By Steve Wright
This useful, hands-on consultant addresses the issues and tough offerings that pro compositors face every day. you're offered with assistance, recommendations, and ideas for facing badly shot parts, colour artifacts, mismatched lights and different generally confronted compositing stumbling blocks. useful, in-depth classes are featured for bluescreen matte extraction, despill operations, compositing operations, in addition to color-corrections. The e-book is gifted completely in an application-agnostic demeanour, permitting you to use classes discovered on your compositing whatever the software program software you're utilizing. The DVD includes prior to and after examples in addition to workout records that you can refine your personal recommendations on.
* provide you with professionally-tried methods, tips, and recommendations to the advanced and hard compositing matters that you simply face * New to this version is a bit on stereo compositing for 3D video clips, a new bankruptcy on CGI Compositing, 7 new QuickTime video clips at the DVD, and extra * DVD is filled with instructive sooner than and after examples in addition to excercise records that let you refine your individual technique
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Additional info for Digital Compositing for Film and Video, Third Edition
Example text
18. Here’s the point: if you do not create the luminance version with the proper proportions of the red, green, and blue values that correctly correspond to the eye’s sensitivities, the resulting luminance image will look wrong. A simple 13 averaging of all three colors would result, for example, in a blue sky looking too bright, because the blue would be over-represented. A green forest would appear too dark, because the green would be under-represented. 11 B (2-1) This means each luminance pixel is the sum of 30% of the red plus 59% of the green plus 11% of the blue.
If your software has a channel math node, then you can use it to create your own luminance images using Equation 2-1. But making a luminance image that looks right to the eye is not the objective here. What we really want is to make a luminance image that best separates the item of interest from the surrounding picture. Armed with this information, you can now think about “rolling your own” luminance images that better separate your item of interest. Some luma-keyers allow you to juggle the luminance ratios.
It totally depends on the color content of your target and the surrounding pixels. Unfortunately, the RGB color space of an image is so complex that you cannot simply analyze it to determine the best approach. Experience and a lot of trial and error are invariably required. Fortunately, the iterations can be very quick and a good approach can usually be discovered in a few minutes. 3 Making Your Own Luma-Key Matte Perhaps you are using some primitive software that does not have a lumakeyer, or you don’t want to use your luma-keyer for political or religious reasons.