5th Edition
Digital Compositing for Film and Video Production Workflows and Techniques
Written by senior compositor, technical director, and master trainer Steve Wright, this book condenses years of production experience into an easy-to-read and highly informative guide suitable for both working and aspiring visual effects artists.
This updated edition of Digital Compositing for Film and Video addresses the problems and difficult choices that professional compositors face daily with an elegant blend of theory, practical production techniques, and workflows. It is written to be software-agnostic, so it applies to any brand of software. It features many step-by-step workflows, powerful new keying techniques, and updates on the latest tech in the visual effects industry with all-new content on artificial intelligence (AI) for visual effects (VFX), Universal Scene Description (USD), Virtual Production, and Cryptomattes.
A companion website offers images from the examples discussed in the book allowing readers to experiment with the material first-hand. This edition also adds Nuke workflows to the companion website for the first time.
Chapter 1 - Getting Started
1.1 About the 5th Edition
1.2 How this Edition is Organized
1.2.1 Part 1 - The Basic Comp
1.2.2 Part 2 - Beyond the Basics
1.3 Web Content
1.4 What’s New in the 5th Edition
1.4.1 Major New Topics
1.4.2 New Content
1.5 Gold Mines
1.6 Retired Material
1.7 Tool Conventions
1.7.1 The Slice Tools
1.7.2 Flowgraphs
1.7.3 Color Look up Tables (LUTs)
1.8 Data conventions
1.8.1 Floating Point Data
1.8.1.1 Banding
1.8.1.2 Clipping
1.8.2 Linear Ligt Space
1.8.3 HDR Images
1.8.4 Stops
Chapter 2 - Pulling Keys
2.1 Lumakeys
2.1.1 How Lumakeys Work
2.1.2 Making Your Own Luminance Image
2.1.2.1 Variations on the Luminance Equations
2.1.2.2 Non-luminance Monochrome Images
2.1.3 Making Your Own Lumakeyer
2.2 Chromakeys
2.2.1 How Chroma Keys Work
2.2.2 Making Your Own Chroma Keyer
2.2.3 Making a 3D Chroma Keyer
2.3 Difference Mattes
2.3.1 How Difference Mattes Work
2.3.2 Making Your Own Difference Matte
2.3.2.1 Making the Difference Image
2.3.2.2 Making the Difference Matte
2.4 High Bypass Filters
2.4.1 Creating the Filter
2.4.2 Digital Airbrushing
2.5 Color Difference Keys
2.6 RGB Edge Extension Technique
2.7 Rotoscoping
2.7.1 Overarching Strategy
2.7.2 Control Point Coherency
2.7.3 Shape Breakdown
2.7.3.1 Hierarchical Articulation
2.7.3.2 Organization
2.7.4 Bezier or B-spline?
2.7.5 Keyframe Strategies
2.7.5.1 On 2’s
2.7.5.2 Binary Multiples
2.7.5.3 Bifurcation
2.7.5.4 Motion Extremes
2.7.6 Motion Blur
2.6.1 Spline Placement
2.7.6.2 Edge Decontamination
2.7.7 Inspection
Chapter 3 - Keyers
3.1 How Keyers Work
3.1.1 Calculating the Color Difference Matte
3.1.1.1 The Theory
3.1.1.2 Pulling the Raw Matte
3.1.1.3 A Simplified Example
3.1.1.4 A Slightly More Realistic Case
3.1.1.5 And Now, the Real World
3.1.2 Matte Edge Penetration
3.1.3 Scaling the Raw atte
3.2 The After Effects Keyer
3.2.1 Step-by-Step Procedure
3.2.2 Flowgraph of the After Effects Keyer
3.3 Typical Greenscreen Problems
3.3.1 Over Exposed
3.3.2 Under Exposed
3.3.3 Impure Greenscreens
3.3.4 Uneven Lighting
3.4 Preprocessing the Greenscreen
3.4.1 Denoise and Degrain
3.4.2 Local Suppression
3.4.3 Channel Clamping
3.4.4 Screen Correction
3.4.4.1 Fine Hair Detail
3.4.4.2 Creating the Clean Plate
3.4.4.3 Screen Correction Procedure
3.4.4.4 Pictographic Flow Chart
3.4.4.5 Flowgraph of the SCreen Correction PRocedure 3.4.4.6 Nuke IBK Procedure
Chapter 4 - Refining Mattes
4.1 Gamma Slamming
4.2 Garbage Mattes
4.2.1 Pre-matting
4.2.2 Post-matting
4.3 Filtering the Matte
4.3.1 Noise Suppression with a Median Filter
4.3.2 Softer Edges
4.3.3 Controlling the Blur Operation
4.3.3.1 The Blur Radius
4.3.3.2 The Blur Percentage
4.3.3.3 Masking the Blur
4.4 Adjusting the Matte Size
4.4.1 Eroding a Matte with Blur and Scale
4.4.2 Dilating a Matte with Blur and Scale
4.4.3 Blurring Out
4.4.4 Sculpting Edges
4.5 Edge Masks
4.6 Merging Mattes
Chapter 5 - Spill Suppression
5.1 Sources of Spill
5.2 The Despill Operation
5.3 Despill Algorithms
5.3.1 Green Limited by Red
5.3.2 Implementing the Algorithm
5.3.3 The Spillmap
5.3.4 Green Limited by the Average of Red and Blue
5.3.5 An Adjustable Despill
5.3.6 What About Blue Spill?
5.3.7 Refining the Despill
5.4 The Unspill Operation
5.4.1 How to Set It Up
5.4.2 Grading to the Backing Color
5.5 Despill Artifacts
5.5.1 Finding the Artifacts
5.5.2 Hue Shifts
5.5.3 Dark Edges
5.5.4 Fixing Despill Artifacts
5.6 Edge Grading
5.7 Edge Extension
Chapter 6 - Image Blending
6.1 Image Blending in Linear Light Space
6.1.1 Image Blending Operations
6.1.2 Compositing Operations
6.1.3 Matching the Look of sRGB in Linear
6.1.3.1 All sRGB Color Space
6.1.3.2 sRGB Within Linear
6.2 Alpha Compositing Operations
6.3 Image Blending Operations
6.3.1 The Screen Operation
6.3.1.1 Adjusting the Appearance
6.3.2 The Weighted Screen Operation
6.3.3 Multiply
6.3.3.1 Adjusting the Appearance
6.3.4 Maximum
6.3.5 Minimum
6.3.6 Absolute Difference 6.4 Adobe Photoshop blending modes
6.4.1 Simple Blending Modes
6.4.2 Complex Blending Modes
6.5 Slot Gags
6.6 Retiming Clips
6.6.1 Constant Speed Changes
6.6.2 Variable speed changes
6.6.3 Interpolation methods
6.6.3.1 Nearest neighbor
6.6.3.2 Frame average
6.6.3.3 Motion estimation
Chapter 7 – The Composite
7.1 Premultiply vs. Unpremultiply
7.1.1 Premultiply
7.1.2 Unpremultiply
7.1.3 Not Premultiplied
7.1.4 The Double Premultiply
7.2 Compositing Operations
7.2.1 The Over Composite
7.2.2 The KeyMix Composite
7.2.3 The AddMix Composite
7.2.3.1 How it Works
7.2.3.2 How to Build It
7.2.3.3 How to Use It
7.2.4 The Processed Foreground Method
7.2.4.1 The Workflow
7.2.4.2 What to Watch Out For 7.3 Compositing Inside the Keyer
7.3.1 Adding a Holdout Mask
7.3.2 Adding a Garbage Matte
7.3.3 Going Off Screen
7.3.4 Grading and Grain Management
7.4 Compositing Outside the Keyer
7.4.1 The Basic Workflow
7.4.2 The Uberkey
7.4.3 Soft Key/Hard Key 7.5 Virtual Production
7.5.1 How Virtual Production Works
7.5.2 The Effects on Compositing
Chapter 08 – Compositing CG
8.1 Multi-Pass CGI Compositing
8.1.1 Lighting Passes
8.1.1.1 Revising the Beauty Pass
8.1.2 AOVs
8.1.3 Normals Relighting
8.1.4 ID Passes
8.2 Cryptomattes
8.2.1 How Cryptomattes Work
8.2.2 How Cryptomattes are Used
8.3 EXR File Format
8.3.1 Film Scans
8.3.2 Linear Images
8.3.3 Arbitrary Image Channels
8.4 HDR Images
8.5 Deep Compositing
8.5.1 Deep Images
8.5.2 The Layering Complexity Problem
8.5.3 The Depth Compositing Edge Problem
8.5.4 The Re-rendering Problem
8.5.5 Deep Compositing with Live Action
Chapter 9 – Tracking and Transformations
9.1 Geometric transforms
9.1.1 2D Transforms
9.1.1.1 Translation
9.1.1.2 Rotation
9.1.1.3 Resize vs. Scale
9.1.1.4 Skew
9.1.1.5 Corner Pinning
9.1.2 Managing Motion blur
9.1.2.1 Transform motion blur
9.1.2.2 Motion UV motion blur
9.1.2.3 Speed changes
9.1.3 3D Transforms
9.1.4 Filtering
9.1.4.1 The Effects of Filtering
9.1.4.2 Twinkling Starfields
9.1.4.3 Choosing a Filter
9.1.5 Image Alignment
9.1.5.1 Embossed Alignment
9.1.5.2 Edge Detection Alignment
9.1.5.3 Pivot Point Alignment
9.2 Image Displacement
9.3 Warps and Morphs
9.3.1 Mesh Warps
9.3.2 Spline Warps
9.3.3 Morphs
9.3.4 Tips, Tricks and Techniques
9.4 Point Tracking
9.4.1 The Tracking Operation
9.4.1.1 Selecting Good Tracking Targets
9.4.1.2 Bad Tracking Targets
9.4.1.3 Tracker Enable/Disable
9.4.1.4 Offset Tracking
9.4.1.5 Keep Shape and Follow Shape
9.4.1.6 Pre-processing the Clip
9.4.1.7 Coping with Grain
9.4.1.8 Tracking Workflow
9.4.1.9 Cleaning up Tracking Data
9.4.1.10 The Stability Test
9.4.1.11 Reasons for Failure
9.4.2 Matchmove
9.4.2.1 2D Transforms
9.4.2.2 The Reference Frame
9.4.2.3 Corner Pinning
9.4.3 Stabilizing
9.4.3.1 The Repo Problem
9.4.3.2 Motion Smoothing
9.4.3.3 Stabilizing For Rotoscoping
9.5 Planar Tracking
9.5.1 The Planar Grid
9.5.2 Drift Correction
9.5.3 Exporting Data
9.5.4 Roto Assist
Chapter 10 – 3D Compositing
10.1 A Short Course in 3D
10.1.1 The 3D Coordinate System
10.1.2 Vertices
10.1.3 Meshes
10.1.4 Surface Normals
10.1.5 UV Coordinates
10.1.6 Map Projection
10.1.7 UV Projection
10.1.8 3D Geometry
10.1.9 Geometric Transformations
10.1.10 Geometric Deformations
10.1.10.1 Image Displacement
10.1.10.2 Deformation Lattice
10.1.11 Point Clouds
10.1.12 Lights
10.1.13 Cameras
10.1.14 Shaders
10.1.15 Reflection Mapping
10.1.16 3D Environment Maps
10.1.17 Ray Tracing
10.1.18 Image Based Lighting
10.2 3D Compositing
10.2.1 Camera Tracking
10.2.1.1 Step 1 - Tracking
10.2.1.2 Step 2 - The Solve
10.2.1.3 Step 3 – Build the Scene
10.2.1.4 Placing the Geometry
10.2.1.5 A Large Outdoor Scene
10.2.1.6 Monitor Insert Shots
10.2.2 Camera Projection
10.2.3 Multiplane Shots
10.2.4 Set Extension
10.2.4.1 Step 1 – Camera Tracking
10.2.4.2 Step 2 – Preps for the DMP
10.2.4.3 Step 3 – Creating the Digital Matte Painting
10.2.4.4 Step 4 – The DMP Render
10.2.4.5 Compositing the DMP
10.2.5 Pan and Tile
10.2.6 3D Backgrounds
10.2.7 3D compositing from 2D images
10.2.8 Alembic Geometry
10.2.8.1 The Simple Case
10.2.8.2 Scenegraphs
10.2.8.3 Advantages Over FBX
10.2.9 Universal Scene Description (USD)
10.2.9.1 The Scenegraph
10.2.9.2 A Case Study
Chapter 11 – Digital Images
11.1 Color Space
11.1.1 Color Models
11.1.2 Primary Chromaticities
11.1.3 Gamut
11.1.4 The Transfer Function
11.1.5 White Point
11.2 HDTV
11.2.1 Rec. 709 Color Space
11.2.2 Frame Formats
11.2.3 Scan modes
11.2.4 Working with interlaced video
11.2.5 De-interlacing
11.2.5.1 Field Averaging
11.2.5.2 Optical Flow Interpolation
11.2.6 Color Subsampling
11.2.7 Keying 4:2:2 Video
11.2.8 Frame rates
11.2.8.1 Integer: 24, 25, 30, 60 fps
11.2.8.2 Float: 23.98, 29.97, 59.94 fps
11.2.9 Timecodes
11.2.10 Video File Formats
11.2.11 Film Scanners
11.2.12 Anamorphic video
11.3 UHDTV
11.3.1 Rec. 2020 Color Space
11.4 Digital Cinema images
1.14.1 P3 Color Space
11.4.2 Digital Cameras vs. Film
11.4.3 The Bayer Array
11.4.4 Sensor Crop
11.4.5 HFR – High Frame Rate
11.4.6 The DCI
11.5 Working in linear
11.5.1 What exactly is linear?
11.5.2 Color Correcting
11.5.3 Transformations and Filtering
11.5.4 CG
11.6 Log Images
11.6.1 What are Log Images?
11.6.2 Why we need log images
11.6.2.1 Data Compression
11.6.3 Working with Log Images
11.7 Metadata
11.8 Artificial Intelligence and VFX
11.8.1 A Brief History
11.8.2 Terminology
11.8.3 AI for Compositing
11.8.3.1 Rotoscoping
11.8.3.2 Speed Changes
11.8.3.3 Upscale and Sharpen
11.8.3.4 Inpainting
11.8.3.5 Greenscreen Keying
11.8.3.6 Image Generation
11.8.3.7 De-aging with Deep Fakes
11.8.3.8 Face Replacements
11.8.4 The Future
11.9 OpenColorIO
11.10 ACES Color Management
11.10.1 The ACES Workflow
11.10.2 The ACES Gamut
11.10.3 What About Video Productions?
Chapter 12 – Color Correction
12.1 The Behavior of Light
12.1.1 The Inverse Square Law
12.1.1 Diffuse Reflections
12.1.2 Specular Reflections
12.1.3 Bounce Light
12.1.4 Scattering
12.1.5 Polarized Light
12.1.6 The Fresnel Effect
12.1.7 Spectral Emissions
12.2 Gamma
12.3 The Effect of Color Operations
12.3.1 Lift
12.3.2 Gamma
12.3.3 Gain
12.3.4 Offset
12.3.5 Saturation
12.3.6 Color Grading vs. Color Correcting
12.3.7 Increasing Contrast with the “S” Curve
12.3.8 Histograms
12.3.9 Channel Swapping
12.3.10 Premultiply vs. Unpremultiply
12.4 Matching the Light Space
12.4.1 Brightness and Contras
12.4.1.1 Matching the Black and White Points
12.4.1.2 Matching the Midtones
12.4.1.3 Gamma Slamming
12.4.2 Matching Color
12.4.2.1 Grayscale Balancing
12.4.2.2 Flesh Tones
12.4.2.3 The “Constant Green” Method of Color Correction
12.4.2.4 Daylight
12.4.2.5 Specular Highlights
12.4.3 Lighting Direction
12.4.4 Quality of Light Sources
12.4.4.1 Creating Softer Lighting
12.4.4.2 Creating Harsher Lighting
12.4.5 Non-linear Gradients for Color Correction
12.4.6 Colorized Gradients
12.4.7 The DI Process
12.4.8 A Checklist
Chapter 13 – Camera Effects
13.1 Lens Effects 1
3.1.1 Lens Distortion
13.1.2 Depth of Field
13.1.3 Vignetting
13.1.4 Lens Defects
13.1.4.1 Spherical Aberration
13.1.4.2 Astigmatism
13.1.4.3 Chromatic Aberration
13.1.5 Glows and Flares
13.1.5.1 Lens flare
13.1.5.2 Lens Filter Flare
13.1.5.3 Diffraction Glows
13.1.5.4 Veiling Glare
13.1.6 Grain
13.2 Lens Distortion Workflows
13.2.1 CG Over Live Action
13.2.2 Live Action Over CG
13.2.3 CG Over CG
13.2.4 Live Action Over Live Action
13.3 Matching the Focus
13.3.1 Using a Blur for Defocus
13.3.2 How to Simulate a Defocus
13.3.3 Sharpening
13.3.3.1 Sharpening Operations
13.3.3.2 Unsharp Masks
13.3.3.3 Making Your Own Unsharp Mask
13.4 Rolling shutter
Chapter 14 – Sweetening the Comp
14.1 Layer Integration
14.2 Interactive Lighting
14.3 Light Wrap
14.4 Edge Blending
14.5 Creating Shadows
14.5.1 Edge Characteristics
14.5.2 Density
14.5.3 Color
14.5.4 Faux Shadows
14.5.4.1 Caveats
14.5.4.2 The Shadow Mask
14.5.5 Shadow Warping
14.5.6 Contact Shadows
14.6 Atmospheric Haze
14.7 Adding a Glow
14.8 Grain Management
14.8.1 Grain Characteristics
14.8.2 Regraining Techniques
14.8.2.1 Grain Check Procedure
14.8.2.2 Generated Grain
14.8.2.3 Extracted Grain
14.8.3 Workflows
14.8.3.1 Live Action Over Live Action
14.8.3.2 Live Action Over CG
14.8.3.3 CG Over Live Action
14.8.3.4 CG Over CG
14.8.3.5 Still Photos
14.9 Clipping
Biography
Steve Wright is a visual effects pioneer and a 20+-year veteran of compositing on over 80 feature films and many broadcast television commercials. With extensive production experience and a knack for the math and science of visual effects, he is a world-renowned expert on visual effects compositing. Since 2005 he has been a master trainer in compositing visual effects, providing staff training to over 35 visual effects studios worldwide, including Pixar Animation Studios, Disney Feature Animation, Troublemaker Studios, New Deal Studios, Reliance MediaWorks and many others, and has trained well over 2000 artists in compositing.
Visit Steve’s training website at www.fxecademy.com
"I have been a lecturer in Film and Visual Effects for more than 10 years and Steve Wright’s Digital Compositing for Film and Video has always been an integral part of my teaching material.
Complex concepts, industry-standard workflow methodologies, and compositing strategies are articulately explained to be easily understood by both Lecturers and students.
Successive editions ensure information is always up to date with workflows integrating new technologies and methods and should be compulsory reading for everyone in the world of Visual Effects."
Shaun Peyman, Senior Lecturer VFX, Media Design School, Auckland, New Zealand
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"Once again, Steve's 5th Edition of Digital Compositing for Film and Video (the legendary 'blue bible') provides an updated 'must have'. Any Compositor who reads and understands the concepts in this book will not only be set for a fulfilling career, but they will also be leagues ahead of those who don’t."
Scott Chambers, Founder and VFX Supervisor, 808 Ltd., Wellington, New Zealand
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“In a field where technology and creativity meet, this new edition continues to stand as a must-read. Its comprehensive exploration of the art of digital compositing is both enlightening and empowering, offering an agnostic and practical understanding of the craft. Essential for any serious practitioner in the industry.”
Armando Ricalde, Chief Technology Officer, Boxel Studio, Mexico
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"Steve’s 5th Edition is, as before, the best mix out of his hands-on training and production experience, which supports any VFX artist with the essential knowledge needed for the production pipeline. The main advantage of this edition is the expansion of new technologies and methods, which makes his book again an essential must-have for any serious VFX artist."
Dr. Sassi, Senior Trainer, VES, Los Angeles, Maxon-One