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Advanced Visual Effects Compositing: Techniques for Working with Problematic Footage [Kõva köide]

(Visual Effects Artist, USA)
  • Formaat: Hardback, 218 pages, kõrgus x laius: 235x191 mm, kaal: 725 g, 250 Illustrations, color
  • Ilmumisaeg: 07-Feb-2017
  • Kirjastus: Routledge
  • ISBN-10: 1138668311
  • ISBN-13: 9781138668317
Teised raamatud teemal:
Advanced Visual Effects Compositing: Techniques for Working with Problematic FootageSuurem pilt
  • Formaat: Hardback, 218 pages, kõrgus x laius: 235x191 mm, kaal: 725 g, 250 Illustrations, color
  • Ilmumisaeg: 07-Feb-2017
  • Kirjastus: Routledge
  • ISBN-10: 1138668311
  • ISBN-13: 9781138668317
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138668317.html
Märksõnad:

In Advanced Visual Effects Compositing: Techniques for Working with Problematic Footage, tackle difficult visual effect composites in layer-based and node-based compositing programs.

In this book, industry veteran and compositing expert Lee Lanier offers tips, tricks, techniques, and workflows for difficult visual effects shots, including poorly-shot green screen, moving shots with no visible motion tracking marks, shots requiring 3D elements that lack 3D renders, poor-quality stock footage, and incorrectly lit shots. Lanier details the common problems of visual effects shots and offers practical solutions using examples from Adobe After Effects and Blackmagic Design Fusion. An accompanying eResource (www.routledge.com/9781138668348) features video image sequences, 3D renders, and other tutorial materials, allowing you immediately practice the discussed techniques.

The visual effects challenges covered in this book include:

  • Chroma keying
  • Motion tracking
  • Relighting in the composite
  • Repairing plates
  • Replicating damage
  • Adding depth with 2.5D
  • Working with stock footage
Introduction ix
Chapter 1 Keying Difficult Green Screen
1(30)
Chroma Keying Overview
2(1)
Sidebar: The State of Chroma Keying
2(1)
Green Screen Problems and Solutions
2(2)
Keying Challenge A
4(12)
Layer-Based Solution for Challenge A
5(1)
Applying the Initial Key
5(2)
Keying on Different Layers
7(3)
Node-Based Solution for Challenge A
10(1)
Applying the Initial Key
11(1)
Keying Different Branches
12(1)
Sidebar: Hybrid Rendering
12(4)
Keying Challenge B
16(13)
Layer-Based Solution for Challenge B
16(1)
Creating a Luma Key
17(6)
Node-Based Solution for Challenge B
23(1)
Creating a Luma Key
23(6)
Final Chroma Keying Thoughts
29(2)
Chapter 2 Motion Tracking Elusive Patterns
31(28)
Motion Tracking Overview
32(1)
Motion Tracking Problems and Solutions
32(2)
Tracking Challenge A
34(15)
Layer-Based Solution for Challenge A
35(1)
Transform Tracking
35(3)
Applying the Tracking Data
38(3)
Separating Foreground Objects with a Luma Mask
41(2)
Node-Based Solution for Challenge A
43(1)
Transform Tracking
43(4)
Applying the Tracking Data
47(1)
Separating Foreground Objects with a Luma Mask
48(1)
Tracking Challenge B
49(7)
Layer-Based Solution for Challenge B
51(1)
3D Camera Tracking
51(3)
Applying 3D Tracking Data
54(2)
Sidebar: 3D Camera Tracking in Fusion
56(1)
Final Motion Tracking Thoughts
56(3)
Chapter 3 Relighting in the Composite
59(18)
Color Grading and Relighting Overview
60(1)
Lighting Problems and Solutions
61(1)
Relighting Challenge
62(13)
Layer-Based Solution for Relighting Challenge
63(8)
Node-Based Solution for Relighting Challenge
71(4)
Final Relighting Thoughts
75(2)
Chapter 4 Fixing and Repairing Plates
77(28)
Plate Repair and Paint Fix Overview
78(1)
Paint Fix and Plate Repair Problems and Solutions
78(1)
Paint Fix Challenge
79(13)
Layer-Based Solution for Paint Fix Challenge
81(5)
Node-Based Solution for Paint Fix Challenge
86(6)
Plate Repair Challenge
92(11)
Layer-Based Solution for Plate Repair Challenge
93(5)
Node-Based Solution for Plate Repair Challenge
98(5)
Final Fixing and Repairing Thoughts
103(2)
Chapter 5 Replicating Artifacts
105(20)
Film and Video Artifact Overview
106(1)
Artifact Problems and Solutions
106(2)
Film Artifact Challenge
108(14)
Layer-Based Solution for Film Artifact Challenge
108(1)
Adding Judder, Dust, Dirt, and Grain
109(2)
Interlacing
111(2)
Adding Film Weave and Lone Hairs and Scratches
113(2)
Color Fading
115(2)
Node-Based Solution for Film Artifact Challenge
117(1)
Interlacing
117(2)
Adding Dust, Dirt, Grain, and Weaving
119(1)
Adding Lone Hairs and Scratches
120(1)
Color Fading
121(1)
Final Artifact Replication Thoughts
122(3)
Chapter 6 Adding Depth to Flat Scenes
125(16)
2D, 2.5D, and 3D Overview
126(1)
Depth Solutions
127(1)
Depth Challenge
127(12)
Layer-Based Solution for Depth Challenge
128(1)
Preparing Cards
128(2)
Working in the 3D Environment
130(3)
Node-Based Solution for Depth Challenge
133(6)
Final Depth Thoughts
139(2)
Chapter 7 Using Imperfect FX Elements
141(30)
FX Elements Overview
142(1)
FX Element Problems and Solutions
142(1)
Stock FX Element Challenge
143(17)
Layer-Based Solution for FX Element Challenge
144(7)
Node-Based Solution for FX Element Challenge
151(1)
Keying and Merging the Smoke
151(6)
Rendering and Combining Smoke Iterations
157(3)
Particle FX Challenge
160(8)
Layer-Based Solution for Particle FX Challenge
160(4)
Node-Based Solution for Particle FX Challenge
164(4)
Final FX Element Thoughts
168(3)
Chapter 8 Tackling a Complex VFX Shot
171(28)
Creating the Cover Image
172(25)
Reviewing the Project Assets
172(4)
Preparing the Background
176(1)
Stabilizing the Plate
176(1)
Extending the Background
177(1)
Adding the Helicopters
178(1)
Stabilizing the Plates
178(2)
Keying the Helicopters
180(1)
Integrating the Plates
181(1)
Adding the Lizard
182(1)
Stabilizing the Plate
182(1)
Keying the Lizard
183(2)
Integrating the Lizard
185(1)
Restoring the Foreground
186(1)
Adding Destruction
187(1)
Integrating a Matte Painting
187(2)
Adding an Explosion
189(1)
Taking the Final Steps
190(1)
Stopping the Cars
190(1)
Limiting the Reflection
191(1)
Adding a Camera Move and TV Graphic
192(4)
Additional Improvements
196(1)
A Node-Based Workflow
196(1)
Book Wrap-Up
197(2)
Appendix A Introduction to After Effects and Fusion
199(12)
Fusion and After Effects Overview
199(1)
Working in After Effects
199(3)
Exploring Frames, Panels, Tabs, and Views
199(1)
Creating and Saving a Project
200(1)
Using Compositions
201(1)
Importing Footage
201(1)
Adding Layers and Effects
201(1)
Playing Back
202(1)
Working in Fusion
202(9)
Exploring Panels, Tabs, and Views
202(1)
Navigating within Views
203(1)
Using the Menus
203(1)
Setting up a Project
204(1)
Choosing Critical Project Settings
204(1)
Creating Tool Networks
204(1)
Connecting Tools
205(1)
Rearranging and Disabling Tools
206(1)
Importing Footage
206(1)
Sidebar: Reloading Missing Footage
207(1)
Sidebar: Reconnecting Left and Right Display Views
207(1)
Playing Back
207(1)
Rendering a Preview
207(1)
Setting Time Ranges
208(1)
Setting Playback Quality
209(2)
Appendix B Source File Information
211(2)
Index 213
Lee Lanier has worked as a professional computer animator and visual effects (VFX) artist since 1994. He has more than 70 features, shorts, music videos, trailers, and commercials to his credit. Lee has written eight high-end software books that have sold more than 30,000 copies, has authored VFX training videos for lynda.com, has taught VFX compositing at the Gnomon School of Visual Effects in Hollywood, and is a member of the Visual Effects Society (VES). A strong supporter of the arts, Lee co-founded the Dam Short Film FestivalNevadas largest film festivaland continues to serve as its executive director. He also co-manages the Boulder City branch of Dr. Sketchys Anti-Art School, curates several art gallery spaces, and is an avid painter. You can see his work at beezlebugbit.com and diabolica-art.com.