As we create a normal shape, we can pull out handles. You might find replace useful, for instance, if you’re creating a mask in the alpha channel, but the incoming image already has an alpha channel that you want to throw away. Now, if we look at the actual join itself, we can see it is a bit sharp. Then I will have to transform the strokes to match the left eye. This also depends on which shape is selected, so if I select different shapes, different keyframes are shown. Lanczos4 provides the least sharpening and Sinc4 the most. • Select the head group, and in addition to the shape’s transform, we can use the group’s Transform tab to rotate, scale, etc. Check out the tutorial for Nuke in Production Series – Roto Tools and Animation here. • intersect bbox and format - restrict the output image to an intersection of the bounding box and incoming format area. Both of which may have been corrected before you work on the shot. I will start off looking at the normal Bezier and compare it with the Cusped Bezier. Alternatively, you can Shift+drag in the Viewer to set the brush size. Use center x,y to position the pivot point. Working on the hero right eye, I am going to draw around his ear, and again split off the eyes. I will just set my project up to be stereo. b. Here we can use the shape tools to apply transformations, or we can use the shape’s Transform tab and use additional transformations. These will persist now in the Curve Editor until we make a new selection of points. You can also create this node by pressing P on the Node Graph. I can do this here, or I can add a keyframe here, or I can right-click anywhere on the shape and from the dropdown menu choose Set key. So let’s step back to frame 40, and here (spline key) it tells us that we are on keyframe 2 of 3. Nuke features a vector-based RotoPaint node for help with tasks like rotoscoping, rig removal, garbage matting, and dustbusting. I will check that I have the filter set correctly, and we will just clean up the wire either side of the rope. If your feather values are negative, the feather effect is inward. If we look at the Curve Editor (right-click menu > curve editor > points), we will see there is now a keyframe for every frame, so first thing I will try is to just adjust these curves and move the point onto the edge of the card. Locks the selected shape, stroke, or group to prevent it from being edited. • Click in the Viewer to place points. When rotating or translating the source image, a part of the image area may get cropped. To fill the cropped portion by expanding the edges of the image, uncheck black outside. I will label this, and under the newly created User tab, I now have my new position knob. There are a few things that are available in Nuke 7.0 that were not available in Nuke 6.0. Also, we can use these tools here to jump to other keyframes. Then the constant and original plate into your a and b pipe. This is because Nuke 7.0 will alter the format of the Roto and RotoPaint node. If the format does not yet exist, you can select new to create a new format from scratch. • single frame - the selection appears on one frame only. For example, a value of - 0.5 would open the shutter half a frame before the current frame. And now, we can align our right eye to our left eye. When enabled, feathering is applied to the selected shape(s). Now if I bring up a JoinViews node, we have two eyes coming down a single Viewer pipe. This can be useful, for example, if you are using a 3rd party application, such as a tracker, and your tracking data cannot be fully represented using the available transform controls. This option is recommended. Selecting Existing Strokes/Shapes for Editing, Setting Default RotoPaint Tools and Settings, Connect the RotoPaint node to a Viewer and possible backgrounds. So we can delete these, but what I have done is deleted the entire shape’s keyframes. You can also adjust center values by Ctrl/Cmd+Shift and dragging the transform handle in the Viewer. As this can get quite cumbersome, we will just bring in the points, and here they are. Hello, and welcome to this tutorial on the new stereo enhancements in RotoPaint and Roto in Nuke 7.0. Sets the view used as the clone source. • • smooth1 - the center point of the feather falloff lies closer to the feather edge than the shape edge. Note that selecting rgba premultiplies the alpha against itself (a*a). So we cut to a roto I completed earlier, and if we look in the left eye, we can see that we need to offset the entire shape. The Roto node: Part 2. Nuke exaggerates the tracked jitter in the footage.. Otherwise, they move independently. However, as we drag through, you can see there is a bit of a drift going on. • Lanczos4, Lanczos6, and Sinc4 - remapped pixels receive sharpening which can be useful for scaling down. Lastly, with Dodge and Burn, the strength of these is controlled by the opacity parameter. Just do a few frames here. The output channels are the same for all shapes and paint strokes created using this node - you cannot create a subset of shapes or strokes and output them to a different channel. • background - pulls pixels from the bg input, not including any shapes and strokes drawn on it. If B is darker than 50% gray, the result is darkened as if it were multiplied. To open the shutter before the current frame, enter a negative value. And now, we have a proper rotation added on top. For more information, see RotoPaint and Stereoscopic Projects. • Set your favorite RotoPaint tool as your default tool. In the course of building a script, you’ll have frequent need to invert mattes in particular. • Keys - remapped pixels receive some smoothing, plus minor sharpening (as shown by the negative -y portions of the curve). I will just create a different-colored brush, and note using the tool settings here affects only this and future paint strokes. Sets the style of the last point for the selected spline(s) and all new open splines: • rounded - the finishing point of the spline has a rounded end. Now I can select these points I want easily. So now if I pull the feather out, it remains pulled out for the entire animation. This input is mainly used with the Clone tab controls. • And now if we look at that, we will see the shape is now moving as required. I will set its reference frame to the frame I created the strokes on, frame 51. However, this does not have any vertical offset and, as I pointed out in the beginning, these two plates have a vertical misalignment. Sets the brush stroke diameter in pixels. You can have a Convergence offset here that allows you to adjust the eyes this way. With your tool from before, we can set up an animated offset. Now if I right-click over a shape, I get options to Cut, Copy, and Paste, and I can paste between different nodes. When enabled, only apply the effect to the edge of the mask. I made a roto shape for image 1 and merged with image 2, so 1 is over 2, minus the roto'd bit from 1. We can also go further and put them in a layer and add another layer or transformation, and we can do this as deep as we like. In this course, you will learn everything from spline types to manual roto to fully automated workflows, showcasing Silhouette and its comprehensive roto module. Now the roto is following the original footage. To leave the shape open, press Esc. 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