Acknowledgments p. xv Preface p. xvii Introduction to Digital Compositing p. 1 Definition p. 2 Historical Perspective p. 4 Terminology p. 7 Organization of the Book p. 8 The Digital Representation of Visual Information p. 13 Image Generation p. 13 Pixels, Components, and Channels p. 15 Spatial Resolution p. 17 Bit Depth p. 18 Normalized Values p. 20 Additional Channels p. 20 The HSV Color Representation p. 21 Image Input Devices p. 22 Digital Image File Formats p. 23 File Format Features p. 23 Vendor Implementations of File Formats p. 24 Compression p. 24 Choosing a File Format p. 31 Nonlinear Color Spaces p. 32 Basic Image Manipulation p. 33 Terminology p. 34 Color Manipulations p. 36 RGB Multiply p. 36 Add p. 36 Gamma Correction p. 38 Invert p. 39 Contrast p. 40 Channel Swapping p. 41 HSV Manipulations p. 42 Look-up Table Manipulations p. 43 Expression Language p. 44 Spatial Filters p. 46 Convolves p. 46 Blurring p. 47 Sharpen p. 50 Median Filter p. 51 Geometric Transformations p. 52 Panning p. 53
Rotation p. 55 Scale p. 56 3D Transforms p. 56 Warping p. 58 Expression Language p. 58 Filtering Algorithms p. 60 Basic Image Compositing p. 65 The Matte Image p. 66 The Integrated Matte Channel p. 67 Multisource Operators p. 68 Over p. 69 Mix p. 71 Subtract p. 71 In p. 72 Out p. 72 Atop p. 73 Masks p. 74 Compositing With Premultiplied Images p. 74 Color-Correcting and Combining Premultiplied Images p. 75 Luminosity p. 77 Matte Creation and Manipulation p. 79 Procedural Matte Extraction p. 80 Keying Based on Luminance p. 81 Keying Based on Chrominance p. 81 Difference Matting p. 82 The Color Difference Method p. 84 Specialized Keying Software p. 85 Matting Techniques p. 86 Garbage Mattes p. 86 Edge Mattes p. 88 Combining Mattes p. 89 Manipulating Mattes p. 89 Time and Temporal Manipulations p. 93 Apparent Motion p. 93 Temporal Resolution p. 94 Temporal Artifacts p. 95 Changing the Length or Timing of a Sequence p. 96 Keyframing p. 99 Image Tracking and Stabilization p. 103 Tracking an Element Into a Plate p. 104 Choosing the Feature to Track p. 107
Limiting the Search Area p. 109 Human Intervention p. 109 Using Tracking Curves Manually p. 110 Stabilizing a Plate p. 111 Tracking Multiple Points p. 113 Interface Interactions p. 115 Workflow p. 116 Online Versus Batch p. 118 Methods of Representing the Compositing Process p. 121 Compressed Trees p. 123 Timelines p. 124 Curve Editors p. 126 Working With Proxy Images p. 130 Image Viewing and Analysis Tools p. 133 Image Viewers p. 134 Flipbooks p. 134 Image Statistics p. 135 Pixel or Regional Information Tools p. 135 Histograms p. 136 Formats: Media, Resolution, and Aspect Ratios p. 141 Aspect Ratio p. 143 Nonsquare Pixels p. 144 Deciding on a Resolution When You Have an Aspect Ratio p. 146 Format Conversion Pipeline p. 147 A Format Conversion Example p. 149 Film Formats p. 152 35mm Formats p. 153 16mm Formats p. 155 Specialized Film Formats p. 156 Video Formats p. 158 Lines of Resolution p. 158 Fields p. 159 Color Resolution p. 161 Gamma p. 162 NTSC p. 162 PAL p. 163 SECAM p. 163 HDTV p. 163 Other Formats p. 164 Working With Nonsquare Pixels p. 165 Combining Formats p. 170
Converting Between Film and Video p. 170 Quality and Efficiency p. 173 Quality p. 173 Efficiency p. 174 Methodology p. 174 Minimizing Data Loss p. 175 Internal Software Accuracy p. 178 Consolidating Operations p. 180 Region of Interest p. 184 Working in a Networked Environment p. 185 Disk Usage p. 185 Precompositing p. 186 Learning to See p. 189 Judging Color, Brightness, and Contrast p. 190 The Camera p. 192 Distance and Perspective p. 193 Perspective and the Camera p. 193 Depth Cues p. 195 Combining Depth Cues p. 199 Lens Flares p. 200 Focus p. 201 Motion Blur p. 201 Creating Elements p. 203 Lighting p. 204 Interactive Lighting p. 205 Matched Cameras p. 207 The Reference Stand-in p. 209 Clean Plates p. 211 Film Stock p. 211 Filters p. 213 Choosing a Format p. 214 Lighting and Shooting with Bluescreens p. 216 Bluescreen versus Greenscreen p. 219 Shooting Order p. 221 Integration Techniques p. 223 Scene Continuity p. 224 Lighting p. 225 Shadows p. 226 Lens Flares p. 228 Atmosphere p. 229 Camera Mismatches p. 230
Camera Movements p. 232 Focus p. 233 Motion Blur p. 233 Film Grain p. 234 Bluescreen Integration p. 236 Digital Integration p. 238 Advanced Topics p. 241 Beyond Black and White p. 241 White Point and Black Point p. 243 Nonlinear Color Spaces p. 245 Working with Nonlinear Color Spaces p. 250 Working with 3D Elements p. 253 Z-Depth Compositing p. 255 Related 2D Disciplines p. 261 Morphing p. 261 Digital Painting p. 264 Editing p. 266 Case Studies p. 269 James and the Giant Peach p. 269 Speed p. 271 Star Trek: Insurrection p. 273 Con Air p. 274 Budweiser Lizards Commercial p. 276 Independence Day p. 278 X-Files: Fight the Future p. 280 T-Rex: Back to the Cretaceous p. 281 The Prince of Egypt p. 285 Titanic p. 288 Digital Compositing Software: Tools and Features p. 291 Color Correction p. 292 Spatial Filtering p. 293 Geometric Transformation p. 294 Miscellaneous p. 295 Image Combination p. 295 Control p. 296 Field Controls p. 297 Matte Generation p. 297 Timing/Duration p. 297 Image Generation p. 298 Tracking p. 298 Other p. 299
Digital Compositing Software: Manufacturers p. 301 Digital Image File Formats p. 303 Common File Formats p. 303 The Cineon File Format p. 306 Common Film and Video Formats p. 313 Film p. 313 Scanning Resolutions and File Sizes p. 314 Video p. 317 HDTV p. 319 Bibliography p. 321 Glossary p. 325 Index p. 355 Table of Contents provided by Blackwell's Book Services and R.R. Bowker. Used with permission.