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E-raamat: Blender for Visual Effects [Taylor & Francis e-raamat]

(VP of Content & Production, Macroh USA)
  • Formaat: 164 pages, 212 Illustrations, color
  • Ilmumisaeg: 26-May-2015
  • Kirjastus: Productivity Press
  • ISBN-13: 9780429173257
Teised raamatud teemal:
  • Taylor & Francis e-raamat
  • Hind: 216,96 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 309,94 €
  • Säästad 30%
  • Formaat: 164 pages, 212 Illustrations, color
  • Ilmumisaeg: 26-May-2015
  • Kirjastus: Productivity Press
  • ISBN-13: 9780429173257
Teised raamatud teemal:

Bringing concrete examples from industry to light, this book explains how to use Blender to create visual effects for video/film production. It supplies readers with a practical way to learn how to use Blender’s tools across a wide range of scenarios in video/film production, including setting up cameras on a stage, lighting, and other production processes.

Maintaining a focus on composition, the book not only explains how to use the most common tools, such as tracking, rendering, and compositing, but also explains how to deal with software limitations and sort out problems.

Since the best way to learn something is with a practical example, this book follows one of the author’s own projects, starting with how to prepare the elements that will be needed later on. The example illustrates how to use Blender tools and features for scene tracking, setup, rendering, masking, and other post-production functions—from start to finish in a professional workflow.

The book examines all the compositing nodes that can be used in Blender. It details time-saving tips, features such as the motion tracker, and rendering techniques so readers will have enough information to accomplish the most common tasks encountered in the creation of a professional visual effects composition.

By following the example project presented in the book, you will gain the practical understanding required to use Blender’s tools in the most common scenarios in video/film production. You will also gain industry insights into the limitations of the software and how to sort out the problematic scenarios that may come up through the various stages of your project.

Acknowledgments xi
Biography xiii
Chapter 1 Problem Definition
1(2)
Introduction
1(1)
Approaching the Task
1(1)
Additional Materials
2(1)
Summary
2(1)
Chapter 2 Preparation
3(6)
Getting Ready
3(1)
Setting up Blender
4(1)
Shooting
5(1)
Calibration
6(1)
Summary
7(2)
Chapter 3 Tracking
9(16)
Basics of Tracking
9(1)
Preparing the Footage
10(1)
Working with the Tracker
11(1)
Calibration inside Blender
12(2)
Placing the Marks
14(2)
Solving the Tracking
16(3)
Applying the Solved Camera
19(2)
Plane Track
21(3)
Summary
24(1)
Chapter 4 Scene Setup
25(8)
World Creation
25(1)
Setting up Elements
26(3)
Lighting
29(2)
Summary
31(2)
Chapter 5 Rendering
33(18)
Internal Render vs. Cycles Render
33(1)
Internal Render Pros and Cons
34(1)
Cycles Render Pros and Cons
34(1)
Rendering with Layers
34(3)
Understanding the Render Passes
37(6)
Combined (RGBA)
38(1)
Depth (Z)
39(1)
Ambient Occlusion (AO)
39(1)
Shadow
40(1)
Vector
40(1)
Normal
41(1)
Object Index
41(1)
Material Index
42(1)
UV
43(1)
Formats
43(1)
Basic Channel Format
43(1)
Multichannel Format
44(1)
Render Settings
44(2)
Render Device
44(2)
Dimensions
46(1)
Sampling
46(1)
Light Paths
46(1)
Film
46(1)
Overscan
46(4)
summary
50(1)
Chapter 6 Masking
51(12)
Starting to Mask
52(2)
Clean Plate Preview
54(1)
Refining the Mask
55(2)
Tracking the Mask
57(2)
Frame-by-Frame Painting
59(2)
Summary
61(2)
Chapter 7 Compositing
63(78)
First Steps
63(1)
Nodes Overview
64(3)
Inputs
64(2)
Render Layers
66(1)
Image
66(1)
Texture
66(1)
Value
66(1)
RGB
66(1)
Time
66(1)
Movie Clip
66(1)
Bokeh Image
66(1)
Mask
66(1)
Track Position
66(1)
Outputs
67(1)
Composite
67(1)
Viewer
67(1)
Split Viewer
67(1)
File Output
67(1)
Levels
68(1)
Layout
68(3)
Frame
68(1)
Reroute
69(1)
Switch
70(1)
Group
71(1)
Distort
71(9)
Translate
72(1)
Rotate
72(1)
Scale
73(1)
Flip
73(1)
Crop
74(1)
Transform
74(1)
Displace
75(1)
Lens Distortion
75(1)
Map UV
76(1)
Stabilize 2D
76(1)
Movie Distortion
77(1)
Plane Track Deform
78(1)
Corner Pin
79(1)
Matte
80(4)
Difference Key
80(1)
Color Spill
81(1)
Distance Key, Chroma Key, Color Key, and Channel Key
81(1)
Keying
82(1)
Luminance Key
82(1)
Double Edge Mask
83(1)
Keying Screen
83(1)
Box Mask and Ellipse Mask
84(1)
Converter
84(7)
Combine and Separate (RGBA, HSVA, YUVA, YCbCr)
85(1)
Alpha Convert
86(1)
Math
87(1)
ID Mask
88(1)
Set Alpha
89(1)
RGB to BW
89(1)
ColorRamp
90(1)
Filter
91(9)
Filter
91(1)
Blur
92(1)
Directional Blur
92(1)
Bilateral Blur
93(1)
Vector Blur
94(1)
Dilate/Erode
95(1)
Inpaint
95(1)
Despeckle
96(1)
Defocus
97(1)
Glare
98(1)
Bokeh Blur
99(1)
Pixelate
99(1)
Sun Beams
100(1)
Vector
100(8)
Normal
101(1)
Vector Curves
102(1)
Normalize
103(1)
Map Value
104(1)
Map Range
104(4)
Color
108(7)
RGB Curves
108(1)
Mix
109(1)
Hue Saturation Value
110(1)
Bright/Contrast
110(1)
Gamma
111(1)
Invert
111(1)
AlphaOver
112(1)
Z Combine
112(1)
Color Balance
113(1)
Hue Correct
114(1)
Tonemap
114(1)
Color Correction
115(1)
Compositing the Scene
115(7)
Film Grain
122(7)
Fake Grain
123(3)
Real Grain
126(3)
Vignetting
129(1)
Preview
130(4)
Rendering Limitations
134(5)
Depth Pass
134(3)
ID Passes
137(2)
Final Notes
139(1)
Summary
140(1)
Index 141
Sam Vila earned a filmmaking certificate from the London Film Academy in 2006 and other degrees from different schools for film editing, camera operation, Steadicam operation, and postproduction.

He has been progressing in his career as a filmmaker and visual effects artist by participating in several productions not only for television but also for feature films.

Currently Sam Vila is working as a visual effects artist in Los Angeles, California, using Blender as the main tool to generate all the visual effects on a daily basis.

His experience includes five feature films and several short films usually as a visual effects artist. With several years of experience creating 3D content, he has wide-ranging knowledge of many well-known 3D software programs, and he has engaged in professional collaborations with companies such as NVIDIA and OTOY (Octane Render).

He is also a co-founder of Los Angeles Blender Group and a very active member of the Blender community.