“15/70” 484
“2.35” 481
12-bit 474
23.98fps 466
2D transforms 402–13; absolute translation 404; corner pinning 407–9; float vs integer 403; motion blur 410; pixel shift 403; radians 404–5; relative translation 404; rotation 404–6; resize 406–7; scale (zoom) 406–7; skew (shear) 407; translation 402–4; wraparound 403; see also pivot points
2k format (2048 × 1080) 474, 502
35mm film see film
360-degree camera rigs see virtual reality
3D animation 502
3D camera 222, 225, 227, 230–2, 235; 3D compositing 203–4, 223–41, 502; camera tracking 204, 216, 224, 229, 235–41; match-move 204, 225; multiplane 227–8; pan and tile 204, 224–5; panoramic background 230–2; set extensions 204, 229–30
3D geometric deformations 213–15; deformation lattice 215; image displacement 213
3D geometric transformations 212
3D geometry 208–9, 215, 502; Alembic geometry 204, 206, 232–5; geometric primitives 211; null object 212; polygonal mesh 206, 232–3; polygon 205–7, 211, 213, 220; surface normals 206–7, 218; vertices 205, 213, 232
3D point cloud 7, 190, 215–16, 223–4, 235, 237, 238–240, 497, 526
3D rendering 206, 217; Image-Based Lighting 221; lights 217; photorealism 221, 241; ray tracing 220–1; reflection map 219–21; scanline render 220; shaders 217–18; shadows 217, 220
3D texture: bump map 208; camera projection 204, 222, 226–8; cylindrical projection 209, 231; map projection 208–9; planar projection 209; spherical projection 209; UV coordinates 208–11; UV projection 209; texture map 208–9, 223
3D tracker see camera tracker
3D vs stereo 165
4:4:4 463
48fps 473
4k format (4096 × 2160) 474
4k HD see Ultra High Definition
59.94fps 466
60fps 465
AAcademy of Motion Pictures Arts and Sciences 351
accommodation 167, 171, 504; see also stereo
ACES 340, 343, 351–4, 353; gamut 353; video 353; workflow 351–3
active shutter 167
Add (plus) operation 356, 363–4, 504
additive keyer 164
AddMix operation 149–53, 160–1, 504; build it 151; uses 151–3
Adobe After Effects 17, 159, 232, 385
Adobe Photoshop xxiv, 4, 13–14, 17, 64, 138, 164, 192, 232, 270, 350–1, 354, 356, 358, 360, 372, 505–6, 510, 516, 519, 522, 524, 530; blending modes 372–5
aerial perspective see atmospheric haze
airy disk 320
Alembic geometry 204, 206, 232–5
aliasing 504
aligning images see image lineup
alpha channel 24 144–6, 504; see also key
alpha compositing operations 148, 504
AddMix 149–53, 160–1; KeyMix 149, 160; Over 148–9, 155
ambient occlusion 296, 504, 523
anaglyph 166–7, 174, 504; problems with 167
anamorphic 454, 456–7, 474, 480–2, 504
AOVs 177, 185–7, 189, 192, 411–12, 492, 499, 505
aspect ratio 455, 474, 477–9, 505
astigmatism 315
Atop 362
Avatar (movie) 199
bit depth 506
Blu-ray 455
bluescreen 86–7, 160, 506; see also greenscreen
blur 46–7, 109–13; radius 112; percentage 113; masking 113, 315, 327–30; see also defocus
Bwana Devil (movie) 165
cadence see 3:2 cadence
calibrating color see also Macbeth Chart
camera 222, 225, 227, 230–2, 235
camera effects 309–35; depth of field 312; lens defects 314; lens distortion 311; rolling shutter 333; sharpening 330–2; vignette 313–14; see also grain; camera lens effects; matching the focus
camera lens effects 310; astigmatism 315; CGI 309–10; chromatic aberration 316; defocus 327–30; diffraction glow 316; distortion 311; lens filter flare 316, 318–19; lens flare 316–18; focus 312, 314–15; glow 316; veiling glare 321; operational order 310; spherical aberration 314; see also grain; lens distortion; matching the focus
camera projection 204, 222, 226–8, 385
camera tracker 216, 236–9, 240, 451
camera tracking 204, 216, 224, 229, 235–41, 498, 507
camera tracking workflow: location data collection 237–8; feature tracking 236–7; solve 237–40; test patterns 240; tracking markers 240–1; see also camera tracking; Nuke CameraTracker
capture referred data 351
CGI compositing 177–201; beauty passes workflow 184; multi-pass 178; normals relighting 177, 189–90; OpenEXR 178, 191; render passes workflow 182–3; render process verification 179–80; see also CGI render passes; high dynamic range
CGI render passes 180–1, 191–2; AOVs 177, 185–7, 189, 192; depth pass 185–6; ID passes 187–9, 193; lighting passes 177–8, 181–2; motion UV pass 186; normals pass 190, 190; position pass 190, 190, 223; RGB masks 188; Z channel 186; see also CGI compositing
channel math operator 127
channels see image channels
chroma key 26, 32, 45, 507; making your own chroma keyer 33; make a 3D chroma keyer 34–6
chromaticities see primary chromaticities
CIE chromaticity chart 340, 340–1
clean plates 46, 95, 508; how to create 99–102
color conversion 146
color correction 4, 6, 13–14, 24, 85, 107, 138–9, 146, 160, 181, 184, 187, 239, 241, 245–7, 249, 251, 253, 255, 257–9, 261, 263–5, 267, 269, 271–3, 275–81, 284, 293, 295–6, 298, 304–6, 345, 388, 415, 441, 471, 490–1, 496, 508, 515, 517, 524
color correction workflows: black point 267–70; checklist 279–80; constant green 273–4; daylight 274; flesh tones 273; gamma slamming 271, 279; gradients 276; lighting 275–6; matching light space 265; midtones 270–1; reference grays 272; specular highlights 274; white point 267–70
color curve 29–31, 114, 116–18, 150, 508; see also lookup table
color grading 139, 260, 272, 278–9, 364, 485, 508; see also color correction
color grading vs color correcting 260
color operations, order of 265
color operators 254–9; gain 257; gamma 256; lift 255–6; offset 258; saturation 259
color sub-sampling 454, 461–5; CbCr channels 462, 464–5; filtering 464–5; keying 462, 463–5; Y channel 462, 464; YCbCr 462–5
colorspace 339, 340–3, 353, 356, 508; gamut 341–2, 353; transfer function 340–1; units of measure 341; see also gamma, primary chromaticities
compositing operators 355–6, 361–2; atop 362; in 356, 361; out 356, 362; over 356, 361; under 356, 361; xor 362
compositing outside the keyer 159–64; additive keyer 164; single key 160–1; soft key/hard key 162–3; see also UberKey
compositing with a keyer 156–9; cut and paste; processed foreground method 153–6; soft comp/hard comp 156–7
Compositor’s Creed 1
contact shadows 509; see also shadows
control point coherency see rotoscope
convergence 167, 171; see also stereo
core matte 55, 58, 95, 108, 157, 162, 509
counter gradient 88
Cscope 510; see also Cinemascope
cylindrical projection 209, 231
data-encoding schemes 342
daylight 274
DCI see Digital Cinema Initiative
DCP see Digital Cinema Package
de-Bayer 472
de-interlacing 459–61, 510; field averaging 460–1; scan line interpolation 460
deep images 7, 191, 195–7, 199–200, 454, 494, 510–11
defocus see camera lens effects; matching the focus
deformation lattice 215
degrain 160, 436–7; see denoise
denoise 85–6, 103, 109–10, 511
dependencies see interdependencies
depth grading 170–3; dashboard effect 172; divergence 173; miniaturization 173; scene transitions 171–2; window violation 172
depth haze see atmospheric haze
depth of field 312, 312, 492, 495, 499, 511; roto 55
depth perception 167; see also stereo
despill 123–42, 160, 511; adjustable despill 130; algorithms 124, 127; blue spill 130; bluescreen noise 137; despill operation 123–4; green limited by red 125–9; green limited by the average of red and blue 129–30; processed foreground 154–5; refinement 130–1; see also spill suppression; unspill
despill artifacts: dark edges 134, 136; despill 134–7; discolored edges 140; finding 134–5; hue shifts 134–5; noise 137
DI see Digital Intermediate
difference mattes 36–8, 511; making your own difference matte 39–40
digital camera 333
digital cinema 165–6, 340, 454
digital cinema camera 470–1; advantages 471; Bayer array 472; de-Bayer 472; effective focal length 473; sensor crop 473; see also digital camera resolutions
digital cinema images 454, 470, 511
Digital Cinema Initiative 454, 474, 510
Digital Cinema Package 474, 510
Digital Fusion 385
Digital Intermediate 278, 482, 512
digital post production 471
disparity 169, 512; disparity maps 175–6, 512
display space 342
distortion 311
downloads see web content
DPX file format 5, 192, 343, 348, 455, 512
dynamic range 470–1; human vision 487
edge-detection lineup 418–19, 513
edge: blending 285–6, 513; blur and grow 46–7; detail 114; extension 140–2; filtering 109–10; softening 103, 111; see also hair
exposure 20
EXR file 3, 178, 189, 191–3, 194, 211, 232, 254, 307, 322, 343, 347–8, 348, 491, 513, 514, 524
fields 458, 460–1, 466, 468–9, 513
film formats: “15/70” 484; “2.35” 481; “3-perf” 482; “5-perf 70” 483; 65mm/70mm 483; “8-perf” 483; academy 479–80; Cinemascope 479–82; full aperture 478–80; IMAX 484; super 35
formats 478–9; VistaVision 483; widescreen 479, 482
film scans 474–8: apertures 476–7; aspect ratios 477–8; grain 475; safe-to 476
filtering 401, 403, 414–17, 436–7, 514; effects 414–15; common filters 416–17; twinkling starfield 415
flare see lens flare
flat 165–6, 168; see also stereo
flesh tones 273
Fresnel 248
Ggamma 251–4, 256, 264–5, 270, 455, 467, 515; correction 19; gamma slamming 104–5, 271, 279, 341, 342, 343–5, 347
geometric transforms 402–14, 515; see also 2D transforms; 3D transforms
geometry 208–9, 215; geometric primitives 211
ghosting 170
gradients 276
grading see color grading
grain 236, 331, 516; grain management 300–5; analysis 301; characteristics 300–1; film 474–5; film compared to digital 475; grain check procedure 302; grain rescue 302–4; lifted grain 302; regrain techniques 301–5; regain tools 301; workflows 304–5
greenscreen 23, 86–7, 122, 124, 146, 148, 159, 516; see also greenscreen lighting problems; greenscreen preprocessing; keys
greenscreen lighting problems 78–84; clipping 79; impure 81–2; overexposed 78–9; spill 79; underexposed 79–80; uneven 82–4; veiling glare 321
greenscreen preprocessing 84–1; channel clamping 91–2; channel shifting 93–4; denoise and degrain 85–7; clean greenscreen 99–102; local suppression 89–91; screen correction 94–7; screen leveling 87–9
hair 11–12, 19, 32, 66, 75, 79–80, 86, 90, 91–2, 100, 101, 102, 105, 110, 113–14, 121, 122, 126, 128, 131, 139, 153, 155–6, 158–9, 162, 164, 170, 176, 197, 261, 427, 519
Hard Light 374
HD video see HDTV
HDR see High Dynamic Range
HDTV 19, 340–1, 352, 454–69, 470, 516
HFR see High Frame Rate
High Dynamic Range 3, 7, 17, 20, 78, 79, 178, 193–5, 219, 221–2, 287, 307, 316, 322, 347, 362, 491, 513, 516
HMD see Head Mounted Display
HSV 32–4, 64, 307, 342, 517; tone mapping 307
hyperfocal distance 312
IAD see interaxial distance
IBL see Image-Based Lighting
IDT see Input Device Transform
image lineup 417–21; edge-detection lineup 418–19; offset mask lineup 417–18; pivot point lineup 420, 421
image warping see mesh warps; morphs, spline warps
Image-Based Lighting 22, 347, 517
image-blending operators 355–6, 362–71; absolute difference 371; add (plus) 356, 363–4; maximum 369–70; minimum 370–1; multiply 356, 366–9; screen 356, 362–6; weighted screen 365–6
image: channels 192; displacement 213; layers 192; processing 18
imaging sensor 499
IMAX 484, 499, 517; IMAX sweet spot 484
Input Device Transform 351
interactive lighting 283–4, 518
interaxial distance 168, 173, 518
interlaced video 457–61; see also de-interlacing
interpupillary distance 168, 518
IPD see interpupillary distance
Jackson, Peter 473
keyers 104, 124, 159–60, 162, 519; After Effects keyer 74–7; bump mattes 41–3; chroma key 26, 32–6, 45; color difference matte 43–5, 64–9, 76–7, 82–3; difference mattes 36–40; luma key 25–8; making your own luma keyer 29–31; Keylight 23, 64, 95, 157–8; Primatte 23, 34, 64, 157–8; Ultimatte 64; see also garbage mattes; matte edge penetration; matte scaling
keyframe strategy 52; bifurcation 53–4; binary multiples 52–3; motion extremes 54; on twos 52
keys 20, 23–4, 146, 159–60; auxiliary keys 23; see also keyers; matte edge penetration
Kodak 278
LatLong image 385–8, 391–2, 396, 519
layer integration 282–308; ambient occlusion 296, 523; atmospheric haze 296–9; clipping 305–7; edge blending 285–6; glow 299–300; HSV LUT tone mapping 307; interactive lighting 283–4; light wrap 287–9; order of operations 288; soft clip 306–7; see also grain; shadows
layering complexity problem 197, 201
LDR see Limited Dynamic Range
lens defects 314
lens distortion 222, 235–6, 239–41, 311, 431, 435, 451
lens distortion workflows 322–7; CGI over CGI 325–6; CGI over live action 323–4; live action over CGI 325; live action over live action 326–7
lens flare 316–18, 514; lens filter flare 316, 318–19, 363, 519
letterbox 474
light behavior 246
Light Detection and Ranging see LIDAR
light field cinematography 201, 492–9, 519; capture 493; data storage 494; LF camera array 493, 498–9; Lytro, Inc 499; megapixels 492; micro-lens array 493; technical problems 493
light field cinematography capabilities: AOVs 492, 499; camera tracking 498; composition 492; deep images 494; depth maps 495; depth of field 492, 495, 499; mattes 497–8; normals 498; point clouds 497; position pass 497; relighting 498–9; stereo 495–6; viewing angle 492; volumetric optical flow 496
lighting direction problems 275
lighting passes 177–8, 181–2, 520
lights 217
Limited Dynamic Range 193
linear data 344, 351, 491, 520
linear light space 17, 19, 247, 340–7, 351, 356–60, 520; CGI 347–8; color operations 345–6; image blending 356–60; transformations and filtering 346–7; workflow 347; see also matching look of sRGB in linear
location data collection 237–8
log data 341, 485–91, 520; blacks 489, 490; data compression 488; exponents 485–6; human vision 487–8; inverse log LUT 489–90; logarithmic 485; log LUT 489; negative values 490; perception 487–8; washed-out 488; workflow 488–91
lookup table see LUT
Lucas, George 470
luminance 461, 521; luminance equation 27; luminance images: making 27–8; LUT 6, 10–11, 14–16, 253, 299, 306–7, 307, 343–4, 348, 346–8, 357–8, 360, 378, 489, 489–91, 520
Macbeth Chart 5
Mari 211
match-move 204, 225, 402, 429, 441–2, 451, 521; transforms 442–4; corner pinning 442–4
matching light space 265
matching look of sRGB in linear 359–60
matte 24, 497–8, 521; matte density 80; matte edge penetration 70–1; see also key; matte refinement
matte refinement 103–20; blur 109–16; blur out 117; choking 113–14; dilate 113–14; 116; erode 113–15; filtering 109–14; gamma slamming 104–5, 110; garbage mattes 105–8; matte scaling 71–3, 104; noise suppression 109–10; pre-matting 106; post-matting 107–8; sculpting edges 117–18; soft edges 111
mesh see polygonal mesh
metadata 191, 335, 349–50, 456, 470, 473, 490, 522
miniaturization 173
Mitchell-Netravali interpolation filter 460
motion blur 186, 378, 410; 2D 411, 522; auto 56; decontamination 57–9; managing 410–13; multi-copy 411; motion UV pass 411; roto 55–9; speed changes 412–13; stochastic 410; in transforms 410–11
motion sensors 384
motion smoothing 446
motion tracking 176, 401–2, 409, 522; see also planar trackers; point trackers
motion blur
multi-pass 178
Multiply operation 356, 366–9, 372
negative numbers 96
normals pass 190, 498, 523; normals relighting 177, 189–90; see also surface normals
Nuke 16, 173, 211, 223, 232–4, 348, 350, 385, 490
OOCIO see OpenColorIO
ODT see Output Device Transform
onionskin 417
OpenEXR file see EXR file
optical flow 473, 524; see also motion estimation
Output Device Transform 384, 524
Over operation 148–9, 155, 158, 356, 361
Ppaint 176
PAL 465
pan 525; see also translation
parallax 168–9, 213, 431–3, 525
perf 476, 478, 525; Perlin noise 214
photorealism 221, 241, 246, 281, 287, 313–14, 309, 525
pivot point 49, 401, 405–7; pivot point lineup 420, 421, 525
pixel shift 403
planar projection 209
planar tracking 402, 443, 448–52, 526; applications 449; benefits 448; drift correction 450–1; lens distortion 451; match-move 451; planar grid 450; roto assist 451–2
playback: ping-pong 52
point cloud 215–16, 223–4, 235, 237–8, 497, 526
point trackers 402, 428–41, 526; backward 433, 437; bad targets 431–3; clean-up 438; drift 436, 439, 443; enabled 432; failure 439–41; filtering 436–7; follow-keep shape 433–5; degrain 436–7; lens distortion 431, 435; match box 429–30; offset tracking 432–3, 437; parallax 431–3; pre-processing 435; reference 430, 433; search box 429–30; stability test 439, 443; target 429–30; tracker stacking 436–7; tracking clip 435; workflow 437–9; see also match-move
polygon 205–7, 211, 213, 220, 232–3, 526
position pass 190, 190, 223, 497, 526
premultiply 46, 144–8, 159–61, 526; cardinal rules 146; double 146–7; vs unpremultiply 264–5; see also unpremultiply
primaries see primary chromaticities
primary chromaticities 27, 340–1
Rayleigh scattering 251
re-rendering problem 197, 199, 201
rec709 17, 19, 340–4, 348, 353, 356, 362, 470, 474, 491, 527
RED 470, 473, 499; RED camera 300, 491; REDLog 350
reference grays 272
Reference Rendering Transform reflection map 219–21, 527
relighting 498–9; see also normals relighting
render passes 528; see also CGI render passes
render process verification 179–80
Renderman 232
RGB 462, 464, 528; RGB masks 188
Rise of the Planet of the Apes (movie) 200–1
rotoscope 24, 47–61, 176; control point coherency 47–8; feather 56; hierarchical articulation 49–50; inspection 60–1; organization 501; shape breakdown 48–9; splines 51–2; see also keyframe strategy; motion blur
RRT 529; see also Reference Rendering Transform
safe-to window 476
scanline render 220
scattering see atmospheric scattering
sensor array 470; Bayer 472; noise 470
shadows 217, 220, 289–96, 407, 530; ambient light 290–1; color 291; contact shadow 291, 294–6; density 290–1; edge characteristics 289–90; faux shadows 292–4; shade 291; warping 293
Shrek (movie) 165
shutter phase 411; see also motion blur
side by side 174
soft key 95
solved camera 216, 235, 237–40
Sony Pictures Imageworks 350
specular: highlights 274, 531; reflection 248–9, 527
speed changes 356, 377–84, 410; constant speed 377–8; in-out points 378; motion blur 378, 410; variable speed 378–80; see also speed interpolation methods
speed interpolation methods 380–4; jerky motion 381; motion estimation (optical flow) 382–4; nearest average 381–3; nearest neighbor 381; sharp frames 382
spherical projection 209, 385, 531
spill 121–2; from motion blur 123; from focus 123
spill suppression 121–42; artifacts 134–7; edge grading 138; edge-extension 140–2; fixing artifacts 136; hair 126, 128; spillmap 127–8, 132–3; see also despill, unspill
split and join views 175
sRGB 17, 19, 247, 340–7, 348, 353, 362–3, 366, 531; image blending 356–9; see also matching look of sRGB in linear
stereo 165, 173–6, 474, 531; 3D vs stereo ambiguity 165; active shutter 167; anaglyph 166–7, 174; anaglyph problems 167; Bwana Devil (movie) 165; deep images 495–6; disparity maps 175–6; motion tracking 176; paint 176; rotoscoping 176; scene transitions 171–2; side by side 174; split and join views 175
stereo concepts: accommodation 167, 171; convergence 167, 171; dashboard effect 172; depth grading 170–3; depth perception 167; disparity 169; divergence 173; ghosting 170; interaxial distance 168, 173; interpupillary distance 168; miniaturization 173; parallax 168–9; stereopsis 167; stereoscopy 168; window violation 172
stereo conversion 166, 169–70; see also stereo
stereopsis 532; see also stereo
surface normals 206–7, 218, 532
target see motion tracking point
temporal anti-aliasing 196, 532
test patterns 240
The Hobbit: An Unexpected Journey (movie) 473
trackers 429–32; stacking 436–7
tracking point 533
tracking see motion tracking
transforms 533; see also 2D transforms; 3D transforms
triangle filter 417
UHD see Ultra High Definition
Ultra High Definition 455
unpremultiply 47, 144, 146, 148, 534; see also premultiply
unspill 131–4; grading to backing color 133–4; set up 132–3; see also despill; spill suppression
UV projection 209
veiling glare 321
video 353; video file formats: Quicktime Movie (.mov) 467; Windows Media Video (.wmv) 467; codec 467
viewing angle 492
virtual reality 384–99, 535; 360-degree camera rigs 384, 386, 386; cinematic 384; game engine 384; see also VR stitching
visual effects color pipeline 488, 490, 491
volumetric optical flow 496, 535
VR see virtual reality
VR stitching 384, 535; chromatic aberration 389; equirectilinear 386; equirectangular 386; exposure correction 395; frame sync 393; geometric problems 388; ghosting 390–1; imaging problems 388; LatLong image 385–8, 391–2, 396; lens chart 388; lens correction 387–9; panosphere 387, 390; parallax 390, 393–5; rectilinear images 387–8; rig chart 389; spherical (camera) projection 385–8, 390–2; stitching process 392–3; virtual 360
camera rig 389, 390, 391; visual effects 396–9
warping 401–28, 535; see also mesh warps; morphs, spline warps
web content 5
widescreen see film formats
window burn 466
wireframe 211
workflows: ACES workflow 351–3; grain management 300–5; image lineup 417–21; lens distortion 322–7; linear workflow 347; log workflow 488–91; matching the focus 327–30; matching the light space 265–80; matching the look of sRGB in linear 359–60; multi-pass CGI composite 182–4; processed foreground composite 153–5; tracking workflow 437–9
wraparound 403
xor 362