By Steve Wright
Electronic Compositing for movie and Video is a hands-on, how-to advisor that addresses the issues and tough offerings confronted by way of the pro compositor in real-life events. This ebook provides you with assistance, tips and strategies for facing the badly shot parts, colour artifacts, and mismatched lighting fixtures that bedevil compositors. incorporated during this ebook is: in-depth, useful equipment for bluescreen matte extraction, despill operations, compositing operations, and colour correction-the ''meat and potatoes'' of all electronic results. Written in a very software program autonomous kind, it really is completely acceptable to any model of compositing software program. the second one version includes many vital additions: * revealed in complete colour with over four hundred colour pictures and illustrations * better half DVD with 3.7 gigabytes of try out photos, together with not easy to get HiDef video and have movie scans * new part on operating with HiDef video * new part on electronic intermediate, the function movie completing technique of this day * extra Adobe Photoshop mixing modes and methods * new fabric that unearths the add-mix composite, gentle wrap, slot gags, and the way to defeat banding difficulties .
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Additional info for Digital Compositing for Film and Video,
Fine. You can make your own luma-keyer using a color curve node, which every software package has. The first step is to make your best monochrome image that separates the item of interest from the background using one of the techniques described earlier and then pipe it to a color curve node to scale it to a “hicon” (high contrast) matte. How to set up the color curve is demonstrated in Figure 2-7. The item of interest is the white letter “A” in the target image on the left, a deliberately easy target for demonstration purposes.
17 18 Digital Compositing for Film and Video Adobe Photoshop Users—You too can create your own custom luminance images by making a custom grayscale image with the Channel Mixer. Go to Image > Adjustments > Channel Mixer, check the “Monochrome” box at the bottom of the dialogue box (Output Channel goes to “Gray”), and then dial up your custom mix of colors to make your very own luminance image. If your monochrome node does not permit you to change the RGB mix proportions, then another way you can “roll your own” luminance image is with a color curve node.
2, not 0. 2, a dark gray, for the backing region—the crude beginnings of a simple color difference matte. ” The term “density” is used here instead of “brightness” simply because we are talking about the density of a matte instead of the brightness of an image. 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.