By Steve Wright
This functional, hands-on advisor addresses the issues and hard offerings that pro compositors face each day. you're awarded with tips, thoughts, and strategies for facing badly shot parts, colour artifacts, mismatched lights and different ordinarily confronted compositing stumbling blocks. functional, in-depth classes are featured for bluescreen matte extraction, despill operations, compositing operations, in addition to color-corrections. The booklet is gifted solely in an application-agnostic demeanour, permitting you to use classes discovered on your compositing whatever the software program program you're utilizing. The DVD comprises prior to and after examples in addition to workout records so that you can refine your individual thoughts on.
* will give you professionally-tried tips, assistance, and strategies to the advanced and tough compositing matters 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 video clips at the DVD, and extra * DVD is jam-packed with instructive ahead of and after examples in addition to excercise documents that let you refine your individual technique
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Extra info for Digital Compositing for Film and Video, Third Edition
Example text
Suppose we picked a point right in the center of the green pixel constellation by choosing the appropriate RGB value, then measured the distance between this center point and all of the pixels in the image. The green backing pixels all hover in the vicinity of the center point, so the distance to them would be zero or close to it. All other pixels would be located much further from the center point, giving them distances much greater than zero. 25 26 Digital Compositing for Film and Video Figure 2-14 Distance map of Figure 2-15 Hicon version of distance greenscreen plate map Suppose, further, that we created a new version of the greenscreen image that showed the distance each pixel is from this center point – call it a distance map.
The first and most obvious issue is how there are several different Pulling Mattes Figure 2-1 Monochrome image Figure 2-2 Clipping plane clips the visualized as brightness “mountains” tallest (brightest) mountain peaks mountain peaks sliced off by the threshold point clipping plane, not just the one we may be interested in. This means that the luminance matte will have “snared” unwanted regions of the picture. Some method will have to be devised to isolate just the one item we are interested in.
Click the monochrome button on and dial up the percentage mix of each color channel. 2 Nonluminance Monochrome Images Another approach is to not use a luminance image at all. The lumakey process is simply based on the brightness values in a monochrome image. This one-channel image is usually created by making a luminance version of the color image, but it is not against the laws of man or nature to make the one-channel image in other ways. For example, just separate the green channel and pipe it into the luma-keyer.
