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Author Steve Wright explores the new features found in the 3D digital compositor Nuke 6. The course introduces the RotoPaint node for drawing and painting effects, the Keylight keyer for creating mattes and composites, and the SplineWarp node for warping images. The course also explains how to merge keys, animate with keyframes, and create image-based blurs. Exercise files accompany the course.
Nuke 6 New Features was created and produced by Steve Wright. We are honored to host his material in the lynda.com Online Training Library®.
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.
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