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Professional Digital Compositing: Essential Tools and Techniques

Name: Professional Digital Compositing: Essential Tools and Techniques
Author: Lee Lanier
ISBN: 9780470452615

by Lee Lanier

December 2009

Intermediate to advanced

480 pages

17h 36m

English

Wiley

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Copyright
Dear Reader,
Acknowledgments
About the Author
Introduction
Who Should Buy This BookAfter Effects and NukeThe Companion DVDNaming ConventionsHow to Contact the Author
1. Setting Up a Composite
1.1. Compositing Challenge1.2. Compositing Examples1.2.1. Freestyle Collective for Cartoon Network1.2.2. Click 3X for Sharp1.2.3. AILV for Spec Commercial1.2.4. Tonya Smay for Westchester Medical Center1.3. Layers vs. Nodes1.4. Resolutions and Frame Rates1.4.1. Common Resolutions and Aspect Ratios1.4.2. Common Frame Rates1.4.3. Interlaced vs. Progressive1.5. Setting Up a Composite1.5.1. After Effects Projects1.5.1.1. Importing Footage1.5.1.2. Using the Layer Outline1.5.1.3. Nesting, Parenting, and Precomping Compositions1.5.1.4. Using Composition, Footage, and Layer Panels1.5.1.5. The AE Flowchart1.5.1.6. Previewing a Composition1.5.1.7. Rendering a Composition1.5.1.8. Interlacing in AE1.5.1.9. 3:2 Pulldown in AE1.5.2. Nuke Scripts1.5.2.1. Importing Files1.5.2.2. Connecting Nodes1.5.2.3. Using the Viewer Pane and Viewers1.5.2.4. Playing the Timeline and Creating a Flipbook1.5.2.5. Writing an Image Sequence1.5.2.6. Interlacing and 3:2 Pulldown in Nuke1.5.3. AE and Nuke Tutorials1.5.3.1. AE Tutorial 1: Working with Interlaced Footage1.5.3.2. Nuke Tutorial 1: Working with the Reformat Node1.6. Interview: Dorne Huebler, Industrial Light & Magic, San Francisco1.7. Interview: Michael Coleman, Adobe, Seattle, Washington1.8. Interview: Richard Shackleton, The Foundry, London
2. Choosing a Color Space
2.1. Color Theory Overview2.1.1. RYB and RGB Color Models2.1.2. Employing Color Harmony2.2. Color Space and Monitor Calibration2.2.1. Working with Gamma2.2.2. Calibrating a Monitor2.3. Understanding Bit Depth2.4. Bit Depth Conversions2.5. Log vs. Linear2.5.1. Log File Formats2.5.2. White and Black Reference2.6. Integer vs. Float2.7. Favored Image Formats2.8. Working with Color Space2.8.1. Working in AE2.8.1.1. Color Management in AE2.8.1.1.1. Common Color Profiles2.8.1.1.2. Color Profile Converter2.8.1.1.3. Linearization2.8.1.1.4. Color Space Simulation2.8.1.2. Log-to-Linear Conversions in AE2.8.2. Working in Nuke2.8.2.1. Color Space in Nuke2.8.2.2. Log-to-Linear Conversions in Nuke2.8.3. Color Space Tutorials2.8.3.1. AE Tutorial 2: Working with DPX and Cineon Files2.8.3.2. Nuke Tutorial 2: Working with DPX and Cineon Files2.9. Interview: Jason Greenblum, Sony Pictures Imageworks2.10. Interview: Rod Basham, Imaginary Forces, Hollywood
3. Interpreting Alpha and Creating Mattes
3.1. Alpha Support and Premultiplication3.2. Fundamental Math Operations3.2.1. Normal (Over) and Stencil3.2.2. Add (Plus) and Screen3.2.3. Multiply3.2.4. Lighten (Max) and Darken (Min)3.3. Chroma Key3.3.1. Bluescreen vs. Greenscreen3.3.2. Common Approaches to Keying3.3.3. Keying Workflow3.4. Working with Alpha3.4.1. Alpha in AE3.4.1.1. Blending Modes3.4.1.2. AE Keyers and Chokers3.4.1.2.1. Simple Choker and Matte Choker3.4.1.2.2. Color Key, Linear Color Key, and Luma Key3.4.1.2.3. Color Difference Key3.4.1.2.4. Color Range and Extract3.4.1.2.5. Difference Matte3.4.1.2.6. Keylight and Inner/Outer Key3.4.1.2.7. Spill Suppressor3.4.2. Alpha in Nuke3.4.2.1. The Merge Node3.4.2.2. Additional Blending Nodes3.4.2.3. Nuke Keyers3.4.2.3.1. The Difference Node3.4.2.3.2. IBKGizmo and IBKColour3.4.2.3.3. The Keyer Node3.4.2.3.4. HueKeyer3.4.2.3.5. Primatte3.4.3. AE and Nuke Tutorials3.4.3.1. AE Tutorial 2 Revisited: Refining Color and Edge Quality3.4.3.2. Nuke Tutorial 2 Revisited: Refining Color and Edge Quality3.4.3.3. AE Tutorial 3: Removing Greenscreen3.4.3.4. Nuke Tutorial 3: Removing Greenscreen3.5. Interview: Johnathan R. Banta, Zoic Studios, Culver City, California
4. Channel Manipulation
4.1. Histograms and Tonal Ranges4.1.1. Reading Histograms4.1.2. Histogram Tips4.1.3. Tonal Ranges, White Points, and Black Points4.2. Working with Channel Manipulation4.2.1. Channel Manipulation in AE4.2.1.1. Channel Shifters4.2.1.1.1. Set Matte4.2.1.1.2. Shift Channels and Set Channels4.2.1.1.3. Channel Combiner4.2.1.2. Channel Math Operators4.2.1.2.1. Arithmetic4.2.1.2.2. Calculations4.2.1.3. Channel Color Correctors4.2.1.3.1. Brightness & Contrast4.2.1.3.2. Curves4.2.1.3.3. Levels and Alpha Levels4.2.1.3.4. Gamma/Pedestal/Gain4.2.1.3.5. Hue/Saturation4.2.1.3.6. Color Balance4.2.1.3.7. Color Balance (HLS) and Exposure4.2.1.3.8. Broadcast Colors4.2.2. Channel Manipulation in Nuke4.2.2.1. Channel and Node Controls4.2.2.2. Channel Shifters4.2.2.2.1. Copy4.2.2.2.2. ChannelMerge4.2.2.2.3. ShuffleCopy and Shuffle4.2.2.3. Color Space Converters4.2.2.3.1. The Colorspace Node4.2.2.3.2. HueShift4.2.2.3.3. HSVTool4.2.2.4. Channel Color Correctors4.2.2.4.1. The Saturation Node4.2.2.4.2. The Histogram Node4.2.2.4.3. The Grade Node4.2.2.4.4. ColorCorrect4.2.2.4.5. HueCorrect4.2.2.5. Math Nodes4.2.3. AE and Nuke Tutorials4.2.3.1. Nuke Tutorial 3 Revisited: Creating a Luma Matte4.2.3.2. AE Tutorial 4: Matching CG to Degraded Footage4.2.3.3. Nuke Tutorial 4: Matching CG to Degraded Footage4.3. Interview: Andy Davis, Method Studios, Santa Monica, California
5. Transformations and Keyframing
5.1. Understanding Transformations5.1.1. Matrix Operations5.1.2. Transformation Order and Concatenation5.1.3. Interpolation Filters5.1.3.1. Tent Filters5.1.3.1.1. Cubic Filters5.2. Working with Transformations5.2.1. Transformations in AE5.2.1.1. Moving, Scaling, and Rotating in 2D5.2.1.2. Moving, Scaling, and Rotating in 3D5.2.1.3. Keyframing5.2.1.4. Using the Graph Editor5.2.1.4.1. Manipulating Tangent Handles5.2.1.4.2. Interpreting the Speed Graph5.2.1.4.3. Manipulating Keyframes in the Graph Editor5.2.1.4.4. Editing Curves in the Viewer5.2.2. Transformations in Nuke5.2.2.1. Moving, Scaling, and Rotating in 2D5.2.2.1.1. Choosing an Interpolation Filter in Nuke5.2.2.2. Specialty Transform Nodes5.2.2.3. Keyframing and the Curve Editor5.2.2.3.1. Curve Editor Basics5.2.2.3.2. Changing Tangent Types5.2.3. AE and Nuke Tutorials5.2.3.1. AE Tutorial 5: Adding Dynamic Animation to a Static Layer5.2.3.2. Nuke Tutorial 5: Adding Dynamic Animation to a Static Output5.3. Interview: Erik Winquist, Weta Digital, Wellington, New Zealand5.4. Interview: Darren Poe, Digital Domain, Venice, California

6. Convolution Filters
6.1. Filter Matrices6.1.1. Blurring Kernels6.1.1.1. Gaussian Blurs6.1.1.2. Directional Blurs6.1.2. Sharpening Kernels6.1.3. Unsharpening6.1.4. Stylistic Filter Kernels6.1.4.1. Edge Enhancement6.1.4.2. Edge Detection6.1.4.3. Sobel Filters6.1.4.4. Emboss Filters6.2. Working with Filters6.2.1. Filter Effects in AE6.2.1.1. Layer-Based Motion Blur6.2.1.2. Blurring and Sharpening6.2.1.2.1. Gaussian Blur Variations6.2.1.2.2. Directional and Radial Blurs6.2.1.2.3. Control Layer Blurs6.2.1.2.4. Sharpening Effects6.2.1.3. Stylistic Effects6.2.2. Filter Nodes in Nuke6.2.2.1. Node-Based Motion Blur6.2.2.2. Custom Convolutions6.2.2.3. Blurring and Sharpening6.2.2.3.1. Blur, Sharpen, and Soften Nodes6.2.2.3.2. Defocusing6.2.2.3.3. Specialized Blurs6.2.3. AE and Nuke Tutorials6.2.3.1. AE Tutorial 5 Revisited: Creating a Shadow and a Camera Move6.2.3.2. Nuke Tutorial 5 Revisited: Creating a Shadow and a Camera Move6.2.3.3. AE Tutorial 6: Building an Unsharp Mask from Scratch6.2.3.4. Nuke Tutorial 6: Building an Unsharp Mask from Scratch6.3. Interview: Alex Lovejoy, The Mill NY, New York City
7. Masking, Rotoscoping, and Motion Tracking
7.1. Mattes vs. Masks7.2. The History of Rotoscoping7.3. Rotoscoping Approaches7.3.1. Bisecting7.3.2. Key Poses7.4. Motion Tracking Overview7.5. Applying Masking and Tracking Techniques7.5.1. Masking and Tracking in AE7.5.1.1. Masking with the Pen Tool7.5.1.2. Manipulating Paths and Masks7.5.1.2.1. Mask Properties7.5.1.2.2. Transforming and Keyframing a Mask7.5.1.2.3. Choosing a Mask Mode7.5.1.3. Masking with Shapes7.5.1.4. Masking with Auto-Trace7.5.1.5. Rotoscoping with RotoBezier7.5.1.6. Motion Tracking in AE7.5.1.7. Motion Tracking Problem Solving7.5.1.8. Motion Tracking Variants7.5.2. Masking and Tracking in Nuke7.5.2.1. Using the Mask Input7.5.2.2. Drawing Beziers7.5.2.3. Combining Beziers7.5.2.4. Rotoscoping with Beziers7.5.2.5. Tracking with the Tracker Node7.5.2.5.1. Calculating the Motion Track7.5.2.5.2. Match-Move and Add Jitter Workflow7.5.2.5.3. Stabilize and Remove Jitter Workflow7.5.2.5.4. Applying Data to the CornerPin and Stabilize Nodes7.5.2.5.5. Editing Track Curves in the Curve Editor7.5.3. AE and Nuke Tutorials7.5.3.1. AE Tutorial 3 Revisited: Finalizing the Composite7.5.3.2. Nuke Tutorial 3 Revisited: Finalizing the Composite7.5.3.3. AE Tutorial 7: Corner Pin Tracking with a Non-Square Object7.5.3.4. Nuke Tutorial 7: Corner Pin Tracking with a Non-Square Object7.6. Interview: Entae Kim, Freestyle Collective, New York City
8. DI, Color Grading, Noise, and Grain
8.1. Digital Intermediates8.1.1. DI for Film8.1.1.1. Digitizing Film8.1.1.2. Conforming the Footage8.1.1.3. Applying 3D LUTs8.1.1.4. Bringing Effects Work into DI8.1.1.5. DI Color Grading8.1.2. DI for Video and Animation8.2. Color Grading without DI8.2.1. Color Grading in AE8.2.2. Color Grading in Nuke8.2.3. 3D LUTs in Nuke8.2.3.1. Reading 3D LUTs8.2.3.2. Generating 3D LUTs8.2.3.3. Viewing Log Files with the IP Button8.3. Noise and Grain8.4. Working with Noise and Grain8.4.1. Noise and Grain in AE8.4.1.1. Fractal Noise, Noise, and Add Grain8.4.1.2. Removing Grain8.4.1.3. Matching Grain8.4.2. Noise and Grain in Nuke8.4.2.1. The Noise Node8.4.2.2. Adding Dither and Grain8.4.2.3. Using Scanned Grain8.4.2.4. Degraining8.4.3. AE and Nuke Tutorials8.4.3.1. AE Tutorial 8: Color Grading Poorly Exposed Footage8.4.3.2. Nuke Tutorial 8: Color Grading Poorly Exposed Footage8.4.3.3. AE Tutorial 9: Disguising Posterization with Blur and Grain8.4.3.4. Nuke Tutorial 9: Disguising Posterization with Blur and Grain8.5. Interview: Shawn Jones, NT Picture & Sound, Hollywood
9. Integrating Render Passes
9.1. Dividing a CG Render9.1.1. Combining Layers9.1.2. Common Render Passes9.1.2.1. Beauty, Diffuse, and Specular Passes9.1.2.2. Shadow and Depth Passes9.1.2.3. Holdout Matte and ID Passes9.1.2.4. Reflection and Refraction Passes9.1.2.5. Light Passes9.1.2.6. Ambient Occlusion and Reflection Occlusion Passes9.1.2.7. Rim Passes9.1.2.8. Motion Vector and UV Texture Passes9.1.2.9. Surface Normal Passes9.1.2.10. Ambient, Translucence, and Subsurface Scatter Passes9.1.2.11. Text and Effects9.2. Working with Render Passes9.2.1. Combining Passes in AE9.2.1.1. Stacking Common Passes9.2.1.2. Using Holdout Matte Passes9.2.1.3. Applying Depth and ID Passes9.2.2. Combining Passes in Nuke9.2.2.1. Employing Common Passes9.2.2.2. Using Holdout Matte and RGB ID Passes9.2.2.3. Using Depth Passes9.2.2.3.1. Applying Depth through the Mask Input9.2.2.3.2. Applying Depth through Z-buffer Nodes9.2.2.4. Creating Blur with Motion Vectors9.2.3. AE and Nuke Tutorials9.2.3.1. AE Tutorial 10: Combining CG Render Passes9.2.3.2. Nuke Tutorial 10: Combining CG Render Passes9.2.3.3. AE Tutorial 11: Employing RGB Light Passes9.2.3.4. Nuke Tutorial 11: Employing RGB Light Passes9.3. Interview: Dan Rice, Blur Studio, Venice, California
10. Warps, Optical Artifacts, Paint, and Text
10.1. Warping and Morphing10.2. Adding Text10.3. Adding Optical Artifacts10.4. Painting in the Composite10.4.1. Warps, Optical Artifacts, Paint, and Text in AE10.4.1.1. Warping and Distorting Layers10.4.1.1.1. Bezier and Mesh Warps10.4.1.1.2. Displacement Effects10.4.1.2. Re-creating Optical Effects10.4.1.2.1. Lens Flare and Optics Compensation10.4.1.2.2. The Glow Effect10.4.1.3. Generating Text10.4.1.3.1. Text Tools10.4.1.3.2. Basic Text and Timecode Effects10.4.1.3.3. Path Text10.4.1.4. Painting in AE10.4.1.4.1. Painting with the Paint Tool10.4.1.4.2. Painting with the Eraser and Clone Stamp Tools10.4.1.4.3. Painting with Vector Paint10.4.1.4.4. Painting with Liquify10.4.2. Warps, Optical Artifacts, Paint, and Text in Nuke10.4.2.1. Warping Inputs10.4.2.1.1. Warping with GridWarp10.4.2.1.2. Morphing with GridWarp10.4.2.1.3. Warping with SplineWarp10.4.2.1.4. Morphing with SplineWarp10.4.2.2. Re-creating Optical Artifacts10.4.2.2.1. Lens Distortion10.4.2.2.2. Lens Flares, Glints, and Sparkles10.4.2.2.3. God Rays and Glow10.4.2.2.4. LightWrap10.4.2.3. Painting in Nuke10.4.2.4. Generating Text10.4.3. AE and Nuke Tutorials10.4.3.1. AE Tutorial 2 Revisited: Adding Shadows, Glow, and Text10.4.3.2. Nuke Tutorial 2 Revisited: Adding Shadows, Glow, and Text10.5. Interview: Aron Baxter, Guava / Nice Shoes, New York City
11. Working with 2.5D and 3D
11.1. 2D vs. 2.5D vs. 3D11.1.1. Multiplaning in the Composite11.1.2. Using 2D Cards and 3D Projections11.2. Compositing 2.5D and 3D11.2.1. 2.5D and 3D in AE11.2.1.1. 3D Layers and Cameras11.2.1.2. Importing Maya Camera Data11.2.1.3. 3D Depth of Field11.2.1.4. Arranging 3D Layers11.2.1.5. 3D Materials and Lights11.2.2. 2.5D and 3D in Nuke11.2.2.1. Setting Up a 3D Environment11.2.2.2. Geometry Types, Group Nodes, and Constraints11.2.2.3. Reading and Writing Geometry11.2.2.4. Creating 3D Lights11.2.2.5. Shared 3D Parameters11.2.2.6. Adding Shaders11.2.2.7. Additional Geo Nodes11.2.2.7.1. UVProject and Project3D11.2.2.7.2. Normals11.2.2.7.3. DisplaceGeo11.2.2.8. Adjusting the Scanline Renderer11.2.2.9. Importing and Exporting Data11.2.2.9.1. Importing an Animated Camera11.2.2.9.2. Importing Lights11.2.2.9.3. Importing Transformations11.2.2.9.4. Importing and Exporting Chan Files11.2.2.10. The MotionBlur3D Node11.2.3. AE and Nuke Tutorials11.2.3.1. AE Tutorial 11: Replicating a Hallway with 3D Layers11.2.3.2. Nuke Tutorial 11: Replicating a Hallway with Imported Geometry11.3. Interview: David Schnee, Tippett Studio, Berkeley, California11.4. Interview: Aaron Vasquez, Click 3X, New York City
12. Advanced Techniques
12.1. High Dynamic Range Images12.1.1. HDRI in Visual Effects12.1.2. HDR Formats and Projections12.1.3. Exposure Adjustment and Tone Mapping12.2. Stereoscopic 3-D12.2.1. Anaglyphic 3-D12.2.2. Polarized 3-D12.2.3. 3D Projection and Display12.2.4. Recording 3-D12.3. Time Warping and Optical Flow12.4. Working with Advanced Techniques12.4.1. Advanced Techniques in AE12.4.1.1. HDRI Support in AE12.4.1.1.1. HDR Compander12.4.1.1.2. The Exposure Effect12.4.1.1.3. HDR Highlight Compression12.4.1.2. Stereoscopic Workflow in AE12.4.1.3. Time Warping12.4.1.3.1. Time Stretch and Frame Blending12.4.1.3.2. Time Remapping and Timewarp12.4.1.3.3. Other Time Effects12.4.1.4. Simulation Effects12.4.1.4.1. Particle Playground12.4.1.4.2. Creating a Light Trail12.4.1.4.3. Using the Layer Map12.4.1.5. Scripting in AE12.4.1.5.1. An Introduction to ExtendScript12.4.1.5.2. An Introduction to Adobe Expressions12.4.2. Advanced Techniques in Nuke12.4.2.1. HDRI Support in Nuke12.4.2.1.1. Environment Light and SphericalTransform12.4.2.1.2. Creating Animated HDRs12.4.2.2. Stereoscopic Workflow in Nuke12.4.2.2.1. Setting Up a Stereoscopic Script12.4.2.2.2. Preparing for Stereoscopic Output12.4.2.2.3. Writing and Reading OpenEXR Files with Multiple Views12.4.2.3. Time Warping Nodes12.4.2.3.1. Retime and OFlow12.4.2.3.2. Other Time Nodes12.4.2.4. UV Retexturing12.4.2.5. Gizmos, Scripts, Links, and Expressions12.4.2.5.1. Gizmos and Group Nodes12.4.2.5.2. Python Scripting12.4.2.5.3. Links and Expressions in Nuke12.4.2.5.4. TCL Support12.5. Interview: Jerry van der Beek, Little Fluffy Clouds, Marin, California12.6. Interview: Tonya Smay, Freelance / Stardust Studios, New York City12.7. Interview: Chris Staves, Justin Lane, and Jeffrey Dates, MassMarket / Psyop, New York City12.8. Final Inspiration12.9. AE and Nuke Tutorial Challenge
A. About the Companion DVD
A.1. What You'll Find on the DVDA.1.1. Support FilesA.2. System RequirementsA.3. Using the DVDA.4. TroubleshootingA.4.1. Customer Care

Content preview from Professional Digital Compositing: Essential Tools and Techniques

Chapter 8. DI, Color Grading, Noise, and Grain

"If you're comparing 35mm to the state-of-the art digital video, digital video cameras can at least capture 4K. If you need a hi-res scan of 35mm, the film grain gets a little big."

——Andy Davis, VFX supervisor, Method Studios, Santa Monica, California

The digital intermediate (DI) represents one of the most significant changes to filmmaking to occur in recent years. Hence, it's important for compositors to understand the DI process, even if they are not directly involved with the editing, conforming, calibration, or color grading process. Nevertheless, color grading approaches used by DI colorists may be applied by compositors to projects that do not have the luxury of DI. Whereas DI is ultimately an optional step for a production, noise and grain are a permanent part of the production equation. That is, all film and video footage contains some form of noise or grain. Hence, the artifacts must be removed from footage or added to imported CG, digital artwork, or motion graphic elements so that the end composite is coherent and consistent. With the tutorials in this chapter, you'll have the chance to practice color grading techniques as well as disguise unwanted posterization with noise.

Digital Intermediates

A digital intermediate (DI) is digital ...

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Chapter 8. DI, Color Grading, Noise, and Grain

Digital Intermediates

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