Index of Images

Figure 1:Image showing keying done in node based compositing software in the
left & layer based compositing software in the right to understand the technique
behind the tool.
Figure 2 :Image showing my wrong attempt of fog atmospherics in the left-side &
the correct compositing on the right side.
Figure 3 :Image showing the correct mud water simulation compositing in the leftside & my wrong attempt on the right side.
Figure 4 :Image showing improper influence of the blast light, as well as wrong
particle simulation compositing done in Puri Jagannadh's film "Iddarammayilatho",
2013
Figure 5 :Image showing the lacking perspective depth in the matte-painting,
inappropriate light multi-pass renders, as well as the poor quality of keying done in
"Hrudayam Ekkadunnadi".
Figure 6:Image showing CGI & Live-action manipulation of the characters in Tim
Burton's "Alice In Wonderland", 2010.
Figure 7:Image showing excellent morphing transitions of Amy Jackson in the
song 'Mersalaayitten' in Tamil film "I", 2015.
Figure 8: Image showing well performed wire-removal shots for a fight sequence as
well as for the song 'Pookkalae Sattru Oyivedungal' in Tamil film "I", 2015.
Figure 9: Showing the transforming image of Vikram in the mid of a morphing
transition in the left side & a wire-removal shot in the right side of the song 'Ennodu
Nee Irundhaal' in Tamil film "I", 2015.
Figure 10: Image showing the adaptation of Surrealism Art Movement in the
compositing art done in Seth MacFarlane's "A MILLION WAYS TO DIE IN THE
WEST" 2014.

1|Page

Table of Contents
Abstract ........................................................................................................................ 3
Introduction .................................................................................................................. 4
Overview.................................................................................................................. 4
Aim........................................................................................................................... 5
Statement of problem .............................................................................................. 5
Purpose of Study ..................................................................................................... 5
Research questions ................................................................................................ 6
Review of Literature ................................................................................................... .7
Introduction ............................................................................................................. .7
Digital Compositing Art : A Review of Literature....................................................... 8
Research Methodology .............................................................................................9
Findings ...................................................................................................................10
The Art Of Compositing In Refining Cinematic Aesthetics...................................... 10
Analysis ....................................................................................................................11
Conclusion ...............................................................................................................23
Bibliography ........................................................................................................... 25

2|Page

Abstract:
The art of compositing has tremendous contribution in refining the aesthetics of
cinema since the era of modernism & postmodernism. A compositor is also a digital
artist who visualizes cinematic shots for creating digital imagery in improving film
beauty. The art of compositing is associated with the understanding of techniques
behind the tools for creative problem solving. How compositing as digital artifact
have been improving film beauty as well as aesthetics characteristics of the reality
effect is the main & prominent question. In this research I have undertaken a

complete analysis of how the art of compositing is refining cinematic aesthetics &
understand all the working aspects of it. I have gathered data from various sources
data available on the art & science of digital compositing figure out its role in
refining film beauty & strategically analyzing the data come to a conclusion whether
compositing art & cinematic aesthetics are interlinked how it is displayed in film
production. And also to figure out the different intricacies involved in digital
compositing. This dissertation mainly focuses digital compositing content in
cinematic aesthetics & following the right direction of understanding the techniques
behind the tools. As a researcher my job has to be a relevant research & conclusion
based on justifiable references.

3|Page

Introduction:
The art of compositing since the era of modernism & postmodernism have
contributed in refining the cinematic aesthetics with the advance of visual effects by
adapting to the cultural transformation of production systems.
Compositing art involving the assortment of different visual elements into one
seamless shot enhances the aesthetics of cinematic beauty as cinema itself is all
about suspension of disbelief. In cinematic aesthetics compositing adds "reality
effect" to represent impossible effects as reality. The art of compositing is
associated with the understanding of the techniques behind the tools for creative
problem solving.

The Art Of Compositing In Refining Cinematic Aesthetics :

An Overview
As mentioned previously Compositing art enhances cinematic aesthetics under the
heading of visual effects. The art of compositing include the techniques of technical
wizardry to convince a viewer with the reality effect. In cinematic illusion this art of
creating spectacular digital imagery have been witnessed in contemporary visual
effects asset with abundant resources & the dedication of thousands of compositing
artists. A compositing artist in the process of creating digital imagery should visually
determine the elements needed to be incorporated into live action shots. By
archiving the elements of digital sets & environment needed to be created, this
digital compositing art in visual effects digitally facilitates building its own virtual
backlot for future projects. The phenomenon is as similar as the reuse of existing set
from an earlier picture generally referring to on stage filming foreground action on a
blue or a green screen matte. A compositing artist should visualize such cinematic
shots for creating digital imagery similarly as a painter does before painting on a
canvas.

4|Page

Aim:
To study how the development of compositing in visual effects through digital
technology is not only the industrial & economic context of visual effects, but also
the aesthetic characteristics of the reality effect.

Purpose of Study:

The aesthetic aspects of cinematic illusion .

How a basic understanding of compositing behind the tools can greatly

improve the efficiency & problem solving ability of even the best artists.

Is digital compositing really helpful in creating art?

Different intricacies involved in digital compositing.

Statement of Problem:
Digital Compositing in visual effects is fine-tuning with the fine art & refining film
production improving film beauty. To find supporting evidence to this statement the
dissertation continues...
A compositor's working pattern is similar to that of a painter. Just as a painter in the
field of fine arts working with the understanding of pigments & canvas, a digital
compositor in the field of visual effects needs to work with the understanding of
technology behind the tools in the compositing software involved. The art of
compositing is more refined with the experience involved over the years. Both of
them should have the same knowledge of distance, perspective & interaction of light
& shadow involved. Many VFX compositors would also make their own concept arts
for executing VFX problems as a part of their own personal process.
.

5|Page

Research Questions:

How the Digital Compositing art has differ from other visual art?

What are the different intricacies involved in creating digital

compositing art?

Is Digital Compositing really helpful in creating virtual reality?

Is the digital compositing artist require the skills of a fine-art artist?

Is compositing production principle equal to art production?

6|Page

Review Of literature:
Introduction
The research that has to done or will be done has a very important purpose
and a high potential to challenge the perspective in the way the world thinks.
A good dissertation will tackle the problems, through thick and thin find all the
relevant data, analyze it and come to a conclusion which is unbiased. A good
dissertation needs a stronger research to support it and a stronger
researcher to get that information from all the possible sources without a
single line or word missing out of context and help in bringing a new
understanding all together.

7|Page

Digital Compositing Art: A Review of Literature

In this segment of the dissertation the researcher goes the next step in
analyzing the articles and the information on Digital Compositing Art.
Understanding compositing as a digital artifact is very much necessary for
further more understanding its artistic role in enhancing film beauty.

In this book 'FIMING THE FANTASTIC' the author MARK SAWICKI (2007)1
demonstrates the techniques by which visual effects can be created at
the time of live-action shooting in contrary to using CGI at the postproduction phase. The book covers the technical fundamentals of film &
digital image capture as well as features new methods in equipments &
technology blue & green screen, computer graphics, stop-motion,
miniatures & the cineon digital file-system. The book also potrays the VFX
techniques & effects in a very transparent manner.

In this book 'The Visual Effects Producer' the authors Charles Finance &
Susan Zwerman (2010)1 makes us familiar with the art & business

comprising the visual effects industry & how both are interrelated to each
other. The book facilitates with the information about the equipments
which are used at a large scale in a visual effects film set at the same
time describes their purpose. It also guides about making the budget
regarding visual effects as well as the procedures in the formation of a
script-breakdown.
---------------------------------------------------------------------------------------------------source :
http://www.diva-portal.org/smash/get/diva2:327273/FULLTEXT02

8|Page

In this bachelor thesis 'Comparison of Node Versus Layer Based Compositing'

the writer Henric Hedin (2010)1 described the difference between the two
types of compositing software workflows & their field of applications. The
thesis also exhibits the process in execution of the final result by both the
layer & node based programs & the slight difference in their quality.

In this article 'THE ART & SCIENCE OF DIGITAL COMPOSITING' the

author Ron Brinkmann (1999)1 aimed at introducing how compositing works
for people who are new into digital compositing. The article demonstrates
compositing fundamentals from the very basic terminology to professional
technical reference required for imagery

creation, manipulation &

representation. This book is equivalently purposeful for novices as well as

professionals.

Research Methodology:
For probing and collecting data I have used the method of primary &
secondary source collection for analysis. I have used qualitative &
quantitative method on researching various compositing techniques,
collecting visual, verbal references of all the possible sources to get the
proper understanding of the art of compositing in refining cinematic
aesthetics which helped in creating a better dissertation.

---------------------------------------------------------------------------------------------------source :
http://www.ronbrinkmann.com/DigitalCompositing/httpdocs/

9|Page

Findings
The Art Of Compositing In Refining Cinematic Aesthetics

Compositing art whether done in a node based workflow or a

layer based workflow with a slight difference of quality includes the

same techniques. However, understanding of techniques behind
the tools is very much required for artistic problem solving.

A compositor without any artistic vision is only restricted to tools &

is a labor dependent on instructions.

The art of digital compositing includes both artistic & technical

challenges. Sometimes though a digital compositor have an artistic
vision but is not familiar with the computer technology fails to bring
out the reality effect in live-action films.

In cases where the compositor is not able to bring out the reality
effect in the film due to specific identifiable glitches makes the
whole digital compositing art looks like cheezy effects.

In fantasy & science-fiction films compositing art including CGI &

Live-action manipulation, along with the involvement of
motion-capture create the feel of a virtual reality world for the
audience.
These are the findings that the researcher has found out by
conducting this research. These findings would help in
analyzing the data and come up with a conclusion for the
dissertation.

10 | P a g e

Analysis
By reading the articles, discussion with my faculties Ajmera Mohan
Singh & Anand Pathakoti, along my technical course work
curriculum & observation of different live-action movies as a part of
my case study over the years, my first thought of digital
compositing was of a fully fledged technical quality assurance work
associated with the look development of films, changed in a
different perspective as digital compositing is also an art & within
its artistic constraints is playing a very vital role in refining the
aesthetics of cinematic beauty.

As a student of communication design with a specialization in

Visual effect, I prefer to work a lot on compositing on any amount
of live-action shots that I receive. As my specialization I am looking
forward for a career where I can contribute my technical skills in
live-action movies as a compositor. When I started learning
compositing techniques I was focusing more into the tool options.
But as I was going deeply into core digital compositing whether
working through a node based or a layer based compositing
software I understood that understanding of techniques behind the
tools is very much required to bring out the desired reality effect in
live-action shots as an artistic problem solving.

11 | P a g e

Figure 1: Image showing keying done in node based compositing software in the left &
layer based compositing software in the right to understand the technique behind the tool.

As a researcher I will mention my own working instances where I

found that digital compositing is an art helpful in bringing out the
reality effect to refine cinematic beauty.

Once I was working on a live-action shot where I wanted to show

atmospherics a compositing technique where things such as
smoke, rain, dust, fog, snow, lens flares, anything that hang in the
air & block, refract, reflect or diffuse light which can cover a lot of
things. In my instance I wanted to show a person standing near the
roadside in early winter morning shivering with fog in the shot. I
worked this shot in layer based compositing software After Effects
which contains a lot of third party Plug-ins. But after simply
applying the plug-in didn't gave me the desired satisfactory output.
When I showed the output to my faculty Anand Pathakoti a
compositor with MFA background from JNTU Hyderabad he
pointed out that in the resultant output the fog just seemed to be
floating on the front of the character with no background
environment variations. I realized what was lacking in the shot was

12 | P a g e

the perspective environment art with different variations of the fog

opacity in the background in separate masking layers. Moreover, I
realized that what was missing is the artistic vision for executing
out the shot rather than simply drag & drop Plug-ins.

Figure 2: Image showing my wrong attempt of fog atmospherics in the left-side & the
correct compositing on the right side.

As a part of my case study I would like to mention another instance

where I deal with the same kind of problem is when
Anand Pathakoti in order to make myself more clear gave me an
opportunity to work on a test compositing shot in one of his freelance works where a truck was running over the road & in the next
scene in a bus-stop next to it the hero get mud water splashed on
his trousers. So, the thing which I had to do in compositing was to
create a mud puddle on the clean road as well as I had to show
mud water simulation as the front & back tyres of the truck run over
the mud puddle. So, as a part of the process I created a mud
puddle in PNG format in Photoshop & merged it with the road as to
give the feel of a real mud puddle. I also collected a green screen
footage of mud splashing which I tried to match with the running
front & back tyres over the puddle. After doing keying using

13 | P a g e

KEYLIGHT Plug-in, masking the shadow of the truck, & certain

adjustments in the opacity of the puddle as well as the position,
scale of the mud splash I finished the shot given to me for
compositing, but this time also I was not satisfactory with the
output with a unknown sense of lacking in somewhere.
When I showed the output to Anand Pathakoti he appreciated my
attempt but pointed out the major mistake that the mud splash
which I composited was created backwards while the camera was
manually projected at the front of the truck that was lacking the
reality effect. He told me to think as a real instance when any
running vehicle tire hits a mud puddle on the road the splash first
produced is on the front side of the tire rather than the backside.

Figure 3: Image showing the correct mud water simulation compositing in the left-side &
my wrong attempt on the right side.

Working on this shot made myself more clear that it isn't enough
for a compositor to bring out the reality effect by working in the liveaction shots for effects picture by simply being efficient with the
tool options of the compositing software. But what mostly needed
is the vision of a fine-art artist to relate with the reality references to
bring out the reality effect in a live-action film to deceive the
14 | P a g e

audience's eye or providing them the illusion of a virtual reality

event. When a compositor is only restricted to tool options
compositing is only a technical work curriculum for live-action films.
He or she as a compositor is only a labor dependent on
instructions. But when a compositor is able to understand the
techniques behind the tools & is able in artistic problem solving in
the execution of the live-action shots provided to him or her, then
compositing is an art which refines cinematic aesthetics.

When I discussed the above scenario

to my faculty

Ajmera

Mohan Singh he stated that there is a great difference between a

compositor from a fine-arts background & the one without it. A
compositor with a fine-arts background having an artistic vision is
independently able of artistic problem solving approach of the liveaction shots provided. While a compositor not necessarily from a
fine-arts background

but without any artistic vision is only

restricted to tools & is a labor dependent on instructions. Just as a

fine-art artist needs to understand the usage of pigments &
canvas, a compositor should posses ability of relating & thinking
logically about estimating distance, perspective environment &
interaction of light & shadow involved.

15 | P a g e

Now as a critic I would like to mention my views about examples of

both good & bad compositing done in live-action films. The only
difference is the cases where the digital compositing is performed
seamlessly by merging the separate elements into a photorealistic
whole with an artistic polish to give the illusion of all the elements
shot together under the same timing, camera & lighting. In another
cases where the digital compositor first & foremost as an artist is
not able to get proper co-ordination with the other artists such as
CGI artists, digital intermediates, matte-painters & art directors
which as a result of specific identifiable glitches makes the whole
digital compositing art looks like cheezy effects.

16 | P a g e

As an example I would like to mention bad compositing done in

Director Puri Jagannadh's telegu film "Iddarammayilatho" released
in 31 May 2013 & the VFX Supervisor was Srirengaraj. In the last
part of the film there is a bomb-blast scene where the fire-flames
scattered in compositing is not proper, what I meant by my
statement is first of all the influence of light on the surface,
scattered & nearby objects from the fire caused by the blast is
improper & the fire-flames throughout the shot instead of spreading
all over in particle simulation compositing are shown in a static
condition over the dry grass surface which is highly flammable. So,
logically it is very much irrelevant & hence the compositing art
done here is failing to bring out the reality effect in the film.
Figure 4: Image showing improper
influence of the blast light, as well as
wrong particle simulation
compositing done in Puri
Jagannadh's film
"Iddarammayilatho", 2013

---------------------------------------------------------------------------------------------------source :
https://kickass.to/iddarammayilatho-2013-m-hd-720p-hindi-telugu-bhatti87-t8849064.html

17 | P a g e

Another example of bad compositing I would like to mention is

about Director Vi Anand's telegu film "Hrudayam Ekkadunnadi"
released in March 15, 2014 & the VFX Supervisor was Rahul
Nambiar. In the film the romantic song 'edo edo chillipikala' where
Krishna Madhav & Samskruthy Shenoy acted consists of so many
inappropriate compositing techniques. First of all the keying done
in the song was not at all of production quality level, it is not
blended properly with the background, as per my assumption while
keying the compositor didn't adjusted Clip Black & Clip White
properly in the Screen Matte option. Next thing I will point out is
there is no perspective depth in some of the matte- painting
backgrounds composited as well as the light multi-pass renders
are not giving any realistic sense. So, due to the improper
compositing artistic problem solving it is failing in refining the
aesthetics of the film reality effect.

Figure 5: Image showing the lacking perspective depth in the matte-painting,

inappropriate light multi-pass renders, as well as the poor quality of keying done in
"Hrudayam Ekkadunnadi"

---------------------------------------------------------------------------------------------------source :
https://www.youtube.com/watch?v=xyPSY6OWgos

18 | P a g e

So switching over bad compositing examples I would now like to

discuss a very good example of compositing art done in Director
Tim Burton's Hollywood film "Alice In Wonderland" released in
March 5, 2010 & the VFX Supervisor was Kenneth Raltson. The
film comprises of very good example of set extention such as the
chessboard like battlefield, crowd simulation (as the Red Queen's
soldiers), CGI & Live-action manipulation like the characters
Tweedledee & Tweedledum played both by Matt Lucas whose
head was digitally composited to a CGI body & in order to give
movements to it Matt Lucas had to wear a motion-capture suit &
live-action manipulation such as the head of the character Red
Queen played by Helena Bonham Carter in the film was digitally
increased thrice to its original size. Hats-off to the compositors who
have artistically executed those critical shots in the film & created
the feel of a virtual reality world for the audience.

Figure 6: Image showing CGI & Live-action manipulation of the characters in Tim
Burton's "Alice In Wonderland", 2010.

---------------------------------------------------------------------------------------------------source :
https://kickass.to/alice-in-wonderland-2010-1080p-brrip-x264-yify-t8764094.html

19 | P a g e

Next example of very much appreciable compositing art done in

Director Shankar's tamil film "I" released in 14 January, 2015 & the
VFX Supervisor was V. Srinivas Mohan. In this film the song
'Mersalaayitten' (VFX done by Rising Sun Pictures, Australia)
where Vikram & Amy Jackson acted, comprises of excellent
morphing transitions of Amy Jackson transforming randomly into a
mobile-phone, motor-cycle, chick peas, television, detergent foam,
weight lifter & a cat-fish.

Figure 7: Image showing excellent morphing transitions of Amy Jackson in the song
'Mersalaayitten' in Tamil film "I", 2015.

---------------------------------------------------------------------------------------------------source :
https://kickass.to/i-2015-tamil-dvdrip-msk-x264-1cd-700mb-esubs-t10241078.html

20 | P a g e

Wire-removal shots done in the fight scene between Vikram & the
thugs on the roof tops of houses in China, both Vikram & the thug
swinging on the air rushing at each other on their bicycles, along
with the song 'Pookkalae Sattru Oyivedungal' where Vikram was
walking on the water & where Amy Jackson & Vikram were floating
in the air were performed so well that it gives the sense of a
realistic event which in reality is impossible to capture on film.

Figure 8: Image showing well performed wire-removal shots for a fight sequence as well
as for the song 'Pookkalae Sattru Oyivedungal' in Tamil film "I", 2015.

---------------------------------------------------------------------------------------------------source :
https://kickass.to/i-2015-tamil-dvdrip-msk-x264-1cd-700mb-esubs-t10241078.html

21 | P a g e

The same morphing & wire-removal techniques were also used in

the song 'Ennodu Nee Irundhaal' showing the morphing transition
of Vikram from a Demon transforming to his original appearance
along with the wire-removal shot of the angels flapping their wings
& flying through the air to rescue Amy Jackson from the other
demons. The compositing art in this film is outstanding, done with
so much hard work & dedication it created unparalleled impossible
events with the sense of reality effect.

Figure 9: Showing the transforming image of Vikram in the mid of a morphing transition
in the left side & a wire-removal shot in the right side of the song 'Ennodu Nee Irundhaal'
in Tamil film "I", 2015.

From the above examples it is clear that Digital Compositing is

both an artistic & technical challenge. In films digital compositing is
the aesthetic characteristics of the reality effect. A good compositor
apart from being efficient in computer technology should also
posses the artistic vision for creative problem solving. Compositing
is an art which can be achieved by understanding the techniques
behind the tools.

---------------------------------------------------------------------------------------------------source :
https://kickass.to/i-2015-tamil-dvdrip-msk-x264-1cd-700mb-esubs-t10241078.htm

22 | P a g e

Conclusion
This dissertation after analyzing all the references collected through
various sources and the information provided on the relevant thesis, the
articles and lot of critical understanding involved these are the final
conclusions of the dissertation.

Compositing as an art form in the digital realm involves logical

understanding of techniques & implementing the same to
manipulate the tools whether in a layer or node based workflow
into a finished beautiful work of art.

In visual effects industry digital compositing plays specific role in

enhancing the feel & look development of an effect picture.
However, the quality & efficiency of this art is more enhanced by
years of experience at the same time executing out the various
artistic & technical problems.

Compositing as an art is not only helpful in bringing out the reality

effect in films but also in showcasing virtual worlds, creating
unparalleled impossible events & even changing the laws of
physics & nature.

A person creating composite imagery apart from being familiar with

the computer technology must visualize as an fine-art artist.
Without the ability of relating & thinking logically about estimating
distance, perspective environment & interaction of light & shadow
involved he or she is only a labor dependent on tool instructions
rather than individual creative problem solving.

23 | P a g e

Compositing production principle is similar to art production in the

cinematic

expression

of

depth

of

intensity

(may

involve

implementation of color psychology & look development or

perspective environment art), adaption of style (maybe from any
art movement), source of inspiration (observation or inspired by
natural

phenomenon).

So,

compositing

as

an

artistic

problem solving is thus refining the cinematic aesthetics.

Figure 10: Image
showing the
adaptation of
Surrealism Art
Movement in the
compositing art done
in Seth MacFarlane's
"A MILLION WAYS TO DIE IN THE WEST", 2014.

---------------------------------------------------------------------------------------------------source :
http://www.torrentdownloads.me/torrent/1658919274/A+Million+Ways+to+Die+in+the+West+%282
014%29

24 | P a g e

Bibliography:
Books:

Mark Sawicki (2007) Filming the fantastic. Focal Press; 1

edition. ISBN:978024080915

Charles Finance, Susan Zwerman (2010) The Visual Effects

Producer. Focal Press; 1st edition. ISBN:9780240812632

Web Resources:
http://www.blackwellpublishing.com/content/BPL_Im
ages/Content_store/Sample_chapter/0631216146/0
01.pdf

http://books.google.com/books?hl=en&lr=&id=pFa7l
K7lbgC&oi=fnd&pg=PR5&dq=evaluation+of++visual+eff
ects

www.divaportal.org/smash/get/diva2:327273/FULLTEXT02

http://www.ee.columbia.edu/ln/dvmm/publications/Ph
D_theses/sfchang-thesis.pdf

https://www.kent.ac.uk/arts/film/filmcentre/materials/
berys_gaut.pdf

moodle.bbk.ac.uk/.../Week%209%20-%...

http://mollyniu.wordpress.com/

http://mtschaefer.net/media/uploads/docs/DigitalMaterial.PDF

www.ronbrinkmann.com/DigitalCompositing/httpdocs
/

25 | P a g e

http://scholarworks.gsu.edu/cgi/viewcontent.cgi?artic
le=1012&context=communication_diss

http://www.torrentdownloads.me/torrent/1658919274
/A+Million+Ways+to+Die+in+the+West+%282014%2
9

https://kickass.to/alice-in-wonderland-2010-1080pbrrip-x264-yify-t8764094.html

https://kickass.to/i-2015-tamil-dvdrip-msk-x264-1cd700mb-esubs-t10241078.html

https://kickass.to/iddarammayilatho-2013-m-hd720p-hindi-telugu-bhatti87-t8849064.html

https://www.youtube.com/watch?v=xyPSY6OWgos

26 | P a g e

27 | P a g e