The Art and Science of Digital Compositing

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Morgan Kaufmann, 1999 - Computers - 364 pages
4 Reviews

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

  

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Its a good book and a must have for every newbie compositor

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This is an awesome book. At least in MY humble opinion...

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Contents

The Art and Science of Digital Compositing
1
DEFINITION
2
HISTORICAL PERSPECTIVE
4
TERMINOLOGY
7
ORGANIZATION OF THE BOOK
8
The Digital Representation of Visual Information
13
Pixels Components and Channels
15
Spatial Resolution
17
Specialized Film Formats
156
VIDEO FORMATS
158
Fields
159
Color Resolution
161
Gamma
162
PAL
163
OTHER FORMATS
164
WORKING WITH NONSQUARE PIXELS
165

Bit Depth
18
Normalized Values
20
The HSV Color Representation
21
IMAGE INPUT DEVICES
22
DIGITAL IMAGE FILE FORMATS
23
Vendor Implementations of File Formats
24
Choosing a File Format
31
Nonlinear Color Spaces
32
Basic Image Manipulation
33
TERMINOLOGY
34
COLOR MANIPULATIONS
36
Gamma Correction
38
Invert
39
Contrast
40
Channel Swapping
41
HSV Manipulations
42
Lookup Table Manipulations
43
Expression Language
44
SPATIAL FILTERS
46
Blurring
47
Sharpen
50
Median Filter
51
GEOMETRIC TRANSFORMATIONS
52
Panning
53
Rotation
55
Scale
56
Warping
58
Filtering Algorithms
60
Basic Image Compositing
65
THE MATTE IMAGE
66
THE INTEGRATED MATTE CHANNEL
67
MULTISOURCE OPERATORS
68
Over
69
Mix
71
In
72
Atop
73
MASKS
74
ColorCorrecting and Combining Premultiplied Images
75
Luminosity
77
Matte Creation and Manipulation
79
PROCEDURAL MATTE EXTRACTION
80
Keying Based on Luminance
81
Difference Matting
82
The Color Difference Method
84
Specialized Keying Software
85
MATTING TECHNIQUES
86
Edge Mattes
88
Combining Mattes
89
Time and Temporal Manipulations
93
TEMPORAL RESOLUTION
94
TEMPORAL ARTIFACTS
95
CHANGING THE LENGTH OR TIMING OF A SEQUENCE
96
KEYFRAMING
99
Image Tracking and Stabilization
103
TRACKING AN ELEMENT INTO A PLATE
104
Choosing the Feature to Track
107
Limiting the Search Area
109
Using Tracking Curves Manually
110
STABILIZING A PLATE
111
Interface Interactions
115
WORKFLOW
116
ONLINE VERSUS BATCH
118
METHODS OF REPRESENTING THE COMPOSITING PROCESS
121
Compressed Trees
123
Timelines
124
CURVE EDITORS
126
WORKING WITH PROXY IMAGES
130
Image Viewing and Analysis Tools
133
IMAGE VIEWERS
134
IMAGE STATISTICS
135
Histograms
136
Formats Media Resolution and Aspect Ratios
141
ASPECT RATIO
143
Nonsquare Pixels
144
DECIDING ON A RESOLUTION WHEN YOU HAVE AN ASPECT RATIO
146
FORMAT CONVERSION PIPELINE
147
A Format Conversion Example
149
FILM FORMATS
152
35mm Formats
153
16mm Formats
155
COMBINING FORMATS
170
Quality and Efficiency
173
EFFICIENCY
174
MINIMIZING DATA LOSS
175
Internal Software Accuracy
178
CONSOLIDATING OPERATIONS
180
REGION OF INTEREST
184
WORKING IN A NETWORKED ENVIRONMENT
185
PRECOMPOSITING
186
Learning to See
189
JUDGING COLOR BRIGHTNESS AND CONTRAST
190
THE CAMERA
192
DISTANCE AND PERSPECTIVE
193
Depth Cues
195
Combining Depth Cues
199
LENS FLARES
200
FOCUS
201
Creating Elements
203
LIGHTING
204
Interactive Lighting
205
MATCHED CAMERAS
207
THE REFERENCE STANDIN
209
CLEAN PLATES
211
FILTERS
213
CHOOSING A FORMAT
214
LIGHTING AND SHOOTING WITH BLUESCREENS
216
Bluescreen versus Greenscreen
219
SHOOTING ORDER
221
Integration Techniques
223
SCENE CONTINUITY
224
LIGHTING
225
SHADOWS
226
LENS FLARES
228
ATMOSPHERE
229
CAMERA MISMATCHES
230
CAMERA MOVEMENTS
232
FOCUS
233
FILM GRAIN
234
BLUESCREEN INTEGRATION
236
DIGITAL INTEGRATION
238
Advanced Topics
241
White Point and Black Point
243
NONLINEAR COLOR SPACES
245
Working with Nonlinear Color Spaces
250
WORKING WITH 3D ELEMENTS
253
ZDepth Compositing
255
RELATED 2D DISCIPLINES
261
Digital Painting
264
Editing
266
Case Studies
269
SPEED
271
INSURRECTION
273
CON AIR
274
BUDWEISER LIZARDS COMMERCIAL
276
INDEPENDENCE DAY
278
FIGHT THE FUTURE
280
BACK TO THE CRETACEOUS
281
THE PRINCE OF EGYPT
285
TITANIC
288
Digital Compositing Software Tools and Features
291
COLOR CORRECTION
292
SPATIAL FILTERING
293
GEOMETRIC TRANSFORMATION
294
MISCELLANEOUS
295
CONTROL
296
FIELD CONTROLS
297
IMAGE GENERATION
298
OTHER
299
Digital Compositing Software Manufacturers
301
Digital Image File Formats
303
THE CINEON FILE FORMAT
306
Common Film and Video Formats
313
Scanning Resolutions and File Sizes
314
VIDEO
317
HDTV
319
Bibliography
321
Glossary
325
Index
355
Copyright

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Page ii - States origin software is subject to the United States laws under the Export Administration Act of 1969 as amended. Any further sale of the product shall be in compliance with the United States Department of Commerce Administration Regulations. Compliance with such regulations is your responsibility and not the responsibility of AP. The Art and Science of Digital Compositing Ron Brinkmann Morgan Kaufmann Cover image: "The Two Ways of Life

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About the author (1999)

Ron M. Brinkmann has been working in the field of Computer Graphics for over a decade, involved with both hardware and software design, development and use. His primary field of expertise is in visual effects for feature films, and his personal feature-film credits include: Contact, The Ghost and the Darkness, James and the Giant Peach, Die Hard with a Vengeance, Speed, Hideaway, Tall Tale, Last Action Hero, and In the Line of Fire. He has had articles published in a number of magazines, and has lectured on the topics of digital compositing and visual effects in the U.S., Europe, Australia and China.

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