The Art and Science of Digital Compositing - 2nd Edition - ISBN: 9780123706386, 9780080879260

The Art and Science of Digital Compositing

2nd Edition

Techniques for Visual Effects, Animation and Motion Graphics

Authors: Ron Brinkmann
eBook ISBN: 9780080879260
Paperback ISBN: 9780123706386
Imprint: Morgan Kaufmann
Published Date: 21st May 2008
Page Count: 704
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Table of Contents

Acknowledgments Preface Chapter 1 Introduction to Digital Compositing Definition Historical Perspective Terminology Organization of the Book Chapter 2 Learning to See Judging Color, Brightness, and Contrast Light and Shadow The Camera Depth, Distance, and Perspective Visual ‘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 Encoding Chapter 4 Basic Image Manipulation Terminology Color Manipulations Spatial Filters Geometric Transformations Motion Blur Chapter 5 Basic Image Compositing Multisource Operators The Matte Image The Integrated Matte Channel Additional Operators Masks Compositing With Premultiplied Images Morphing Chapter 6 Matte Creation and Manipulation Rotoscoping Procedural Matte Extraction Matte Manipulation Chapter 7 Time and Temporal Manipulations Apparent Motion Temporal Resolution Temporal Artifacts Changing the Length or Timing of a Sequence Keyframing Chapter 8 Image tracking and Stabilization Tracking an Element Into a Plate Human Intervention Tracking Multiple Points Stabilizing a Plate Camera Tracking Chapter 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 Tools Chapter 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 Formats Chapter 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 Precompositing Chapter 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 Order Chapter 13 Additional Integration Techniques Scene Continuity Color and Lighting Camera Characteristics Chapter 14 Advanced and Related Topics The Digital Representation of Images, Revisited 3D Compositing Working With CG Elements Related 2D Disciplines Chapter 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 Sith Appendix 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 Other Appendix B Digital Image File Formats Common Image File Formats The Cineon File Format The OpenEXR File Format Appendix C Common Film and Video Formats Film Digital Cinema Projection Video Bibliography Glossary Index


Description

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.
  • Includes new sections on 3D compositing, High Dynamic Range (HDR) imaging, Rotoscoping, and much more!
  • All disc-based content for this title is now available on the Web.

Key Features

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

Readership

Developers, artists, and creative directors in film and computer graphics special effect, and students in these disciplines.


Details

No. of pages:
704
Language:
English
Copyright:
© Morgan Kaufmann 2008
Published:
Imprint:
Morgan Kaufmann
eBook ISBN:
9780080879260
Paperback ISBN:
9780123706386

Reviews

"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


About the Authors

Ron Brinkmann Author

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.

Affiliations and Expertise

Hermosa Beach, CA, USA