Digital Compositing for Film and Video, by Steve Wright

By Steve Wright

Electronic Compositing for movie and Video is a hands-on, how-to consultant that addresses the issues and hard offerings confronted via the pro compositor in real-life events. This e-book offers you with information, tips and methods for facing the badly shot components, colour artifacts, and mismatched lighting fixtures that bedevil compositors. integrated during this booklet is: in-depth, sensible tools 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 type, it's completely appropriate to any model of compositing software program. the second one variation comprises many very important additions: * published in complete colour with over four hundred colour photographs and illustrations * significant other DVD with 3.7 gigabytes of try photographs, together with challenging 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 approaches * new fabric that unearths the add-mix composite, gentle wrap, slot gags, and the way to defeat banding difficulties .

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This will show up as contamination of the black background region. The raw difference matte produced by the difference operation can be seen in Figure 2-18. Note that it is not a nice 100% white clean matte ready to go. It has all kinds of variations in it due to the fact that the background pixels are of varying value; the foreground pixels are also of varying value so the results of their differences will also be of varying values. To convert the low-density raw difference matte into a solid hicon matte like Figure 2-19 it is typically “binarized” around a threshold value.

2-3 create your own three-dimensional color mattes. Good hunting! Adobe Photoshop Users—Unfortunately, Photoshop does not support this ability to write your own math equations. Lucky you. 3 DIFFERENCE MATTES Difference mattes are one of those things that sound really great until you try it. They don’t work very well under most circumstances and have nasty edges in almost all circumstances. Their most suitable application is usually garbage matting. However, for those occasional situations where it might be helpful, the difference matte is herein presented.

From the greenscreen plate (GS), the red and green channels are connected to a subtract node. The output of the subtract node is the one-channel raw color difference matte in Ex. 2-7 Figure 2-35. Figure 2-37 Flowgraph of simple raw matte. 4 A Slightly More Realistic Case Real images obviously have more complex colors than just gray, so let’s examine a slightly more realistic case of pulling a matte with a more complex foreground color. Our next test plate will be Figure 2-38, which is a blue circle on a greenscreen backing with a slice graph next to it in Figure 2-39.

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