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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 am zooming the viewer back to get a little workspace, in order to show you a very important issue about correspondence points. When you draw a spline--let's go to source. I am going to turn my overlays back on. I'm going to draw a spline with just three control points. Click and drag, click and drag, click and drag, close. We'll switch to the destination side. I am going to select those points and just scale then down. Okay I've deselected, and now we'll look at both points and their correspondence points.
Let me turn the correspondence line. Even though I drew three control points, there are four correspondence lines. Okay, I am going to delete that and show you another case where I draw lot more control points. Let's go to source, select the Bezier, click and drag, click and drag, click and drag, close. Go to the destination side, select them, shrink it down, so I have a lot more control points now. Here is the punch line: no matter how many control points I draw, I still get four correspondence points.
So keep that in mind. You'll always get four correspondence points no matter how long this spline is. Okay, I am going to delete that, turn off the overlays, and re-home the viewer. Now I want to show you the importance of the correspondence points when you're doing your warp. Okay, move this up here. I'm going to pop out the old SplineWarp node with Shift+Command+X, bring in this one that I've already prepared that has some lines already drawn. Turn the overlay on so you can see my splines.
So we're interested in these splines right here just for the outside of the head, and I'm going to close the old SplineWarp node. What I wanted to show you is on frame 40, if we zoom in here--and I'm going to turn the overlay off so you don't see this splines-- you see how the source and destination shapes don't line up very well? Well, that's because there is only four correspondence points going all the way around the entire head. So here's how we fixed that. I'll turn the overlays back on, enable the correspondence points' visibility.
Here is my Correspondence tool. I'm going to select the Add Correspondence Point, click one here on this side-- it doesn't matter which spline you choose-- and I'll click one over here just to be different, okay. Now I'll turn the overlays off, and watch what happens. I'll undo one, undo the other, redo one, redo the other. So you can see how those correspondence points tuck the warps in so the edges line up beautifully. One other thing you're going to want to know about is linking tracker data to your control points. So let's turn our splines back on, select the tool, select spline, go to any control point, right mouse pop-up Link to > Tracker linking dialog, okay.
You have to have a Tracker node in here obviously or this is ghosted out. So this is how you can link any tracker to any control point in your morph. If you've got tracking data, like translate, rotate, and scale, you can hook that up here on the Transform tab. Or you can use the Transform tab to animate the position of yours splines if you've got a moving clip. I prepared a finished morph demo for you that you can load in. So over here on the Nuke File > Open, browse to your Project Media, select the morph demo nuke script, open that up.
Okay, I'm going to set the timeline to ping-pong and play this morph for you. So there you have it, a very nice-looking morph, just using the SplineWarp node in Nuke. Now you get to have this Nuke script. It's included in the Project Media. So you can open up this morph demo script and open up the SplineWarp node so that you can see all of the shapes that go into it, and you can play with it yourself and try to make our refinements and improvements to make it your own.
I'll close this and go back to the morph animation to say that morphing is a delicate art that takes a lot of practice and a lot of time, especially when you have to animate the morph to follow moving targets, but Nuke's SplineWarp node is an outstanding tool for morphing.
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