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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®.
The key to warping one image to another is getting the setup correct. I'm starting with the familiar alien face and purple face images to warp one eye to the other. Since we want to warp the purple face to the alien face, the purple face goes on the source and alien face goes on the destination. So we're going to warp the purple eye to the alien face eye. So let's get started. A little more space here, re-home the Node Graph, push in on our purple face.
So I'm going to go draw my initial spline on the source. I'll zoom in a little more, select the Bezier, click and drag, click and drag, click and drag, click and drag, all the way around and close. Okay. Now I'm going to adjust it to fine- tune it, get it positioned exactly where I want it here. I'm not going to spend too much time twiddling control points because that's no fun to watch.
Okay, let say we like that. Because I edited the source spline after drawing it, it's not deviated from the destination version. You can see a little twitch there, okay. But the fact that the destination spline is warping the image is not important, because we're not going to be using that. We're going to go straight to the destination image, and here's our destination spline. What we're going to do is edit this spline to fit into the destination image. So we'll select the Bezier node, grab all the points, use the on-screen transformation controls, push in this up here, stretch that out there, scale this up this way, and rough it in like that.
Okay, next, we'll start editing the control points, making sure that we maintain correlation between the two views. And I had done this to be just on the inside edge of the black region. I'm going to refine the tension, so I can adjust the slope of the curve to be appropriate for my new shape. Okay, oh we need to fix this here. All right, I don't want to spend all day twiddling splines, so let's say we like this. Now if we switch the output to the source warped, our source image eye is now warped to the destination, at least pretty close.
Now the problem when trying to warp one image to another is trying to compare the two. If I go to my set my output to the destination image and then the source warped and then the destination and then the source warp, this is a little tedious and it's hard to adjust and work with. So here is the set up we want to do. We want to set up viewer wipe. The viewer wipe was made for situations like this. What we need to do, come down to the Node Graph, hook up viewer input two to the alien face.
Now we can set the viewer wipe controls on, and now we can do a wipe between the two pictures. So we have to set one input to the wipe for the SplineWarp and the other input for Read node, and now we can wipe between the two. But of course we can also use the Fader Bar, so this will give us a very handy way to compare the two images while we're editing our splines. So let's move in to the wipe. We'll push in a little bit, compare the two.
Okay, I'd like to see this black edge from my source be pulled down closer to the spline because I don't have a black edge here. So the way I am going to do that is I'm going to turn on the auto-visibility so I can see all my splines. Now I'm going to go to the source spline and adjust it a little bit. You see what I'm doing? I'm tucking it in to pull on the source image so that it bites deeper into it. Okay, let's say we like that.
I'll turn that one off. Now I'll do another comparison wipe. Okay, that's looking good, a little Fader Bar. Okay, I've got little business over here. I need to pull down on my source to match my destination better, so I'll put in a little Fader Bar mix, hold down on the source, check the Fader Bar. That's much better.
Check the wipe again. Okay, now one other issue. I have these little fuzzy edges here. What we can do about that is increase the rendering resolution. On the Render tab, the current resolution is how finely subdivided the mesh is. So if we increase that from 3, to let's say 6, watch that edge clean up a little bit. Here I will close the SpineWarp property panel, so that the splines are not in our face. There is still a little stretching here because we are pulling very hard on this image, but for as much as we are distorting it, it still looks really good.
Okay, let's zoom out a little bit, turn off the viewer wipe, let me center this a little better. Now let's toggle the node on and off, and we can see our warp. If we toggle the Viewer nodes between inputs 1 and 2, we can see the alien face compared to the warped purple face eye. Now if your source or destination images are moving, then you can keyframe the splines to stay on target over the length of the shot. Next up, morphing.
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