Download Digital Compositing for Film and Video, Third Edition by Steve Wright PDF

By Steve Wright

This sensible, hands-on consultant addresses the issues and tough offerings that pro compositors face every day. you're awarded with advice, thoughts, and recommendations for facing badly shot components, colour artifacts, mismatched lighting fixtures and different often confronted compositing stumbling blocks. sensible, in-depth classes are featured for bluescreen matte extraction, despill operations, compositing operations, in addition to color-corrections. The e-book is gifted fullyyt in an application-agnostic demeanour, permitting you to use classes realized for your compositing whatever the software program program you're utilizing. The DVD includes sooner than and after examples in addition to workout documents so you might refine your individual concepts on.

* will give you professionally-tried methods, suggestions, and ideas to the complex and tough compositing concerns that you simply face * New to this version is a bit on stereo compositing for 3D video clips, a new bankruptcy on CGI Compositing, 7 new QuickTime videos at the DVD, and extra * DVD is full of instructive prior to and after examples in addition to excercise records that let you refine your individual technique

 

 

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Extra info for Digital Compositing for Film and Video, Third Edition

Example text

Ultimatte and Keylight both work on color difference principles, whereas Primatte is a very sophisticated three-dimensional chroma-keyer. So why not just use one of these all the time and not worry about pulling your own mattes? There are several possible reasons. You may be working with problem elements that are giving the keyer problems, so you may have to assist the keyer by preprocessing the bluescreen plate to set it up for a better matte extraction. Another issue is when the despill operation goes wrong.

3, even better than our first simple example. The problem with simply switching the rule from green minus red to green minus blue is that in the real world the foreground colors are scattered all over the color space. In one 39 40 Digital Compositing for Film and Video area of the foreground, red may be dominant, but in another region, blue may be dominant. One simple rule might work in one region but not in another. What is needed is a matte extraction rule that changes and adapts to whatever pixel value the foreground regions happens to have.

Beyond its original intent as a colorcorrection tool, it has a myriad of other uses such as scaling mattes, altering edge characteristics, clamping, and more, all of which will be encountered in this book. Some software packages may refer to it as a LUT (Look-Up Table) node, or perhaps even by some other names. By whatever name it is known in your software, this operation is present in virtually every compositing package known to man, as well as Adobe Photoshop. 0, which is also common practice in most software packages.

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