The Art and Science of Digital Compositing Quotes

“When starting out in this field it’s extremely important to remember that, even though you may be an incredibly talented digital artist, part of working in production is the ability to work as a part of a team. No matter how good your reel of previous work is, supervisors and management want to feel comfortable that you are capable of being responsible, efficient and, quite honestly, reasonably pleasant to deal with. Production can be difficult and stressful—nobody wants to deal with personality issues on top of all that.”
― Ron Brinkmann, The Art and Science of Digital Compositing: Techniques for Visual Effects, Animation and Motion Graphics

“CHAPTER”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“CHAPTER ONE
Introduction to Digital Compositing
A massive spacecraft hovers over New York, throwing the entire city into shadow. A pair of lizards, sitting in the middle of a swamp, discuss their favorite beer. Dinosaurs, long extinct, live and breathe”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“real object, yet it exists only within the computer. Even though the way we are interacting with the object is still based on a two-dimensional display device (the computer's monitor), the model itself is a mathematical simulation of a true three-dimensional object. This model can be lit, textured, and given the ability to move and change. Once a particular camera view is chosen and the color, lighting, and animation are acceptable, special software will render the scene to produce a sequence of images.
While the 3D aspect of visual effects seems to get a great deal of recognition,”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“something that people who have been in the business for a while will also find useful. Straddling the fence can be a somewhat uncomfortable position at times, but I hope the compromise proves worthwhile.
Please feel free to send me feedback on the book, including any specific suggestions for improvements and corrections. I can be reached through my publisher, or e-mail me”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“Preface
This book is about creating images. It will discuss a number of different”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“his help in photographing many of the example images that are used throughout the book.
Thanks to Alex, Aundrea, Alyssa, Rachel, Anna, and josh, because I would be a poor uncle indeed if I passed up the opportunity for them to see their names in print, and thanks to Mandy and Ace (Plate 28).
A special note of thanks to my associates at Nothing Real, not only for the use of their fine compositing software to create many of the images in this book, but also”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“Acknowledgments
This book would never have been completed without the help of a number of different people. Many of these people are listed here, but many, many others who gave”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“and utilized is at least some small consolation.
Thanks, first of all, to Tom Stone, whose enthusiasm for this book convinced me that it was worth doing, and who was the only publisher I talked to who understood why I was asking for so many of those expensive color plates! Thanks also to Tom's colleagues, Thomas Park and Julie Champagne, who hand-held me throughout the process.”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“aperture. Certain formats make use of this extra area as an intermediate step before the final print is made, and it is not uncommon for visual effects elements to be shot "full-ap" to reap the benefits of a higher-resolution image. An example of the full aperture framing is shown in Figure D.1 of Appendix D, as well as for the rest of the 35mm formats we will be discussing.
1.85
An aspect ratio of 1.85 is by far the most common framing for movies that are shown in the United States. (In Europe, a 1.66 aspect ratio is much more common, and in the rest of the world it varies between the two standards.) Projecting an image that was shot with normal Academy aperture in a 1.85 format is simply”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“Some excellent reference works already exist on both of these topics, a few of which are mentioned in the bibliography at the end of this book. Not only are there a variety of books that cover digital painting, modeling, animation, and
rendering from a generalized perspective, but there are also specific "how-to" guides for many of the more common software packages.
The third source of imagery-scanned/digitized "live-action" footage-is still probably the most common source with which we deal in digital compositing. There are a myriad of different formats that this source imagery can come from, some of them discussed in greater detail in Chapter 10 and Appendix D.”
― Brinkmann, Ron, The Art and Science of Digital Compositing

“This book would never have been completed without the help of a number of different people. Many of these people are listed here, but many, many others who gave me ideas, information, and inspiration are not, primarily due to the fallibility of my memory. To them I apologize, and hope that the fact that their wisdom is being propagated and utilized is at least some small consolation.
Thanks, first of all, to Tom Stone, whose enthusiasm for this book convinced me that it was worth doing,”
― Brinkmann, Ron, The Art and Science of Digital Compositing