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E-raamat: Compositing Visual Effects in After Effects: Essential Techniques

(Visual Effects Artist, USA)
  • Formaat: 286 pages
  • Ilmumisaeg: 19-Nov-2015
  • Kirjastus: Routledge
  • ISBN-13: 9781317622116
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Compositing Visual Effects in After Effects: Essential TechniquesSuurem pilt
  • Formaat: 286 pages
  • Ilmumisaeg: 19-Nov-2015
  • Kirjastus: Routledge
  • ISBN-13: 9781317622116
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Create vibrant visual effects with Adobe After Effects. Gain the tips, tricks, and applied knowledge you need to carry out essential visual effects tasks and bring your digital compositing to the next level.

In Compositing Visual Effects in After Effects, industry veteran Lee Lanier covers all the common After Effects techniques any serious visual effects artist needs to know, combining the latest, professionally-vetted studio practices and workflows with multi-chapter projects and hands-on lessons.

Engaging, full-color tutorials cover:















Altering resolutions and frame rates





Channel and color space manipulation





Rotoscoping and masking





Matchmoving and motion tracking





Keying green screen





Working in the 3D environment and integrating 3D render passes





Particle simulation





Color grading and distressing





Expressions and project management





The companion website (www.focalpress.com/cw/lanier) features video image sequences, 3D renders, matte paintings, and other tutorial materials, allowing you to immediately apply the techniques taught in the book.
Introduction xi
Chapter 1 Selecting Color Spaces, Resolutions, and Frame Rates
1(28)
Choosing Bit-Depths and Color Spaces
2(9)
An Overview of Common Bit-Depths
3(1)
Integer versus Floating-Point
4(1)
Working with Color Management
5(1)
Calibrating Monitors
5(1)
Using a Working Space in After Effects
6(2)
Working in Linearized Color Space
8(1)
Previewing and Converting Different Color Spaces
8(1)
Linear versus Logarithmic
9(2)
Importing Raw Files
11(3)
Selecting Resolutions and Frame Rates
14(6)
Overview of Resolutions
14(1)
A Note on Nonsquare Pixels
15(1)
Choosing a Frame Rate
16(1)
Interlaced versus Progressive
17(3)
Speeding Up and Slowing Down Footage
20(9)
Mismatching Frame Rates
20(1)
Frame Blending
20(1)
Time Warping with Timewarp
21(2)
Time Warping with RE: Vision Effects Twixtor
23(2)
Time Stretching
25(1)
Time Remapping
25(3)
Altering the Frame Rate with Time Effects
28(1)
Chapter 2 Generating Alpha with Keyers and Mattes
29(28)
Generating Alpha with Chroma Key Techniques
30(1)
Using Keylight
31(3)
Working with Imperfect Green Screen
34(1)
Applying Additional Keylight Properties
35(2)
Screen Pre-Blur
35(1)
Screen Gain and Screen Balance
35(1)
Clip Rollback, Screen Shrink/Grow, and Screen Softness
36(1)
Screen Despot Black and Screen Despot White
36(1)
Using the Primatte Plug-In
37(2)
Using Difference Keyers
39(3)
Difference Matte
39(2)
Color Difference Key
41(1)
Using Range Keyers
42(2)
Color Range
42(2)
Linear Color Key
44(1)
Suppressing Spill
44(4)
Working with Spill in Keylight
44(1)
Applying Spill Effects
45(3)
Altering Alpha with Mattes
48(5)
Activating Track Matte
48(1)
Creating a Custom Luma Matte
48(2)
Improving Matte Edges
50(3)
Chapter Tutorial: Keying a Difficult Green Screen, Part 1
53(4)
Chapter 3 Masking, Rotoscoping, and Basic Keyframing
57(34)
Creating Masks
58(7)
Using the Pen Tool
58(2)
Altering Existing Masks
60(1)
Combining Masks to Make Complex Shapes
61(2)
Adjusting a Mask with Pen Variants
63(2)
Switching to RotoBezier
65(1)
Rotoscoping
65(8)
Keyframing a Mask
66(1)
Rotoscoping Approaches
66(1)
Rotoscoping with Roto Brush
67(6)
Importing Masks
73(6)
Importing Bitmap and Vector Masks
73(1)
Working with Mocha AE Masks
73(6)
Basic Keyframing
79(7)
Editing Keyframes on the Timeline
80(1)
Separating Dimensions
80(1)
Working in the Graph Editor
81(1)
Altering Curves
81(2)
Changing Tangent Types
83(3)
Chapter Tutorial: Keying a Difficult Green Screen, Part 2
86(5)
Chapter 4 Transforming and Motion Tracking
91(34)
Transforming Layers
92(7)
Working with the Anchor Point
92(1)
Working with Additional Transform Properties
93(1)
Parenting
94(1)
Nesting and Transform Collapsing
94(2)
Precomposing and Pre-Rendering
96(1)
Motion Blur
97(2)
Motion Tracking
99(13)
Transform Tracking
99(3)
Selecting Features and Fine-Tuning Motion Paths
102(2)
Transform Tracking with Rotation and Scale
104(1)
Adjusting Applied Tracking Transforms
105(1)
Tracking Multiple Features
106(1)
Stabilizing Footage
107(2)
Corner-Pin Tracking
109(3)
3D Camera Tracking
112(6)
Introduction to The Foundry's CameraTracker
116(2)
A Note on Hand Tracking
118(1)
Motion Tracking Masks and Facial Tracking
118(2)
PlanarTracking with Mocha AE
120(1)
Chapter Tutorial: Planar Motion Tracking
120(5)
Chapter 5 Working with the 3D Environment
125(32)
Creating and Transforming 3D Layers
126(2)
Using Multiple Viewports
127(1)
Creating and Transforming a 3D Camera
128(6)
Transforming a 3D Camera
129(1)
Altering 3D Camera Properties
130(1)
Working with Depth of Field
131(3)
Setting Up Lights
134(2)
Working with Materials
136(3)
Ambient
136(1)
Diffuse
136(1)
Specular Shininess, Specular Intensity, and Metal
136(1)
Light Transmission
137(1)
Casts Shadows, Accepts Shadows, and Accepts Lights
137(2)
Masking 3D Layers
139(5)
Arranging 2D Layers as Visual Effects Cards
141(3)
Importing Cameras, Lights, and Geometry
144(9)
Importing Maya Cameras
145(1)
Using the RLA and RPF Formats
145(1)
Working with Cinema 4D Lite
145(5)
Working with Cinema 4D Multi-Passes
150(2)
Extracting Cinema 4D Scene Elements
152(1)
Motion Blurring Cinema 4D Scenes
153(1)
Switching to Ray-Traced 3D
153(1)
Chapter Tutorial: Rendering Reflections with Ray-Traced 3D
154(3)
Chapter 6 Creating Particle Simulations
157(20)
General Particle Workflow
158(1)
Using Built-In Particle Effects
159(5)
Creating Dust Puffs with Particle Playground
159(2)
Creating Sparks with CC Particle Systems II
161(3)
Creating Smoke with CC Particle World
164(4)
Using Particle Plug-Ins
168(1)
Red Giant Trapcode Particular
168(1)
Video Copilot Element 3D
169(1)
Wondertouch particlelllusion
169(1)
Rowbyte Plexus 2
169(1)
Digieffects Phenomena
169(1)
Motion Boutique Newton 2
169(1)
An Introduction to Trapcode Particular
169(4)
3D Camera Awareness
171(1)
Volumetric Emitters
171(1)
Soft Particles
171(1)
Self-Shadowing
172(1)
Light Awareness
172(1)
Life Color
172(1)
Textured Particles
173(1)
Sub-Particles
173(1)
Chapter Tutorial: Creating Particle Rain
173(4)
Chapter 7 Integrating Render Passes
177(20)
Identifying Render Passes and Blending Modes
178(12)
Using Object Render Passes
178(1)
Review of Blending Modes
179(1)
Overview of Common Shading Passes
179(7)
Applying Advanced Shading Passes
186(2)
Supplying Alpha to Nonalpha Passes
188(2)
Working with Multichannel Image Formats
190(4)
Creating Motion Blur in the Composite
192(2)
Chapter Tutorial: Using OpenEXR Depth Channels for Depth of Field
194(3)
Chapter 8 Color Grading, Color Effects, and HDRI
197(28)
Color Grading
198(3)
Working with Blacks, Whites, and Color Cast
200(1)
Choosing Color Effects
201(13)
Color Theory Terminology
201(2)
Working with Hue, Saturation, Tint, and Color Balance
203(3)
Working with Brightness and Contrast
206(6)
Working with Pedestal, Gain, Gamma, and Photo Filters
212(2)
Working with Stylistic Color Effects
214(1)
An Introduction to Color Finesse 3
214(2)
Overview of HDRI Workflow
216(2)
HDR Compander (Effect > Utility)
217(1)
HDR Highlight Compression (Effect > Utility)
218(1)
Exposure (Effect > Color Correction)
218(1)
Chapter Tutorial: Color Grading Effects
218(7)
Chapter 9 Damage Repair and Distressing
225(28)
Working with Noise, Grain, and Compression Blocks
226(6)
Noise and Grain Removal
227(2)
Adding Grain and Noise
229(2)
Using Perlin Noise
231(1)
Adding Other Film and Video Artifacts
232(7)
Scratches, Dirt, Debris, and Dropout
232(2)
Film Weave
234(1)
Halation, Glow, Glint, and Glare
234(2)
Lens Flares
236(1)
Color Fading and Shifting
237(1)
Deprecated Technology
237(1)
A Note on Median Filters
238(1)
Using Paint Tools
239(8)
Creating a Basic Paint Stroke
239(1)
Editing a Stroke's Color, Opacity, and Softness
240(1)
Transforming and Erasing a Stroke
241(2)
Using the Clone Stamp Tool
243(4)
Overview of Distortion Effects
247(2)
Turbulent Displace
247(1)
Optics Compensation
247(1)
CC Lens
248(1)
Mesh Warp and Liquify
249(1)
Detail Preserving Upscale
249(1)
Rolling Shutter Repair
249(1)
Chapter Tutorial: Emulating Low-Quality Video Footage
249(4)
Chapter 10 Expressions, Scripting, and Project Management
253(14)
Automating with Expressions
254(6)
Creating an Expression
254(1)
Expression Channel Syntax
255(1)
Writing Expressions
256(1)
Additional Expression Options
257(1)
Automating Animation with Expressions
258(2)
Running JavaScript Scripts
260(2)
Project Management
262(4)
Renaming Layers
262(1)
Managing Memory
262(2)
Customizing the Program Environment and Keyboard Shortcuts
264(1)
Using Built-In Render Farm Support
264(2)
Book Wrap-Up
266(1)
Index 267
Lee Lanier has worked in the motion picture industry since 1989, having spent hundreds of hours on live-action sets and thousands of hours working with high-end animation and compositing software. Hes created visual effects for Walt Disney Studios and served as a senior animator in the modeling and lighting departments at PDI/DreamWorks on Antz and Shrek. In addition to having taught at the Academy of Art University and Gnomon School of Visual Effects, Lee has written seven books on visual effects and digital compositing, has recorded tutorials for lynda.com and The Foundry, and is a member of the Visual Effects Society.
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