Brinkmann R. The Art and Science of Digital Compositing
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362 The Art and Science of Digital Compositing
Precompositing, 186–188 lines of, 158–159
spatial, 17–18, 23Preliminary composite, 187
Premultiplied images, 68, 74–75 temporal, 94–95
Reverse, 298color-correcting and combining,
75–77 RGB color model, 15–16
RGB multiply, 36Primatte, 86, 302
Prince of Egypt, The, 285–288 Rig removal, 265
RLA file format, 305Procedural paint, 264–265, 285
Progressive scan formats, 159 ROI. See Region of interest
Rotating, 55, 294Proxy images, 118, 120, 130–131, 299
Pulldown, 170, 298 Rotoscoping, 80
RP. See Rear projectionPulling a matte, 79
Pullup, 170, 298 Run-length encoding (RLE), 25–28
Samples, 15Quality, 173–174
Quantization artifact, 19–20 Saturation operator, 21, 293
Scaling, 56, 294Quantizing, 19
Scan lines, 159
Scanned images, 14, 15, 22–23Rack focus, 201
Radial blur, 295 Scene continuity, 224–225
Scope. See CinemascopeRear projection, 6
Records, 17 Screen operator, 296
Search area, 106, 109Reference stand-ins, 209–211
Region of interest (ROI), 105–106, SECAM, 163
Sequences, 2, 224184–185
Rejlander, Oscar G., 4, 6 Set operator, 293
SGI file format, 306Render, 2
Reorder, 41, 42 Shadows, 204–206, 217, 226–228, 271,
276, 287, 290color correction, 293
image combination, 295 Shape drawing, 298
Sharpen operator, 50–51, 294Reposition (repo), 53
Resampling, 62–63 Shear operator, 295
ShootingResize, 294
Resolution with bluescreens, 216–221
order, 221aspect ratio and deciding on,
146–147 Showscan, 95, 157
Shutter angle, 201–202chromatic, 18
color, 18, 161–162 Shutter speeds, 201, 208
Sinc filter, 63defined, 17
dynamic, 18 Single-source operators. See Image pro-
cessingindependent, 130, 299
Index 363
16mm film format, 155–156, 315–317 Super 35 format, 154–155, 315–317
Superwhite, 24365mm film format, 157, 315–317
Smear operator, 295 Swapfields, 297
Smith, Alvy Ray, 67
Softimage file format (.pic), 306 Takes, 277
TARGA file format (.tga), 306Software manufacturers, list of,
301–302 Telecine device, 22
Temporal artifacts, 95–96Software packages
accuracy, 178–180 Temporal resolution, 94–95
Text, 298keying, 85–86
Sound stripe, 153, 154, 314 35mm film format, 153–154
3D elements, working with, 253–255Spatial convolution, 46–47
Spatial filters, 293–294 3D graphics, use of term, 1–2
3D transforms, 56–58blurring, 47–49
convolve/spatial convolution, 46–47 3:2 pulldown, 170, 298
3:2 pullup, 171, 298dilate operator, 91, 293
edge detection, 47–48 TIFF file format (.tif, .tiff), 306
Tiffen, 213–214emboss operator, 293
erode operator, 91, 294 Time compress/expand, 298
Timelines, 124–126median filter, 51–52
sharpen operator, 50–51 Timing of a sequence, changing the,
96–99, 297–298unsharp masking, 50
use of term, 46 Titanic, 116, 288–290
Toy Story,2Spatial resolution, 17–18, 23
Specialized tools, 297 Tracking, 298–299
choosing a feature for, 107–109Speed, 14, 232, 271–273
Spill suppression, 84, 86, 236–237 defined, 103–104
an element into a plate, 104–107Splines, 58, 80, 128
Split-screen effect, 213 limiting the search area, 109
manually, 109–110Squeezed formats, 146
Stabilization, 299 multiple points, 113–114
region of interest, 105–106Stabilizing a plate, 111–113
Stand-ins, 209–211 search area, 106, 109
stabilizing a plate, 111–113Star Trek: Insurrection, 273–274
Static matte, 79, 80 Transformation. See Geometric trans-
formationStatistics on images, 136–139
Stereoscopic effects, 199, 282 Traveling matte, 80
T-Rex: Back to the Cretaceous, 281–285Stop-motion, 6, 269–270
Subpixel accuracy, 62, 298 Trees, hierarchical
compressed, 123–124Subtract operator, 71–72, 296
Sun bitmap file format (.sun), 306 use of, 122–123
364 The Art and Science of Digital Compositing
Triangle filter, 63 Vistavision/VistaVision, 155, 156–157,
214, 215t-stop, 208
20th Century Fox, 155 Visual effects
clean plates, 211Twirl operator, 295
2D graphics, use of term, 1–2 defined, 203
film stock, 211–2132:3 pulldown, 170, 298
2:3 pullup, 171, 298 filters, 213–214
lighting, 204–207Two Ways of Life, The, 4–6
matched cameras, 207–209
reference stand-in, 209–211
Ultimatte, 86, 218, 302
supervisor, 203
Under operator, 296
Vlahos, Petro, 84, 86
Unpremultiply, 76
Unsharp masking, 50
Warping, 58–59, 261–264, 295
User interface, 115
Wedge, 192
White, 241–243
Value, 21
White point, 243–245, 309
Video formats
Wire removals, 14, 265
color resolution, 161–162
Witness points, 109, 209
common, 317–320
Workflow, 116–118
converting between film and,
Working resolution, 52–53
170–171
Wrapping, 55
fields, 159–161
gamma, 162
X-Files: Fight the Future, 280–281
lines of resolution, 158–159
Xor operator, 296
Video games, 164
Video images, 22 Z-buffer, 253
Z-channel, 134, 255Viewing images, 133
flipbooks, 134–135 Z-depth channel, 134, 255
Z-depth compositing, 255–261, 296image viewers, 134
Vision, persistence of, 94 Z-depth image, 233, 255–261