在2D实拍视频中合成3D动画
发表时间：2005-10-26 7. Shadows cast by foreground objects.
7. 前景投射的阴影
You'll notice in my example that the monitor should cast a shadow on the car as it emerges from between it and the CPU. This is simply achieved by creating a proxy monitor, and assigning our cast shadows only material to it. Not we are ready to perform the final render of the car element. These frames should be saved as TARGA images as the Alpha Channel will come in useful when we perform the composite.
你会注意到在例子中当小车在主机与显示器之间是显示器应在小车上投射阴影。这可通过创建显示器并赋予其产生阴影的材质见大的解决。现在我们准备好了渲染小车这个元素。因为在合成时需要Alpha通道，所以这些帧应被储存成TARGA文件。
8. Putting it all together.
8. 把他们放在一起。
Once again I'm not going to go into any real depth on the software side on compositing all this together. For this example I used Aftereffects.
再次说明我不会深入软件的技术细节。在这个例子中我使用Aftereffects。
You may have been wondering why I reminded you to keep a copy of one frame from each render pass, locally on your machine. This saves us a lot of time and space during the compositing process, you can take say frame 75 from your various background, Cg and shadow layers. you can then use this frame to match the video noise and shadow intensity, then use AfterEffects ' feature to replace these proxy frames with your entire footage.
你可能不知道为什么我为每段渲染拷贝出一帧作为代理帧，在你的电脑上，这将在合成操作中节省我们很多时间和空间。你能从不同背景、CG、阴影层取出第75帧，通过这一帧你可以对复合频噪音和阴影强度，然后使用Aftereffects的'replace footage’（替代素材）功能用整个动画来代替代理帧。
The process of color matching, levels, contrast, blur and video noise can be extremely complex but nothing beats a keen eye. As a compositor you should observe closely the footage and make sure you use the tools available to you to match your computer generated footage.
进行色彩校正、层级、对比度、模糊和视频噪音的处理是非常困难的过程，但一切都敌不过一双敏锐的眼。作为一个合成师，你应该仔细的观察素材并充分利用所有工具校正电脑生成的素材。
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