Film and Video Looks
Conclusion
And really, you've just scratched the surface of what's possible. The inventive compositor can and should always look for new methods to replicate the way that the camera sees the world, going beyond realism to present the realism we've become so accustomed to seeingrealism through the lens.
Expressions |
Section I. Working Foundations
The 7.0 Workflow
- The 7.0 Workflow
- Workspaces and Panels
- Making the Most of the UI
- Settings: Project, Footage, Composition
- Previews and OpenGL
- Effects & Presets
- Output: The Render Queue
- Study a Shot like an Effects Artist
The Timeline
- The Timeline
- Organization
- Animation Methods
- Keyframes and The Graph Editor
- Uber-mastery
- Transform Offsets
- Motion Blur
- Manipulating Time Itself
- In Conclusion
Selections: The Key to Compositing
- Selections: The Key to Compositing
- The Many Ways to Create Selections
- Compositing: Science and Nature
- Alpha Channels and Premultiplication
- Masks
- Combining Multiple Masks
- Putting Masks in Motion
- Blending Modes: The Real Deal
- Track Mattes
Optimizing Your Projects
- Optimizing Your Projects
- Navigating Multiple Compositions
- Precomposing and Nesting
- Adjustment and Guide Layers
- Understanding Rendering Order
- Optimizing After Effects
- Onward to Effects
Section II. Effects Compositing Essentials
Color Correction
Color Keying
- Color Keying
- Good Habits and Best Practices
- Linear Keyers and Hi-Con Mattes
- Blue-Screen and Green-Screen Keying
- Understanding and Optimizing Keylight
- Fixing Typical Problems
- Conclusion
Rotoscoping and Paint
- Rotoscoping and Paint
- Articulated Mattes
- Working Around Limitations
- Morphing
- Paint and Cloning
- Conclusion
Effective Motion Tracking
- Effective Motion Tracking
- The Essentials
- Optimizing Tracking Using 3D
- Extending a Track with Expressions
- Tracking for Rotoscoping
- Using 3D Tracking Data
- Conclusion
Virtual Cinematography
- Virtual Cinematography
- 5D: Pick Up the Camera
- Storytelling and the Camera
- Camera Blur
- The Role of Grain
- Film and Video Looks
- Conclusion
Expressions
- Expressions
- Logic and Grammar
- Muting Keyframes
- Linking Animation Data
- Looping Animations
- Smoothing and Destabilizing
- Offsetting Layers and Time
- Conditionals and Triggers
- Tell Me More
Film, HDR, and 32 Bit Compositing
- Film, HDR, and 32 Bit Compositing
- Details
- Film 101
- Dynamic Range
- Cineon Log Space
- Video Gamma Space
- Battle of the Color Spaces
- Floating Point
- 32 Bits per Channel
- Conclusion
Section III. Creative Explorations
Working with Light
- Working with Light
- Light Source and Direction
- Creating a Look with Color
- Backlighting, Flares, Light Volume
- Shadows and Reflected Light
- HDR Lighting
- Conclusion
Climate: Air, Water, Smoke, Clouds
- Climate: Air, Water, Smoke, Clouds
- Particulate Matter
- Sky Replacement
- The Fog, Smoke, or Mist Rolls In
- Billowing Smoke
- Wind
- Water
- Conclusion
Pyrotechnics: Fire, Explosions, Energy Phenomena
- Pyrotechnics: Fire, Explosions, Energy Phenomena
- Firearms
- Sci-Fi Weaponry
- Heat Distortion
- Fire
- Explosions
- In a Blaze of Glory
Learning to See
Index
Adobe After Effects 7.0 Studio Techniques
ISBN: 0321385527
EAN: 2147483647
EAN: 2147483647
Year: 2004
Pages: 157
Pages: 157
Authors: Mark Christiansen
