Students become complete versatile performers as they go through an entire process of Production, involving in-depth Creation, Clean Plate Generation and several other aspects of Stereoscopic Conversion. Stereo Compositors earn 30,000 annually on average, or 14 per hour, which is 75 less than the national average for all working Americans. Work with industry-preferred software like Adobe Photoshop, Nuke, Mocha, Adobe After Effects & more.Ītailor made 100-day program on stereoscopic filmmaking, the use of S3D is rapidly growing in all verticals of media and entertainment. Learn to create special 3D effects for movies. New to this edition is a companion website, new chapters on 3D compositing, stereo compositing, RED and digital capture with log images, and more will have you understanding the latest in compositing technology in no timeS3D is a Career program that prepares students to become experts in 3D stereoscopic filmmaking.Full color presentation illustrating the art and techniques of the practice, provides inspiration along with instruction.An accessible introduction to a complex subject for novice and aspiring compositors, from experienced author and compositing whose compositing credits include Night at the Museum 2, Shutter Island, Solaris, Traffic, and more The Lead Stereo Compositor is responsible for combining live action and computer generated elements into visual effects shots, as well as oversees others who combine elements to realize the vision and creative direction of the client, project leads, and Stereographer.Compositors seamlessly integrate all the layers or elements of a shot. This edition also includes a companion website with images from the book for you to work with in your own compositing exercises. A familiarity with stereo compositing and working with multiple render passes. * planar tracking, Z compositing, working with Anamorphic HD formats, mocap, and more This is in addition to robust updates on topics such as: * Tracking an entire project from start to finish Film is still big in the real world of production. Colleges hang around video because it is cheaper. * RED and Digital Capture with Log Images, including log image formats. * Stereo compositing, with descriptions of key stereoscopic terms and concepts, lessons on compositing shots that were filmed in stereo (both bluescreen and CGI), as well as the stereo conversion process when a flat 2D movie is converted to a stereo 3D movie * 3D compositing, with lessons on what camera tracking is, how it is used to put CGI into a live-action plate, as well as live action into a 3D scene. New to this edition are 4 new chapters on: Learn what is easy and hard, possible and impossible, and what to expect when working on a job that entails digital compositing. The subsequent chapters dig down into each of the major digital compositing applications, introducing the fundamental concepts, and processes behind them. Following that you learn each of the key applications of digital compositing, which include bluescreen compositing, bullet-time shots, motion tracking, and rotoscoping. See how CGI is composited with live action, how set extensions are done, and what a match-move shot is. Compositing Visual Effects is lavishly illustrated with hundreds of film shots, figures, illustrations, and diagrams to help the visual reader gain a valuable vocabulary and understanding of the full range of visual effects, in which digital compositing plays a key role.īeginning with an inspirational tour of the scope and magnitude of digital compositing, you get a solid overview of the kinds of digital effects routinely executed today. Put the essential concepts and techniques of digital compositing to work for you without the need of a single mathematical equation.
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