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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 | |