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Download Digital Compositing for Film and Video, Third Edition by Steve Wright PDF

By Steve Wright

This functional, hands-on advisor addresses the issues and hard offerings that pro compositors face every day. you're awarded with information, concepts, and suggestions for facing badly shot parts, colour artifacts, mismatched lights and different often confronted compositing hindrances. functional, in-depth classes are featured for bluescreen matte extraction, despill operations, compositing operations, in addition to color-corrections. The ebook is gifted totally in an application-agnostic demeanour, permitting you to use classes discovered in your compositing whatever the software program program you're utilizing. The DVD comprises prior to and after examples in addition to workout records so you might refine your individual concepts on.

* offers you professionally-tried methods, assistance, and recommendations to the advanced and hard compositing concerns that you simply face * New to this version is a piece 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 filled with instructive earlier than and after examples in addition to excercise documents that let you refine your personal technique



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Everything greater than the inner threshold value is pulled up to 100% white. Everything below the outer threshold value is pulled down to a zero black. The pixels in between these two values take on various shades of gray, which creates a soft-edged matte shown in the inset above the mountain peak. 2 Making Your Own Luminance Image There are two important things to be aware of about the luminance image itself that is generated internally by the luma-keyer. The first is that there are a variety of ways to calculate this luminance image, and some of these variations might isolate your item of interest better than the default.

For a matte, the item of interest is its density, or how transparent it is. The exact same pixel value dropped into an RGB channel would suddenly be referred to as brightness. The raw color difference matte that results from the green minus red math operation is shown in Figure 2-35 with another slice line. We are calling this the “raw” matte, because it is the raw matte density produced by the initial color difference operation and needs a scaling operation before becoming the final matte. 2, which appears as the dark gray region.

For those pixels where both plates share the common background, the difference is zero. Those pixels within the target have some difference compared to the clean plate. That difference may be small or large, depending on the image content of the target relative to the clean plate. In the real world, the background region in the target and clean plates are never actually identical due to film grain plus any other differences in the clean plate such as a small change in lighting, a leaf blown by the wind, or a camera that has been bumped.

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