Datasheet

2 chapter 1 ■ Setting Up a Composite
Compositing Challenge
Digital compositing is the process of digitally assembling multiple images or image sequences
into a single piece of motion picture or digital video footage. The goal of a successful digi-
tal composite is to make the source material appear as if it has always existed in the same
location or scene. Digital compositing is closely related to photomontage and compositing
(without the word digital). Photomontage is the process of cutting apart, reassembling,
and rephotographing photographic prints. Compositing, as it’s used for professional pho-
tography, is the digital assembly of still images; compositing, when used this way, is often
referred to as Photoshopping. The compositing and composites mentioned in this book refer
to digital compositing. Professional digital compositors are simply known as compositors.
While this book focuses on the theoretical and technical aspects of digital composit-
ing, it dedicates a limited amount of space to the aesthetic component. Ultimately, the suc-
cess of a composite does not rely solely on specific effects or nodes. Instead, a successful
composite makes a particular shot look real or appear attractive. If the composite is a visual
effect, then the goal is to make all the elements (background plate, computer graphics [CG]
renders, matte paintings, and so on) look like they exist in a real-world location. If the com-
posite is for feature animation and the sets and characters are fantastic, the goal is to make
the elements visually interesting yet, at the same time, plausible for the world fabricated
by the story. If the composite uses abstracted motion graphics and text for a commercial,
the goal is to make the elements fascinating, exciting, or just plain worth watching.
Whatever the destination of the composite, it always pays to study related fields. In
particular, photography, cinematography, stage and film lighting, and classic painting will
help you develop an eye for what works. Composition, color balance, light quality, and
shadow quality are important aspects of these fields and are equally applicable to composit-
ing. As you follow the step-by-step guides and tutorials in this book, ask yourself how each
composite can be improved. Not only are there many different approaches to each compos-
iting task, there also are numerous ways to fine-tune any given shot.
Compositing Examples
If you are fairly new to compositing, it may be difficult to imagine what types of foot-
age, rendered elements, or layers are regularly combined. As such, several examples are
included in this chapter. All the listed techniques are demonstrated in the various chapters
of this book.
Freestyle Collective for Cartoon Network
Figure 1.1 shows eight steps of an After Effects composite created by Entae Kim at Freestyle
Collective, a collaborative design and production studio in New York City. (To read an
interview with Entae Kim, see Chapter 7, “Masking, Rotoscoping, and Motion Tracking.”)
The composite is one shot of an extended network ID (identification) that features popular
Cartoon Network characters battling each other. The breakdown is as follows:
1. A gradient is used to create a sky. Stock images of clouds are added with transparency.
2. A CG render of a city block is imported as a layer.
3. A CG robot is imported as a layer. Although the render has self-shadowing, there is
limited specularity.
4. A specular render pass and decal render pass of the robot are blended with the original
robot layer. The result is color graded to create greater contrast. In addition, a new CG
ground plane with debris is placed on top.
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