field . 246
9.3 Lens Flare . 248
Table of Contents xi
9.3.1 Creating and Applying Lens Flares 248
9.3.2 Animating Lens Flares 249
9.3.3 Channel Swapping . 249
9.4 Veiling Glare 250
9.5 Grain 251
9.5.1 The Nature of Grain 252
9.5.2 Making Grain 253
9.5.2.1 Generating the Grain . 254
9.5.2.2 Applying the Grain 255
9.5.3 Matching the Grain of Two Film Layers . 258
9.5.4 Adding Grain to Grainless Layers . 259
9.6 A Checklist 260
Chapter 10
Animation 261
10.1 Geometric transformations . 261
10.1.1 2D Transformations 261
10.1.1.1 Translation . 262
10.1.1.2 Rotation . 264
10.1.1.3 Scaling and Zooming . 265
10.1.1.4 Skew . 267
10.1.1.5 Corner Pinning . 268
10.1.2 3D Transformations 270
10.1.3 Filtering . 271
10.1.3.1 The Effects of Filtering 271
10.1.3.2 Twinkling Starfields 273
10.1.3.3 Choosing a Filter . 273
10.1.4 Lining Up Images . 274
10.1.4.1 Offset Mask Lineup Display 275
10.1.4.2 Edge Detection Lineup Display . 276
10.1.4.3 The Pivot Point Lineup Procedure 278
10.2 Motion Tracking 280
10.2.1 The Tracking Operation 280
10.2.1.1 Selecting Good Tracking Targets 282
10.2.1.2 Enable/Disable Trackers 283
10.2.1.3 Offset Tracking 283
10.2.1.4 Tracking Backwards . 284
10.2.1.5 Keep Shape and Follow Shape 285
10.2.2 Applying the Tracking Data 286
10.2.3 Stabilizing . 287
10.2.3.1 The Repo Problem 287
10.2.3.2 Motion Smoothing 289
10.2.4 3D Motion Tracking . 291
10.2.5 Tips, Tricks, and Techniques . 292
xii Table of Contents
10.2.5.1 Tracking Preview 293
10.2.5.2 Low-Resolution/High-Resolution Tracking . 293
10.2.5.3 Preprocessing the Shot . 293
10.2.5.4 Point Stacking 295
10.2.5.5 Difference Tracking 296
10.3 Warps and Morphs . 298
10.3.1 Warps . 298
10.3.2 Morphs 300
10.3.3 Tips, Tricks, and Techniques . 302
Chapter 11
Gamma . 305
11.1 What Is Gamma? 305
11.2 The Effects of Gamma Changes on Images . 307
11.3 The Three Gammas of a Display System . 309
11.3.1 Monitor Gamma 309
11.3.2 Monitor Gamma Correction 311
11.3.3 The Monitor LUT 312
11.3.4 The End-to-End Gamma . 313
11.4 The Dim Surround Effect 314
11.4.1 Dim Surround for TV 315
11.4.2 Dark Surround for Film . 315
11.5 The Gamma of Video 315
11.6 The Gamma of Film . 317
Chapter 12
Video . 319
12.1 How Video Works . 319
12.1.1 Frame Construction 320
12.1.1.1 The Scanning Raster . 320
12.1.1.2 Interlaced Fields . 321
12.1.1.3 Effects on Motion Blur 322
12.1.1.4 Color Subsampling . 324
12.1.1.5 Timecode . 326
12.1.1.6 Drop Frame Timecode 326
12.1.2 NTSC and PAL Differences . 327
12.1.2.1 Frame Rate 327
12.1.2.2 Image Size 328
12.1.2.3 Pixel Aspect Ratio 328
12.1.2.4 Country Standards . 330
12.1.3 Types of Video . 330
12.1.3.1 Component Video 331
12.1.3.2 Composite Video . 331
12.1.3.3 Digital and Analog 331
Table of Contents xiii
12.1.4 Video Formats . 332
12.1.4.1 The All-Digital Formats . 332
12.1.4.2 Sony 333
12.1.4.3 DV Formats 333
12.1.4.4 Consumer/Commercial 333
12.2 Hi-Def Video . 334
12.2.1 Picture Aspect Ratio . 334
12.2.2 Image Size 335
12.2.3 Scan Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
12.2.4 Frame Rates . 336
12.2.4.1 24, 25, 30, 60 fps 336
12.2.4.2 23.98, 29.97, 59.94 fps 336
12.2.5 Naming Conventions 336
12.2.6 The Mighty 24p Master 337
12.2.7 Anamorphic Video . 337
12.3 Telecine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
12.3.1 The 3:2 Pull-down 339
12.3.2 Pin-Registered Telecine . 340
12.3.3 Recommendations to the Client . 340
12.4 Working with Video 342
12.4.1 Pulling Mattes from 4:2:2 Video . 342
12.4.2 De-interlacing 344
12.4.2.1 Scan Line Interpolation . 345
12.4.2.2 Field Averaging . 346
12.4.2.3 Field Separation . 346
12.4.3 The 3:2 Pull-up 347
12.4.4 Nonsquare Pixels . 349
12.4.4.1 Manipulating an Existing Video Image . 349
12.4.4.2 Creating a New Image for Video . 350
12.4.4.3 PAL Pixels 351
12.4.5 Interlace Flicker 351
12.5 Working with Video in a Film Job 352
12.5.1 Best Video Formats 352
12.5.2 Video Mastered in Video 353
12.5.3 Video Mastered on Film . 354
12.5.4 Frame Size and Aspect Ratio 354
12.6 Working with Film in a Video Job 356
12.7 Working with CGI in a Video Job 356
Chapter 13
Film . 357
13.1 The Film Process 357
13.2 Terms and Definitions 359
13.2.1 Conversions . 359
xiv Table of Contents
13.2.2 Apertures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
13.2.3 Composition 360
13.2.4 Aspect Ratio 362
13.2.5 Image Resolutions 363
13.3 Film Formats 364
13.3.1 Full Aperture 364
13.3.1.1 Super 35 . 365
13.3.1.2 Common Top and Common Center 365
13.3.2 Academy Aperture . 366
13.3.3 Cinemascope . 368
13.3.3.1 Working with Cscope 369
13.3.3.2 Reformatting Other Formats to Cscope . 370
13.3.4 3 Perf Film . 371
13.3.5 VistaVision 372
13.3.6 65 mm/70 mm . 373
13.3.7 IMAX 373
13.4 Film Scanners 374
13.5 Film Recorders . 376
13.5.1 How Film Recorders Work 376
13.5.2 Comparison of Laser vs. CRT Film Recorders . 377
13.5.3 Calibrating the Workstation to the Film Recorder . 378
13.5.3.1 Dark Surround . 378
13.5.3.2 Contrast Ratio 378
13.5.3.3 Primary Colors . 379
13.5.3.4 Film Layer Effects . 379
13.5.3.5 Monitor Calibration 379
13.6 Digital Intermediate 380
13.6.1 The DI Process . 380
13.6.2 Advantages of DI . 381
13.6.3 DI and Digital Effects 382
Chapter 14
Log vs. Linear . 385
14.1 Dynamic Range in the Real World 386
14.2 The Behavior of Film 388
14.2.1 Film Response Curves . 389
14.2.2 Exposure . 389
14.2.3 The Balloon Story . 390
14.2.4 Meanwhile, Back at the Film... 391
14.2.5 Opacity . 391
14.3 Representing Film Data in Log Format . 392
14.3.1 The Three Film Zones . 394
14.3.2 The Three Reference Points . 396
14.3.3 Overexposure and Underexposure 396
Table of Contents xv
14.4 Digitizing Film . 397
14.4.1 Linear Data Problems . 397
14.4.1.1 Banding . 398
14.4.1.2 Data Inflation . 399
14.4.1.3 Limited Dynamic Range 400
14.4.2 Log Data Virtues 402
14.4.2.1 Banding . 402
14.4.2.2 Full Dynamic Range . 403
14.4.2.3 Data Efficiency . 404
14.4.2.4 Conclusion . 405
14.5 Bit Depth . 405
14.5.1 What Bit Depth Means . 406
14.5.2 The 10-Bit DPX Ambiguity 408
14.5.3 Changing Bit Depth 409
14.5.4 Floating-Point . 409
14.6 Banding 410
14.6.1 Preventing Banding in an Image . 411
14.6.2 Fixing Banding in an Image . 413
14.6.3 Display Banding 415
Chapter 15
Log Images 417
15.1 Converting Log Images 417
15.1.1 The Conversion Parameters . 417
15.1.1.1 The Black and White References 418
15.1.1.2 The Display Gamma Parameter 420
15.1.2 Log-to-Linear Conversions . 421
15.1.2.1 The Conversion Parameters 421
15.1.2.2 Customizing the Conversion Parameters . 423
15.1.2.3 Soft Clip 424
15.1.3 Linear-to-Log Conversions . 426
15.1.3.1 The Conversion Parameters 427
15.2 Working with Log Images 428
15.2.1 Viewing Cineon Log Images . 428
15.2.2 Color-Correcting 430
15.2.3 Compositing Log Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
15.2.3.1 Converting Log to Linear 431
15.2.3.2 The Compositing Operation . 431
15.2.3.3 Converting Back to Log 432
15.2.3.4 Color-Correction . 432
15.2.3.5 Transparency . 433
15.2.4 Compositing a Linear Image with Log Images 434
15.2.5 The Screen Operation 434
xvi Table of Contents
15.2.5.1 Screening a Linear Image with a Log Image . 435
15.2.5.2 The Weighted Screen . . . . . . . . . . . . . . . . . . . . . . . . 436
15.2.6 Matte Paintings 436
15.2.6.1 Tips and Techniques . 437
15.2.7 CGI . 438
15.2.7.1 Rendering 438
15.2.7.2 Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
15.2.8 Transformations and Blur Operations 441
Glossary 443
Index . 475

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