The Art and Science of Digital Compositing

AcknowledgmentsPrefaceChapter 1 Introduction to Digital CompositingDefinitionHistorical PerspectiveTerminologyOrganization of the BookChapter 2 Learning to See Judging Color, Brightness, and Contrast Light and Shadow The Camera Depth, Distance, and PerspectiveVisual ‘Correctness’Chapter 3 The Digital Representation of Visual Information Image Generation Pixels, Components, and Channels Spatial Resolution Bit Depth Normalized Values Beyond Black and White Floating-Point and High Dynamic Range Imagery The HSV Color Representation The YUV Color Representation Image Input Devices Digital Image File Formats File Format Features Vendor-Specific File Format Implementations Compression Choosing a File Format Nonlinear Color EncodingChapter 4 Basic Image Manipulation Terminology Color Manipulations Spatial Filters Geometric Transformations Motion BlurChapter 5 Basic Image Compositing Multisource Operators The Matte Image The Integrated Matte Channel Additional Operators Masks Compositing With Premultiplied Images MorphingChapter 6 Matte Creation and Manipulation Rotoscoping Procedural Matte Extraction Matte ManipulationChapter 7 Time and Temporal Manipulations Apparent Motion Temporal Resolution Temporal Artifacts Changing the Length or Timing of a Sequence KeyframingChapter 8 Image tracking and Stabilization Tracking an Element Into a Plate Human Intervention Tracking Multiple Points Stabilizing a Plate Camera TrackingChapter 9 Interface Interactions Workflow The Evolution of Interactivity Methods of Representing the Compositing Process Timelines Curve Editors Working With Proxy Images Image Viewing and Analysis ToolsChapter 10 Formats: Media, Resolution, and Aspect Ratios Aspect Ratio Format Conversion Pipeline Film Formats Video Formats Other Formats Working With Nonsquare Pixels Converting and Combining FormatsChapter 11 Quality and Efficiency Quality Efficiency Production Methodologies Minimizing Data Loss Internal Software Accuracy Consolidating Operations Region of Interest Working in a Networked Environment Disk Usage PrecompositingChapter 12 Creating Elements Lighting Interactive Lighting Matched Cameras The Reference Stand-In Clean Plates Film Stock Filters Choosing a Format Lighting and Shooting With Bluescreens Bluescreen vs. Greenscreen Shooting OrderChapter 13 Additional Integration Techniques Scene Continuity Color and Lighting Camera CharacteristicsChapter 14 Advanced and Related Topics The Digital Representation of Images, Revisited 3D Compositing Working With CG Elements Related 2D DisciplinesChapter 15 Case Studies James and the Giant Peach Speed Independence Day The Prince of Egypt Budweiser Lizards Commercial Titanic A Gentlemen’s Duel Battlestar Galactica Carlton Draught ‘Big Ad’ Chronicles of Narnia: The Lion, the Witch and the Wardrobe Golden Compass Incredibles Case Study I, Robot King Kong Lost The Lord of the Rings: The Return of the King The Orion Nebula from The Hubble Space Telescope: One Image from A Billion Pixels Sin City Sky Captain and the World of Tomorrow Spider-Man 2 Underworld: Evolution Wallace and Gromit: The Curse of the Were-Rabbit Star Wars: Episode 3 – Revenge of the SithAppendix A Digital Compositing Software: Tools and Features Color Corrections Filters Geometric Transformations and Warps Image Combination Field Controls Matte Generation Timing and Animation Image Generation Tracking Control OtherAppendix B Digital Image File Formats Common Image File Formats The Cineon File Format The OpenEXR File FormatAppendix C Common Film and Video Formats Film Digital Cinema Projection VideoBibliographyGlossaryIndex