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The Art and Science of Digital Compositing by Ron Brinkmann

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Chapter Eight. Image Tracking and Stabilization

If you examine the history of visual effects in feature films, you’ll notice that the vast majority of older composites, be they optical or digital, occur in scenes in which the camera isn’t moving or zooming. This setup is known as a locked-off camera, and for many years it was almost a mandatory requirement for visual effects shots because it was extremely difficult to synchronize multiple elements in the same scene if their camera moves weren’t exactly the same. However, it is often not possible, or even desirable, to use a locked-off camera. Multiple shots without camera moves can become boring and lifeless, and with today’s sophisticated audiences may even cause the viewer to expect a visual ...

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