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Apple Pro Training Series: Encyclopedia of Visual Effects

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Apple Pro Training Series: Encyclopedia of Visual Effects

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  • Copyright 2007
  • Edition: 1st
  • Book
  • ISBN-10: 0-321-30334-2
  • ISBN-13: 978-0-321-30334-9

This is the ultimate recipe book for visual effects artists working in Apple Shake, Adobe After Effects, and Apple Motion. An impressive lineup of Hollywood and independent effects pros have pulled together this compendium of the coolest and most useful effects from A to Z ("Adding Clouds" to "Z-Depth Effects"). The book includes everything from practical everyday commercial techniques to breakdowns of well-known shots from blockbuster films. Readers learn to create light sabers from the artists who created them for Star Wars Episode 3; learn to freeze time from the wizard who invented the effect for The Matrix; and learn to create matte paintings from the pros who did them for Lord of the Rings. Coverage includes rotoscoping, painting, warping and distortion effects, dramatic lighting, adding lightening and fire, matchmoves, 3D CG integration techniques, advanced blue- and greenscreen techniques, and much more. DVD-ROM included. Foreword by Ron Brinkmann.

Sample Content

Table of Contents

Table of Contents

Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv
Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . .xxiii
Compositing Fundamentals
Chapter 1 3D Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Integrating 3D into Live Action . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Multipass Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Special Render Passes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Time-Saving Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Final Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Chapter 2 Keying Fundamentals . . . . . . . . . . . . . . . . . . . . . . . 23
Mattes, Alphas, and Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The Blue Screening Process During Production . . . . . . . . . . . . 26
The Blue Screening Process During Postproduction. . . . . . . . . 28
Chapter 3 Tracking Fundamentals . . . . . . . . . . . . . . . . . . . . . 41
The Categories of Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
The Many Dimensions of Tracking . . . . . . . . . . . . . . . . . . . . . . . 46
Manual and Automatic Tracking . . . . . . . . . . . . . . . . . . . . . . . . . 49
Three-Dimensional Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
The Process of Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Identifying and Establishing Tracking Points . . . . . . . . . . . . . . . 53
Subpixel Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Tracking Preprocessing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Tracking with Concatenation . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Concatenation Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Limitations to Tracking Operations . . . . . . . . . . . . . . . . . . . . . . 61
Encyclopedia of Visual Effects
3:2 Pull-Down Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
4:x:x Simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
8 Bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Alpha Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Ambient Occlusion Passes, Using . . . . . . . . . . . . . . . . . . . . . . . . 69
Anaglyphic Stereoscopy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Anamorphic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Background Hole Filling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Background Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Background Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Beauty Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Bits per Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Bits per Pixel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Black Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Black Levels, Checking/Gamma Slamming . . . . . . . . . . . . . . . . 93
Blanking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Bleach Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Blemish Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Blink Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Blue Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Cameo Frankenstein’s Third Dimension—
Todd Vaziri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Camera Diffusion Simulation . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Camera Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Camera Shake, Smoothing and Removal . . . . . . . . . . . . . . . . . 110
Cel Shade, Live Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Choking Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Chroma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Chroma Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Chroma Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Clamping Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Clamping, Subzero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Clean Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Clean Plates, Generating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Clipped Highlights, Fixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Clipping Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Codec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Color Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Color Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Combining Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Component Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Composite Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Compositing Outside the Keyer . . . . . . . . . . . . . . . . . . . . . . . . 151
Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Concatenation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Contrast Match, Checking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Core Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Cameo Anatomy of a Lightsaber Duel—
Brian Connor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Dailies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Data Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Day for Night. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Decompression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Depth Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Depth Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Desaturate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Difference Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Diffuse Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Diffusion Simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Digital Foundation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Dolly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Dust Busting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Edge Blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Edge Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Edge Matte/Core Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Cameo Duran Duran in 3D—Pixerati . . . . . . . . . . . . . . . 209
Face Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Faux Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Filmic Fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Flipbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Float Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Float Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Fog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Footage Acquisition, Blue Screen and Green Screen . . . . . . . . 235
Four-Point Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Frame Blending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Fresnel Shading Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Gamma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Gamma Slamming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Garbage Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Gate Weave, Correcting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Gradient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Grading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Grain Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Grain Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Grain Removal via Warp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Gray Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Green Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Grunge Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Cameo Slicing Time—Tim Macmillan . . . . . . . . . . . . . . . 262
HDR Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
HDRI (High Dynamic-Range Imaging) . . . . . . . . . . . . . . . . . . 266
High-Key Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Histogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Holdout Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Hot Spots, Removing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Interlaced Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Inverse Core Garbage Matting . . . . . . . . . . . . . . . . . . . . . . . . . . 283
JPEG HDR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Keying Generic Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Knot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Kodak Cineon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Cameo There Goes the Neighborhood—
Marshall Krasser . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Lens Diffusion Simulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Lens Warping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
LIDAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Light Probe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Light Probe, Lighting 3D Scenes With . . . . . . . . . . . . . . . . . . . 301
Light Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Lightsaber, Creating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Light Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Low-Key Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Luma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Luma Edge Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Luma Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Luminance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Luminance, Weighted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Cameo The Art of Matte Painting—
Yanick Dusseault . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Macros . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Master Shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Matchmoving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Matchmoving in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Matte Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Mattes, Combining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Mattes, Shrinking and Expanding . . . . . . . . . . . . . . . . . . . . . . . 355
Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Motion Vector Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Multipass Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Multipass, Basic Passes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Multipass, per Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
MultiPlane Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Nest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Neutralizing Black and White Points . . . . . . . . . . . . . . . . . . . . 383
Nonsquare Pixel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
NTSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
NTSC Legal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Offset Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
OpenEXR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Cameo The Sands of Jarhead—Martin Rosenberg . . . . . 389
PAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Penumbra of Shadows, Varying . . . . . . . . . . . . . . . . . . . . . . . . . 395
Perspective Match . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Photogenics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Photosphere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Pixel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Pixel Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Point Cloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Premultiplication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Primatte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Process Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Proxy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Radiance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Radiosity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Radiosity, Faux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Ramping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Real Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Reflection Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Reflections, Faux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Render File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Roto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Rotoscoping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Rushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
Cameo Harry Potter’s 2D Wizardry—
Tim Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Screen Blur Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Screen Color Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Screen Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Shadow Displacement Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Shadow Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Shadows, Faux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Shadows, Harvesting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Cameo Bringing Frank Sinatra
“Back to Life”—J Bills . . . . . . . . . . . . . . . . . . . . . . 453
Skin Repair (Digital Foundation) . . . . . . . . . . . . . . . . . . . . . . . 463
Sky Keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Smoke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Specular Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Speed Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Spill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Spill Suppression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Split Screen Composites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Square Pixel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485
Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Standard Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Starfields, Moving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Stereoscopy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Stereoscopy from 2D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Stop-Motion Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Subtraction Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Super Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Super White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Surface Normal Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Cameo Van Ride Through War of the Worlds—
Pablo Helman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Time Remapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Time Slice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Timecode Gap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Title Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Tracking Marker Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Transfer Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Transparency, Simulating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Truck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Up-Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Vapor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Variable Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Video-in-Text Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Vignette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Warping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
White Balancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
White Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Wide-Screen Mask Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Wire Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
X Axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
Y Axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
YIQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
YUV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
Z Axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Z Depth Pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Appendices
Appendix A How to Install a Shake Macro . . . . . . . . . . . . . . . 535
Appendix B Shake in a Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
Shake Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
A Basic Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Going Further . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
Adding a Vignette and Film Grain . . . . . . . . . . . . . . . . . . . . . . 567
Using the Flipbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575

Updates

Errata

Shake 4 macro replacement files. The files in the attached DMG should be placed in a folder called icons. For complete installation instructions, please consult the book.

Shake 4 Macro Icons

Submit Errata

More Information

Peachpit Promotional Mailings & Special Offers

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Overview


Pearson Education, Inc., 221 River Street, Hoboken, New Jersey 07030, (Pearson) presents this site to provide information about Peachpit products and services that can be purchased through this site.

This privacy notice provides an overview of our commitment to privacy and describes how we collect, protect, use and share personal information collected through this site. Please note that other Pearson websites and online products and services have their own separate privacy policies.

Collection and Use of Information


To conduct business and deliver products and services, Pearson collects and uses personal information in several ways in connection with this site, including:

Questions and Inquiries

For inquiries and questions, we collect the inquiry or question, together with name, contact details (email address, phone number and mailing address) and any other additional information voluntarily submitted to us through a Contact Us form or an email. We use this information to address the inquiry and respond to the question.

Online Store

For orders and purchases placed through our online store on this site, we collect order details, name, institution name and address (if applicable), email address, phone number, shipping and billing addresses, credit/debit card information, shipping options and any instructions. We use this information to complete transactions, fulfill orders, communicate with individuals placing orders or visiting the online store, and for related purposes.

Surveys

Pearson may offer opportunities to provide feedback or participate in surveys, including surveys evaluating Pearson products, services or sites. Participation is voluntary. Pearson collects information requested in the survey questions and uses the information to evaluate, support, maintain and improve products, services or sites; develop new products and services; conduct educational research; and for other purposes specified in the survey.

Contests and Drawings

Occasionally, we may sponsor a contest or drawing. Participation is optional. Pearson collects name, contact information and other information specified on the entry form for the contest or drawing to conduct the contest or drawing. Pearson may collect additional personal information from the winners of a contest or drawing in order to award the prize and for tax reporting purposes, as required by law.

Newsletters

If you have elected to receive email newsletters or promotional mailings and special offers but want to unsubscribe, simply email ask@peachpit.com.

Service Announcements

On rare occasions it is necessary to send out a strictly service related announcement. For instance, if our service is temporarily suspended for maintenance we might send users an email. Generally, users may not opt-out of these communications, though they can deactivate their account information. However, these communications are not promotional in nature.

Customer Service

We communicate with users on a regular basis to provide requested services and in regard to issues relating to their account we reply via email or phone in accordance with the users' wishes when a user submits their information through our Contact Us form.

Other Collection and Use of Information


Application and System Logs

Pearson automatically collects log data to help ensure the delivery, availability and security of this site. Log data may include technical information about how a user or visitor connected to this site, such as browser type, type of computer/device, operating system, internet service provider and IP address. We use this information for support purposes and to monitor the health of the site, identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents and appropriately scale computing resources.

Web Analytics

Pearson may use third party web trend analytical services, including Google Analytics, to collect visitor information, such as IP addresses, browser types, referring pages, pages visited and time spent on a particular site. While these analytical services collect and report information on an anonymous basis, they may use cookies to gather web trend information. The information gathered may enable Pearson (but not the third party web trend services) to link information with application and system log data. Pearson uses this information for system administration and to identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents, appropriately scale computing resources and otherwise support and deliver this site and its services.

Cookies and Related Technologies

This site uses cookies and similar technologies to personalize content, measure traffic patterns, control security, track use and access of information on this site, and provide interest-based messages and advertising. Users can manage and block the use of cookies through their browser. Disabling or blocking certain cookies may limit the functionality of this site.

Do Not Track

This site currently does not respond to Do Not Track signals.

Security


Pearson uses appropriate physical, administrative and technical security measures to protect personal information from unauthorized access, use and disclosure.

Children


This site is not directed to children under the age of 13.

Marketing


Pearson may send or direct marketing communications to users, provided that

  • Pearson will not use personal information collected or processed as a K-12 school service provider for the purpose of directed or targeted advertising.
  • Such marketing is consistent with applicable law and Pearson's legal obligations.
  • Pearson will not knowingly direct or send marketing communications to an individual who has expressed a preference not to receive marketing.
  • Where required by applicable law, express or implied consent to marketing exists and has not been withdrawn.

Pearson may provide personal information to a third party service provider on a restricted basis to provide marketing solely on behalf of Pearson or an affiliate or customer for whom Pearson is a service provider. Marketing preferences may be changed at any time.

Correcting/Updating Personal Information


If a user's personally identifiable information changes (such as your postal address or email address), we provide a way to correct or update that user's personal data provided to us. This can be done on the Account page. If a user no longer desires our service and desires to delete his or her account, please contact us at customer-service@informit.com and we will process the deletion of a user's account.

Choice/Opt-out


Users can always make an informed choice as to whether they should proceed with certain services offered by Adobe Press. If you choose to remove yourself from our mailing list(s) simply visit the following page and uncheck any communication you no longer want to receive: www.peachpit.com/u.aspx.

Sale of Personal Information


Pearson does not rent or sell personal information in exchange for any payment of money.

While Pearson does not sell personal information, as defined in Nevada law, Nevada residents may email a request for no sale of their personal information to NevadaDesignatedRequest@pearson.com.

Supplemental Privacy Statement for California Residents


California residents should read our Supplemental privacy statement for California residents in conjunction with this Privacy Notice. The Supplemental privacy statement for California residents explains Pearson's commitment to comply with California law and applies to personal information of California residents collected in connection with this site and the Services.

Sharing and Disclosure


Pearson may disclose personal information, as follows:

  • As required by law.
  • With the consent of the individual (or their parent, if the individual is a minor)
  • In response to a subpoena, court order or legal process, to the extent permitted or required by law
  • To protect the security and safety of individuals, data, assets and systems, consistent with applicable law
  • In connection the sale, joint venture or other transfer of some or all of its company or assets, subject to the provisions of this Privacy Notice
  • To investigate or address actual or suspected fraud or other illegal activities
  • To exercise its legal rights, including enforcement of the Terms of Use for this site or another contract
  • To affiliated Pearson companies and other companies and organizations who perform work for Pearson and are obligated to protect the privacy of personal information consistent with this Privacy Notice
  • To a school, organization, company or government agency, where Pearson collects or processes the personal information in a school setting or on behalf of such organization, company or government agency.

Links


This web site contains links to other sites. Please be aware that we are not responsible for the privacy practices of such other sites. We encourage our users to be aware when they leave our site and to read the privacy statements of each and every web site that collects Personal Information. This privacy statement applies solely to information collected by this web site.

Requests and Contact


Please contact us about this Privacy Notice or if you have any requests or questions relating to the privacy of your personal information.

Changes to this Privacy Notice


We may revise this Privacy Notice through an updated posting. We will identify the effective date of the revision in the posting. Often, updates are made to provide greater clarity or to comply with changes in regulatory requirements. If the updates involve material changes to the collection, protection, use or disclosure of Personal Information, Pearson will provide notice of the change through a conspicuous notice on this site or other appropriate way. Continued use of the site after the effective date of a posted revision evidences acceptance. Please contact us if you have questions or concerns about the Privacy Notice or any objection to any revisions.

Last Update: November 17, 2020