Wiley 978-0-470-45261-5 Datasheet

Chapter one52615c01.indd 22 10/20/09 12:34:08 PM

Resolutions and Frame Rates 9 Common Resolutions and Aspect RatiosYou can break image resolutions into three categories: SDTV, HDTV, and motion

10 chapter 1 Setting Up a Compositeof 1.07. In contrast, D-3, D-5, and D-5 HD are newer digital formats developed by Panasonic. D-5 HD supports

Resolutions and Frame Rates 11 support 24p, which records progressive frames at 24 fps. Other cameras offer 24p Advanced, which records 24 fps b

12 chapter 1 Setting Up a CompositeTips & Tricks: Progressive-Frame Tutorials21 out of 22 tutorials included in this book use progressive-f

Setting Up a Composite 13 Figure 1.9 The Composi-tion Settings dialog boxFigure 1.10 The expanded Project panel with 3 compositions and 12 p

14 chapter 1 Setting Up a Compositeas a single unit. This assumes that the files follow the following naming convention: name.#.extension. Exten

Setting Up a Composite 15 A B C D E F G HI J K LM N O P Q R S TFigure 1

16 chapter 1 Setting Up a CompositeLock, when toggle on, prevents alteration of the layer’s properties or transformations.Shy hides the layer i

Setting Up a Composite 17 Figure 1.13 The Pre-compose dialog box 2. If a single layer is selected and Leave All Attributes In Comp is chosen

18 chapter 1 Setting Up a CompositeWhile the switches and menus will be described throughout the remaining chapters, a few are worth noting her

Setting Up a Composite“ Education is important—I think people need to make sure that they’re learning to be artists and not just learning tools.” — Gi

Setting Up a Composite 19 The AE FlowchartAfter Effects can display compositions and their relationships as a flowchart (node network). To displ

20 chapter 1 Setting Up a CompositeFigure 1.16 The Render Queue tab with Comp 1 queuedFigure 1.17 The Render Settings dialog boxThe Output

Setting Up a Composite 21 alpha channel, change the menu to RGB+Alpha. You can also choose to render straight or premultiplied alpha through the

22 chapter 1 Setting Up a Compositebox to Upper Field First or Lower Field First (the field dominance should match the intended output format).

Setting Up a Composite 23 and that interlaced video is imported into After Effects, you can remove the 3:2 pulldown and thus return the motion p

24 chapter 1 Setting Up a CompositeFigure 1.22 A Read node’s properties panelWithin the Read node’s properties panel, you can set the color s

Setting Up a Composite 25 To duplicate a node with its current setting, select the node and choose Edit • → Duplicate from the menu bar.You can

26 chapter 1 Setting Up a CompositeFigure 1.26 One viewer connected to three nodes Aside from displaying the outputs of various viewers, the

Setting Up a Composite 27 averaged to speed up the viewer update. For example, if the Downrez menu is set to 16, the project’s horizontal and ve

28 chapter 1 Setting Up a CompositeRegion-Of-Interest, when toggled on, creates a region box in the viewer. Updates occur only within the regio

2 chapter 1 Setting Up a CompositeCompositing ChallengeDigital compositing is the process of digitally assembling multiple images or image sequ

Setting Up a Composite 29 To center the rendered movie in the FrameCycler viewer, press Ctrl+Home. To scroll within the viewer, Ctrl+MMB+drag. T

30 chapter 1 Setting Up a CompositeInterlacing and 3:2 Pulldown in NukeNuke 5.1 carries a hidden DeInterlace node. To access the node, press th

Setting Up a Composite 31 space) menus. It’s important to set these menus at the start of each project. Chapter 2 discusses bit depths and color

32 chapter 1 Setting Up a CompositeNuke Tutorial 1: Working with the Reformat NodeWorking with source footage that possesses different resoluti

Setting Up a Composite 33 frame. The Reformat node forces the Read2 output to conform to the output format established by the project settings.

34 chapter 1 Setting Up a CompositeInterview: Dorne Huebler, Industrial Light & Magic, San Francisco Dorne Huebler graduated from the Calif

Interview: Dorne Huebler, Industrial Light & Magic, San Francisco 35 (At the time of this writing, ILM was transitioning from Sabre, a modi

36 chapter 1 Setting Up a CompositeInterview: Michael Coleman, Adobe, Seattle, WashingtonMichael Coleman graduated with a degree in business ec

Interview: Richard Shackleton, The Foundry, London 37 LL: There is a great deal of competition when it comes to compositing software. How does A

38 chapter 1 Setting Up a CompositeNuke 5.1 logoLL: Nuke was developed in-house at Digital Domain. Describe the path it took from Hollywood to

Compositing Examples 3 5. The ground plane layer is color graded to make it lighter. In addition, a CG female warrior is brought in as a layer

Interview: Richard Shackleton, The Foundry, London 39 LL: Nuke is designed for a feature film production environment. Do you consider the core cl

4 chapter 1 Setting Up a CompositeClick 3X for SharpFigure 1.2 shows five steps of a Flame composite created by Aaron Vasquez at Click 3X, a mot

Compositing Examples 5 AILV for Spec CommercialFigure 1.3 shows six steps of an After Effects composite created by the author and students at th

6 chapter 1 Setting Up a Compositeissues, RGB ID render passes of the model are imported and are converted to holdout mattes. ID passes offer a

Layers vs. Nodes 7 Layers vs. NodesAfter Effects and Nuke exemplify the two major approaches to composit-ing: layer based and node based. Layer-

8 chapter 1 Setting Up a CompositeIndustry Perspective: Compositing Software OverviewIn preparation for this book, 19 expert compositors from f