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Acknowledgments | |
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Preface | |
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Introduction to Digital Compositing | |
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Definition | |
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Historical Perspective | |
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Terminology | |
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Organization of the Book | |
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The Digital Representation of Visual Information | |
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Image Generation | |
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Pixels, Components, and Channels | |
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Spatial Resolution | |
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Bit Depth | |
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Normalized Values | |
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Additional Channels | |
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The HSV Color Representation | |
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Image Input Devices | |
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Digital Image File Formats | |
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File Format Features | |
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Vendor Implementations of File Formats | |
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Compression | |
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Choosing a File Format | |
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Nonlinear Color Spaces | |
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Basic Image Manipulation | |
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Terminology | |
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Color Manipulations | |
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RGB Multiply | |
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Add | |
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Gamma Correction | |
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Invert | |
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Contrast | |
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Channel Swapping | |
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HSV Manipulations | |
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Look-up Table Manipulations | |
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Expression Language | |
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Spatial Filters | |
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Convolves | |
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Blurring | |
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Sharpen | |
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Median Filter | |
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Geometric Transformations | |
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Panning | |
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Rotation | |
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Scale | |
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3D Transforms | |
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Warping | |
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Expression Language | |
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Filtering Algorithms | |
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Basic Image Compositing | |
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The Matte Image | |
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The Integrated Matte Channel | |
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Multisource Operators | |
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Over | |
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Mix | |
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Subtract | |
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In | |
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Out | |
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Atop | |
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Masks | |
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Compositing With Premultiplied Images | |
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Color-Correcting and Combining Premultiplied Images | |
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Luminosity | |
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Matte Creation and Manipulation | |
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Procedural Matte Extraction | |
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Keying Based on Luminance | |
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Keying Based on Chrominance | |
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Difference Matting | |
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The Color Difference Method | |
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Specialized Keying Software | |
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Matting Techniques | |
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Garbage Mattes | |
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Edge Mattes | |
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Combining Mattes | |
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Manipulating Mattes | |
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Time and Temporal Manipulations | |
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Apparent Motion | |
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Temporal Resolution | |
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Temporal Artifacts | |
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Changing the Length or Timing of a Sequence | |
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Keyframing | |
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Image Tracking and Stabilization | |
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Tracking an Element Into a Plate | |
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Choosing the Feature to Track | |
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Limiting the Search Area | |
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Human Intervention | |
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Using Tracking Curves Manually | |
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Stabilizing a Plate | |
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Tracking Multiple Points | |
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Interface Interactions | |
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Workflow | |
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Online Versus Batch | |
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Methods of Representing the Compositing Process | |
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Compressed Trees | |
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Timelines | |
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Curve Editors | |
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Working With Proxy Images | |
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Image Viewing and Analysis Tools | |
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Image Viewers | |
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Flipbooks | |
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Image Statistics | |
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Pixel or Regional Information Tools | |
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Histograms | |
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Formats: Media, Resolution, and Aspect Ratios | |
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Aspect Ratio | |
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Nonsquare Pixels | |
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Deciding on a Resolution When You Have an Aspect Ratio | |
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Format Conversion Pipeline | |
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A Format Conversion Example | |
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Film Formats | |
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35mm Formats | |
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16mm Formats | |
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Specialized Film Formats | |
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Video Formats | |
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Lines of Resolution | |
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Fields | |
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Color Resolution | |
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Gamma | |
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NTSC | |
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PAL | |
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SECAM | |
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HDTV | |
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Other Formats | |
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Working With Nonsquare Pixels | |
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Combining Formats | |
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Converting Between Film and Video | |
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Quality and Efficiency | |
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Quality | |
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Efficiency | |
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Methodology | |
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Minimizing Data Loss | |
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Internal Software Accuracy | |
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Consolidating Operations | |
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Region of Interest | |
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Working in a Networked Environment | |
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Disk Usage | |
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Precompositing | |
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Learning to See | |
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Judging Color, Brightness, and Contrast | |
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The Camera | |
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Distance and Perspective | |
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Perspective and the Camera | |
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Depth Cues | |
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Combining Depth Cues | |
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Lens Flares | |
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Focus | |
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Motion Blur | |
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Creating Elements | |
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Lighting | |
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Interactive Lighting | |
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Matched Cameras | |
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The Reference Stand-in | |
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Clean Plates | |
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Film Stock | |
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Filters | |
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Choosing a Format | |
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Lighting and Shooting with Bluescreens | |
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Bluescreen versus Greenscreen | |
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Shooting Order | |
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Integration Techniques | |
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Scene Continuity | |
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Lighting | |
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Shadows | |
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Lens Flares | |
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Atmosphere | |
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Camera Mismatches | |
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Camera Movements | |
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Focus | |
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Motion Blur | |
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Film Grain | |
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Bluescreen Integration | |
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Digital Integration | |
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Advanced Topics | |
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Beyond Black and White | |
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White Point and Black Point | |
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Nonlinear Color Spaces | |
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Working with Nonlinear Color Spaces | |
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Working with 3D Elements | |
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Z-Depth Compositing | |
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Related 2D Disciplines | |
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Morphing | |
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Digital Painting | |
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Editing | |
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Case Studies | |
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James and the Giant Peach | |
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Speed | |
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Star Trek: Insurrection | |
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Con Air | |
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Budweiser Lizards Commercial | |
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Independence Day | |
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X-Files: Fight the Future | |
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T-Rex: Back to the Cretaceous | |
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The Prince of Egypt | |
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Titanic | |
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Digital Compositing Software: Tools and Features | |
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Color Correction | |
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Spatial Filtering | |
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Geometric Transformation | |
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Miscellaneous | |
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Image Combination | |
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Control | |
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Field Controls | |
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Matte Generation | |
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Timing/Duration | |
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Image Generation | |
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Tracking | |
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Other | |
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Digital Compositing Software: Manufacturers | |
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Digital Image File Formats | |
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Common File Formats | |
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The Cineon File Format | |
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Common Film and Video Formats | |
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Film | |
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Scanning Resolutions and File Sizes | |
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Video | |
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HDTV | |
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Bibliography | |
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Glossary | |
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Index | |