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This book is abou t hands-on digital compositing techniques in the quest for photorealism

in feature film an d video digital effects. Of course, art ist ic training is an essen

tial ingredient to achieving photo-realism because it is in the ert class th at you

learn how things are supposed to look. But the other requirement is mastery of your

tools and the technology. Knowing what the picture should look like will do little

good if you can' t bend the images to your vis ion. Readin the owner's manual will

teach you bow to operate your compositing software, bu t it will not teach you how

to pull II good matte from II badly lit bluescreen or what to do when banding erupts

in II digital matte painting. It is the difference between th e owner's manual for II car

and driving school. The first teaches you where the knobs are, and the second

teaches you bow to use them to actually get somewhere.

Although very sui table for beginners. this is not an introd uctory book. It assumes

th at the reader already knows how to operate the compos iting software, what a

pixel is, and wbat RGB means. It is intended for the digital arti st sitting in front of a

workstation with a picture on the monito r, wondering why there are edge art ifacts

in a bluescreen composite and how to get rid of them. The attempt was to present

the top ics with sufficient background det ail th at they will be of value to the beginner

while including advanced concepts and production techniques that will also be

of Interes t to the senior compositor.

This is also a "software indepe ndent " book. It carefully avoids the speci fics of

any part icu lar brand of software and uses procedures and operations th at are common

to all software products , such as add, maximum, and color curves. You will be

able to perform all of the procedures in th is book regardl ess of the brand of software

you are using, including Adobe Photoshop . I like to th ink of Photoshop as a singleframe

compositing package with extended paint capability. Adobe Photoshop has

become an important tool for previsualizing digital effects shots, so it would be

very useful to know bow to use it to pull a color differen ce matte and perform the

despt ll for a blues croen shot.

Each top ic has two thrusts. The first is understanding how th ings work. It is

much more difficult to solve a probl em when yOll don't know what is causing it, and

a big part of the time spen t in production is in prob lem solving. Ther e is a great deal

of information on how di fferent matte extraction methods work. how despt ll works,

and what goes on inside a compositing node. The purpose of all thi s information is

to provide a sufficient understanding of the issues that conspire to spoil your fine

work so that when you encounter a production problem you will be able to stab your

finger in the air and decl are, "I know what's wrong here!", then turn around and fix

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