| | Copyright |
| | About the Authors |
| | Acknowledgments |
| | Introduction |
| | | Why This Book? |
| | | The Cult of Magic |
| | | Truly Challenging |
| | | The Keys |
| | | About This Book |
| | | If You've Used Other Compositing Programs |
| | | What's On the CD |
| | | The Bottom Line |
| | Section I. Working Foundations |
| | | Chapter 1. The Effects Toolset |
| | | Preparing Your Workspace |
| | | Elegant UI Usage |
| | | Footage and Composition Settings |
| | | Previewing Like a Pro |
| | | A Useful Effects Palette |
| | | Render Queue: Flight Check |
| | | Study Footage Like a Pro |
| | | Chapter 2. The Timeline |
| | | Organization |
| | | Transforms |
| | | Working with Keyframes |
| | | Über-mastery |
| | | Animation Offsets |
| | | Motion Blur |
| | | Playing with Time Itself |
| | | In Conclusion |
| | | Chapter 3. 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 |
| | | Chapter 4. Optimizing the Pipeline |
| | | Navigating Multiple Compositions |
| | | Pre-Composing and Nesting |
| | | Adjustment and Guide Layers |
| | | Understanding Rendering Order |
| | | Optimizing Projects |
| | | Onward to Effects |
| | Section II. Effects Compositing Essentials |
| | | Chapter 5. Color And Light: Adjusting And Matching |
| | | Optimizing Plate Levels |
| | | Color Matching |
| | | Chapter 6. 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 |
| | | Chapter 7. Rotoscoping and Paint |
| | | Articulated Mattes |
| | | Working Around Limitations |
| | | Morphing |
| | | Paint and Cloning |
| | | Conclusion |
| | | Chapter 8. Effective Motion Tracking |
| | | The Essentials |
| | | Optimizing Tracking via 3D |
| | | Continuing a Track with Expressions |
| | | Tracking for Rotoscoping |
| | | Using 3D Tracking Data |
| | | Conclusion |
| | | Chapter 9. Virtual Cinematography |
| | | 2.5D: Using the Camera |
| | | Storytelling and the Camera |
| | | Camera Blur |
| | | The Role of Grain |
| | | Film and Video Looks |
| | | Conclusion |
| | | Chapter 10. Expressions |
| | | Logic and Grammar, in that Order |
| | | Muting Keyframes |
| | | Linking Animation Data |
| | | Looping Animations |
| | | Smoothing and Destabilizing |
| | | Offsetting Layers and Time |
| | | Conditionals |
| | | Emulating 3D Tracking |
| | | Tell Me More |
| | | Chapter 11. Issues Specific To Film And HDR Images |
| | | Film 101 |
| | | Dynamic Range |
| | | Cineon Log Space |
| | | Video Gamma Space |
| | | Battle of the Color Spaces |
| | | Floating Point |
| | | eLin |
| | | Conclusion |
| | Section III. Creative Explorations |
| | | Chapter 12. Working with Light |
| | | Light Source and Direction |
| | | Creating a Look with Color |
| | | Backlighting, Flares, Light Volume |
| | | Shadows and Reflected Light |
| | | Re-lighting a Scene |
| | | Conclusion |
| | | Chapter 13. Air, Water, Smoke, and Clouds |
| | | Particulate Matter |
| | | Sky Replacement |
| | | The Fog, Smoke, or Mist Rolls In |
| | | Billowing Smoke |
| | | Wind |
| | | Water |
| | | Conclusion |
| | | Chapter 14. Fire and Explosions |
| | | Firearms |
| | | Sci-Fi Weaponry |
| | | Heat Distortion |
| | | Fire |
| | | Explosions |
| | | Fiery Conclusion |
| | | Chapter 15. Learning to See |
| | | Why Doesn't This Shot Look Real? |
| | | All Hail Reference |
| | | Rolling Thine Own |
| | | Not a Conclusion |
| | What's on the CD? |
| | Index |