Apple Shake 4 Bedienungsanleitung

Shake 4User ManualShake Homepage.qxp 5/20/05 6:25 PM Page 1

10 Contents539 Masking Filters540 The -mask/Mask Node542 Masking Using the Constraint NodeChapter 20 545 Rotoscoping545 Options to Customize Shape Dra

100 Chapter 2 Setting a Script’s Global Parameters rotoPickRadiusThis parameter provides the ability to select individual points on a shape that fa

1000 Chapter 32 The Cookbook So, an example:shake -radiob “Not A Dufus” 53 NotADufus -t 1-4 -vThis creates four files, NotADufus.on.nri, NotADufus.

Chapter 32 The Cookbook 1001 Using Environment Variables for ProjectsYou can set up projects using environment variables to better manage your diff

1002 Chapter 32 The Cookbook 2 Create a directory that $myproj points to, that is, if you set it to /Documents/shot1, then create /Documents/shot1.

Chapter 32 The Cookbook 1003 To set per-project settings for Shake:1 As an example, in your project directory, create startup/ui directories:/usr/s

1005AppendixAA Keyboard Shortcuts and Hot KeysKeyboard Shortcuts in ShakeIn some instances, the keyboard shortcuts vary on different platforms.

1006 Appendix A Keyboard Shortcuts and Hot Keys Navigating in TimeThe following keyboard shortcuts let you move the playhead backward and forward i

Appendix A Keyboard Shortcuts and Hot Keys 1007 Saving and Restoring Favorite ViewsThe following keyboard shortcuts let you define and restore favo

1008 Appendix A Keyboard Shortcuts and Hot Keys Flipbook Keyboard ShortcutsThe following keyboard shortcuts are available for any open Flipbook.Too

Appendix A Keyboard Shortcuts and Hot Keys 1009 Node ViewThe following keyboard shortcuts and modifiers help you work within the Node View.Command

Chapter 2 Setting a Script’s Global Parameters 101 multiPlaneLocatorScaleAffects all MultiPlane nodes within the script. This parameter scales the

1010 Appendix A Keyboard Shortcuts and Hot Keys Selecting NodesThe following keyboard shortcuts let you select different ranges of nodes in the Nod

Appendix A Keyboard Shortcuts and Hot Keys 1011 QuickPaintThe following keyboard shortcuts are available in the QuickPaint node.Note: In Mac OS X,

1012 Appendix A Keyboard Shortcuts and Hot Keys Parameters Tab Shortcuts and ModifiersThe following keyboard shortcuts help you to make adjustments

Appendix A Keyboard Shortcuts and Hot Keys 1013 MultiPlane Node Keyboard ShortcutsThe following keyboard shortcuts let you choose angles from the m

1014 Appendix A Keyboard Shortcuts and Hot Keys Keyboard Modifiers for Color AdjustmentsThe following chart lists all the keyboard shortcuts for co

1015 Appendix B A The Shake Command-Line Manual Shake started in its infancy as a command-line compositor—you can conceivably execute a 500-no

1016 Appendix A The Shake Command-Line Manual To display images: mType the name of the images, for example:shake truck.iff bg.iff sign_mask.iffNote

Appendix A The Shake Command-Line Manual 1017 The -t option is extremely flexible. You can choose to render frame ranges, stepped ranges, individua

1018 Appendix A The Shake Command-Line Manual The following is a good example of a common command-line test of 3D-rendered imagery:shake truck.iff

Appendix A The Shake Command-Line Manual 1019 Getting Help How do you know what Blur is expecting? Aside from using the product non-stop for five y

102 Chapter 2 Setting a Script’s Global Parameters Note: The external display monitor doesn’t have to be a broadcast display. If you have more tha

1020 Appendix A The Shake Command-Line Manual Occasionally, you want to perform different operations on two different images within the same comman

Appendix A The Shake Command-Line Manual 1021 -fo <image> FileOut. Writes the image to disk in the format of the file extension. If no extens

1022 Appendix A The Shake Command-Line Manual -motion <quality> <override> Sets the motion blur quality. In the command line, you must

Appendix A The Shake Command-Line Manual 1023 Frequently Used FunctionsSince you can use any of the functions in Shake, the following tables of fre

1024 Appendix A The Shake Command-Line Manual -mult <r> <g> <b> [a] [z] Multiplies color on a per-channel basis.-saturation <v

Appendix A The Shake Command-Line Manual 1025 Resizing Functions Description-addborders <xBorder> <yBorder>Pads the image out with bla

1026 Appendix A The Shake Command-Line Manual Examples-interlace <image> <clipMode> <field>Interlaces the two images. When clipMo

Appendix A The Shake Command-Line Manual 1027 shake -addtext %F -t 1-20 Prints the padded current frame.shake -addtext “%D, %d %M” Prints the curre

1028 Appendix A The Shake Command-Line Manual shake bg.iff -zoom 2 1 Zooms the image to twice as wide.shake bg.iff -resize 720 486 Zooms the image

Appendix A The Shake Command-Line Manual 1029 Tips The following section contains tips and tricks for command-line usage.File Completion The follow

Chapter 2 Setting a Script’s Global Parameters 103 enhancedNodeViewThis parameter allows you to toggle all four enhanced Node View parameters using

1030 Appendix A The Shake Command-Line Manual the following line is listed:shake truck/truck.iff truck/bg.iff truck/sign_mask.iffSo press Return.Re

1031IndexIndex.h fileslocations of 355.plist file 395.tcshrc file 394, 39710-bit image files 437–450converting using LogLin 6492K imagesand cachi

1032 Index Aspect ratiosanamorphic film 216Assign colorin Primatte 711Associated Nodes command 258Atomic-level correctors 451, 635, 637Atop 45

1033 Index deleting and duplicating 496frustum 520linking from other MultiPlane nodes 496manipulation 517CameraShake 794function description

1034 Index ColorSpace 646function description 646usage described 636Color spaceDV footage 697models 664RGB 697Shake’s color range 611Color s

1035 Index CornerPin 754, 773, 795function description 795setting up controls 388Create Local Variable 81Crop 182, 186, 773scaling properties

1036 Index EEdgeDetect 870function description 870Edge treatment 691Edit Connections button 830Edit Menu 34Edit modepainting 580Edit Shapes b

1037 Index Filters 861–891and premultiplication 433ApplyFilter 864Blur 864box 862, 863characteristics 862Convolve 865default 863defined 86

1038 Index ColorX 647Common 458Compress 639Constraint 459, 542ContrastRGB 640Convolve 865Copy 460CornerPin 754, 795Crop 186declaring in ex

1039 Index Twirl 816Under 468VideoSafe 208Viewport 187Warper 807WarpX 816Window 189Xor 468ZBlur 888ZCompose 469ZDefocus 890Zoom 185Func

104 Chapter 2 Setting a Script’s Global Parameters Application Environmental VariablesThe default values of many of the global parameters can be cu

1040 Index Imagesabsolute paths of 954anamorphic 209changing the number of channels 416command-line functions 1015, 1016high-resolution 130inp

1041 Index adding duplicates 293animating parameters with 291copying and pasting 314delete button 71deleting 292, 303inserting for tracking 7

1042 Index LoopingQuickTime and still images 263LumaKey 709function description 709LuminanceIn YUV color space 697MMachine settingsdirectory lo

1043 Index Max 465combining with keyers 683function description 465math and LayerX syntax 453Mayafile compatibility 173importing Z channel inf

1044 Index AddShadow 470AddText 456AdjustHSV 659aligning 246ApplyFilter 864Atop 457Blur 864Brightness 638Bytes 413CameraShake 794Checker

1045 Index Pan 802pasting 239PercentBlur 885PinCushion 814Pixel Analyzer 631Pixelize 886PlotScanline 676QuickPaint 579QuickShape 572Ramp

1046 Index PPadding (when naming image files) 167Painttools 580Paint brush 581Painting (see QuickPaint) 579Paint mode 580Paint strokesattachin

1047 Index Premultiplicationand 3D renders 616and filters 433explained 421managing 431typical problems 422with Over 433PreTrack macro 995Pre

1048 Index Randomize 814function description 814RandomLetter macro 988Random noiseusing ColorX expressions 648Range 666raw files 172, 177RBlu

1049 Index RotoShape 546Add Shapes mode 547parameter list 570RotoShape keyframescutting and pasting 559RotoShapesAdd Shapes mode 547animating

Chapter 2 Setting a Script’s Global Parameters 105 SetUseProxy(const char *useProxy) char The default proxy setting.SetProxyFilter(const char *prox

1050 Index supported platforms 15user interface 24–31Shape dataimporting and exporting 567Shapesattaching trackers 562bounding boxes 555changi

1051 Index Thumbnails 253keyboard shortcuts 253tiff files 173Tile 609function description 609Tiling with a macro 933Time Bar 88, 292frame ra

1052 Index Undo 34, 257changing levels of 37setting levels 368Undo/Redo button 36Ungroup 247UnPin macro 985Unpremultiplying 426Update button

1053 Index Window 189for cropping 182function description 189scaling properties of 775WindowsOS functions 31panning 28zooming 28XXor 468fun

3 1073 Adding Media, Retiming, and RemasteringThis chapter covers adding media to your script using FileIn nodes, either as individual files, or

108 Chapter 3 Adding Media, Retiming, and Remastering The selected media appears in the Node View, represented by one or more FileIn nodes. For mor

Chapter 3 Adding Media, Retiming, and Remastering 109 The following table lists some formatting examples.The above examples assume an exact relatio

Contents 11Chapter 23 611Color Correction611 Bit Depth, Color Space, and Color Correction612 Concatenation of Color-Correction Nodes615 Premultiplied

110 Chapter 3 Adding Media, Retiming, and Remastering When Shake reads in an image, it converts the file path of the image to the UNC naming conven

Chapter 3 Adding Media, Retiming, and Remastering 111 • IRetime: Sets the start/stop frame of a clip, can slip sync, and controls how the clip beh

112 Chapter 3 Adding Media, Retiming, and Remastering incrementThis parameter controls how frames in the referenced image sequence are advanced, pr

Chapter 3 Adding Media, Retiming, and Remastering 113 • If the file name format is filename.1-30#.tiff, Shake expects an uninterrupted sequence of

114 Chapter 3 Adding Media, Retiming, and Remastering 2 Click the File Browser icon in the ImageName parameter.3 Use the File Browser to find the o

Chapter 3 Adding Media, Retiming, and Remastering 115 inModeIf media has been time-shifted or the In point changes so that there are blank frames p

116 Chapter 3 Adding Media, Retiming, and Remastering Pulldown and Pullup3:2 Pulldown is a technique to temporally convert the framerate of noninte

Chapter 3 Adding Media, Retiming, and Remastering 117 3 Choose the firstFrame value that corresponds to this frame number in the following chart:4

118 Chapter 3 Adding Media, Retiming, and Remastering The reTiming parameter has four options:• None: No retiming is applied, and the clip plays a

Chapter 3 Adding Media, Retiming, and Remastering 119 retimeModeBy default, you are given three options for frame blending:NearestNo frame blending

12 ContentsChapter 27 807 Warping and Morphing Images807 About Warps807 The Basic Warp Nodes821 The Warper and Morpher Nodes830 Creating and Modifying

120 Chapter 3 Adding Media, Retiming, and Remastering AdaptiveThis option in the retimeMode pop-up menu uses advanced image analysis to generate ne

Chapter 3 Adding Media, Retiming, and Remastering 121 • AlwaysInterpolate: With AlwaysInterpolate turned off, the final result of a retiming opera

122 Chapter 3 Adding Media, Retiming, and Remastering Remap ParametersIf you select the Remap button in the reTiming parameter, the following addit

Chapter 3 Adding Media, Retiming, and Remastering 123 • range: Controls how many frames should be blended together to create the final result. For

124 Chapter 3 Adding Media, Retiming, and Remastering ParametersThe TimeX node has one parameter in the Parameters tab:newTimeThis parameter defaul

Chapter 3 Adding Media, Retiming, and Remastering 125 Manual Manipulation of TimeThis section explains the notation Shake uses for a FileIn node, a

126 Chapter 3 Adding Media, Retiming, and Remastering Time Notation Setting the Script RangeThe script range can be set in the timeRange field of t

Chapter 3 Adding Media, Retiming, and Remastering 127 You can use these options to convert individual shots that you’re compositing within Shake, o

128 Chapter 3 Adding Media, Retiming, and Remastering Convert ParametersThe Convert mode has the following parameters:InputFrameRateSpecify the ori

Chapter 3 Adding Media, Retiming, and Remastering 129 OutputFrameDominanceIf OutputFrameInterlaced is turned on, specify the field dominance of the

Contents 13986 Image Macros989 Color Macros993 Relief Macro993 Key Macros994 Transform Macros996 Warping With the SpeedBump Macro996 Utility Macros100

130 Chapter 3 Adding Media, Retiming, and Remastering AspectRatioThis parameter is a multiplier that allows you to convert pixels of one aspect rat

Chapter 3 Adding Media, Retiming, and Remastering 131 There are two ways you can get around this safety feature. Using ProxiesThe first is to use p

132 Chapter 3 Adding Media, Retiming, and Remastering Tuning the Amount of RAM Shake UsesFinally, you need to tune the amount of RAM used by Shake.

Chapter 3 Adding Media, Retiming, and Remastering 133 How Sent Clips Are Arranged in ShakeRegardless of how you move Final Cut Pro clips into Shake

134 Chapter 3 Adding Media, Retiming, and Remastering If you used the Send to Shake command on the following superimposed clips:The result would be

Chapter 3 Adding Media, Retiming, and Remastering 135 Sending Clips From Final Cut ProIf you want to send one or more selected clips (or a single s

136 Chapter 3 Adding Media, Retiming, and Remastering 5 Check the Launch Shake box if you want to automatically open the newly created Shake script

4 1374 Using ProxiesShake has a sophisticated proxy system that lets you dynamically adjust the resolution of the images to speed your workflow.

138 Chapter 4 Using Proxies The following example shows a full-resolution image compared to a 1/3 scale proxy image. You can see that the proxy use

Chapter 4 Using Proxies 139 Enabling a useProxy settingIf processing is slow overall, and you need to speed things up while you’re working, you can

14 Contents

140 Chapter 4 Using Proxies You can combine this setting with the useProxy setting if the script you’re creating is exceptionally slow to render. F

Chapter 4 Using Proxies 141 Using Temporary ProxiesUnless you specifically do otherwise, Shake generates temporary proxies (also called on-the-fly

142 Chapter 4 Using Proxies The default proxy settings are:By default, you can select from the predefined proxy sets in the useProxy subtree of the

Chapter 4 Using Proxies 143 In the following example, the proxyRatio is set to .5. This setting has the added benefit of correcting the anamorphic

144 Chapter 4 Using Proxies 3 Modify the proxy1DefaultScale and proxy1DefaultRatio parameters.• For example, suppose you want to create a proxy set

Chapter 4 Using Proxies 145 When an SFileIn node is created, three pieces of information are taken from the File Browser:• The file name• The proxy

146 Chapter 4 Using Proxies Variable DefinitionsThis section explains the declarations made in the above script.proxyPathDefines the default locati

Chapter 4 Using Proxies 147 ExampleThis example sets a proxy of .25 with an aspect ratio of .5. It takes the default bytes setting, turns on the re

148 Chapter 4 Using Proxies The first line names the group as “4k Fullap.” The next line describes the base file name. The next three lines that be

Chapter 4 Using Proxies 149 If the proxy was named: //MyMachine/project1/shot1/plate1/proxy1/myfile_proxy1and the full resolution elements are://S

15PrefaceShake 4 Documentation and ResourcesWelcome to the world of Shake 4 compositing. This chapter covers where to find help, how the keyboar

150 Chapter 4 Using Proxies Pre-Generating Your Own ProxiesOrdinarily, if you set useProxy to P1, P2, or P3, the proxies created for each frame of

Chapter 4 Using Proxies 151 • 2K Academy: This option is suitable if your original image files have a resolution of 1828 x 1556. Three sets of pro

152 Chapter 4 Using Proxies 4 Choose Render > Render Proxies.The Render Proxy Parameters window appears.5 Turn on the proxies you want to genera

Chapter 4 Using Proxies 153 previewFramesDisplays the thumbnails of the new proxy frames as they’re rendered.Render proxy DefaultsEach proxy set yo

154 Chapter 4 Using Proxies Pre-Generated Proxy File References in FileIn NodesWhen you open a FileIn node’s parameters in the Parameters tab, the

Chapter 4 Using Proxies 155 Anamorphic Images and Pre-Generated ProxiesDo not use the proxyRatio parameter to change your aspect ratio on the fly i

156 Chapter 4 Using Proxies For example, suppose the source media of an image sequence using the file name plate.# is referenced by the following p

Chapter 4 Using Proxies 157 If you have many plates and a high frame count, you may want to put the images for each proxy resolution into separate

158 Chapter 4 Using Proxies Using local files can speed your compositing work by eliminating the need for your computer to access media over the ne

Chapter 4 Using Proxies 159 The following example uses one of the tutorial clips to illustrate how you can create custom proxy settings to create h

16 Preface Shake 4 Documentation and Resources Using the Shake DocumentationThere are several components to the documentation accompanying Shake, i

160 Chapter 4 Using Proxies This group of parameters should now look like this:7 Now, create a FileIn node, and read in the saint_fg.1-5# and saint

Chapter 4 Using Proxies 161 Pre-Generating Proxies From the Command Line—Method OneIf the base-resolution images are already loaded into a script a

162 Chapter 4 Using Proxies To use pre-generated proxies in a script via the user interface:1 Read the full-resolution images into a script with a

Chapter 4 Using Proxies 163 Note: When you toggle the useProxy parameter from Base to P1, P2, or P3, you do not necessarily load a FileIn node’s c

164 Chapter 4 Using Proxies Proxy ParametersThe following tables list proxy parameters everywhere they appear in Shake, in the Globals tab, and in

Chapter 4 Using Proxies 165 baseDefaultFileThis is used when you bring in pre-rendered proxies before loading in the full-resolution elements. It i

166 Chapter 4 Using Proxies • proxyNDefaultBytes: The bit depth for pre-rendered proxies. This has no effect with on-the-fly proxies. • proxyNDefa

5 1675 Compatible File Formats and Image ResolutionsThe first part of this chapter covers the many file formats with which Shake is compatible. T

168 Chapter 5 Compatible File Formats and Image Resolutions Shake is a hybrid renderer—it adapts its rendering from either scanlines or a group of

Chapter 5 Compatible File Formats and Image Resolutions 169 There are some formats that do not support the ability to efficiently read a random por

Preface Shake 4 Documentation and Resources 17 3 Click the folder icon next to the pdfBrowser Path parameter.The Choose Application window appears.

170 Chapter 5 Compatible File Formats and Image Resolutions Table of Supported File FormatsThe table in this section outlines all of the image form

Chapter 5 Compatible File Formats and Image Resolutions 171 An asterisk indicates additional format notes (following the table).ExtensionImage Form

172 Chapter 5 Compatible File Formats and Image Resolutions .jpeg, .jpg, .jfif*JPEG BW, RGB Same Lossy, from 0 to 100%. 100 = high quality8Yes.pbm,

Chapter 5 Compatible File Formats and Image Resolutions 173 Format DescriptionsThe following section discusses some of the more useful image format

174 Chapter 5 Compatible File Formats and Image Resolutions To set Shake to write images in top-down mode:mAdd the following lines to a .h file in

Chapter 5 Compatible File Formats and Image Resolutions 175 Note: 32-bit unsigned integer channel data will only be useful to custom plug-ins with

176 Chapter 5 Compatible File Formats and Image Resolutions Support for Data CompressionThe OpenEXR format supports several codecs, with options fo

Chapter 5 Compatible File Formats and Image Resolutions 177 JPEGIn the FileOut node you can set the quality level of these image formats (.jpeg, .j

178 Chapter 5 Compatible File Formats and Image Resolutions When yuvFormat is set to Auto, the resolution is automatically determined by the resolu

Chapter 5 Compatible File Formats and Image Resolutions 179 To assign blind header data from one image to another:1 Add a Copy node to the node tre

18 Preface Shake 4 Documentation and Resources Shake WebsitesThe following websites provide general information, updates, and support information a

180 Chapter 5 Compatible File Formats and Image Resolutions Table of File SizesIn the following table, all sizes are for 3-channel images. Note tha

Chapter 5 Compatible File Formats and Image Resolutions 181 Combining Images of Differing ResolutionWhen you composite images with different resolu

182 Chapter 5 Compatible File Formats and Image Resolutions Note: This method works even when compositing a pure black plate generated with the Co

Chapter 5 Compatible File Formats and Image Resolutions 183 Using the Resize, Fit, or Zoom Node to Scale the FrameThe following three nodes change

184 Chapter 5 Compatible File Formats and Image Resolutions ParametersThis node displays the following controls in the Parameters tab:xSize, ySizeT

Chapter 5 Compatible File Formats and Image Resolutions 185 subPixelTurns on quality control.• 0 = low quality• 1 = high qualityIf the new width or

186 Chapter 5 Compatible File Formats and Image Resolutions Cropping FunctionsThis section describes several nodes you can use to crop your images.

Chapter 5 Compatible File Formats and Image Resolutions 187 ParametersThis node displays the following controls in the Parameters tab:cropLeftThe n

188 Chapter 5 Compatible File Formats and Image Resolutions Viewport Node ExampleThe following tree has a large input image (scaled down in the ill

Chapter 5 Compatible File Formats and Image Resolutions 189 cropLeftThe number of pixels to crop from the left of the image. This parameter default

Preface Shake 4 Documentation and Resources 19 Note: This manual uses the term “right-click” to describe how to access shortcut menu commands.The

6 1916 Importing Video and Anamorphic FilmShake provides support for nearly any video or anamorphic film format in use. This chapter covers the p

192 Chapter 6 Importing Video and Anamorphic Film Understanding Video InterlacingDividing each frame of video into two fields is a technique origin

Chapter 6 Importing Video and Anamorphic Film 193 This effect occurs because video fields are recorded one after the other, just like frames. When

194 Chapter 6 Importing Video and Anamorphic Film Because each interlaced frame of video consists of two fields that contain half the information f

Chapter 6 Importing Video and Anamorphic Film 195 Another issue arises when you apply image rotation and scaling to an interlaced clip. In the foll

196 Chapter 6 Importing Video and Anamorphic Film To illustrate what happens when fields are improperly combined, we’ve removed one field from the

Chapter 6 Importing Video and Anamorphic Film 197 Step 4: Set the OutputFrameInterlaced and fieldRendering parameters when you’re finished composi

198 Chapter 6 Importing Video and Anamorphic Film When the deInterlacing parameter of a FileIn node is set to either odd or even, Shake separates t

Chapter 6 Importing Video and Anamorphic Film 199 6 Set the OutputFrameRate to match the InputFrameRate parameter. 7 While you’re working in Shake,

 Apple Computer, Inc.© 2005 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part,

20 Preface Shake 4 Documentation and Resources When virtualSliderMode is enabled, the left button always uses the virtual sliders when when you cli

200 Chapter 6 Importing Video and Anamorphic Film 6 In the OutputFrameRate subtree, turn off the OutputFrameInterlaced button.Creating Interlacing

Chapter 6 Importing Video and Anamorphic Film 201 With Inc set to 0.5, the playhead moves in half-frame increments as you scrub through the Time Ba

202 Chapter 6 Importing Video and Anamorphic Film Setting the deInterlacing parameter for each FileIn node not only separates each field internally

Chapter 6 Importing Video and Anamorphic Film 203 Note: You can also click the Home button in the Viewer to reset the ratio to 1:1.Exporting Field

204 Chapter 6 Importing Video and Anamorphic Film In the following example, the image has been resized from 640 x 480 to 720 x 486. The image on th

Chapter 6 Importing Video and Anamorphic Film 205 Video FunctionsShake has several other video-oriented functions. When using these features, make

206 Chapter 6 Importing Video and Anamorphic Film ParametersThis node displays the following controls in the Parameters tab:clipModeToggles between

Chapter 6 Importing Video and Anamorphic Film 207 ParametersThis node displays the following controls in the Parameters tab:fieldThe field that is

208 Chapter 6 Importing Video and Anamorphic Film VideoSafeLocated in the Color tab, this node clips “illegal” video values. As such, it is general

Chapter 6 Importing Video and Anamorphic Film 209 The result of this expression is that if videoType is not zero (in other words, videoType is set

IPart I: Interface, Setup, and InputPart I presents information about the Shake graphical user interface as a whole, with detailed information about a

210 Chapter 6 Importing Video and Anamorphic Film This is a fundamental principle when compositing anamorphically squeezed elements—the actual imag

Chapter 6 Importing Video and Anamorphic Film 211 The only speed hit is in the interactivity to adjust the viewed frame. This is the parameter you

212 Chapter 6 Importing Video and Anamorphic Film The Rotate node has an aspectRatio parameter. Set the parameter to .5, and the rotation is no lon

Chapter 6 Importing Video and Anamorphic Film 213 When composited over the image, there is distortion because of the proxyRatio.There are two optio

214 Chapter 6 Importing Video and Anamorphic Film • ISharpen • PercentBlur • Pixelize• Sharpen • RBlur • Sharpen • AddText • MatchMove • Stabilize

Chapter 6 Importing Video and Anamorphic Film 215 The blur now looks proportionately correct.Rendering Squeezed Images Once your composite is compl

216 Chapter 6 Importing Video and Anamorphic Film The correct way to account for video pixel ratios is to use the viewerAspectRatio parameter (with

7 2177 Using the Node ViewThe Node View is the heart of Shake’s graphical compositing interface. This chapter covers all aspects of navigating, c

218 Chapter 7 Using the Node View Note: Knots are only visible when the pointer is positioned over a node.This node-based approach has many advant

Chapter 7 Using the Node View 219 Navigating in the Node ViewEvery effect in Shake is created by an individual node that has been inserted into the

220 Chapter 7 Using the Node View To resize the node overview: mDrag the upper-right corner, the top, or the right of the overview.Favorite ViewsIf

Chapter 7 Using the Node View 221 mMove the pointer into the Node View, and press F1-5, where F1, F2, F3, F4, and F5 correspond to each of the Favo

222 Chapter 7 Using the Node View 2 Move the pointer over the Node View, and do one of the following:• Right-click, then choose Enhanced Node View

Chapter 7 Using the Node View 223 Note: When you clone a node by copying it and then pasting it with the Paste Linked command, the resulting clone

224 Chapter 7 Using the Node View Note: The Node View redraw speed of extremely large scripts may be reduced with noodleColorCoding turned on.Ther

Chapter 7 Using the Node View 225 Noodle TensionThe noodleTension parameter, within the guiControls subtree of the Globals tab, lets you adjust how

226 Chapter 7 Using the Node View In the enhancedNodeView subtree, the stipple8Bit, stipple16Bit, and stipple32Bit parameters each have five differ

Chapter 7 Using the Node View 227 • Right-click any Tool tab to display a shortcut menu of the available node functions. The modifier keys (see bel

228 Chapter 7 Using the Node View 2 In the Tool tabs, right-click the node you want to add, then choose Insert Multiple from the shortcut menu.The

Chapter 7 Using the Node View 229 • Right-click the first node, then choose Select > Associated Nodes from the shortcut menu.To select every nod

1 231 An Overview of the Shake User InterfaceThis chapter provides a fast introduction to all aspects of the Shake graphical user interface. It a

230 Chapter 7 Using the Node View To select every node that’s connected below (downstream from) a selected node, do one of the following:mPress Shi

Chapter 7 Using the Node View 231 To invert the selected nodes, reversing which ones are selected and deselected:mRight-click any node, then choose

232 Chapter 7 Using the Node View You can also connect one knot to another by Shift-clicking. This is a more convenient method to use if the two kn

Chapter 7 Using the Node View 233 To connect several nodes to a multi-input node at once:1 Select all of the nodes you want to connect to the multi

234 Chapter 7 Using the Node View You can also drag a noodle from an input knot to the output knot of a different node. For example, you can drag a

Chapter 7 Using the Node View 235 Breaking Node ConnectionsNode connections are broken by deleting the noodle that connects them.To delete the conn

236 Chapter 7 Using the Node View Inserting Nodes Into a TreeYou can insert nodes into the middle of the node tree in the Node View using either th

Chapter 7 Using the Node View 237 mSelect a parent node in the Node View, then, pressing the Shift key while you right-click it, choose a node from

238 Chapter 7 Using the Node View mDeselect all nodes in the Node View, then right-click in the background area of the Node View and choose a node

Chapter 7 Using the Node View 239 mClick the node, and with the mouse button held down, drag it quickly to the left and right several times to “sha

24 Chapter 1 An Overview of the Shake User Interface Overview of the Shake User InterfaceThe Shake user interface is divided into five main areas:

240 Chapter 7 Using the Node View Moving NodesTo move a node, select the node and drag it within the Node View. If you drag a node past the edge of

Chapter 7 Using the Node View 241 Loading Node ParametersIn order to modify a node’s parameters, you must first load them into one of the two Param

242 Chapter 7 Using the Node View To clear a tab so that no parameters are loaded into it:mRight-click the Parameters1 or Parameters2 tab, then cho

Chapter 7 Using the Node View 243 Ignoring NodesNodes in the node tree can be disabled without actually removing them from the tree, using the Igno

244 Chapter 7 Using the Node View Arranging NodesShake has several commands to help you organize and navigate complex node trees. Keeping your node

Chapter 7 Using the Node View 245 gridEnabledLets you turn grid snapping on and off. This control also toggles the background grid pattern in the N

246 Chapter 7 Using the Node View To align nodes horizontally (on the same Y axis):mSelect one or more nodes and press Y.To compress and align node

Chapter 7 Using the Node View 247 • To create a group and immediately open it into a cluster, right-click in the Node View, then choose Group Selec

248 Chapter 7 Using the Node View 2 Select a group, then press G.The group expands into a cluster.Once a group is expanded into a cluster, the grou

Chapter 7 Using the Node View 249 Group ParametersLoading the parameters of a group into the Parameters tab allows you to change the color of the c

Chapter 1 An Overview of the Shake User Interface 25 Tool TabsThe Tool tabs contain groups of nodes, organized by function. Nodes you click in thes

250 Chapter 7 Using the Node View The Expose Group Parameters window appears.3 To select one or more node parameters from nodes within the cluster,

Chapter 7 Using the Node View 251 The selected nodes parameters appear in the group Parameters tab.Opening MacrosIf you’re using macros within your

252 Chapter 7 Using the Node View The principal advantage to cloned nodes is that changes made to one cloned node are automatically applied to ever

Chapter 7 Using the Node View 253 ThumbnailsBy default, thumbnails are automatically generated in the Node View for image nodes, including but not

254 Chapter 7 Using the Node View In the following images, the greenscreen image is PAL and the truck image is 410 x 410.thumbSizeLets you adjust t

Chapter 7 Using the Node View 255 • Press T. When a node with a thumbnail appears in the middle of a node tree, the input noodles feed into the top

256 Chapter 7 Using the Node View Toggling Thumbnails Between Color and Alpha ChannelsWhen the pointer is positioned over a thumbnail, a number and

Chapter 7 Using the Node View 257 The Node View Shortcut MenuThe following commands are available in the shortcut menu that appears when you right-

258 Chapter 7 Using the Node View Enhanced Node ViewOn/OffControl-E Turns the selected enhanced Node View options off and on. Snap to Grid On/OffTu

Chapter 7 Using the Node View 259 Thumbnails Refresh Selected ThumbnailsR Activates/refreshes the thumbnails for selected nodes.Show/Hide Selected

26 Chapter 1 An Overview of the Shake User Interface Audio PanelThe Audio Panel lets you load AIFF and WAV audio files for use by your project. Sev

260 Chapter 7 Using the Node View Show Macro InternalsBOpens a macro into a subwindow so you can review wiring and parameters. You cannot change th

8 2618 Using the Time ViewThe Time View provides a centralized representation of the timing for each image used in a script. This chapter covers

262 Chapter 8 Using the Time View The Time View lets you modify the timing parameters that are found inside each FileIn node in your node tree. Thi

Chapter 8 Using the Time View 263 Clip Durations in the Time ViewThe duration of image sequences and movie files (hereafter referred to as clips) r

264 Chapter 8 Using the Time View Image Node ControlsWhen you move the pointer over an image node in the Time View, three controls appear: the View

Chapter 8 Using the Time View 265 To shift a node in time:mDrag an image node in the Time View to the left or right.That node’s timeShift parameter

266 Chapter 8 Using the Time View To adjust the startFrame and lastFrame points of an image sequence:mIn the Time View, drag the left handle of an

Chapter 8 Using the Time View 267 You can change the repeat mode of an extended-duration clip at any time using the controls in the Timing tab of t

268 Chapter 8 Using the Time View Clips With Infinite DurationImage nodes such as RGrad and Ramp have no preset range because they are generated by

Chapter 8 Using the Time View 269 Const Point DisplayWhen Const Point Display is enabled, the frame considered as the Out point is toggled to the f

Chapter 1 An Overview of the Shake User Interface 27 Making Adjustments to the Shake WindowAs you work with Shake, there are several methods for re

270 Chapter 8 Using the Time View In the following example, a clip that begins at frame 40 and ends at frame 80 is reversed by manually swapping in

Chapter 8 Using the Time View 271 In the following example, two clips have been added to the script.Connecting both FileIn nodes to a Transition no

272 Chapter 8 Using the Time View mixerOther default choices are:• cut• dissolve• horizontalWipe• verticalWipeYou can also add your own custom effe

Chapter 8 Using the Time View 273 The following is an example from the include/nreal.h file for horizontalWipe:image HWipe(image i1=0,image i2=0,fl

274 Chapter 8 Using the Time View The following images show the effect that can be achieved by increasing and decreasing the RGrad radius.Select al

Chapter 8 Using the Time View 275 Finally, calculate the resolution of the RGrad by comparing the two input sizes. The script should now look like

276 Chapter 8 Using the Time View 6 Now comes the tricky bit—reversing the mix. You may think multiplying by -1 inverts the transformation, but you

9 2779 Using the Audio PanelThe Audio Panel lets you import reference audio clips that you can use for timing and to generate keyframe data withi

278 Chapter 9 Using the Audio Panel Most of Shake’s audio functionality resides within the Audio Panel. To access the audio controls, click the Aud

Chapter 9 Using the Audio Panel 279 To load an audio file into a script:1 Open the Audio Panel.2 In the Audio Panel, click the Open Audio File butt

28 Chapter 1 An Overview of the Shake User Interface Navigating in the Viewer, Node View, and Curve EditorThe Viewer, Node View, and Curve Editor a

280 Chapter 9 Using the Audio Panel To remove an audio file from a script:1 Select an audio file in the track list of the Audio Panel.Note: You ca

Chapter 9 Using the Audio Panel 281 If the audio clip’s Time Shift subparameters (at the bottom of the Audio Panel) have been changed, these parame

282 Chapter 9 Using the Audio Panel Note: If a frame range is not specified in the Globals tab, the audio preview continues to play (beyond the en

Chapter 9 Using the Audio Panel 283 Important: Because Shake is designed primarily as a compositing application, and not a real-time editing appli

284 Chapter 9 Using the Audio Panel To slip an individual audio track in time:1 In the Audio Panel, select a track in the track list, and enable so

Chapter 9 Using the Audio Panel 285 Source Out (seconds)End point of the clip, listed as seconds.Start Time (seconds)Beginning point of the clip, l

286 Chapter 9 Using the Audio Panel The parameters located in the Create Curves subtree let you analyze the current audio mix, creating a keyframed

Chapter 9 Using the Audio Panel 287 A progress bar appears to show you how long this process takes.Opening the Globals tab reveals the Audio parame

288 Chapter 9 Using the Audio Panel For example, if in peak mode, and the peak audio value over an interval is 0.5 (approximately -6 dBFS), the val

Chapter 9 Using the Audio Panel 289 Sample Rate, Bit DepthThe output sample rate and bit depth of the output file. Resampling QualityWhen input cli

Chapter 1 An Overview of the Shake User Interface 29 To define a Favorite View:1 Pan to a position in an area that contains the region you want to

10 29110 Parameter Animation and the Curve EditorShake has a flexible keyframing interface for animating nearly any parameter in your script. Thi

292 Chapter 10 Parameter Animation and the Curve Editor • To keyframe parameter changes you make using a node’s Viewer controls, turn on the Autoke

Chapter 10 Parameter Animation and the Curve Editor 293 Rules for KeyframingHow keyframes are created and modified depends on two things—the curren

294 Chapter 10 Parameter Animation and the Curve Editor Navigating Among Keyframes in the Time BarOnce you’ve created a number of keyframes, two ke

Chapter 10 Parameter Animation and the Curve Editor 295 Parameters can be represented by any one of a number of different curve types, each of whic

296 Chapter 10 Parameter Animation and the Curve Editor Note: Whenever you turn on an Autokey button, the corresponding parameter’s curve loads in

Chapter 10 Parameter Animation and the Curve Editor 297 Visibility and Persistence ControlsIn the loaded parameters list, additional controls let y

298 Chapter 10 Parameter Animation and the Curve Editor Navigating the Curve EditorThere are many controls you can use to move around the Curve Edi

Chapter 10 Parameter Animation and the Curve Editor 299 The Curve Editor ButtonsThe following table describes the Curve Editor buttons.Visibility &

distributed, then this README file must be included, with this copyright and no-warranty notice unaltered; and any additions, deletions, or changes t

30 Chapter 1 An Overview of the Shake User Interface Depending on the area, the originally saved position and zoom level are recalled, as well as t

300 Chapter 10 Parameter Animation and the Curve Editor Splitting the Curve EditorYou can separate the Curve Editor into two horizontal panes. This

Chapter 10 Parameter Animation and the Curve Editor 301 To add keyframes to a curve by modifying a parameter:mIn the node’s Parameters tab, click t

302 Chapter 10 Parameter Animation and the Curve Editor Note: In the Curve Editor, when the pointer passes over a curve, the curve name is highlig

Chapter 10 Parameter Animation and the Curve Editor 303 Note: To remove keyframes from a group of selected keyframes within a manipulator box, pre

304 Chapter 10 Parameter Animation and the Curve Editor Using the Manipulator BoxYou can use the manipulator box to move or scale a group of keyfra

Chapter 10 Parameter Animation and the Curve Editor 305 To scale the selection in the Y axis:mPosition the pointer at the top or the bottom edge of

306 Chapter 10 Parameter Animation and the Curve Editor • The Key field is the time of the keyframe.• The Value field is the value of the keyframe.

Chapter 10 Parameter Animation and the Curve Editor 307 Using Keyframe Move ModesIn the Curve Editor, there are four keyframe move modes—Bound, Int

308 Chapter 10 Parameter Animation and the Curve Editor When the Interleave mode is set, the selected keyframes jump over the adjacent non-selected

Chapter 10 Parameter Animation and the Curve Editor 309 When the Replace mode is set, the selected keyframes replace the adjacent non-selected keyf

Chapter 1 An Overview of the Shake User Interface 31 To open a floating Tweaker window:mSelect the node you want to tune and press Control-T. A mov

310 Chapter 10 Parameter Animation and the Curve Editor In the following example, the “scale” operation type is selected.4 Where appropriate, enter

Chapter 10 Parameter Animation and the Curve Editor 311 The selected operation is applied to the selected curve or keyframes. These operations incl

312 Chapter 10 Parameter Animation and the Curve Editor • jitter: The opposite of smooth, jitter removes all values except for the noise using the

Chapter 10 Parameter Animation and the Curve Editor 313 • negate: Flips the curve around the 0 point, so a value of 300 turns into a value of -300

314 Chapter 10 Parameter Animation and the Curve Editor • resample: Replaces the curve or expression with a new sequence. This is useful for two p

Chapter 10 Parameter Animation and the Curve Editor 315 5 In the Curve Editor, position the playhead at the frame you want to paste the keyframes (

316 Chapter 10 Parameter Animation and the Curve Editor Note: The KeepSlope option cannot be used with curves that have expressions applied to the

Chapter 10 Parameter Animation and the Curve Editor 317 In addition, the keyframes completely define the curve, so there is no tangent control what

318 Chapter 10 Parameter Animation and the Curve Editor Jeffress splines are similar to CSplines, except they are guaranteed to never overshoot. If

Chapter 10 Parameter Animation and the Curve Editor 319 Linear SplinesLinear(cycle,value@key1,value@key2,...value@keyN)LinearV(time_value, cycle,va

32 Chapter 1 An Overview of the Shake User Interface Shake Menu (Mac OS X Only)The following table shows the Shake menu options. The Shake menu app

320 Chapter 10 Parameter Animation and the Curve Editor Cycle TypesYou can change how the curve cycles its animation before and after the curve end

Chapter 10 Parameter Animation and the Curve Editor 321 KeepSlopeTakes the slope of the curve at the last keyframe and shoots a line into infinity.

322 Chapter 10 Parameter Animation and the Curve Editor MirrorValueAlso loops the animation, but inverts the animation each time the cycle repeats.

11 32311 The Flipbook, Monitor Previews, and Color CalibrationAs you work with Shake, the Flipbook lets you preview your scripts in motion before

324 Chapter 11 The Flipbook, Monitor Previews, and Color Calibration 2 Load the node into the Viewer that represents the image you want to preview.

Chapter 11 The Flipbook, Monitor Previews, and Color Calibration 325 As the Flipbook plays, the frame rate is displayed in the title bar. If the Fl

326 Chapter 11 The Flipbook, Monitor Previews, and Color Calibration Use the following formula to determine the amount of required memory:width * h

Chapter 11 The Flipbook, Monitor Previews, and Color Calibration 327 To render a Disk Flipbook:Note: It is recommended to select a format for the

328 Chapter 11 The Flipbook, Monitor Previews, and Color Calibration • quicktimeCodec: Click the codecOptions button to open the Compression Setti

Chapter 11 The Flipbook, Monitor Previews, and Color Calibration 329 To view and save the Disk Flipbook:1 In the Shake Preview (Shake QuickTime Vie

Chapter 1 An Overview of the Shake User Interface 33 Recover Script (Shift-Command-O or Shift-Control-O)Loads the last autoSave script and is usual

330 Chapter 11 The Flipbook, Monitor Previews, and Color Calibration Viewing on an External MonitorWhen using the Mac OS X version of Shake, you ca

Chapter 11 The Flipbook, Monitor Previews, and Color Calibration 331 broadcastHighQualityWhen the broadcastHighQuality parameter is turned on, the

332 Chapter 11 The Flipbook, Monitor Previews, and Color Calibration Note: This node also allows you to use calibration profiles generated by a Tr

12 33312 Rendering With the FileOut NodeWhen you’ve finished your composite, you can set up one or more sections of your script to be rendered us

334 Chapter 12 Rendering With the FileOut Node You can also branch multiple FileOut nodes from the same node, to output several versions of the sam

Chapter 12 Rendering With the FileOut Node 335 File NamesIf you write an image without a file extension (for example, image_name instead of image_n

336 Chapter 12 Rendering With the FileOut Node fileFormatIf no extension is given, the output format is .iff. To override this behavior, explicitly

Chapter 12 Rendering With the FileOut Node 337 This further compresses uboat.iff, maintains it in .iff format, and retains the Z channel.For more i

338 Chapter 12 Rendering With the FileOut Node updateFromGlobalsIndicates if your settings match the Globals tab settings (updated), or if you have

Chapter 12 Rendering With the FileOut Node 339 The Render MenuThere are four options in the Render menu.Support for Apple QmasterApple Qmaster is a

34 Chapter 1 An Overview of the Shake User Interface Edit MenuThe following table shows the Edit menu options.Tools MenuThe Tools menu provides a m

340 Chapter 12 Rendering With the FileOut Node Note: If Apple Qmaster isn’t installed but the sys.useRenderQueue plug is declared, a message is se

Chapter 12 Rendering With the FileOut Node 341 Important: When you submit Shake jobs to a cluster, the working directory should reside on a shared

13 34313 Image CachingShake has a powerful image caching system that keeps track of previously rendered frames in order to speed your workflow as

344 Chapter 13 Image Caching You can set the cacheMode to one of four states:• none: Cache data is neither read nor written.• read-only: Preexist

Chapter 13 Image Caching 345 From that point on, Shake references the cached image data within that node, instead of constantly reprocessing the no

346 Chapter 13 Image Caching The total cache memory limit has been exceeded.The second possibility is that the amount of memory needed by all the C

Chapter 13 Image Caching 347 Parameters in the Cache Render Parameters WindowThe Cache Render Parameters window has the following parameters:render

348 Chapter 13 Image Caching cacheStatusThis is a display-only parameter that shows whether the input image has been cached or not.• not cached: N

Chapter 13 Image Caching 349 Commands to Clear the CacheOrdinarily, cached frames in memory are written to disk and cleared as appropriate whenever

Chapter 1 An Overview of the Shake User Interface 35 Viewers MenuThe following table shows the Viewers menu options.Render MenuThe following table

350 Chapter 13 Image Caching The processing cache is mainly used to store image tiles (tiles are portions of the complete image) generated by nodes

Chapter 13 Image Caching 351 Similar to the processing cache, the image cache has both a fast RAM-based component and a slower disk-based component

352 Chapter 13 Image Caching The size of the RAM-based component of the processing cache is set in the nreal.h file using the cache.cacheMemory glo

Chapter 13 Image Caching 353 The following guidelines apply when setting the diskCache.cacheMemory size:• When editing large node trees in the inte

354 Chapter 13 Image Caching diskCache.cacheMaxFileSizeThe global plug sets the maximum file size (in bytes) that can be stored in the disk-based c

14 35514 Customizing ShakeShake’s graphical interface can be highly customized. This chapter covers how to create preference files, and explains

356 Chapter 14 Customizing Shake Finding Shake’s Default SettingsShake uses two important files to set the original default settings. These files a

Chapter 14 Customizing Shake 357 Possible Preference File LocationsShake .h preference files can be saved in one of several locations (.h files in

358 Chapter 14 Customizing Shake Installing Custom Interface SettingsSettings that change the interface in some way (including macro interface file

Chapter 14 Customizing Shake 359 Troubleshooting Preference FilesIf your custom preference files do not appear to be working, check the following:•

36 Chapter 1 An Overview of the Shake User Interface To load or save a Shake script:mClick Load or Save to open the Load Script window, or to save

360 Chapter 14 Customizing Shake Setting Colors for the Nodes in the Node ViewIn the ui directory:nuiSetMultipleObjectsColor(nodeRed, nodeGreen, no

Chapter 14 Customizing Shake 361 Setting Colors for the Time BarIn the ui directory:gui.color.timeSliderTop = 0x373737FF;gui.color.timeSliderBottom

362 Chapter 14 Customizing Shake Setting Colors for Groups in the Node ViewIn the ui directory:nuiSetObjectColor(“Group”, .75, .75, .75); This sets

Chapter 14 Customizing Shake 363 gui.color.curveGFoc = 0x00ff00;gui.color.curveGSel = 0x00ff00;gui.color.curveGFocSel = 0xaaffaa;//Curves starting

364 Chapter 14 Customizing Shake • textfield.fontColor: The color of the values within the value field.• tempKeyBackClr: A warning color for values

Chapter 14 Customizing Shake 365 Creating a Custom PaletteIn the ui directory:nuiSetColor(1,1,0,0);nuiSetColor(2,1,0.5,0);nuiSetColor(3,1,1,0);etc.

366 Chapter 14 Customizing Shake framesPerSecond,fieldRendering);DefFormatType(“Academy”, 1828, 1556, 1,1,24,“24 FPS”);Setting the Default Format W

Chapter 14 Customizing Shake 367 Creating Custom Listings for the Format Pop-Up MenuIn the startup directory:DefTimecodeMode(“Name”,fps,numFramesTo

368 Chapter 14 Customizing Shake This shows, in seconds, how often the autoSave script is performed. The script is saved automatically in your User

Chapter 14 Customizing Shake 369 Font Size for Menus and Pop-Up MenusIn the startup directory:// It can take the following values://tiny, small, me

Chapter 1 An Overview of the Shake User Interface 37 By default, there are 100 steps of undo and redo in Shake.UpdateThe Update button controls wha

370 Chapter 14 Customizing Shake Adding Functions Into a MenuIn the ui directory:nuiOpenMenu(“Render”);nuiMenuSeparator();nuiMenuItem(“Highend2D”,L

Chapter 14 Customizing Shake 371 Setting the Time Bar Frame RangeIn the ui directory:gui.timeRangeMin = 1;gui.timeRangeMax = 100;That pretty much s

372 Chapter 14 Customizing Shake Using the UNC File Name ConventionIn the startup directory:script.uncFileNames = 1;Shake automatically assigns the

Chapter 14 Customizing Shake 373 All directories assigned here appear in your Favorites area of the Directories pop-up menu in the Browser. To also

374 Chapter 14 Customizing Shake • kAnyIn: Directory of the last input directory of any type.• kAnyOut: Directory of the last output directory of

Chapter 14 Customizing Shake 375 Tool TabsThere are a number of ways you can customize the available Tool tabs.Setting the Number of Node Columns i

376 Chapter 14 Customizing Shake This calls the alternative icon set, which concentrates more on the name of the function. The alternative icons ar

Chapter 14 Customizing Shake 377 • The file name is TabName.Whatever.nri. This example is therefore called Image.Flock.nri.• The icon border is add

378 Chapter 14 Customizing Shake You can create multiple nodes with one button click when you call up a function. For example, if you always attach

Chapter 14 Customizing Shake 379 Using Parameters Controls Within MacrosThese are commands typically assigned to help lay out your macros by settin

38 Chapter 1 An Overview of the Shake User Interface The File BrowserThe File Browser is an interactive browser that serves many purposes. It lets

380 Chapter 14 Customizing Shake Notice that you must first group the parameters into a subtree (the first five lines of the above example).Color c

Chapter 14 Customizing Shake 381 nuiPopControlGroup();nuiPushControlWidget(“MyFunction.Color”,nuiConnectColorPControl(kRGBToggle,kCurrentColor,1));

382 Chapter 14 Customizing Shake Grouping Parameters in a SubtreeIn the ui directory:nuiPushControlGroup(“Func.timeRange”);nuiGroupControl(“Func.in

Chapter 14 Customizing Shake 383 Even though the sliders are in relatively the same position, there are different numbers in the value fields. You

384 Chapter 14 Customizing Shake Creating Radio ButtonsIn the ui directory:nuxDefRadioBtnControl(“Text.xAlign”,1, 1, 0,“1|ux/radio/radio_left”,“2|u

Chapter 14 Customizing Shake 385 nuxDefExprToggle(“Func.parameter”,“repl.nri|repl.focus.nri”,“interp.nri|interp.focus.nri”,“blur.nri|blur.focus.nri

386 Chapter 14 Customizing Shake Placing a Curve Editor Into a Parameters TabIn the ui directory:nuiPushControlGroup(“colorExpr”);nuiGroupControl(“

Chapter 14 Customizing Shake 387 By default, Shake protects the user from test rendering an enormous image by limiting the resolution of the Viewer

388 Chapter 14 Customizing Shake float xScale = 1,float yScale = 1,float xCenter = width/2,float yCenter = height/2This gives you the border and ce

Chapter 14 Customizing Shake 389 Box ControlsIn the startup macro file:int left = width/3,int right = width*.66,int bottom = height/3,int top = hei

Chapter 1 An Overview of the Shake User Interface 39 The Browser opens. If you’re using Mac OS X, this window appears very different from the stand

390 Chapter 14 Customizing Shake Offset ControlsIn the startup macro file:float xOffset = 0,float yOffset = 0This is similar to the Pan controls, b

Chapter 14 Customizing Shake 391 Point ControlsIn the startup macro file:float xCenter = width*.33,float yCenter = height*.33,float xPos = width*.6

392 Chapter 14 Customizing Shake Radius ControlsIn the startup macro file:float radius = width/6,float falloffRadius = width/6,float xCenter = widt

Chapter 14 Customizing Shake 393 The default settings in Shake are limited to the ones you find in the standard QuickTime Compression Settings dial

394 Chapter 14 Customizing Shake Environment variables are strings of information, such as a specific hard drive, file name, or file path, set thro

Chapter 14 Customizing Shake 395 To set the Shake path in the Terminal, do the following:1 Launch Terminal.2 In the Finder, navigate to the Shake a

396 Chapter 14 Customizing Shake 8 In the text document, create the following file (if you’re reading this in the PDF version of the user manual, y

Chapter 14 Customizing Shake 397 a To ensure you are still in your Home directory, type the “present working directory” command:pwdUsing the exampl

398 Chapter 14 Customizing Shake At login, your computer runs the default /etc/csh.cshrc, followed by any .tcshrc files in your login directory. Th

Chapter 14 Customizing Shake 399 Cineon frames are written in the slower top-down method for compatibility with other, less protocol-observant, sof

40 Chapter 1 An Overview of the Shake User Interface Using the Pull-Down Menu at the TopThe pull-down menu reveals the entire directory tree, inclu

400 Chapter 14 Customizing Shake To display the day of the week:alias day date +“%A” To display all Shake processes that are running:alias howmany

Chapter 14 Customizing Shake 401 Customizing the FlipbookThe following arguments have been added to the Flipbook executable as global plugs, allowi

402 Chapter 14 Customizing Shake • minFrames: Use this field to specify the minimum number of frames you want to be processed by each computer in

IIPart II: Compositing With ShakePart II contains detailed information on how to perform compositing tasks using all the tools and functions Shake pro

15 40515 Image Processing BasicsShake gives you explicit control over every aspect of image processing. This chapter covers the basics of image p

406 Chapter 15 Image Processing Basics This means that if, for example, you have a very small element that is 100 x 100 pixels, and you pan it 50 p

Chapter 15 Image Processing Basics 407 Nodes that modify image resolution also take advantage of the Shake Infinite Workspace. For example, if you

408 Chapter 15 Image Processing Basics Note: You must be careful when pulling a bluescreen matte with the ChromaKey node. The outside black pixels

Chapter 15 Image Processing Basics 409 Note: These examples of 1-bit, 2-bit, and 3-bit images are not supported by Shake, but are used for demonst

Chapter 1 An Overview of the Shake User Interface 41 2 Click the Bookmark button.The currently open directory is added to the Favorites list. All f

410 Chapter 15 Image Processing Basics At 3-bit resolution, you begin to see a gradient from black to white, although the graph is still choppy.Fin

Chapter 15 Image Processing Basics 411 Note: In 8-bit images there is no 50 percent point—you have a smidgen less than 50 percent gray and a smidg

412 Chapter 15 Image Processing Basics You might need to use a higher bit depth when employing certain nodes, such as Emboss and Blur, since they n

Chapter 15 Image Processing Basics 413 You can seamlessly layer images of different bit depths together. This results in the lower bit-depth image

414 Chapter 15 Image Processing Basics ParametersThis node displays the following control in the Parameters tab:outBytesForces the incoming image i

Chapter 15 Image Processing Basics 415 If you apply an operation that changes channel information, Shake automatically updates which channels are u

416 Chapter 15 Image Processing Basics To return to viewing the RGB channels, do one of the following:mPosition the pointer in the Viewer, then pre

Chapter 15 Image Processing Basics 417 Many operations allow you to select which channel is used as the modifying channel. For example, the SwitchM

418 Chapter 15 Image Processing Basics Important: Premultiplication plays a vital role in compositing, and Shake gives you explicit control over p

Chapter 15 Image Processing Basics 419 Example 3; Assigning an Alpha Channel With the SwitchMatte NodeIn the following example, the mask is drawn

42 Chapter 1 An Overview of the Shake User Interface To select single files, do one of the following:mDouble-click the file.mPress the Up Arrow or

420 Chapter 15 Image Processing Basics In the following example, MDiv and MMult nodes are added to color correct a 3D-rendered element. Again, you

Chapter 15 Image Processing Basics 421 Using the ClipMode Parameter of Layer NodesYou can easily composite elements of any resolution. To set the o

422 Chapter 15 Image Processing Basics Shake takes a third approach, giving you explicit control over premultiplication for every image in your com

Chapter 15 Image Processing Basics 423 4 In the Node View, select the munch_pre node, click the Layer tab, then click the Over node.An Over node is

424 Chapter 15 Image Processing Basics If you ignore the premultiplication of your composites, you may have problems with edges, or with raised glo

Chapter 15 Image Processing Basics 425 The result is identical to munch_premult—the RGB is multiplied by the mask.Next, invert the foreground alpha

426 Chapter 15 Image Processing Basics The result is exactly the same as the Over node.By punching a hole in the background, the alpha determines w

Chapter 15 Image Processing Basics 427 To create the same error here, continue with the previous node tree and do the following:1 In the Node View,

428 Chapter 15 Image Processing Basics Now things get a little odd. To reassert the mask, you might be tempted to insert another IMult node after A

Chapter 15 Image Processing Basics 429 If you zoom into the Viewer and look very closely, you’ll notice a dark rim appears around the edge.3 In the

Chapter 1 An Overview of the Shake User Interface 43 The File ListClick the title of a column to arrange the list according to that type of informa

430 Chapter 15 Image Processing Basics 2 Connect the munch_mask node to the IDiv1 background input. The edge appears clean.3 To test the result, se

Chapter 15 Image Processing Basics 431 Since munch_unpremult is already an unpremultiplied image, you get the same clean result.Managing Premultipl

432 Chapter 15 Image Processing Basics This example uses the KeyMix node, which handles unpremultiplied foreground elements, the background, and a

Chapter 15 Image Processing Basics 433 The Over node has a premultiplication parameter built into it. In the following tree, the preMultiply flag i

434 Chapter 15 Image Processing Basics In the next example, an unpremultiplied image is accidentally filtered, to show you what artifacts to look f

Chapter 15 Image Processing Basics 435 Adding a filter to an unpremultiplied image—the right way:mTo fundamentally change the compositing order, yo

436 Chapter 15 Image Processing Basics Nodes That Affect PremultiplicationThe following nodes can change the premultiplication status of an image,

Chapter 15 Image Processing Basics 437 The Logarithmic Cineon FileKodak created the Cineon file format to support their line of scanners and record

438 Chapter 15 Image Processing Basics The logarithmic image does not appear to have a pure black or white. Its graph shows that the highlights are

Chapter 15 Image Processing Basics 439 These types of controls are paralleled in the LogLin node with the black and white point parameters. Every 9

44 Chapter 1 An Overview of the Shake User Interface Updating the File BrowserClick the Update button to refresh the listing of the current directo

440 Chapter 15 Image Processing Basics In the example below, the first image is the original plate in log color. The second image has been converte

Chapter 15 Image Processing Basics 441 Therefore, you are mathematically urged to color correct in linear color, or view a conversion to linear usi

442 Chapter 15 Image Processing Basics If you are simply doing color timing, as in the following example, you have an added benefit: All the color

Chapter 15 Image Processing Basics 443 5 Render out 48 frames. The Wedge macro automatically brackets your initial pick up and down by whatever val

444 Chapter 15 Image Processing Basics Logarithmic Color and Float Bit DepthHere is where it gets tricky. If you examine the following logarithmic-

Chapter 15 Image Processing Basics 445 The following images are from a log plate. The left image is the original plate. The right image is the outp

446 Chapter 15 Image Processing Basics If you look back at the original log-to-lin conversion graph, the curve suggests that it should continue pas

Chapter 15 Image Processing Basics 447 The following image shows a modification of the compositing tree shown on page 441. An Other–Bytes node is i

448 Chapter 15 Image Processing Basics In addition to storage requirements, working in float costs you render time, a minimum of 20 percent, but us

Chapter 15 Image Processing Basics 449 As an alternative to float, you can use the roll-off parameter in the LogLin node. However, this involves in

Chapter 1 An Overview of the Shake User Interface 45 The following is a table of examples.Using and Customizing ViewersShake displays the currently

450 Chapter 15 Image Processing Basics The following is a sample tree:There are two exceptions:• Keylight allows you to key, color correct, and com

16 45116 Compositing With Layer NodesLayer nodes form the foundation for compositing two or more images together in Shake. This chapter covers th

452 Chapter 16 Compositing With Layer Nodes • Rule Number 1: Only color correct unpremultiplied images. To unpremultiply an image, use the Color–M

Chapter 16 Compositing With Layer Nodes 453 The Layer NodesThis section provides a detailed description of each of the layer nodes.AddMixThe AddMix

454 Chapter 16 Compositing With Layer Nodes AddMix Example In the following node tree, a key is pulled from the foreground using a KeyLight node. T

Chapter 16 Compositing With Layer Nodes 455 Note: Because the curves can dramatically alter opacity of the foreground, you may need to ensure that

456 Chapter 16 Compositing With Layer Nodes background curveA graphical control appearing within a curve editor in the Parameters tab. This curve c

Chapter 16 Compositing With Layer Nodes 457 xAlignThe horizontal alignment of the text. The default is Centered (2).• 0 = left/top-justified• 1 = r

458 Chapter 16 Compositing With Layer Nodes ParametersThis node displays the following control in the Parameters tab:clipModeToggles between the fo

Chapter 16 Compositing With Layer Nodes 459 ConstraintConstraint is a multifunctional node that restricts the effect of nodes to limited areas, cha

46 Chapter 1 An Overview of the Shake User Interface Using Multiple ViewersYou can create as many Viewers within the Viewer workspace as you need.

460 Chapter 16 Compositing With Layer Nodes gTolControls the green color channel tolerance if the type parameter is set to Threshold (2). If pixels

Chapter 16 Compositing With Layer Nodes 461 ParametersThis node displays the following controls in the Parameters tab:clipModeToggles between the f

462 Chapter 16 Compositing With Layer Nodes clipModeToggles between the foreground (0) or the background (1) image to set the output resolution.per

Chapter 16 Compositing With Layer Nodes 463 InterlaceThis node interlaces two images. You can control field dominance, whether the input images are

464 Chapter 16 Compositing With Layer Nodes KeyMixThe KeyMix node mixes two images together through the specified channel of a third image. You can

Chapter 16 Compositing With Layer Nodes 465 channelLets you pick the channel from the third image that you want to use as the mask. You can pick th

466 Chapter 16 Compositing With Layer Nodes clipModeToggles between the foreground (0) or the background (1) image to set the output resolution.per

Chapter 16 Compositing With Layer Nodes 467 ParametersThis node displays the following controls in the Parameters tab:clipModeToggles between the f

468 Chapter 16 Compositing With Layer Nodes matteMultPremultiplies the output image by multiplying the first input image by the alpha channel of th

Chapter 16 Compositing With Layer Nodes 469 ZComposeThe ZCompose node composes the input image over the background image using the Z values of both

Chapter 1 An Overview of the Shake User Interface 47 Note: Each Viewer you create uses additional memory, so you may want to close higher-resoluti

470 Chapter 16 Compositing With Layer Nodes Other Compositing FunctionsShake contains other useful compositing nodes, located in the Other Tool tab

Chapter 16 Compositing With Layer Nodes 471 Shadow ColorA color control that lets you define the color of the drop shadow.opacityDefines how transp

17 47317 Layered Photoshop Files and the MultiLayer NodeShake supports the use of layered Photoshop files with the MultiLayer node. This node als

474 Chapter 17 Layered Photoshop Files and the MultiLayer Node 2 Double-click the Composite node to display the Photoshop image (the composite) in

Chapter 17 Layered Photoshop Files and the MultiLayer Node 475 The postMMult ParameterIn the MultiLayer parameters, postMMult is enabled by default

476 Chapter 17 Layered Photoshop Files and the MultiLayer Node Photoshop Layer OpacityTo change the opacity of a layer, expand the subtree for the

Chapter 17 Layered Photoshop Files and the MultiLayer Node 477 Importing a Photoshop File Using the FileIn NodeIf you don’t want to import every la

478 Chapter 17 Layered Photoshop Files and the MultiLayer Node To select an individual layer:1 Load the Photoshop file’s FileIn parameters (click t

Chapter 17 Layered Photoshop Files and the MultiLayer Node 479 Connecting Inputs to a MultiLayer NodeThe MultiLayer node accepts a variable number

48 Chapter 1 An Overview of the Shake User Interface When a node is loaded into the Viewer, an indicator appears on the left side of the node. Addi

480 Chapter 17 Layered Photoshop Files and the MultiLayer Node 2 Shift-click the + sign input of the multi-input node.All selected nodes are connec

Chapter 17 Layered Photoshop Files and the MultiLayer Node 481 To change layer order:mDrag that layer’s Reposition control up or down between other

482 Chapter 17 Layered Photoshop Files and the MultiLayer Node In the subtree of a layer, you can controls its parameters. Note that the parameter

Chapter 17 Layered Photoshop Files and the MultiLayer Node 483 Layer Parameters SubtreeEach layer in the layers list has additional parameters with

18 48518 Compositing With the MultiPlane NodeThe MultiPlane node provides a simple 3D compositing environment within Shake. This environment can

486 Chapter 18 Compositing With the MultiPlane Node Viewing MultiPlane CompositesWhen you double-click a MultiPlane node to open it into the Viewer

Chapter 18 Compositing With the MultiPlane Node 487 The Render Mode button only affects the image that’s displayed in the Viewer when the MultiPlan

488 Chapter 18 Compositing With the MultiPlane Node To work within a MultiPlane node using the multi-pane interface:mDouble-click a MultiPlane node

Chapter 18 Compositing With the MultiPlane Node 489 Changing Angles Within a PaneAlthough the multi-pane layouts are fixed, you can change the angl

Chapter 1 An Overview of the Shake User Interface 49 mDrag a Viewer’s bottom-right corner to resize its width and height simultaneously.To resize a

490 Chapter 18 Compositing With the MultiPlane Node Using and Navigating Within the Perspective AngleIn addition, there is a single non-isometric a

Chapter 18 Compositing With the MultiPlane Node 491 Whichever angle is assigned as the renderCamera has the following additional properties:• It’s

492 Chapter 18 Compositing With the MultiPlane Node Global Parameters That Affect MultiPlane DisplayTwo subparameters in the Globals tab let you ad

Chapter 18 Compositing With the MultiPlane Node 493 Connecting Inputs to a MultiPlane NodeLike the MultiLayer node, the MultiPlane node accepts a v

494 Chapter 18 Compositing With the MultiPlane Node Using Camera and Tracking Data From .ma FilesThe MultiPlane node supports .ma (Maya ASCII) file

Chapter 18 Compositing With the MultiPlane Node 495 The data from the .ma file appears in the Viewer as a cloud of points. The camera or tracking d

496 Chapter 18 Compositing With the MultiPlane Node Unattached layers that are positioned within the 3D workspace should now appear as if they’re m

Chapter 18 Compositing With the MultiPlane Node 497 Thus, you can set up animated MultiPlane composites using multiple MultiPlane nodes, instead of

498 Chapter 18 Compositing With the MultiPlane Node The “Link camera” window appears. The “Link to” pop-up menu presents a list of every camera and

Chapter 18 Compositing With the MultiPlane Node 499 To change the size of the locator points displayed in the Viewer:mAdjust the multiPlaneLocatorS

5 1 Contents Preface 15 Shake 4 Documentation and Resources15 What Is Shake? 16 Using the Shake Documentation 16 Onscreen Help 17 Contextual H

50 Chapter 1 An Overview of the Shake User Interface To reposition all Viewers within the Viewer workspace at once:mClick the middle mouse button a

500 Chapter 18 Compositing With the MultiPlane Node A new subtree named pointCloud appears at the top of the Images tab of the MultiPlane node’s pa

Chapter 18 Compositing With the MultiPlane Node 501 If you have many layers stacked up within a single MultiPlane node, you may want to turn one or

502 Chapter 18 Compositing With the MultiPlane Node Pan and Center ControlsSelected layers in the Viewer have two sets of onscreen controls for pan

Chapter 18 Compositing With the MultiPlane Node 503 The local axis pan controls pan the layer relative to its own orientation. If a layer has been

504 Chapter 18 Compositing With the MultiPlane Node To rotate a layer in the Viewer without using the angle controls:1 Select a layer.2 Press W or

Chapter 18 Compositing With the MultiPlane Node 505 3 Drag the dimension pointer in the direction in which you want to scale the layer. The colored

506 Chapter 18 Compositing With the MultiPlane Node Deleting Parent LayersWhen you disconnect a layer that’s being used as a parent, a warning appe

Chapter 18 Compositing With the MultiPlane Node 507 Attaching Layers to the CameraTo use a MultiPlane node to matchmove one or more images into a s

508 Chapter 18 Compositing With the MultiPlane Node Decreasing the cameraDistance value brings the layer closer to the front of the composition, wh

Chapter 18 Compositing With the MultiPlane Node 509 3 Turn on Attach Layer to Camera for the background and isolated building layers to lock both i

Chapter 1 An Overview of the Shake User Interface 51 The information (node name, channels, bit depth, size, and so on) for the selected node appear

510 Chapter 18 Compositing With the MultiPlane Node As a result, the balloon appears positioned between the front building and the rest of the city

Chapter 18 Compositing With the MultiPlane Node 511 To attach a layer to three locator points:1 If necessary, move the layer’s center point to a po

512 Chapter 18 Compositing With the MultiPlane Node • Raising sceneScale expands the distribution of points, moving any layers that are locked to l

Chapter 18 Compositing With the MultiPlane Node 513 Individual Layer ControlsEach image that you connect to a MultiPlane node is represented by its

514 Chapter 18 Compositing With the MultiPlane Node Individual Layer ParametersOpening up a layer’s parameter subtree reveals a group of compositin

Chapter 18 Compositing With the MultiPlane Node 515 faceCameraThe faceCamera pop-up menu lets you choose a camera. Once set, the layer will always

516 Chapter 18 Compositing With the MultiPlane Node One useful application of this parameter is to offset a layer’s center point, then use layer ro

Chapter 18 Compositing With the MultiPlane Node 517 parentToThis parameter lets you create layer hierarchies within a single MultiPlane node. You c

518 Chapter 18 Compositing With the MultiPlane Node 3D Transform ControlsClick the camera to expose its 3D transform controls.The camera consists o

Chapter 18 Compositing With the MultiPlane Node 519 Moving the camera in relation to the camera targetAn additional control at the front of the cam

52 Chapter 1 An Overview of the Shake User Interface To quickly analyze colors in the Viewer:mClick and scrub with the mouse in the Viewer to displ

520 Chapter 18 Compositing With the MultiPlane Node To move the camera and the camera target together in any view:mPress T and drag the camera or c

Chapter 18 Compositing With the MultiPlane Node 521 The outer bounding box represents the frustum, which defines the camera view frame that produce

522 Chapter 18 Compositing With the MultiPlane Node Parameters in the Camera TabAll of the parameters that affect the camera are located within the

Chapter 18 Compositing With the MultiPlane Node 523 angleOfViewA subparameter of focalLength. This value is provided for convenience, and represent

524 Chapter 18 Compositing With the MultiPlane Node fitResolutionA pop-up menu with four options: Fill, Horizontal, Vertical, and Overscan. This pa

Chapter 18 Compositing With the MultiPlane Node 525 Copy/DeleteThese buttons let you duplicate or delete the currently selected renderCamera. LinkT

19 52719 Using MasksThis chapter describes how you can use masks in Shake to create transparency and to limit the effects of other functions with

528 Chapter 19 Using Masks Using Side Input Masks to Limit EffectsYou can attach a mask to the side input of a node, thereby limiting that node’s e

Chapter 19 Using Masks 529 To attach an image in the node tree to a side input mask:mDrag a noodle from an image’s output knot, and attach it to a

Chapter 1 An Overview of the Shake User Interface 53 To use the two different click-and-hold button behaviors:mClick the View Channel button in the

530 Chapter 19 Using Masks Parameters Within the Mask SubtreeThe Mask subtree, located in the top section of any node’s Parameters tab, contains th

Chapter 19 Using Masks 531 5 To create a mask that gives the appearance of a “spotlight,” do one of the following:• Create an RGrad node (in its ow

532 Chapter 19 Using Masks For more information on transforming with onscreen controls, see Chapter 26, “Transformations, Motion Blur, and AutoAlig

Chapter 19 Using Masks 533 Masking Concatenating NodesIt is never a good idea to use side input masking with multiple successive concatenating node

534 Chapter 19 Using Masks A better way to mask a series of concatenating nodes:1 Disconnect the masks from the previous example.2 Select the Mult

Chapter 19 Using Masks 535 5 Connect the KeyMix2 node to the Key input of the KeyMix1 node.6 Click the right side of the KeyMix1 node to show the r

536 Chapter 19 Using Masks Note: If you had simply connected the car_mask image to the M input of the Pan node, rather than using the KeyMix metho

Chapter 19 Using Masks 537 3 Connect the sign_mask2 node to the Background input (the second input) of the Outside node.The light mask is “outside”

538 Chapter 19 Using Masks A slight problem occurs when you try this using the Over node. A matte line appears between the two masks.Fortunately, i

Chapter 19 Using Masks 539 7 Connect the SwitchMatte node to the Background input of the Atop node.If the image looks wrong, make sure that matteMu

54 Chapter 1 An Overview of the Shake User Interface The following table shows the Viewer buttons, the keyboard or hot key shortcuts, and describes

540 Chapter 19 Using Masks 6 In the Blur parameters, set the xPixels and yPixels value to 200.The result looks bad, rather like the following. Noti

Chapter 19 Using Masks 541 SynopsisMask( image, image mask,const char * maskChannel,float percent,int invertKey,int enableKey);Scriptimage = Mask(

542 Chapter 19 Using Masks Masking Using the Constraint NodeThe Layer–Constraint node also helps to limit a process. The Constraint node mixes two

Chapter 19 Using Masks 543 Because of the labeling, you can do multiple types of constraining in the script by adding the numbers together. For exa

544 Chapter 19 Using Masks invertInverts the selection. For example, everything beyond a color tolerance is included, rather than below, and so on.

20 54520 RotoscopingShake provides rotoscoping capabilities with the RotoShape node. When combined with Shake’s other image processing, layering,

546 Chapter 20 Rotoscoping Note: You can also resize every transform control appearing in the Viewer by holding the Command key down while draggin

Chapter 20 Rotoscoping 547 This chapter covers the RotoShape node as it’s used for rotoscoping. For techniques on using the RotoShape node to apply

548 Chapter 20 Rotoscoping Drawing New Shapes With the RotoShape NodeDrawing new shapes works the same whether you’re creating a source, target, or

Chapter 20 Rotoscoping 549 Note: If you traced the image from another node, you’ll need to load the RotoShape node into the Viewer to see the fill

Chapter 1 An Overview of the Shake User Interface 55 Incremental UpdateUpdates the changing portion of the image. For example, if Toggle Incrementa

550 Chapter 20 Rotoscoping To duplicate a shape:1 Click the Edit Shapes button to allow you to select shapes in the Viewer.2 Move the pointer over

Chapter 20 Rotoscoping 551 4 When the selected points are highlighted, rearrange them as necessary by doing one of the following:• To move one or m

552 Chapter 20 Rotoscoping 3 Do one of the following:• To change the length of one of the tangent handles independently from the other, while keepi

Chapter 20 Rotoscoping 553 To edit a shape using its transform control:1 Make sure the Enable/Disable Shape Transform Control button is turned on.E

554 Chapter 20 Rotoscoping Drag the Rotate handle (to the right of the transform control) to rotate the shape about the axis of the transform contr

Chapter 20 Rotoscoping 555 A transform control that affects the entire node appears across the entire frame. Each shape’s individual transform cont

556 Chapter 20 Rotoscoping Reordering ShapesYou can reorder multiple overlapping shapes to change the effect they have on the alpha channel. For ex

Chapter 20 Rotoscoping 557 Shapes can be copied and pasted between all of these nodes, so that a shape drawn in one can be used in any other. Anima

558 Chapter 20 Rotoscoping 5 If necessary, move the playhead to another frame and continue making adjustments until you’re finished.6 When you’re d

Chapter 20 Rotoscoping 559 To set keyframes for all shapes:mToggle to Key All Shapes. When this control is turned on, making a change to any single

56 Chapter 1 An Overview of the Shake User Interface Viewer Script–Z ChannelRight-click menu Views the Z channel. You can also right-click the View

560 Chapter 20 Rotoscoping To paste a keyframe:1 Move the playhead in the Time Bar to the frame where you want to paste the copied keyframe.2 Right

Chapter 20 Rotoscoping 561 outPointMoves the out point of the rotoshape, allowing you to change where that rotoshape ends. This parameter correspon

562 Chapter 20 Rotoscoping invertTurning on the Invert button expands the keyframes by the Amount value, instead of contracting them. This has an i

Chapter 20 Rotoscoping 563 To attach a track to an entire shape:mIn the Viewer, right-click the lower-center portion of the shape’s transform contr

564 Chapter 20 Rotoscoping To remove a tracker from one or more control points:1 Select one or more shape control points in the Viewer.2 Right-clic

Chapter 20 Rotoscoping 565 3 Drag the selected points out, away from the shape’s edge. The farther you drag the edge, the softer it becomes.To rese

566 Chapter 20 Rotoscoping Important: Be careful with the soft edges—if you create a shape with overlapping lines, rendering artifacts may appear.

Chapter 20 Rotoscoping 567 Importing and Exporting Shape DataTwo controls let you import and export shape data between Shake and external applicati

568 Chapter 20 Rotoscoping Right-Click Menu on PointViewer Shelf ControlsRe-Center Re-centers the transform tool to be the center of the shape. Con

Chapter 20 Rotoscoping 569 Fill/No Fill Controls whether or not the shape is filled. Show/Hide TangentsControls the tangent visibility. In Pick mo

Chapter 1 An Overview of the Shake User Interface 57 For a table of additional common buttons related to onscreen controls, see “Node-Specific View

570 Chapter 20 Rotoscoping RotoShape Node ParametersThe RotoShape node has the following controls:timingThree parameters within the timing subtree

Chapter 20 Rotoscoping 571 For more information on using the retimeShapes command, see “Retiming RotoShape Animation” on page 561.ResThe Width and

572 Chapter 20 Rotoscoping Using the QuickShape NodeThe QuickShape node is an image generator to be used for animated garbage mattes. It is ideal f

Chapter 20 Rotoscoping 573 Modifying QuickShapesTo select multiple points in Edit mode, drag to select the desired points. The selected points can

574 Chapter 20 Rotoscoping The Lock Tangents button locks or unlocks the tangents of adjacent points when moving any point. In the first example, t

Chapter 20 Rotoscoping 575 To break a tangent:mControl-click the tangent.Note: No tangents are available when the points are set to Linear mode.To

576 Chapter 20 Rotoscoping Button Usage ExampleTo easily animate the QuickShape, enable Autokey and move the points. To enter a new keyframe, move

Chapter 20 Rotoscoping 577 Here, a point is inserted and moved toward the center at the first keyframe. At the second keyframe’s position, the shap

578 Chapter 20 Rotoscoping QuickShape Node ParametersThe following table lists the QuickShape parameters.ParametersThis node displays the following

21 57921 PaintShake provides simple paint capabilities using the QuickPaint node. This chapter describes how to use the non-destructive tools fou

58 Chapter 1 An Overview of the Shake User Interface 4 To switch to buffer B, click the A tab, or press 1 (above the Tab key, not on the numeric ke

580 Chapter 21 Paint Note: In the Color node, the alpha channel is set to 1 by default.It’s important to make sure the resolution of the QuickPain

Chapter 21 Paint 581 The following table contains the basic brush tools.Press F9 to select your last-used brush type. With this key command, you ca

582 Chapter 21 Paint Other Viewer Shelf ControlsThe QuickPaint node has the following Viewer shelf controls:Button DescriptionActive Channels These

Chapter 21 Paint 583 Modifying Paint StrokesIn Edit mode, you can select any stroke by clicking its path. You can also adjust the strokeIndex slide

584 Chapter 21 Paint To remove points from the current selection:mControl-drag to remove control points from the current selection.To drag-select m

Chapter 21 Paint 585 There are two different drag modes that affect how strokes are reshaped when you move a selected group of control points.• If

586 Chapter 21 Paint Attaching a Tracker to a Paint StrokeIn Edit mode, a preexisting track can be attached to a paint stroke. To attach a track to

Chapter 21 Paint 587 Modifying Paint Stroke ParametersYou can also use the Edit Controls tab in the QuickPaint parameters to modify your strokes.In

588 Chapter 21 Paint Interpolating Paint StrokesIn the following example, frame 1 contains three separate paint strokes, and frame 50 also contains

Chapter 21 Paint 589 7 Click the Convert Stroke button.The Convert Stroke window opens.8 In the Convert Stroke window, enable Interp if it is not a

Chapter 1 An Overview of the Shake User Interface 59 The Compare Mode button in the Viewer shelf indicates that you are in vertical compare mode.To

590 Chapter 21 Paint To convert paint strokes from Frame to Persist mode:1 Once the paint stroke is drawn (in Frame mode), click the Edit mode butt

Chapter 21 Paint 591 QuickPaint Hot KeysThe following table lists the QuickPaint node hot keys.Note: In Mac OS X, Exposé is mapped to F9-F12 by de

592 Chapter 21 Paint opacityA fade value applied to the R, G, B, and A channels. constPressureWhen this parameter is turned on, the digital graphic

Chapter 21 Paint 593 The types of strokes available are:• Persist: Paint strokes are static, and remain onscreen from the frame in which they were

594 Chapter 21 Paint Paint GlobalsThe parameters in this tab control how stroke information is captured when using a digital graphics tablet or mou

Chapter 21 Paint 595 “FORMAT TOOL MASK NUMDATA;TIME,TYPE;X;Y;P;X;Y;P;...X;Y;P;TIME,TYPE;X;Y;P;...X;Y;P;”,followed by inPoint, outPoint, and so on,

22 59722 Shake-Generated ImagesThis chapter covers the use of the Shake-generated image nodes found within the Image Tool tab.Generating Images W

598 Chapter 22 Shake-Generated Images bytesThe bit depth of the generated image. There are three settings: 8 bits, 16 bits, or float (1, 2, or 4 by

Chapter 22 Shake-Generated Images 599 ColorWheelThe ColorWheel node generates a primitive color wheel. It can also be used as a tool to determine w

6 Contents 102 enhancedNodeView 104 Application Environmental Variables 104 Script Environmental Variables Chapter 3 107Adding Media, Retiming, and R

60 Chapter 1 An Overview of the Shake User Interface If the Update Mode is not the problem, check to make sure that the manual Update button at the

600 Chapter 22 Shake-Generated Images GradThe Grad node generates a gradient between four corners of different colors. The count order of the corne

Chapter 22 Shake-Generated Images 601 URColor, aUR, zURThe color, alpha channel value, and Z channel value at the upper-right corner. The color def

602 Chapter 22 Shake-Generated Images bytesThe bit depth of the generated image. There are three settings: 8 bits, 16 bits, or float (1, 2, or 4 by

Chapter 22 Shake-Generated Images 603 densityThe density of the pixels, from 0 to 1. A lower density results in fewer random pixels.seedChanges the

604 Chapter 22 Shake-Generated Images bytesThe bit depth of the generated image. There are three settings: 8 bits, 16 bits, or float (1, 2, or 4 by

Chapter 22 Shake-Generated Images 605 The Text node uses the Shake implementation of the GL Render. It allows you to not only manipulate the charac

606 Chapter 22 Shake-Generated Images Examples 1:To get special characters, such as umlauts, copyright symbols, and so on, use octal and hexadecima

Chapter 22 Shake-Generated Images 607 ParametersThis node displays the following controls in the Parameters tab:width, heightThe width and height v

608 Chapter 22 Shake-Generated Images xAlignThree buttons that let you define how the generated text should be aligned, horizontally. The options a

Chapter 22 Shake-Generated Images 609 TileThe Tile node is located in the Other tab. Tile does not generate an image, but makes small tiles of an i

Chapter 1 An Overview of the Shake User Interface 61 Viewer Lookups, Viewer Scripts, and the Viewer DODThere are three similar controls that affect

23 61123 Color CorrectionShake’s color-correction and pixel-analyzer functions provide many ways of analyzing and manipulating the color values o

612 Chapter 23 Color Correction For a practical discussion on using this technique, see Chapter 24, “Keying,” on page 681.Note: To view the images

Chapter 23 Color Correction 613 Example 1: Proper Color-Correction ConcatenationThe following example illustrates the correct method of concatenat

614 Chapter 23 Color Correction Prior to the Blur node, all of the values are boosted to 1 when multiplied by the first Brightness node’s adjustmen

Chapter 23 Color Correction 615 Note: AdjustHSV and LookupHSV only concatenate with each other.Making Concatenation VisibleWhen you turn on enhanc

616 Chapter 23 Color Correction In the following example, a computer-generated graphic is composited with a background image. The addition of a Con

Chapter 23 Color Correction 617 The following screenshot shows a correctly set up node tree. Mult, Gamma, and ContrastRGB nodes are inserted betwee

618 Chapter 23 Color Correction In the following example, an artifact of Internet pop culture is recreated using a Text node. The default black bac

Chapter 23 Color Correction 619 To color correct the area outside of the Domain of Definition (DOD, represented by the green bounding box), use the

62 Chapter 1 An Overview of the Shake User Interface When LogLin conversion is enabled in VLUT 2, you still work on the log image in the process tr

620 Chapter 23 Color Correction Using the Color PickerThe Color Picker tab is a centralized interface that lets you assign colors to node parameter

Chapter 23 Color Correction 621 Using Controls in the Color Picker You can adjust the controls in the Color Picker in the following ways:To choose

622 Chapter 23 Color Correction To load a sampled color into a Color control in the Parameters tab:1 In the Parameters tab, click the Color control

Chapter 23 Color Correction 623 To select a color from the Palette:mClick a color swatch. You can also drag and drop between the Palette swatches a

624 Chapter 23 Color Correction You can also choose or adjust colors numerically in the Color Picker by manipulating the values of each individual

Chapter 23 Color Correction 625 Use the color channel value fields to enter numeric values or expressions. The numeric ranges representing each col

626 Chapter 23 Color Correction The following chart lists all the keyboard shortcuts for color adjustments within a color control.To quickly select

Chapter 23 Color Correction 627 Customizing the Palette and Color Picker InterfaceThese commands are placed in your ui.h file. For more information

628 Chapter 23 Color Correction Note: The Pixel Analyzer tab should not be confused with the PixelAnalyzer node, found in the Other tab. For more

Chapter 23 Color Correction 629 Using the Pixel Analyzer Tab to Set LevelsThe following example shows you how the Pixel Analyzer can be used to per

Chapter 1 An Overview of the Shake User Interface 63 The following table includes the current default scripts and VLUTs.Button DescriptionVLUT: Th

630 Chapter 23 Color Correction 5 Drag the Minimum color to the Low Color control of the Expand node in the Parameters tab. 6 Drag the Maximum colo

Chapter 23 Color Correction 631 Value RangeShake numerically describes color as a range of 0 to 1 (0, 0, 0 is black; 1, 1, 1 is white). However, yo

632 Chapter 23 Color Correction To analyze an area:1 Attach the PixelAnalyzer node to an image. Double-click the PixelAnalyzer node to load its ima

Chapter 23 Color Correction 633 Setting Up the PixelAnalyzer NodeAttach a PixelAnalyzer node to the problem image. It will eventually be used as a

634 Chapter 23 Color Correction Method 3: Using a Mult Node to Correct All Three ChannelsMethod 2 assumes uniform variation across all three channe

Chapter 23 Color Correction 635 areaMinimumThe minimum value found within the analysis area over the span of the analysisRange.areaMaximumThe maxim

636 Chapter 23 Color Correction Consolidated CorrectorsThe consolidated correctors (ColorCorrect, ColorMatch, ColorReplace, HueCurves) are your pri

Chapter 23 Color Correction 637 Atomic-Level FunctionsThe term atomic-level is used because each of these nodes applies a single mathematical opera

638 Chapter 23 Color Correction AddThe Add node adds color to the R, G, B, A, or Z channel. Specifically, this node adds color to black areas, incl

Chapter 23 Color Correction 639 ClampThe Clamp node clamps off values above and below a certain range. For example, if your redHi value is .7, any

64 Chapter 1 An Overview of the Shake User Interface Viewer Script–Histogram: Displays a Histogram of your image.Viewer Script controls (right-cli

640 Chapter 23 Color Correction High ColorThe new highest value in the image. A value of 1 equals no change.aHiA high value control for the alpha c

Chapter 23 Color Correction 641 ParametersThis node displays the following controls in the Parameters tab:ValueThe contrast value. A higher value m

642 Chapter 23 Color Correction aLoA low color control for the alpha channel.High ColorPixels greater than or equal to Hi value go to 1. At 8 or 16

Chapter 23 Color Correction 643 rGammaThe red gamma value. gGammaThe green gamma value. bGammaThe blue gamma value. aGammaThe alpha gamma value. In

644 Chapter 23 Color Correction ParametersThis node displays the following control in the Parameters tab:WeightThe default R, G, and B values are s

Chapter 23 Color Correction 645 ParametersThis node displays the following control in the Parameters tab:valueA slider that defines the saturation

646 Chapter 23 Color Correction ParametersThis node displays the following controls in the Parameters tab:ColorAnything below this value goes to bl

Chapter 23 Color Correction 647 ParametersThis node displays the following controls in the Parameters tab:inSpaceSelects the incoming color space.o

648 Chapter 23 Color Correction Expressions can use the following variables:• The variables r, g, b, a, and z refer to the value of the original ch

Chapter 23 Color Correction 649 Note: This node only does color correction—it does not change your bit depth or your file type. When Shake imports

Chapter 1 An Overview of the Shake User Interface 65 Viewer Script–Superwhite/Subzero: Displays pixel values above 1 or below 0 for float images.

650 Chapter 23 Color Correction rNGammaGenerally, this number is not touched. The .6 is an average of the response curves, and may differ from stoc

Chapter 23 Color Correction 651 ParametersThis node displays the following controls in the Parameters tab:rExprUse this function to change the inpu

652 Chapter 23 Color Correction Sample Lookup TablesThe following table lists the Lookup equivalents of other Shake color-correction nodes.The foll

Chapter 23 Color Correction 653 LookupFileUse the LookupFile node to apply a lookup table to any image by reading a text file. The file should cons

654 Chapter 23 Color Correction ParametersThis node displays the following controls in the Parameters tab:lookupFileA text field where you enter th

Chapter 23 Color Correction 655 hExprUse this function to change the input value, always represented by “x.”aExprUse this function to change the in

656 Chapter 23 Color Correction MDiv The MDiv node divides the color channels by the alpha channel.When you color correct a rendered (premultiplied

Chapter 23 Color Correction 657 Reorder The Reorder node lets you shuffle channels. The argument to this command specifies the new order. A channel

658 Chapter 23 Color Correction channelsThe channels to be set.valueThe value of the channel.SetAlpha The SetAlpha node is simply a macro for Set a

Chapter 23 Color Correction 659 ParametersThis node displays the following controls in the Parameters tab:maskSpecifies the channels that are reset

66 Chapter 1 An Overview of the Shake User Interface More About Using VLUTsThe VLUTs and the Viewer scripts are similar in that they apply an arbit

660 Chapter 23 Color Correction ParametersThis node displays the following controls in the Parameters tab:sourceColorThese color controls let you s

Chapter 23 Color Correction 661 satOffsetThis is what is added to the saturation of the selected destination Color, thereby changing the intensity

662 Chapter 23 Color Correction The ColorCorrect SubtabsThe following table describes the ColorCorrect Parameter subtabs. Note: You can only view

Chapter 23 Color Correction 663 mClick the Color control, then select a color from the Viewer or the ColorWheel (in the Color Picker).mUse the Virt

664 Chapter 23 Color Correction The bottom portion of the tab contains buttons to toggle the channels from RGB display to a different color space m

Chapter 23 Color Correction 665 Working With Low, Mid, and High RangesThe following section discusses the differences in working with low, mid, and

666 Chapter 23 Color Correction You can control the range of the image that is considered to be in the shadows, midtones, and highlights in the Ran

Chapter 23 Color Correction 667 To control the mask areas, turn on the Ranges curve display at the bottom of the Range Curves tab. The left image b

668 Chapter 23 Color Correction The Misc Tab The Misc tab contains several functions.• Invert: Invert uses the formula 1-x, so float values may ha

Chapter 23 Color Correction 669 Order of CalculationsCalculations are made in the following order:• MDiv (optional)• ColorReplace• Invert• Lookup C

Chapter 1 An Overview of the Shake User Interface 67 Note: The Truelight VLUT control in the Viewer shelf lets you set the Viewer’s lookup table t

670 Chapter 23 Color Correction ParametersThis node displays the following controls in the Parameters tab:lowSourceThe low end of the RGB of the so

Chapter 23 Color Correction 671 AddAdds color to the input image. Blacks are modified when this is raised.minSets the clipping for the function.max

672 Chapter 23 Color Correction hueFalloffThis describes the amount of falloff from the affected to the unaffected hue region. A greater hueFalloff

Chapter 23 Color Correction 673 ParametersThis node displays the following controls in the Parameters tab:saturationRemoves saturation from the hue

674 Chapter 23 Color Correction gHueAdds green to the hue range you identify.bSuppressRemoves blue from the hue area you identify when you drag the

Chapter 23 Color Correction 675 When a node such as ContrastLum is inserted above the PlotScanline node, you can begin to understand the node. In t

676 Chapter 23 Color Correction PlotScanlineThe PlotScanline node is an analysis tool that examines a line of an image and graphs the intensity of

Chapter 23 Color Correction 677 ParametersThis node displays the following controls in the Parameters tab:widthThe width of the PlotScanline. You l

678 Chapter 23 Color Correction Example 2A 256 x 256 8-bit Color. Since the color is set to (approximately) .75, .5, .25, each channel exists at on

Chapter 23 Color Correction 679 ParametersThis node displays the following controls in the Parameters tab:widthThe width of the Histogram. You prob

68 Chapter 1 An Overview of the Shake User Interface Right-click the Viewer DOD button to access the DOD control options. For example, using Frame

24 68124 KeyingShake provides powerful, industry-standard keying tools in the Primatte and Keylight nodes, along with additional keying nodes suc

682 Chapter 24 Keying Pulling a Bluescreen or GreenscreenIn the Key Tool tab, the two primary nodes used to pull bluescreen and greenscreen keys ar

Chapter 24 Keying 683 Because ColorReplace puts white in the SourceColor area of the alpha channel, use the Invert node to invert the image for the

684 Chapter 24 Keying You can combine keys with the holdout matte input. Typically, you pull a basic key for soft edges and reflections. You also p

Chapter 24 Keying 685 Next, filters are attached to the Primatte node. A DilateErode is added, and the xPixels parameter set to 1 (this closes up a

686 Chapter 24 Keying Another way to combine keys applies only to the Primatte node, which features a useful arithmetic parameter. Normally, when y

Chapter 24 Keying 687 The following example uses a SwitchMatte node to assign the information from the combined keys to the foreground image. The r

688 Chapter 24 Keying The following examples use the woman.iff and bg.jpg files in the /Tutorial_08/images directory. Notice that there is quite a

Chapter 24 Keying 689 Using Color Replace—Method OneThis technique is nice because it is fast, but often simply replaces blue spill with a differen

Chapter 1 An Overview of the Shake User Interface 69 Also, see the table on page 54 for keyboard equivalents to Viewer buttons.The Viewer Shortcut

690 Chapter 24 Keying Using Color Replace—Method TwoA better technique is to use ColorReplace to mask a color correction. Replace ColorReplace2 wit

Chapter 24 Keying 691 HueCurvesThe HueCurves node, located in the Color Tool tab, enables you to boost colors or saturation based on the hue of the

692 Chapter 24 Keying A black line appears around the pillar.As mentioned earlier, it is better to composite after pulling your key because it give

Chapter 24 Keying 693 The next image illustrates a disabled preMultiply parameter in the Over node (because the mask/RGB premultiplied relationship

694 Chapter 24 Keying 3 Open the Mask subtree in the DilateErode parameters, then enable invertMask. The edges are now dilated everywhere except ar

Chapter 24 Keying 695 Problem 1: Edge RingingWhen the blur is applied, a blue edge is introduced along the woman’s neck line.Problem 2: Accidenta

696 Chapter 24 Keying Filtering Keys: The Correct WayThe problem with the three examples above is that the keying node, in this case Keylight, is

Chapter 24 Keying 697 On the other hand, if your foreground subject has slicked back hair, a crisp suit, and there are no translucent areas to worr

698 Chapter 24 Keying Although the information in video is transferred from the YUV colorspace into the RGB colorspace, you can still examine the o

Chapter 24 Keying 699 This converts the image back to RGB space. The key is greatly improved. In particular, the original blockiness around the edg

Contents 7 Chapter 7 217Using the Node View217 About Node-Based Compositing 218 Where Do Nodes Come From? 219 Navigating in the Node View 221 Using t

70 Chapter 1 An Overview of the Shake User Interface Node-Specific Viewer Shelf ControlsSome nodes, mainly transformations, have onscreen controls

700 Chapter 24 Keying To correct a DV key (method two):1 As in the first method, attach a ColorSpace node to the FileIn node containing the DV foot

Chapter 24 Keying 701 6 Now, attach the outputs of the LumaKey and the Keylight nodes to a Max node, to combine both alpha channels into one.The ab

702 Chapter 24 Keying 7 As an optional step, you may find it necessary to insert a DilateErode node between the Keylight and Max nodes in order to

Chapter 24 Keying 703 ChromaKey The ChromaKey node examines the HSV values of an image and pulls a matte based upon the parameters. In the interfac

704 Chapter 24 Keying satSharpnessDescribes the falloff curve from satRange to satFalloff.• 0 = linear drop-off• 1 = smooth drop-offvalRangePlus an

Chapter 24 Keying 705 hiValAny pixel above this value (as calculated by its depth) turns white.loSmoothA roll-off factor to provide a smooth drop-o

706 Chapter 24 Keying KeylightKeylight is an Academy Award-winning keyer from Framestore CFC based in England. It accurately models the interaction

Chapter 24 Keying 707 • status: Displays an image with different colors, each of which indicates what portions of the foreground image are handled

708 Chapter 24 Keying The transparency of the foreground is measured by calculating the difference between the dominant screen color (blue by defau

Chapter 24 Keying 709 colourspaceKeylight models the interaction of the blue/green light from the screen with the foreground elements. For these ca

Chapter 1 An Overview of the Shake User Interface 71 The following table shows the common onscreen control buttons.Button DescriptionOnscreen Contr

710 Chapter 24 Keying hiValAny pixel above this value (as calculated by its luminance) turns white.loSmoothA roll-off factor to provide a smooth dr

Chapter 24 Keying 711 In Primatte, you assign color to one of four zones by clicking one of the eight large operator buttons, then scrubbing for a

712 Chapter 24 Keying • status: Presents an image with different colors, displaying which parts of the image fall into the four Primatte zones. Th

Chapter 24 Keying 713 operator Each button that appears in the group of controls labelled “operator” allows you to modify the key created by Primat

714 Chapter 24 Keying • decolor all: When this mode is selected, the value parameter appears at the bottom of the Parameters tab.Adjusting the val

Chapter 24 Keying 715 This initial pixel scrub that defines the center is always operation 0 in the currentOp slider. To readjust the center, move

716 Chapter 24 Keying screenColorSelect color to suppress.• 0 = Suppress blue• 1 = Suppress green. gGain then converts to bGain.

25 71725 Image Tracking, Stabilization, and SmoothCamShake provides several methods of tracking, stabilizing, and smoothing moving subjects in yo

718 Chapter 25 Image Tracking, Stabilization, and SmoothCam • SmoothCam: This node differs from the others above in that it doesn’t track small gr

Chapter 25 Image Tracking, Stabilization, and SmoothCam 719 Using referenceBehaviorThe referenceBehavior parameter controls if and when the referen

72 Chapter 1 An Overview of the Shake User Interface The Parameters TabsThe controls that let you adjust the parameters for each of the nodes in th

720 Chapter 25 Image Tracking, Stabilization, and SmoothCam For this reason, most trackers don’t handle significant rotational movement very well—t

Chapter 25 Image Tracking, Stabilization, and SmoothCam 721 Stabilize AdditionsIf you are using the Stabilize node, include the following additiona

722 Chapter 25 Image Tracking, Stabilization, and SmoothCam • Track point: The center crosshairs To move the tracker:mClick a blank area inside of

Chapter 25 Image Tracking, Stabilization, and SmoothCam 723 Note: For four-point MatchMove and Stabilize operations, the trackers should be positi

724 Chapter 25 Image Tracking, Stabilization, and SmoothCam 4 To reset the search area back to the original tracking point, click the Reset Track b

Chapter 25 Image Tracking, Stabilization, and SmoothCam 725 Next to each track name is a Color Picker and a Visibility button.To change the color o

726 Chapter 25 Image Tracking, Stabilization, and SmoothCam matchSpace The pixels are matched according to the correlation between the selected col

Chapter 25 Image Tracking, Stabilization, and SmoothCam 727 update if below reference tolerance This updates the reference sample from the previous

728 Chapter 25 Image Tracking, Stabilization, and SmoothCam Tracking Shortcut Menu Right-click in the text field of a trackName to open a shortcut

Chapter 25 Image Tracking, Stabilization, and SmoothCam 729 Picking a Good Reference PatternThe ideal reference pattern is one that doesn’t change

Chapter 1 An Overview of the Shake User Interface 73 The parameters indicator appears on the right side of the node, and the node’s parameters are

730 Chapter 25 Image Tracking, Stabilization, and SmoothCam The following example shows a track marker placed on a TV screen so the client could pl

Chapter 25 Image Tracking, Stabilization, and SmoothCam 731 Manually Coax Your TrackAnother technique you can use is to manually insert tracking ke

732 Chapter 25 Image Tracking, Stabilization, and SmoothCam Increasing Contrast and Preprocessing the ImageIt is often helpful to apply a Monochrom

Chapter 25 Image Tracking, Stabilization, and SmoothCam 733 The second strategy is to use the Offset Tracker button (in the Viewer shelf). When the

734 Chapter 25 Image Tracking, Stabilization, and SmoothCam Use the + and – keys (next to the Delete or Backspace key) to zoom in and out of the cl

Chapter 25 Image Tracking, Stabilization, and SmoothCam 735 5 Select Tracker1.track1 and Tracker1.track2 as the first two inputs, respectively, and

736 Chapter 25 Image Tracking, Stabilization, and SmoothCam To smooth a track curve:1 Right-click the track you want to smooth, then choose Smooth

Chapter 25 Image Tracking, Stabilization, and SmoothCam 737 After the track curve is smoothed:Linking to Tracking DataReferencing track point data

738 Chapter 25 Image Tracking, Stabilization, and SmoothCam At this point, you have a track and a smoothed version of that track. The following exa

Chapter 25 Image Tracking, Stabilization, and SmoothCam 739 In the applyScale and applyRotate parameters, enable “live” to use the mathematical cal

74 Chapter 1 An Overview of the Shake User Interface For example, you can view the resulting image from the bottommost node in a tree, while adjust

740 Chapter 25 Image Tracking, Stabilization, and SmoothCam Tracking File FormatThe following is a sample saved track file for use with the Save Tr

Chapter 25 Image Tracking, Stabilization, and SmoothCam 741 ParametersThis node displays the following controls in the Parameters tab:applyTransfor

742 Chapter 25 Image Tracking, Stabilization, and SmoothCam refFrameThe reference frame that is used to calculate the null state of the transformat

Chapter 25 Image Tracking, Stabilization, and SmoothCam 743 • 1/32: Area is sampled at every .03125 pixels (1024 times more than with a sampling o

744 Chapter 25 Image Tracking, Stabilization, and SmoothCam • update if above reference tolerance: This option updates the reference sample from t

Chapter 25 Image Tracking, Stabilization, and SmoothCam 745 trackRangeThe trackRange parameter is the potential frame range limit of your track. By

746 Chapter 25 Image Tracking, Stabilization, and SmoothCam inverseTransformInverts the transformation. Use this to “unstabilize” the shot. For exa

Chapter 25 Image Tracking, Stabilization, and SmoothCam 747 • shutterOffset: A subparameter of motionBlur. Controls the offset from the current fr

748 Chapter 25 Image Tracking, Stabilization, and SmoothCam • matchSpace: The pixels are matched according to the correlation between the selected

Chapter 25 Image Tracking, Stabilization, and SmoothCam 749 • failureTolerance: If the correlation value of the tracker’s analysis falls below the

Chapter 1 An Overview of the Shake User Interface 75 Each parameter has several types of controls that you can use to change that parameter’s numer

750 Chapter 25 Image Tracking, Stabilization, and SmoothCam track1Name, track2Name…The name of the track. To change the name, click in the text fie

Chapter 25 Image Tracking, Stabilization, and SmoothCam 751 ParametersThis node displays the following controls in the Parameters tab:trackRangeThe

752 Chapter 25 Image Tracking, Stabilization, and SmoothCam • update every frame: The source sample is updated from the previous frame. This usual

Chapter 25 Image Tracking, Stabilization, and SmoothCam 753 tolerancesThe tolerances subtree contains subparameters that let you control this node’

754 Chapter 25 Image Tracking, Stabilization, and SmoothCam • track1BottomSearch: height/2-height/15• track1TopSearch: height/2+height/15• track1

Chapter 25 Image Tracking, Stabilization, and SmoothCam 755 Masking Important FeaturesThe SmoothCam node has two inputs. The first one is for the i

756 Chapter 25 Image Tracking, Stabilization, and SmoothCam 3 Adjust the translationSmooth, rotationSmooth, and zoomSmooth sliders to increase or d

Chapter 25 Image Tracking, Stabilization, and SmoothCam 757 Try Editing the Analysis DataIf neither of the prior solutions helps, try loading the c

758 Chapter 25 Image Tracking, Stabilization, and SmoothCam inThis option maintains the frame size of the input image as that of the output image.

Chapter 25 Image Tracking, Stabilization, and SmoothCam 759 Parameters in the SmoothCam NodeThis node displays the following controls in the Parame

76 Chapter 1 An Overview of the Shake User Interface When the Load Curves button is enabled (checked), the parameter is displayed in the Curve Edit

760 Chapter 25 Image Tracking, Stabilization, and SmoothCam • in: Maintains the frame size of the input image as that of the output image. The res

Chapter 25 Image Tracking, Stabilization, and SmoothCam 761 • zoomLock: Locks an image that is being zoomed.Note: Don’t turn on zoomLock unless y

26 76326 Transformations, Motion Blur, and AutoAlignShake’s transformation nodes provide many ways to geometrically manipulate the position, size

764 Chapter 26 Transformations, Motion Blur, and AutoAlign Concatenation of TransformationsMany of the transform nodes concatenate, similar to the

Chapter 26 Transformations, Motion Blur, and AutoAlign 765 For example, you cannot apply a Rotate node, an Over node, a Blur node, and then a Move2

766 Chapter 26 Transformations, Motion Blur, and AutoAlign Inverting TransformationsThe Move2D and CornerPin nodes have an inverseTransform paramet

Chapter 26 Transformations, Motion Blur, and AutoAlign 767 Viewer Shelf ControlsWhen you use an active node with onscreen controls, additional cont

768 Chapter 26 Transformations, Motion Blur, and AutoAlign The following table shows the common onscreen control buttons.Button DescriptionOnscreen

Chapter 26 Transformations, Motion Blur, and AutoAlign 769 Transform ControlsThe most commonly used transform node is Move2D. The Move2D node combi

Chapter 1 An Overview of the Shake User Interface 77 mClick the plus (+) sign to the left of the Color control to access color subparameters. The f

770 Chapter 26 Transformations, Motion Blur, and AutoAlign Drag the center control to move the point about which scaling is performed, affecting th

Chapter 26 Transformations, Motion Blur, and AutoAlign 771 RotateDrag the blue rotate control to rotate the image about the center point, affecting

772 Chapter 26 Transformations, Motion Blur, and AutoAlign After an image is rotated with the Move2D node, the horizontal and vertical panning cont

Chapter 26 Transformations, Motion Blur, and AutoAlign 773 CropThis onscreen transform control, available in the Crop node, lets you drag any corne

774 Chapter 26 Transformations, Motion Blur, and AutoAlign Onscreen Controls Across Multiple TransformationsIf you apply multiple transformations t

Chapter 26 Transformations, Motion Blur, and AutoAlign 775 In this example, the CornerPin node is composited over the original RGrad node. As shown

776 Chapter 26 Transformations, Motion Blur, and AutoAlign SetDOD No No Yes NoResize Yes Yes No YesFit Yes Yes Yes No Zoom Yes Yes No YesNode Exa

Chapter 26 Transformations, Motion Blur, and AutoAlign 777 Window -33, -33, 166, 166 Window is identical to Crop, except that you specify the out

778 Chapter 26 Transformations, Motion Blur, and AutoAlign Creating Motion Blur in ShakeMotion blur can be applied to any animated transformation.

Chapter 26 Transformations, Motion Blur, and AutoAlign 779 In the following example, two elements are composited together to simulate a car moving

78 Chapter 1 An Overview of the Shake User Interface Using Expressions in ParametersAn expression is any non-numeric entry, such as a variable or a

780 Chapter 26 Transformations, Motion Blur, and AutoAlign The result is inaccurate when motion blur is applied. This is because the SpinWheel node

Chapter 26 Transformations, Motion Blur, and AutoAlign 781 Note: To create a cloned node, copy the node (press Command-C or Control-C) and clone t

782 Chapter 26 Transformations, Motion Blur, and AutoAlign The following example uses a previously rendered a clip of a swinging pendulum.To add bl

Chapter 26 Transformations, Motion Blur, and AutoAlign 783 The element remains static, but the blur is still applied as if it were moving.For a les

784 Chapter 26 Transformations, Motion Blur, and AutoAlign Unlike similar photographic tools, the AutoAlign node works with both stills and image s

Chapter 26 Transformations, Motion Blur, and AutoAlign 785 As you can see in the above example, the resulting image may have an irregular border, d

786 Chapter 26 Transformations, Motion Blur, and AutoAlign Using the AutoAlign node to align the second image with the first, you can quickly match

Chapter 26 Transformations, Motion Blur, and AutoAlign 787 AutoAlign Image RequirementsAlthough the AutoAlign node is a very flexible tool, it prod

788 Chapter 26 Transformations, Motion Blur, and AutoAlign If you’re not satisfied with the result later in the operation, change the mode to robus

Chapter 26 Transformations, Motion Blur, and AutoAlign 789 The order in which they are connected is not important.2 Use the clipLayer and lockedPla

Chapter 1 An Overview of the Shake User Interface 79 Linking One Parameter to AnotherYou can link any parameter to any other parameter.To link para

790 Chapter 26 Transformations, Motion Blur, and AutoAlign 5 Once the analysis has concluded, changing blendMode to mix and scrubbing through the T

Chapter 26 Transformations, Motion Blur, and AutoAlign 791 7 The auto-aligned clean plate can now be used in paint or rotoscoping operations to rem

792 Chapter 26 Transformations, Motion Blur, and AutoAlign AutoAlign ParametersThe AutoAlign node displays the following controls in the Parameters

Chapter 26 Transformations, Motion Blur, and AutoAlign 793 • 0.5: Indicates an uncertain analysis. Despite the uncertainty, Shake has generated a

794 Chapter 26 Transformations, Motion Blur, and AutoAlign Note: If necessary, you can preprocess images connected to the AutoAlign node with othe

Chapter 26 Transformations, Motion Blur, and AutoAlign 795 seedWhen Shake generates a random pattern of values, you need to make sure for purposes

796 Chapter 26 Transformations, Motion Blur, and AutoAlign ParametersThis node displays the following controls in the Parameters tab:x0, y0, x1, y1

Chapter 26 Transformations, Motion Blur, and AutoAlign 797 FlopThe Flop node flops the image left and right. Unlike the Flip node, this does not bu

798 Chapter 26 Transformations, Motion Blur, and AutoAlign Note: Entering a negative value into the xScale or yScale numeric field reverses the im

Chapter 26 Transformations, Motion Blur, and AutoAlign 799 useReferenceApplies the transform to the image or doesn’t. If it doesn’t, and you have a

8 Contents Chapter 10 291 Parameter Animation and the Curve Editor291 Animating Parameters With Keyframes 294 Using the Curve Editor 298 Navigating t

80 Chapter 1 An Overview of the Shake User Interface Displaying Parameter Values in the ViewerYou can dynamically display the values of parameters

800 Chapter 26 Transformations, Motion Blur, and AutoAlign xScale, yScale, zScaleThese parameters let you change the scale of the image along any a

Chapter 26 Transformations, Motion Blur, and AutoAlign 801 • shutterTiming: A subparameter of motionBlur used to specify shutter length. 0 is no b

802 Chapter 26 Transformations, Motion Blur, and AutoAlign PanThe Pan node pans the image with subpixel precision. To wrap an image around the fram

Chapter 26 Transformations, Motion Blur, and AutoAlign 803 motionBlurMotion Blur quality level. 0 is no blur, whereas 1 represents standard filteri

804 Chapter 26 Transformations, Motion Blur, and AutoAlign • shutterTiming: A subparameter of motionBlur used to specify shutter length. 0 is no b

Chapter 26 Transformations, Motion Blur, and AutoAlign 805 ParametersThis node displays the following controls in the Parameters tab:left, right, b

27 80727 Warping and Morphing ImagesShake provides powerful warping and morphing tools that are flexible enough to use for a wide variety of comp

808 Chapter 27 Warping and Morphing Images ParametersThis node displays the following controls in the Parameters tab:overSamplingThe actual number

Chapter 27 Warping and Morphing Images 809 The following image is a checkerboard warped with a QuickShape node. Because the shape is black and whit

Chapter 1 An Overview of the Shake User Interface 81 The Parameters Tab Shortcut MenuThe following table lists the options that appear when you rig

810 Chapter 27 Warping and Morphing Images This technique combines well with the Relief macro in the “Cookbook” chapter of this manual.ParametersTh

Chapter 27 Warping and Morphing Images 811 LensWarpThis node lets you make subtle or large adjustments to an image to either correct for, or simula

812 Chapter 27 Warping and Morphing Images To finish drawing an open shape, double-click to draw the last point and end the shape.Note: The LensWa

Chapter 27 Warping and Morphing Images 813 ParametersThis node displays the following controls in the Parameters tab:analyzeAfter you’ve created on

814 Chapter 27 Warping and Morphing Images overSamplingAn integer value that represents the numbers of samples per pixel that are taken into accoun

Chapter 27 Warping and Morphing Images 815 Shake uses the seed value as the basis for generating a random value. Using the same seed value results

816 Chapter 27 Warping and Morphing Images Shake uses the seed value as the basis for generating a random value. Using the same seed value results

Chapter 27 Warping and Morphing Images 817 The following examples are on a grid. By modifying x and y, you specify from what pixel the information

818 Chapter 27 Warping and Morphing Images Expr ValuexExpr float xc=(x-width/2); float yc=(y-height/2);float r=sqrt(xc*xc+yc*yc); float newr=r*sin(

Chapter 27 Warping and Morphing Images 819 Expr ValuexExpr float xc=(x-width/2); float yc=(y-height/2);float r=sqrt(xc*xc+yc*yc); float a=atan2(yc,

82 Chapter 1 An Overview of the Shake User Interface The Domain of Definition (DOD)The Domain of Definition (DOD) is a rectangular zone that Shake

820 Chapter 27 Warping and Morphing Images Expr ValuexExpr float xc=(x-width/2); float yc=(y-height/2);float r=sqrt(xc*xc+yc*yc); float a=atan2d(yc

Chapter 27 Warping and Morphing Images 821 ParametersThis node displays the following controls in the Parameters tab:overSamplingThe actual number

822 Chapter 27 Warping and Morphing Images Using this formula yields the following memory usage table:If you don’t have enough RAM to handle the re

Chapter 27 Warping and Morphing Images 823 The following example shows multiple instances of these same basic shapes employed to create a more comp

824 Chapter 27 Warping and Morphing Images • Displaced Target Shapes: These are not shapes you either create or modify directly. Instead, they’re

Chapter 27 Warping and Morphing Images 825 In some instances, you can create a more convincing effect using multiple source/target shape pairs. In

826 Chapter 27 Warping and Morphing Images Animating Control ShapesUnless you’re deforming a still image, it will probably be necessary to animate

Chapter 27 Warping and Morphing Images 827 Connection lines can be moved, and even animated, to control the speed and direction of deformation. Add

828 Chapter 27 Warping and Morphing Images It’s important to understand that boundary shapes don’t eliminate distortion from the surrounding image;

Chapter 27 Warping and Morphing Images 829 For example, if you want to isolate a warping operation to a particular region, you can create a closed

Chapter 1 An Overview of the Shake User Interface 83 There is a significant difference in rendering speed, even though both images are the same res

830 Chapter 27 Warping and Morphing Images Creating and Modifying ShapesMany of the shape controls of the Warper and Morpher nodes are identical to

Chapter 27 Warping and Morphing Images 831 Spline/Linear Mode Toggles selected to act as either corner points or Bezier points.Delete Control Point

832 Chapter 27 Warping and Morphing Images Drawing and Editing ShapesThe biggest difference between drawing shapes with the RotoShape node and with

Chapter 27 Warping and Morphing Images 833 If necessary, zoom into the image in the Viewer to better trace the necessary features of the subject yo

834 Chapter 27 Warping and Morphing Images Important: You can only create single-point shapes and open shapes in the Warper and Morpher nodes. You

Chapter 27 Warping and Morphing Images 835 • Hold the Shift key down and drag to add points to a selection.• Hold the Command or Control key down,

836 Chapter 27 Warping and Morphing Images To change a curve by editing a point’s tangent handles:1 Make sure the Show/Hide Tangents button is set

Chapter 27 Warping and Morphing Images 837 To keep the angle of both tangent handles at 180 degrees relative to one another, keeping the lengths of

838 Chapter 27 Warping and Morphing Images • Drag the X handle to resize the shape horizontally, or drag the Y handle to resize the shape verticall

Chapter 27 Warping and Morphing Images 839 To show or hide an individual shape directly in the Viewer, do one of the following:mRight-click anywher

84 Chapter 1 An Overview of the Shake User Interface • The SetDOD node, located in the Transform tab, allows you to manually assign a DOD to an ima

840 Chapter 27 Warping and Morphing Images Copying Shapes From a RotoShape NodeYou can copy shapes from a RotoShape node and paste them into a Warp

Chapter 27 Warping and Morphing Images 841 After the shapes are connected, the source shape appears with a light blue path, and the target shape ap

842 Chapter 27 Warping and Morphing Images 3 With both points selected, dragging one of them will move both at the same time. Both ends of the conn

Chapter 27 Warping and Morphing Images 843 You can also lock individual source and target shapes using the lock button to the left of each shape pa

844 Chapter 27 Warping and Morphing Images Shape ColorsBy default, the paths of source shapes are light blue; paths of target shapes are dark blue;

Chapter 27 Warping and Morphing Images 845 rotoTransformIncrementThis parameter allows you to adjust the sensitivity of shape transform controls. W

846 Chapter 27 Warping and Morphing Images Parameters in the Warper NodeA simple example of a Warper node used to warp an image with a single pair

Chapter 27 Warping and Morphing Images 847 addBorderShapeA button that allows you to use the border of the image as a control shape to limit the wa

848 Chapter 27 Warping and Morphing Images A Warper Node ExampleThe Warper node is extremely flexible, and can be used for a wide variety of image

Chapter 27 Warping and Morphing Images 849 Next, you need to create a corresponding target shape for each source shape you created. Target shapes d

Chapter 1 An Overview of the Shake User Interface 85 Combining images with a DOD is an excellent way to optimize greenscreen or bluescreen images t

850 Chapter 27 Warping and Morphing Images After this second click, the source/target shape pair is defined, the shape colors change, and a connect

Chapter 27 Warping and Morphing Images 851 In this example, the connection lines are straightened in the eyes (see “Modifying Connection Lines” on

852 Chapter 27 Warping and Morphing Images Note: In addition to viewing the actual warp effect, you can view the position of the displacement targ

Chapter 27 Warping and Morphing Images 853 Boundary shapes can be either open, closed, or single-point shapes, depending on how much of the image y

854 Chapter 27 Warping and Morphing Images You can also individually animate the displacement caused by each source/target shape pair you’ve define

Chapter 27 Warping and Morphing Images 855 Because morphing warps images the same way the Warper node does, it is essential to isolate the subjects

856 Chapter 27 Warping and Morphing Images How to Morph Two Images1 In the Node View, attach a Morpher node to two images. This example creates the

Chapter 27 Warping and Morphing Images 857 If it is necessary to isolate the subject of the source and target images, you may want to insert RotoSh

858 Chapter 27 Warping and Morphing Images 6 To create a set of target shapes to connect to the source shapes you created in step 4, do one of the

Chapter 27 Warping and Morphing Images 859 When readjusting the target shapes you’ve created, the sheer number of shapes needed to create your morp

86 Chapter 1 An Overview of the Shake User Interface The two main keyers in Shake, Keylight and Primatte, recognize the background color, and have

860 Chapter 27 Warping and Morphing Images To add a new keyframe, move the playhead to a frame where you want to make an adjustment, click the Auto

28 86128 FiltersThe filter nodes in Shake not only enable simple image manipulation—they also provide numerous ways to modify alpha channel data,

862 Chapter 28 Filters The result—is merely a blend between sharp and blurred elements—is not very compelling. (Note that the Ramp node has a defau

Chapter 28 Filters 863 To further maximize the quality of transforms, some nodes in Shake (such as CornerPin) let you use separate filter operation

864 Chapter 28 Filters The Filter NodesThe following sections describe each filter node, and include parameters, defaults, and examples.ApplyFilter

Chapter 28 Filters 865 Shake’s Blur is one of the few nodes that can deactivate the Infinite Workspace —its “spread” parameter gives you the choice

866 Chapter 28 Filters • sobelH: horizontal embossing• sobelV: veritcal embossing• BabuV: another vertical edge detection• BabuH: another horiz

Chapter 28 Filters 867 ParametersThis node displays the following controls in the Parameters tab:channelsLets you set which channels Shake should b

868 Chapter 28 Filters Defocus The Defocus blur node is a more accurate model of the blurring that occurs through an out-of-focus real-world camera

Chapter 28 Filters 869 percentA slider that lets you mix the modified image and the original image together to produce a blend of both. By default,

Chapter 1 An Overview of the Shake User Interface 87 There may be cases, however, where you want to take advantage of the DOD for masking purposes.

870 Chapter 28 Filters ParametersThis node displays the following controls in the Parameters tab:channelsLets you set which channels Shake should b

Chapter 28 Filters 871 directionFilterEnables an effect similar to Emboss.directionFilterangleThis parameter changes the lighting angle when the di

872 Chapter 28 Filters Emboss With the Emboss node, you control the gain and light direction to simulate a raised texture over an image.Note: The

Chapter 28 Filters 873 4 Ensure that the FilmGrain parameters are still active.5 In the Viewer, drag to create boxes in the areas you want to sampl

874 Chapter 28 Filters Shake uses the seed value as the basis for generating a random value. Using the same seed value results in the same random v

Chapter 28 Filters 875 filmResponseDetermines the extent to which the grain inherits its color from the input image instead of simply black and whi

876 Chapter 28 Filters seedThe random seed for the grain. When Shake generates a random pattern of values, you need to make sure for purposes of co

Chapter 28 Filters 877 Grain ExampleIn the following example, the first node tree consists of a Ramp node and a PlotScanline node. The PlotScanline

878 Chapter 28 Filters The next image is the result of increasing the lGain (or rGain, gGain, and bGain on a per-channel basis), and increasing the

Chapter 28 Filters 879 IBlurThe IBlur node blurs the image, with the amount of blur set by a second control image. Maximum blur occurs in the white

88 Chapter 1 An Overview of the Shake User Interface The Time BarThe Time Bar, at the bottom of the Shake window, displays the currently defined ra

880 Chapter 28 Filters ParametersThis node displays the following controls in the Parameters tab:xPixels, yPixelsThe amount of blur as described in

Chapter 28 Filters 881 channelsLets you set which channels Shake should blur. You can choose one or all of the red, green, blue, or alpha channels.

882 Chapter 28 Filters invertInverts the controlChannel.IDilateErode The IDilateErode node isolates each channel and cuts or adds pixels to the edg

Chapter 28 Filters 883 controlChannelThe channel of the controlling image to use to control the amount of the effect.invertInverts the controlChann

884 Chapter 28 Filters blurQualityThe amount of samples. A quality of 1, the maximum, is 64 samples.mirrorConsiders points beyond the center area i

Chapter 28 Filters 885 stepsThe number of steps. The intensity of the control image is divided up X amount of zones, with X equal to steps.stepBlen

886 Chapter 28 Filters spreadTells Shake whether or not to consider outside of the frame. A button to the right of the parameter name lets you set

Chapter 28 Filters 887 ParametersThis node displays the following controls in the Parameters tab:xCenter, yCenterThe center point of the blur. By d

888 Chapter 28 Filters Sharpen Un-sharp masking is used for the sharpening filter. This process blurs the image slightly, takes the difference betw

Chapter 28 Filters 889 The following example is from a 3D render. Ringing appears around the background letters of the text when normally passed in

Chapter 1 An Overview of the Shake User Interface 89 mTo pan across the Time Bar, press the middle mouse button and drag; or Option-click or Alt-cl

890 Chapter 28 Filters focusRangeThe distance away from the focusCenter, both toward and away from the camera, that remains unblurred.stepsThe numb

Chapter 28 Filters 891 shapeA pop-up menu that lets you choose the shape of the flaring in the resulting image. The fast modes give you low quality

IIIPart III: Optimizing, Macros, and ScriptingThis section covers advanced techniques and tips that allow you to streamline your workflow in Shake.Cha

29 89529 Optimizing and Troubleshooting Your ScriptsThis chapter provides tips and techniques for optimizing your Shake scripts, to maximize imag

896 Chapter 29 Optimizing and Troubleshooting Your Scripts To strip out the RGB channels, leaving the alpha: mEnter the following command-line func

Chapter 29 Optimizing and Troubleshooting Your Scripts 897 To take advantage of this feature, try not to mask or insert non-concatenating nodes bet

898 Chapter 29 Optimizing and Troubleshooting Your Scripts In the following example, one of the balloon images has a color correction, Defocus oper

Chapter 29 Optimizing and Troubleshooting Your Scripts 899 Use the SetDOD Node to Reduce Rendering TimeThis node limits the portion of the image th

Contents 9393 Environment Variables for Shake400 Interface Devices and Styles401 Customizing the Flipbook401 Configuring Additional Support for Apple

90 Chapter 1 An Overview of the Shake User Interface Previewing Your Script Using the FlipbookYou can render a temporary Flipbook to preview your w

900 Chapter 29 Optimizing and Troubleshooting Your Scripts The Unbreakable Rules of PremultiplicationIf you don’t read the full explanation of the

Chapter 29 Optimizing and Troubleshooting Your Scripts 901 Solution You can load Shake's viewer lookup controls into the Parameters tab, then

902 Chapter 29 Optimizing and Troubleshooting Your Scripts Important: QuickTime movies compressed using the Animation codec (which only supports t

Chapter 29 Optimizing and Troubleshooting Your Scripts 903 Don’t Mask Concatenating NodesMasking a node breaks concatenation. This is bad. It slows

904 Chapter 29 Optimizing and Troubleshooting Your Scripts Don’t Apply the Same Mask to Multiple Successive NodesEven if the nodes do not normally

30 90530 Installing and Creating MacrosIf there’s a particular image-processing tree you’ve created that you would like to save for future use, y

906 Chapter 30 Installing and Creating Macros This is referred to as the startup directory, and is used for both .h preference files, and for the i

Chapter 30 Installing and Creating Macros 907 Preference File Load OrderSometimes, macros have to be loaded in a specific order. This is mainly tru

908 Chapter 30 Installing and Creating Macros Creating the Node StructureFirst, create the node structure for the function (what you want to occur

Chapter 30 Installing and Creating Macros 909 Making a MacroSince the above steps are tedious to manually recreate, create a macro.To create a macr

2 912 Setting a Script’s Global ParametersThis chapter covers how to set the global parameters within each script, tailoring your script’s proper

910 Chapter 30 Installing and Creating Macros The lower portion of the Shake MacroMaker window lists all of the nodes and the parameters that can b

Chapter 30 Installing and Creating Macros 911 7 Click OK.The new push-button node appears in the Transform tab.8 Add the new node to the Node View.

912 Chapter 30 Installing and Creating Macros Edit the macro in this file. The parameters motionBlur, shutterTiming, and shutterOffset are declared

Chapter 30 Installing and Creating Macros 913 Modifying the Macro InterfaceThe macro file in the startup directory merely creates the function. The

914 Chapter 30 Installing and Creating Macros Note: You must strip out the alpha channel of the image. You can do this in Shake with a SetAlpha no

Chapter 30 Installing and Creating Macros 915 Notice that the default parameter value is optional, so if you use this particular function, all four

916 Chapter 30 Installing and Creating Macros The LumaKey node is used to extract only the highlights. The highlights are blurred, and then applied

Chapter 30 Installing and Creating Macros 917 Type:shake -help softglowto return:-softglow [blur] [lowClip] [hiClip] [percent]Loading Image Macros

918 Chapter 30 Installing and Creating Macros Typical Errors When Creating MacrosThe following table contains a list of typical errors in macro cre

Chapter 30 Installing and Creating Macros 919 Each of these has a default value assigned. Note that the image has 0, which indicates “no input.”The

92 Chapter 2 Setting a Script’s Global Parameters Note: The global controls also appear in the Parameters1 tab when Shake is first started, or whe

920 Chapter 30 Installing and Creating Macros The macro that is created in the following example is called VidResize. It takes an image of any size

Chapter 30 Installing and Creating Macros 921 bgRed, bgGreen, bgBlue, 0, 0);Select1 = Select(keepAspect, Resize1, SetBGColor1, 0, 0);return Select1

922 Chapter 30 Installing and Creating Macros The keepAspect slider now goes from 1 to 2.Creating an On/Off ButtonRather than using a value (1 or 2

Chapter 30 Installing and Creating Macros 923 The keepAspect parameter has an on/off button.Attaching Color Pickers and SubtreesUsing a slider to s

924 Chapter 30 Installing and Creating Macros The Color control is added to the interface.Attaching Button TogglesNext, attach a button to toggle t

Chapter 30 Installing and Creating Macros 925 The new lines list the normal button, followed by the focus button. The icons directory is automatica

926 Chapter 30 Installing and Creating Macros The numbers immediately to the left of the icon listing, for example, the 0 in “0|ux/vr_ntsc”, show t

Chapter 30 Installing and Creating Macros 927 To attach a pop-up menu:1 Add the following code to the ui file to create a pop-up menu:nuiPushMenu(“

928 Chapter 30 Installing and Creating Macros );Select1 = Select(keepAspect+1, Resize1, SetBGColor1, 0, 0);return Select1;} 3 Save the file and sta

Chapter 30 Installing and Creating Macros 929 VariablesMacro ExamplesThe following are several examples of macros. Many of these macros can be foun

Chapter 2 Setting a Script’s Global Parameters 93 The starting frame does not always have to be set to 1. For example, to quickly trim off the firs

930 Chapter 30 Installing and Creating Macros shake uboat.iff -autofit 166 wThis calculates an image that is 166 x 125 pixels in size. It is not ne

Chapter 30 Installing and Creating Macros 931 {curve string rdLetter = stringf(“%c”,’A’+(int)floor(rnd1d(seed,time)*26));return Text(width, height,

932 Chapter 30 Installing and Creating Macros Text Manipulation III: A BannerThis little trick takes a string of letters and prints it, one letter

Chapter 30 Installing and Creating Macros 933 Text Manipulation V: Extracting Part of a StringThis function can be used to extract the file name f

31 93531 Expressions and ScriptingOne of the more powerful aspects of Shake is its ability to use a wide variety of expressions and script code d

936 Chapter 31 Expressions and Scripting For example, the Move2D node links the yScale parameter as equal to the xScale parameter by default. To sh

Chapter 31 Expressions and Scripting 937 Viewing Links in the Node ViewTo help you make sense of what’s happening in the node tree, you can view th

938 Chapter 31 Expressions and Scripting When referring to a variable from a different node, place the node name before the variable:node_name.widt

Chapter 31 Expressions and Scripting 939 • Slider Low Val: For float and int variables, the lowest value the slider will represent.• Slider Hi Val

94 Chapter 2 Setting a Script’s Global Parameters interactiveScaleIf the general processing speed for your operations is fine, but the interactivit

940 Chapter 31 Expressions and Scripting You can type an expression in any field. Some nodes, such as ColorX, WarpX, and TimeX, even support locall

Chapter 31 Expressions and Scripting 941 Reference Tables for Functions, Variables, and ExpressionsAll of the math functions available in Shake can

942 Chapter 31 Expressions and Scripting The following table shows channel variables used in nodes such as ColorX, LayerX, Reorder, etc. Check the

Chapter 31 Expressions and Scripting 943 log10(x) Returns base 10 log. log10(10) = 1M_PI A variable set to pi at 20 decimal places.max(a,b) Returns

944 Chapter 31 Expressions and Scripting rnd2d(seed,seed,seed) 2d random value.rnd3d(seed,seed,seed,seed) 3d random value.rnd4d(seed,seed,seed,seed

Chapter 31 Expressions and Scripting 945 Curve FunctionsThe curve functions with implicit time (Linear, CSpline, and so on.) all assume that time i

946 Chapter 31 Expressions and Scripting The following expressions provide functions for curve analysis.CSpline(cycle, value@key1, value@key2,...)C

Chapter 31 Expressions and Scripting 947 Using Signal Generators Within ExpressionsThis section illustrates the use of the various signal generator

948 Chapter 31 Expressions and Scripting fnoise() and turbulence() have additional frequency factors to the noise.Offsetting a Generator FunctionTo

Chapter 31 Expressions and Scripting 949 Changing the Frequency of a Generator FunctionTo change a function’s frequency, multiply or divide time by

Chapter 2 Setting a Script’s Global Parameters 95 If the format you need is not in this list, you can always open up the format parameter subtree—b

950 Chapter 31 Expressions and Scripting You might have guessed that rnd(1.05) is between those, but it in fact equals .0174, not .458. This is why

Chapter 31 Expressions and Scripting 951 In this example, to break a noise() function into 5 steps between 0 and 1, multiply the value by 6 (float

952 Chapter 31 Expressions and Scripting See Tutorial 8, “Working With Macros,” in the Shake 4 Tutorials for information on making macros interacti

Chapter 31 Expressions and Scripting 953 // Input nodesbg = SFileIn(“bg.iff”, “Auto”, 0, 0);sign_mask = SFileIn(“sign_mask.iff”, “Auto”, 0, 0);truc

954 Chapter 31 Expressions and Scripting Because the above script was created with a local filepath (in the Tutorial_Media/truck directory), the im

Chapter 31 Expressions and Scripting 955 Therefore, the left side of the above lines is the variable that you assign a value. The right side is the

956 Chapter 31 Expressions and Scripting The result appears as follows in the interface:Only four parameters are entered for the Mult node—the alph

Chapter 31 Expressions and Scripting 957 does not work because you are drastically mixing your data types (plugging an image into a float). There i

958 Chapter 31 Expressions and Scripting sign_mask.iff”, “Auto”, 0, 0);Lovey = SFileIn(“/Server02/VolumeX/Scene12/truck/truck.iff”, “Auto”, 0, 0);M

Chapter 31 Expressions and Scripting 959 Script CommentsTo temporarily comment out lines in a script, use the following symbols:# This line is comm

96 Chapter 2 Setting a Script’s Global Parameters defaultViewerAspectRatioThis value corrects the aspect ratio of the image displayed by the Viewer

960 Chapter 31 Expressions and Scripting In the interface, you can also use the Select node to switch between any number of input nodes. (For more

Chapter 31 Expressions and Scripting 961 If there is no initialization or reinitialization, “while” often makes more sense than “for.” Do/While Thi

32 96332 The Cookbook“The Cookbook” contains tips and techniques for Shake that don’t fit neatly into other categories.Cookbook SummaryThe Cookbo

964 Chapter 32 The Cookbook • Brightness + Mult: These nodes concatenate in the following node tree. This setup does not work well if you use a pu

Chapter 32 The Cookbook 965 The curve looks like the following (the curves are Linear to mimic a Tint function from a different package):• ColorMat

966 Chapter 32 The Cookbook • ColorCorrect: This is an Add on the Mid areas using -.2, -2, .5. • Using Mix: You may end up with several nodes to

Chapter 32 The Cookbook 967 Filtering TipsThis section illustrates creative uses of Shake’s filtering nodes.Volumetric LightingThis script can be f

968 Chapter 32 The Cookbook Keying Tips This section covers keying techniques.Keying CloudsThis script can be found in doc/html/cook/scripts/clouds

Chapter 32 The Cookbook 969 In this next attempt, there are three main branches. The first, identical to the second attempt, manipulates the moon.

Chapter 2 Setting a Script’s Global Parameters 97 qualityWhen this parameter is set to lo (0), anti-aliasing is disabled. This results in poorer im

970 Chapter 32 The Cookbook A luminance key is used here. The blue channel has less contrast than the red channel, so first insert a Color–Monochro

Chapter 32 The Cookbook 971 You still get black edges, so sprinkle Filter–DilateErode nodes liberally. For the nodes attached to ISub, the first ch

972 Chapter 32 The Cookbook This tree involves a lot of masking. Remember, rotoscoping is your friend. (Just not a very fun friend.) The first bran

Chapter 32 The Cookbook 973 The image is then defocused with a mask. This result is masked by the node Inside1 with a square mask (Blur2) to get th

974 Chapter 32 The Cookbook Layering TipsThe following examples illustrate tips for layering.Bleeding Background Color Into the ForegroundThis scri

Chapter 32 The Cookbook 975 • Keylight: Extracts an unpremultiplied plate.• Reorder: Places the alpha into the RGB.• Bytes: Boosts it up to 16 b

976 Chapter 32 The Cookbook The script begins with a Color–Reorder that puts the alpha into the RGB channels. It then Filter–Blurs it, inverts that

Chapter 32 The Cookbook 977 Transform TipsThis section covers advanced techniques for transforming images.Spiral DownThis animates something in a s

978 Chapter 32 The Cookbook To burn the path in:1 Set timeRange in the Globals tab (1-50, for example).2 Right-click over the xPan expression, then

Chapter 32 The Cookbook 979 Creating Depth With FogThe uboat.iff image can be found in the Tutorial_Media directory. The background is a simple Ram

98 Chapter 2 Setting a Script’s Global Parameters To open or load a script that contains a missing macro:1 Click the Globals tab.2 Expand the rende

980 Chapter 32 The Cookbook This more complex approach uses the DepthKey as a mask for a color correction, in this case, Compress, which has identi

Chapter 32 The Cookbook 981 Script 2This script depends on Ramp2D, a macro stored in doc/html/cook/macros. The script will not load without this ma

982 Chapter 32 The Cookbook This uses the noise() function to randomize the xCenter of the RGrads. The text is then held Inside of these two animat

Chapter 32 The Cookbook 983 Script 6This is the same as Script 5, except the Screen is replaced with the Relief macro, found in doc/html/cook/macro

984 Chapter 32 The Cookbook Script 8This script is driven off of the position of the RGrad. The center of the RBlur is set to the center of the RGr

Chapter 32 The Cookbook 985 Command-Line MacrosThe following macros are designed to make some quick fixes. They are available for use from the comm

986 Chapter 32 The Cookbook Image MacrosThe following macros add Shake-generated image nodes to the Image tab.Flock MacroThe following bird clip ca

Chapter 32 The Cookbook 987 Rain MacroThis macro can be used to generate rain to throw into a background. The rain is divided into three sheets, fg

988 Chapter 32 The Cookbook RandomLetter MacroThis generates a random letter up until the staticFrame number, at which point it becomes a letter of

Chapter 32 The Cookbook 989 Color MacrosThe following macros give you additional ways to manipulate color in your scripts.AEPreMult MacroThis macro

Chapter 2 Setting a Script’s Global Parameters 99 virtualSliderModeWhen this parameter is turned off, dragging within any parameter’s value field i

990 Chapter 32 The Cookbook In this example by Richard Liukis for his short film, Taste It All, the plates were scanned with an unfortunately stron

Chapter 32 The Cookbook 991 This example has a slightly high saturation, a slight blue cast, and punchier whites (but then again, 30 seconds were s

992 Chapter 32 The Cookbook Temp MacroThis macro slides the midtones to warmer or cooler colors. Color-temperature-cool, not Fonzie-cool.Original W

Chapter 32 The Cookbook 993 Relief MacroIn the following, Example 1 has affect set to image1; the other two are set to image2.Key MacrosThese macro

994 Chapter 32 The Cookbook DeSpill MacroThe HueCurves node has a problem with processing float values. This macro mimics Keylight’s spill suppress

Chapter 32 The Cookbook 995 This resizes the woman.sgi image from the Tutorial_Media directory to 2048 x 1383, maintaining its aspect ratio.PreTrac

996 Chapter 32 The Cookbook Warping With the SpeedBump MacroThis macro creates a nifty bump with a shadow on your title.Utility MacrosThe following

Chapter 32 The Cookbook 997 Candy MacroWith this macro, the drop shadow appears only on the background image’s alpha plane. It just seemed like a g

998 Chapter 32 The Cookbook MakeNodeIcon MacroThis macro is used to make the icons for the function tabs. Typically, you insert an image that is 70

Chapter 32 The Cookbook 999 RadioButton MacroThis macro is used to create those swell radio buttons. You typically use this only in command-line mo