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El. knyga: Art and Science of Digital Compositing: Techniques for Visual Effects, Animation and Motion Graphics

4.42/5 (347 ratings by Goodreads)
(Hermosa Beach, CA, USA)
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*The classic reference, with over 25,000 copies in print, has been massively expanded and thoroughly updated to include state-of-the-art methods and 400+ all-new full color images!

At ILM, compositing is one of the most important tools we use. If you want to learn more, this excellent 2nd-edition is detailed with hundreds of secrets that will help make your comps seamless. For beginners or experts, Ron walks you through the processes of analysis and workflows - linear thinking which will help you become deft and successfully tackle any shot.
- Dennis Muren ASC, Senior Visual Effects Supervisor, Industrial Light & Magic

Ron Brinkman's book is the definitive work on digital compositing and we have depended on this book as a critical part of our in-house training program at Imageworks since the 1999 Edition. We use this book as a daily textbook and reference for our lighters, compositors and anyone working with digital imagery. It is wonderful to see a new edition being released and it will certainly be required reading for all our digital artists here at Imageworks.
- Sande Scoredos, Executive Director of Training & Artist Development, Sony Pictures Imageworks

The Art and Science of Digital Compositing is the only complete overview of the technical and artistic nature of digital compositing. It 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 an introduction to the field, as well as an authoritative technical reference, this book provides essential information for novices and professionals alike.

*17 new case-studies provide in-depth looks at the compositing work done on films such as Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Golden Compass, The Incredibles, King Kong, The Lord of the Rings: The Return of the King, Sin City, Spider-Man 2, Wallace and Gromit: The Curse of the Were-Rabbit, and Star Wars: Episode 3 – Revenge of the Sith.

*The accompanying DVD-ROM features bonus resources, including example footage from hit films and projects that give readers hands-on experience with real industry materials.

*Includes new sections on 3D compositing, High Dynamic Range (HDR) imaging, Rotoscoping, and much more!

*17 new case-studies provide in-depth looks at the compositing work done on films such as Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Golden Compass, The Incredibles, King Kong, The Lord of the Rings: The Return of the King, Sin City, Spider-Man 2, Wallace and Gromit: The Curse of the Were-Rabbit, and Star Wars: Episode 3 – Revenge of the Sith.

*The accompanying DVD-ROM features bonus resources, including example footage from hit films and projects that give readers hands-on experience with real industry materials.

*Includes new sections on 3D compositing, High Dynamic Range (HDR) imaging, Rotoscoping, and much more!

Recenzijos

"At ILM, compositing is one of the most important tools we use. If you want to learn more, this excellent 2nd-edition is detailed with hundreds of secrets that will help make your comps seamless. For beginners or experts, Ron walks you through the processes of analysis and workflows - linear thinking which will help you become deft and successfully tackle any shot." --Dennis Muren ASC, Senior Visual Effects Supervisor, Industrial Light & Magic

"Ron Brinkman's book is the definitive work on digital compositing and we have depended on this book as a critical part of our in-house training program at Imageworks since the 1999 Edition. We use this book as a daily textbook and reference for our lighters, compositors and anyone working with digital imagery. It is wonderful to see a new edition being released and it will certainly be required reading for all our digital artists here at Imageworks." --Sande Scoredos, Executive Director of Training & Artist Development, Sony Pictures Imageworks

Daugiau informacijos

The classic reference, with over 25,000 copies in print, has been massively expanded and thoroughly updated to include state-of-the-art methods and 400+ all-new full color images!
Introduction to the Second Edition xiii
Introduction to Digital Compositing
1(14)
Definition
2(1)
Historical Perspective
3(4)
Terminology
7(4)
Organization of the Book
11(4)
Learning to See
15(38)
Judging Color, Brightness, and Contrast
16(3)
Light and Shadow
19(8)
The Camera
27(14)
Resolution Limits
27(3)
Focus and Depth of Field
30(2)
Lens Flares and Other Lens Artifacts
32(7)
Motion Blur
39(2)
Depth, Distance, and Perspective
41(10)
Perspective and the Camera
42(3)
Depth Cues
45(6)
Visual``Correctness''
51(2)
The Digital Representation of Visual Information
53(40)
Image Generation
53(2)
Pixels, Components, and Channels
55(4)
Spatial Resolution
59(1)
Bit Depth
60(3)
Normalized Values
63(1)
Beyond Black and White
64(7)
Floating-point and High Dynamic Range Imagery (HDRI)
71(3)
The HSV Color Representation
74(3)
The YUV COlor Representation
77(3)
Image Input Devices
80(1)
Digital Image File Formats
81(1)
File Format Features
82(1)
Variable Bit Depths
82(1)
Different Spatial Resolutions
82(1)
Compression
82(1)
Comment Information in a Header
82(1)
Additional Image Channels
82(1)
Vendor-specific File Format Implementations
83(1)
Compression
83(7)
Run-Length Encoding
83(3)
Lossy Compression
86(1)
Chroma Subsampling
87(3)
Image Sequence Compression
90(1)
Choosing a File Format
90(1)
Nonlinear Color Encoding
91(2)
Baisc Image Manipulation
93(56)
Terminology
94(3)
Color Manipulations
97(16)
RGB Multiply
97(1)
Add
98(2)
Gamma Correction
100(2)
Invert
102(1)
Contrast
103(3)
Channel Swapping
106(1)
HSV Manipulations
107(1)
Look-up Table Manipulations
108(2)
Expression Language
110(3)
Spatial Filters
113(12)
Convolves
113(3)
Blurring
116(3)
Sharpen
119(5)
Median Filter
124(1)
Geometric Transformations
125(24)
Panning
126(3)
Rotation
129(1)
Scale
130(3)
3D Transforms
133(2)
Warping
135(3)
Expression Language
138(1)
Filtering Algorithms
139(5)
Motion Blur
144(5)
Basic Image Compositing
149(40)
Multisource Operators
149(5)
Add
149(2)
Subtract
151(2)
Mix
153(1)
The Mattle Image
154(3)
The Integrated Matte Channel
157(3)
Over
158(2)
Additional Operators
160(12)
Multiply
162(1)
Screen
162(4)
Maximum and Minimum
166(2)
In
168(1)
Out
169(1)
Atop
170(2)
Masks
172(2)
Compositing with Premultiplied Images
174(9)
Color Correcting and Combining Premultiplied Images
178(3)
Luminosity and the Image-Matte Relationship
181(2)
Morphing
183(6)
Matte Creation and Manipulation
189(44)
Rotoscoping
192(14)
Techniques
195(8)
Motion Blur
203(3)
Limitations
206(1)
Procedural Matte Extraction
206(16)
Keying Based on Luminance
207(3)
Keying Based on Chrominance
210(4)
The Color Difference Method
214(4)
Difference Matting
218(1)
Specialized keying Software
219(3)
Matte Manipulations
222(11)
Checking the Solidity of your Matte
223(1)
Garbage Mattes
223(4)
Edge Mattes
227(1)
Combining Mattes
228(1)
Image Processing on Mattes
228(5)
Time and Temporal Manipulations
233(16)
Apparent Motion
233(1)
Temporal Resolution
234(1)
Temporal Artifacts
235(1)
Changing the Length or Timing of a Sequence
236(8)
Keyframing
244(5)
Image Tracking and Stabilization
249(14)
Tracking an Element into a Plate
250(5)
Choosing the Feature to Track
252(2)
Limiting the Search Area
254(1)
Human Intervention
255(2)
Using Tracking Curves Manually
256(1)
Tracking Multiple Points
257(1)
Stabilizing a Plate
258(4)
Camera Tracking
262(1)
Interface Interactions
263(28)
Workflow
264(2)
The Evolution of Interactivity
266(2)
Methods of Representing the Compositing Process
268(7)
Layer Lists
269(1)
Trees
270(3)
Compressed Branches
273(2)
Timlines
275(2)
Curve Editors
277(4)
Working with Proxy Images
281(1)
Image Viewing and Analysis Tools
282(9)
Image Viewers
283(2)
Pixel or Regional Information Tools
285(2)
Histograms
287(4)
Film Formats: Media, Resolution, and Aspect Ratios
291(36)
Aspect Ratio
293(4)
Nonsquare Pixels
294(2)
Deciding on a Resolution When You Have an Aspect Ratio
296(1)
Format Conversion Pipeline
297(5)
A Format Conversion Example
299(3)
Film Formats
302(6)
Common 35mm Formats
303(2)
16 mm Formats
305(1)
Specialized Film Formats
306(2)
Video Formats
308(6)
Fields
308(3)
Color Resolution
311(1)
Gamma
312(1)
Common Video Formats
312(2)
Other Formats
314(1)
Working with Nonsquare Pixels
314(5)
Converting and Combining Formats
319(8)
Converting between Film and Video
323(4)
Quality and Efficiency
327(18)
Quality
327(1)
Efficiency
328(1)
Production Methodologies
328(1)
Minimizing Data Loss
329(4)
Internal Software Accuracy
333(3)
Consolidating Operations
336(4)
Region of Interest
340(1)
Working in a Networked Environment
341(1)
Disk Usage
341(1)
Precompositing
342(3)
Creating Elements
345(22)
Lighting
346(2)
Interactive Lighting
348(1)
Matched Cameras
349(2)
The Reference Stand-in
351(2)
Clean Plates
353(1)
Film Stock
353(3)
Filters
356(1)
Choosing a Format
356(2)
Lighting and Shooting with Bluescreens
358(6)
Bluescreen versus Greenscreen
364(2)
Shooting Order
366(1)
Additional Integration Techniques
367(38)
Scene Continuity
369(1)
Color and Lighting
369(20)
Lighting
370(1)
Light Wrapping
371(5)
Shadows
376(3)
Digital Color Matching
379(3)
Spill Suppression
382(6)
Atmosphere
388(1)
Camera Characteristics
389(16)
Camera Mismatches
389(4)
Camera Movements
393(1)
Scale and Perspective
394(1)
Focus
395(2)
Motion Blur
397(1)
Lens Flares
398(1)
Film Grain and Sensor Noise
399(6)
Advanced and Related Topics
405(56)
The Digital Representation of Images, Revisited
405(23)
High Dynamic Range Imaging
406(8)
Color Reproduction
414(3)
Working with Limited Bit Depth
417(11)
Conclusions
428(1)
3D Compositing
428(7)
Working with CG Elements
435(20)
Z-Depth Compositing
437(11)
Multi-pass Rendering
448(7)
Related 2D Disciplines
455(6)
Digital Painting
456(1)
Editing
457(1)
The Digital Intermediate
458(3)
Case Studies
461(134)
James and the Giant Peach
461(3)
Speed
464(2)
Independence Day
466(4)
The Prince of Egypt
470(6)
Budweiser Lizards Commercials
476(2)
Titanic
478(5)
A Gentlemen's Duel
483(7)
Battlestar Galactica
490(4)
Carlton Draught ``Big Ad''
494(5)
Chronicles of Narnia: The Lion, the Witch, and the Wardrobe
499(5)
Golden Compass
504(3)
The Incredibles
507(3)
I, Robot
510(4)
king kong
514(6)
Lost
520(4)
The Lord of the Rings: The Returns of the king
524(4)
The Orion Nebula from The Hubble Space Telescope
528(8)
Sin City
536(3)
Sky Captain and the World of Tomorrow
539(8)
Spider-Man 2
547(7)
Underworld: Evolution
554(7)
Wallace and Gromit: The Curse of the Were-Rabbit
561(6)
Star Wars; Episode 3---Revenge of the Sith
567(28)
Breaking Down the Shot---ccm436
568(2)
Creating the Background
570(4)
Creating the Foreground
574(12)
Effects
586(5)
Final Assembly and Reframing
591(2)
Summary
593(2)
Appendix A Digital Compositing Software: Tools and Features
595(10)
Color Corrections
596(1)
Filters
597(1)
Geometric Transformations and Warps
598(1)
Image Combination
599(1)
Field Controls
600(1)
Matte Generation
600(1)
Timing and Animation
601(1)
Image Generation
601(1)
Tracking
601(1)
Control
602(1)
Other
602(3)
Appendix B Digital Image File Formats
605(14)
Common Image File Formats
605(1)
The Cineon File Format
606(6)
The OpenExr File Format
612(7)
Using OpenEXR for Visual Effects Production
612(1)
Abstract
612(1)
Floating-point Pixels
613(1)
Compression
614(1)
Open Source
615(1)
How OpenEXR is used at ILM
615(1)
Color Management
615(1)
Why not Cineon/DPX?
616(1)
Real-time Playback
617(1)
References
618(1)
Appendix C Common Film and Video Formats
619(8)
Film
619(5)
Scanning Resolutions and File Sizes
620(4)
Digital Cinema Projection
624(1)
Video
624(3)
Aspect Ratios
625(1)
Resolutions
625(1)
Interlacing
626(1)
Frame Rates
626(1)
Bibliography 627(4)
Glossary 631(44)
Index 675
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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