Datasheet

6 chapter 1 ■ Setting Up a Composite
issues, RGB ID render passes of the model are imported and are converted to holdout
mattes. ID passes offer a means to separate 3D objects. In this case, foreground, mid-
ground, and background objects are separated. The final composite is color graded.
Depth of field is applied to the composite to soften the immediate foreground and
background. Artificial glare is also added to make the daylight lighting appear more
intense.
3. A CG render, featuring a medical lab, is imported into the composite. Although con-
vincing, it lacks people.
4. Two actors are shot against greenscreen. After greenscreen removal and additional
rotoscoping, they are imported into the composite. To allow the central actor to
appear as if he’s walking across the floor, the composite is converted to a 3D environ-
ment. The footage of the central actor is converted into a 3D card and is animated
moving across the z-axis. To help sell the effect, reflections for each leg are applied to
separate cards and are animated individually. To create the reflections, copies of the
actor footage layer are vertically inverted and masked.
Figure 1.4 Before and after images of two shots composited by Tonya Smay for a medical center commercial
(Images courtesy of Tonya Smay)
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