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Limiting the warp

From: Nuke 6 New Features

Video: Limiting the warp

I've reset the SplineWarp node so we can take a look at several different ways of limiting the warp effect, so it could be constrained to just the areas we want. I'm going to start by drawing a warp around this eye, select the spline, click and drag, click and drag, click and drag, click and drag, and return to close. Now I drew this on the source warped, which is the default setup. If I switch the output to the source, we can see the source spline again. Switch back to the source warped and there's the destination spline.

Limiting the warp

I've reset the SplineWarp node so we can take a look at several different ways of limiting the warp effect, so it could be constrained to just the areas we want. I'm going to start by drawing a warp around this eye, select the spline, click and drag, click and drag, click and drag, click and drag, and return to close. Now I drew this on the source warped, which is the default setup. If I switch the output to the source, we can see the source spline again. Switch back to the source warped and there's the destination spline.

Now if I edit the destination spline, I get a nice warp. Deselect, switch back to the source, and back to the source warped. However, if I want to draw a warp around this eye, the image is already being warped. In fact, you can see how it's shifting. That's because the warp effect goes all the way out to the edge of the frame. Now if I try to draw the other eye, I'm drawing on the warped part of the image.

So here's what we have to do. We'll move over here and push into the other eye, and I'm going to switch the output to the source image. Now I'm looking at the undeformed source image. I'll draw my new spline here. Click and drag, click and drag, click and drag, click and drag, return to close. Now if we look at the source warped, you see it's clamped the image there. Watch this. I'm going to hide and show that second spline, and you can see how it's holding the image steady.

Okay, now I'm in the source warped view, so I'm going to warp this one too. We'll zoom out a bit, toggle the overlays on and off, and we can toggle the SplineWarp node on and off and you can see how much it's deforming the image around the eyes, all the way out here, all the way out there. Again, that's because the spline is warping the image all the way out to the edge. So this is why we need to be able to limit the scope of the warp. So we can do that with the boundary spline.

I'll turn the overlays back on by typing O on the keyboard, and we'll push in a little bit here. Now I'm going to go to the source image to draw my boundary shape. What I want to do is limit the warp to just this region here, so the head and the ears and the cheek and the mouth are not affected. So I'm going to draw a spline here on the source image, to show you, this is what not to do. Now if we switch back to the source warped, we can see we have a mess, because I drew my boundary crossing over my warp splines.

So this is the wrong way to go. What we want to do is draw the boundary spline on the source warped image or the warped image itself. So I'm going to delete that, grab my Bezier, and draw a new one, and this time I'm going to do it on the warped image. And you see the image kind of twitched when I drew it. The reason is the addition of that spline was clamping the warp outside here. So if we switch to the source image, we can see the source spline here.

I'll go back to the warped image. And now if I were to edit the spline right now, you would see it would be different than the source image, see? And I have introduced a warp. So I'm going to undo that. If I declare this Bezier to be a boundary spline, look what happens. You can see the effect of the boundary setting right here, and you can see the effect of the boundary spline there. So it's actually clamping or reducing the influence of the warp. Once it's been declared a boundary spline, again, if we go look at the source side, you see it turns orange, and they are identical.

Now you can edit the spline without any problems at all, because you're actually getting an identical copy on the source and the destination sides. I'll go ahead and put in some funny stuff here so that you can see that I have in fact made the exact same image on both the source warped and the source side. So by declaring it a boundary, it locks it into a copy of itself on both sides.

However, if I toggle the node on and off with the D key, you can see I'm still getting some deformations outside of my boundary. So what can we do about that? We can go to the next step, which is to make a hard boundary. So I'll select the spline again, turn off the boundary, and turn on hard boundary. Now watch what happens when I enable and disable the node. The warp is absolutely clamped to only occur inside my hard boundary. The rest of the picture is perfectly protected.

Now the hard boundary can only be done with a closed spline. The regular boundary can be done with an open spline. Now let's take a look at the pin. I'm going to turn off the hard boundary and turn it on to a regular boundary. So as I enable and disable the node, you can see I'm getting a lot of distortion all the way around the whole picture. So let's say the problem is that I want this part of the lip right here to be unaffected. I want to pin down just this one spot. Well, that's what the Pin tool is for.

Now I'm looking at the source warped. Watch what happens when I put the pin on the warped image. Click, you see a twitch. Let's push it a little bit. And if I go to the source, you see it's up here. If I go to source warped, it's pinned it, but because I put it on the source warped image, it distorted it a little bit, so let's delete that. Now let's do it correctly. First, we go to the source image. So this is the unwarped source image. Grab my pin, put it on the dewlap right there, and now when I switch to the source warped, that spot is unaffected.

Watch what happens now when I enable and disable the node. That part of the picture stays absolutely rock-steady. Say, you notice the warp up here looks a little dodgy? Well, this is what the correspondence lines are for. Watch this. I'm going to turn on the visibility for all the splines and now you can see the correspondence lines I have right here. The problem is there are too few correspondence lines, so I'm getting kind of a straight edge distortion. So let's fix that. I'll go to the Correspondence tool and do the Add Correspondence, and I'm going to put one in here and one in there.

And now look how that smoothed it out. I'll deselect with this tool over here and turn the correspondence lines off. Look at that. So that's what the correspondence lines do for you. If you've got a little bit of a segmented warp, add more correspondence line to smooth it out. So far we've been warping a single image. Next, let's take a look at warping one image to another.

Show transcript

This video is part of

Image for Nuke 6 New Features
Nuke 6 New Features

59 video lessons · 5824 viewers

Steve Wright
Author

 
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  1. 7m 45s
    1. Welcome
      1m 56s
    2. What is NukeX?
      5m 0s
    3. Using the exercise files
      49s
  2. 1h 11m
    1. Learning the interface
      5m 15s
    2. Drawing shapes
      1m 41s
    3. Editing shapes
      5m 1s
    4. Keyframe animation
      6m 4s
    5. Property panel tabs
      7m 8s
    6. The shape list
      4m 26s
    7. Output settings
      1m 11s
    8. Workflow examples
      5m 33s
    9. Creating garbage mattes
      4m 55s
    10. Drawing strokes
      4m 16s
    11. Editing strokes
      4m 30s
    12. The Clone tool
      1m 37s
    13. Editing the Clone tool
      2m 54s
    14. The Reveal tool
      9m 2s
    15. The Blur tool
      2m 21s
    16. The output mask
      2m 57s
    17. The Dodge tool
      2m 32s
  3. 27m 38s
    1. Basic compositing
      3m 51s
    2. Using the Screen controls
      2m 50s
    3. Using the Screen Matte controls
      3m 37s
    4. The Crop feature
      2m 28s
    5. Holdout and garbage mattes
      2m 19s
    6. The Tuning controls
      1m 58s
    7. The Bias controls
      2m 37s
    8. Screen replacement
      2m 15s
    9. Multipass keying
      4m 37s
    10. Color-correcting the foreground
      1m 6s
  4. 17m 8s
    1. Basic setup
      3m 24s
    2. The Ultimatte workflow
      5m 18s
    3. Using the matte tools
      4m 16s
    4. Spill suppression
      4m 10s
  5. 28m 8s
    1. Overview
      2m 42s
    2. Pre-processing the greenscreen
      3m 25s
    3. Creating specialized keys
      7m 14s
    4. The preliminary composite
      6m 14s
    5. Creating supplemental keys
      6m 22s
    6. Alternative workflows
      2m 11s
  6. 24m 39s
    1. Editing control points
      4m 49s
    2. Editing the warp grid
      2m 52s
    3. Keyframe animation
      4m 42s
    4. Morphing
      10m 7s
    5. Additional tabs
      2m 9s
  7. 33m 20s
    1. Drawing splines
      6m 3s
    2. Drawing open splines
      2m 0s
    3. Limiting the warp
      7m 1s
    4. Warping to a target image
      5m 54s
    5. Morphing
      8m 1s
    6. The correspondence points
      4m 21s
  8. 9m 3s
    1. The MotionBlur2D node
      5m 55s
    2. Using the VectorBlur node
      3m 8s
  9. 10m 29s
    1. The ZBlur node
      6m 33s
    2. Image-based blurs
      3m 56s
  10. 11m 13s
    1. Navigating the Dope Sheet
      5m 17s
    2. Shifting keyframes
      5m 56s
  11. 5m 22s
    1. Making a group
      2m 50s
    2. Making a gizmo
      2m 32s

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