Digital Compositing For Film And Video 5E – Steve Wright

However, by using HDR software we can preserve the highlight detail and perform a soft clip to bring the HDR image down to within video limits so that the stained glass window could look like Figure 8.25. Which would you rather have in your comp? More to the point, which would the nice client want?

Figure 8.24 Hard clip in an LDR system Figure 8.25 Soft clip in an HDR system Further, if the HDR stained glass window were clipped in an LDR software package then color corrected darker the clipped region would be all gray and icky like Figure 8.22. But the big issue today is not video, but cinema.

The theaters are projecting HDR images so the shots we deliver for theatrical projection must also be HDR. The impact of HDR images is also very important for our friends in the CG department because they need to use linear HDR images for their texture maps. Note that the internal math for all CG renders is HDR linear float so their rendered images can have code values far above 1.0. You could very well get CG rendered for video with code values above 1.0 so you will need to know how to protect your images with soft clipping, which is covered in Chapter 14, Sweetening the Comp.

8.5 Deep Compositing Deep Compositing was born out of a need to cut down on the amount of CG rendering for highly complex scenes as well as to solve the layering complexity problem as well as the depth compositing edge problem. Deep Compositing refers to compositing a VFX shot using deep images. So what are deep images? They are CG renders that have vastly more information stored with each pixel that imbues the image with a certain intelligence about the shot.

So we will start with what deep images are.

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.

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 he has trained well over 2000 artists in compositing.

Visit Steve’s training website at www.fxecademy.com. OceanofPDF.com Digital Compositing for Film and Video Production Workflows and Techniques FIFTH EDITION Steve Wright OceanofPDF.com Cover image by Regis Frossard Fifth edition published 2024 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2024 Steve Wright The right of Steve Wright to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks and are used only for identification and explanation without intent to infringe.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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