DIGITAL FILMMAKING HANDBOOK phần 9 pptx

CHAPTER 16 TILTING AND SIMPLE COMPOSITING fects are those that your audience doesn’t notice, that are so real they don’t stop to think “how did they do that?” Whether it’s simple color correction or com- plex compositing, honing your skills with these tools and concepts will help you create less intrusive effects. In the next chapter, we’ll build on these con- cepts and practices to create more complex effects. 407 [...]... B F IGURE Still frame, accompanying matte 17. 19 ial, we will need to layer two copies of the same movie on top of each other The top one will have the matte and the Shatter effect applied, the bottom will serve to keep our “background” visible Place the sneeze orig.mov file into your composition This layer will be our background 4 39 DIGITAL FILMMAKING HANDBOOK 440 S TEP 2: P REPARE THE SECOND LAYER... a specific element within a frame Open the Animated Alphas folder and watch the jose.mov file You should see a brief clip of a big green parrot sitting on a perch To make a more stylized 4 29 430 DIGITAL FILMMAKING HANDBOOK image, and to bring more attention to the bird, we want to convert the background of the image to black and white Converting a movie to black and white is easy; we simply use a Saturation... for compositing elements and layers that don’t have a background that can be easily F IGURE 17.6 Puffin Designs’ Image Lounge collection is one of many packages that includes a fire filter 4 19 420 DIGITAL FILMMAKING HANDBOOK Sidebar: Stock Footage, or Filters? As we saw in Chapter 16, there are a number of effects that can be achieved by compositing stock film footage with your video Fire, smoke, lightning,... Photoshop 5.5, you might be wondering why we aren’t just using the Magic Erase or the Extract command, both of which were designed to eliminate backgrounds The problem with these tools is that DIGITAL FILMMAKING HANDBOOK 424 they simply erase the background, they don’t define a selection or provide any way of translating the masking information that they generate into an alpha channel No, the only way... work, save the selection Now open up the Channels palette and you’ll see you have two alpha channels You can delete the first one, as it was our safety copy Click on the second one to view 425 DIGITAL FILMMAKING HANDBOOK 426 F IGURE 17.10 By shift-clicking with the Magic Wand tool, we can add the shrub to our selection it The Magic Wand tool does not create the smoothest selections, so select the Blur... that you created earlier Import the backyard matte.psd document and the clouds.psd document Place the clouds in your composition beneath the backyard stabilized.mov layer You won’t see the 427 DIGITAL FILMMAKING HANDBOOK 428 clouds at all, since the backyard plate is obscuring them Place the backyard matte document into your composition, and layer it above the backyard stabilized file It should completely... Fire and Smoke filters, along with very impressive Rain, Snow, and Fairy Dust filters, Delirium provides an excellent balance of practical effects with fun, “trippy” effects (Figure 17.5) 417 DIGITAL FILMMAKING HANDBOOK 418 F IGURE 17.5 DigiEffects’ Delirium collection includes a number of excellent After Effects filters, including this very realistic Snowstorm filter • Cycore Computers’ Cult Effects... beak This makes our job easier At this point, there are two ways to proceed You can paint a mask using the QuickMask tool, as we did in the last tutorial After painting the mask and sav- 431 DIGITAL FILMMAKING HANDBOOK 432 F IGURE 17.14 This is the image we’ll be masking We’ll need to create a matte that changes with the movement of the parrot ing it as an alpha channel, you can copy that channel into... 17.16) S TEP 6: M OVE YOUR PATHS Press Command-D to deselect your selection Make sure that all your paths are still selected (if not, Command-Shift click on each one to select them all) 433 DIGITAL FILMMAKING HANDBOOK 434 F IGURE 17.16 As in the previous tutorial, your Channels palette will show the red, green, blue, and your new alpha channel and hit Command-C to copy them Open the next still in... masked areas appear as black Now import the original jose.mov file and place it in your composition In the Timeline window, drag the jose.mov layer down so that it sits below your masked layer 435 DIGITAL FILMMAKING HANDBOOK 436 Now your composition should look normal Since the masked foreground layer is sitting on top of the original background layer, and the two layers are in perfect sync, you can’t tell . a piece of film. If you ever shot super-8 footage as a kid and scratched laser Rotoscoping DIGITAL FILMMAKING HANDBOOK 410 CHAPTER 17 ROTOSCOPING AND MORE COMPOSITING beams directly onto the film,. you’ll be rotoscoping in a painting or editing program, you’ll need to do the following: DIGITAL FILMMAKING HANDBOOK 412 Puffin Designs’ Commotion lets you open a QuickTime movie for rotoscoping with. con- taining the first muzzle flash, then select Composition>Save Frame As>File. Tutorial: DIGITAL FILMMAKING HANDBOOK 414 CHAPTER 17 ROTOSCOPING AND MORE COMPOSITING Enter the name muzzle flash 1.psd