Problem Definition Introduction Approaching the Task Additional Materials Summary Preparation Getting Ready Setting up Blender Shooting Calibration Summary Tracking Basics of Tracking Preparing the Footage Working with the Tracker Calibration inside Blender Placing the Marks Solving the Tracking Applying the Solved Camera Plane Track Summary Scene Setup World Creation Setting up Elements Lighting Summary Rendering Internal Render vs. Cycles Render Internal Render Pros and Cons Cycles Render Pros and Cons Rendering with Layers Understanding the Render Passes Combined (RGBA) Depth (Z) Ambient Occlusion (AO) Shadow Vector Normal Object Index Material Index UV Formats Basic Channel Format Multichannel Format Render Settings Render Device Dimensions Sampling Light Paths Film Overscan Summary Masking Starting to Mask Clean Plate Preview Refining the Mask Tracking the Mask Frame-by-Frame Painting Summary Compositing First Steps Nodes Overview Inputs Render Layers Image Texture Value RGB Time Movie Clip Bokeh Image Mask Track Position Outputs Composite Viewer Split Viewer File Output Levels Layout Frame Reroute Switch Group Distort Translate Rotate Scale Flip Crop Transform Displace Lens Distortion Map UV Stabilize 2D Movie Distortion Plane Track Deform Corner Pin Matte Difference Key Color Spill Distance Key, Chroma Key, Color Key, and Channel Key Keying Luminance Key Double Edge Mask Keying Screen Box Mask and Ellipse Mask Converter Combine and Separate (RGBA, HSVA, YUVA, YCbCr) Alpha Convert Math ID Mask Set Alpha RGB to BW ColorRamp Filter Filter Blur Directional Blur Bilateral Blur Vector Blur Dilate/Erode Inpaint Despeckle Defocus Glare Bokeh Blur Pixelate Sun Beams Vector Normal Vector Curves Normalize Map Value Map Range Color RGB Curves Mix Hue Saturation Value Bright/Contrast Gamma Invert AlphaOver Z Combine Color Balance Hue Correct Tonemap Color Correction Compositing the Scene Film Grain Fake Grain Real Grain Vignetting Preview Rendering Limitations Depth Pass ID Passes Final Notes Summary Index
Sam Vila earned a filmmaking certificate from the London Film Academy in 2006 and other degrees from different schools for film editing, camera operation, Steadicam operation, and postproduction. He has been progressing in his career as a filmmaker and visual effects artist by participating in several productions not only for television but also for feature films. Currently Sam Vila is working as a visual effects artist in Los Angeles, California, using Blender as the main tool to generate all the visual effects on a daily basis. His experience includes five feature films and several short films usually as a visual effects artist. With several years of experience creating 3D content, he has wide-ranging knowledge of many well-known 3D software programs, and he has engaged in professional collaborations with companies such as NVIDIA and OTOY (Octane Render). He is also a co-founder of Los Angeles Blender Group and a very active member of the Blender community.