foundation blender compositing pdf. NUKE is a node-based digital compositing application first developed by Digital Domain, and used for television and film. Foundation Blender Compositing electron configuration quiz answer key, electronics and microprocessors 1st edition,electronic beam steering and polarization. eBook versions and licenses are also available for most titles. For more information, reference our Special Bulk Sales–eBook Licensing web page at.
|Language:||English, Spanish, French|
|Genre:||Politics & Laws|
|ePub File Size:||17.50 MB|
|PDF File Size:||12.59 MB|
|Distribution:||Free* [*Sign up for free]|
Download Citation on ResearchGate | On Jan 1, , Roger D. Wickes and others published Foundation Blender Compositing. This book explores Blender's use as a compositing and post-production tool in DRM-free; Included format: PDF; ebooks can be used on all reading devices. Apress, p. ISBN Anyone who uses Blender needs this book. Blender users know that it can be used for modeling.
Compositing is the combination of multiple sources of visual input into a single, final image. This is common functionality in expensive, commercial video editors. Some of these such as Adobe After Effects use a layer-based compositing engine. Others such as Apple Shake, The Foundry's Nuke, and eyeon fusion use a more powerful node-based compositing engine. Blender features a very advanced and powerful compositing engine through the use of the Nodes Editor window. Although the challenge of learning to use nodes may seem intimidating, it can be very rewarding because of the professional-looking final products that can be easily produced. Compositing Example[ edit ] In this tutorial, we will see how compositing, combined with render layers, can produce some effects that are difficult or impossible to achieve just by straight rendering of a 3D model.
He then learned how to run an entrepreneurial startup by joining Technology Applications and Development Company in Newport, Rhode Island. Tired of the snow, he joined EDS in Georgia where he really learned how to run a technology business, ultimately leading more than professionals developing software on all the major platforms.
Sensing the opportunity of the Web, he helped form Information Technology Group and filled all roles from CIO to CFO, enabling and leading the development of the first Internet-based payroll and staff exchange systems.
He fell in love with visual imagery and Blender a decade ago and is a Blender Certified Instructor. Currently he is managing and developing graphical and business solutions for international companies and global initiatives. He enjoys scuba diving, skiing, travel, and helping others.
As one of a handful of people involved with Blender who is both an active user of the software and a member of the development team, he brings a unique perspective to Blender instruction that helps bridge the difficult gap between technical knowledge and artistic endeavor. My heartfelt thanks go to Beth Christmas for cracking the whip, to Roland Hess for tirelessly double-checking and correcting all my mistakes, and to Marilyn Smith for actually making it readable.
Many thanks to the Blender Foundation for creating a global community and spirit of cooperation and contribution and to all the members who contribute to making Blender ever better for the millions of users. I wish to thank my client, Rob Collins, who supported me in the production of this book, and Robert J.
Tiess, who has granted us insider access to one of his fantastic productions. Last but not least, thank you dear Donna, for holding down a real job while I play in my gimp-cavern. This book is intended to serve compositors and post-production professionals who want to use Blender in their pipelines, who just need to know the tools available in Blender, or who possibly need a few examples to get them started. In writing this book, I sought to break down some of the barriers to using Blender as a realworld compositor.
These barriers include a lack of accurate documentation, lack of widespread knowledge and experience in using Blender professionally, the complexity of Blender itself, and the issue of integrating Blender into the compositing workflow. Like the documentation of many open source projects, the freely available material for Blender education and training is mostly created by individuals working sporadically in an uncoordinated fashion.
These online materials quickly become out-of-date since Blender is codified by more than 50 programmers.
With disjointed individual tutorials, there is no formal review and editing process to ensure that the material presented is factually accurate. Thus, the user-generated online tutorials on Blender are frequently out-of-date and often not entirely accurate. Having written and contributed to much of the online user manual for Blender, I thought it was time to pull all of that disparate knowledge together and target it toward a specific need: compositing.
However, this type of culmination is not possible without the backing of a large publisher, and Apress stepped up to the plate. There are very few experienced users with an abundance of free time available to contribute reliable knowledge and experience tailored to Blender. A much wider audience would use Blender if it was well documented, if its features were fully explained, and if its utility within the workflow showed it to be a productive tool in compositing.
To this end, I have documented the basic functionality of a broad spectrum of Blender functionality already in some online books and video tutorials at Lynda. We printed this book in full color at considerable expense to bring you the highest-quality experience possible.
The DVD contains all the files and assets used in this book and of course, a recent copy of Blender! The book takes you from start to finish, and I hope you enjoy reading it as much as I enjoyed writing it. Happy Blendering! Roger D. Important words or concepts are normally highlighted on the first appearance in italics. What is Blender? Blender is a full-featured, integrated, 3D animation application that provides a complete workbench for creating and producing video content.
For compositing, Blender has three main workbenches: 3D texturing, node-based compositing, and nonlinear video sequence editing. Each of these workbenches is integrated to work together in a seamless workflow.
An example of this integration is shown in Figure , which illustrates the production of a video on interior design. That original photo was taken with the camera tilted down, and so the room looked skewed. I used UV projection onto the model and adjusted the UV texture mapping to correct this perspective distortion.
Using the compositor, I color-corrected that perspective-corrected image. I can now feed it into the sequencer, where it will be mixed with an audio track for final output to an AVI file for TV broadcast.
After the rendering, I could rerender this same setup for webcast in Europe with two mouse clicks, or for the Web with another two mouse clicks. All of your video work happens inside one package: Blender.
Since you work within only one application, and the UI is consistent across functional areas, you do not waste time context swapping. Now, add a Blur node Filter submenu of the Add menu. The default Gaussian kind of blur will do fine.
Put nonzero values e. Give it a Size value of, say, Connect the Image output of the first render layer the one doing everything except the edge outlines into its Image input.
Add an Alpha Over node from the Color submenu of the Add menu. Feed the Image output from the Blur node into its upper image input, and the Image output from the second render layer the one producing the outline edges into its lower image input. Leave the Factor at its default 1. Connect the Image output of this Alpha Over node to the Image input of the Composite node the final output.
Try making the X value different from the Y value. What happens if you get the inputs the wrong way round into the Alpha Over node? Try the other blur types available from the menu in the Blur node. Composite Nodes Video Tutorial 2.