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Setting the Target, Setting Context Points

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Calculating Image Size in Composite All Composite images live on a 2D plane.Composite and PXL use a Cartesian coordinate system to identify points on the plane.This plane and reference system are called the Image Reference Frame (IRF). This reference system has an origin and perpendicular X and Y axes. Units along the X and Y axes have the same length.By default, Composite images are centered at the origin of the IRF.In Composite, pixels at the highest resolution have a height of 1 IRF unit, and have a width equal to their pixel aspect ratio, i.e. 1 IRF unit for 1080P HD material, 0.9 for NTSC material, and 16/15 (1.0667) for PAL material. For images with non unit pixel aspect ratios, the height of a pixel is 1, but the width of a pixel is equal to its aspect ratio (e.g. 0.9 for NTSC). Using IRF units simplifies image manipulation: for example, translating an image by 10 IRF units will move the image by the same amount, regardless of the direction of the translation, horizontal, vertical, or any combination thereof. Setting the Target The target for the Player view is what it displays. You set the target for an individual view in the Player options. The target can be the output node of the dependency graph, the input or output of a tool node, a specific rendered output of the composition, or a context point (the output of a specific tool node)-see Setting the Target for the Player on page 194. You can specify the channels of the target you want the Player view to display (RGBA, RGB, A, or any other combination of channels)-see Setting the Channels for the Target on page 195. You can set the resolution you want a Player view to use for its target (full, half, quarter, or proxy). You can use this to improve playback performance when full resolution playback is not necessary-see Setting the Resolution for a Player on page 201 and Playback Performance on page 192. You can set the aspect ratio of the pixels the Player uses for the target, to either square or non-square pixels-see Setting the Pixel Aspect Ratio of the Player on page 206. Setting Context Points A context point is a specific tool node you mark as the target for a Player view. No matter which tool node you select, the view always displays that context point. Setting the Target | 191

Section	Page
Autodesk Composite 2011 User Guide	1
Contents	3
Preface	13
About Composite	13
About This Guide	14
Getting Started	14
Reference	14
Getting Help	14
Viewing Online Help	14
Contacting Support	15
Getting Started	17
About Getting Started	19
About The Chapters	19
Interface Fundamentals	19
Start Compositing Now! A Simple Workflow Overview	20
Interface Fundamentals	21
Basic Interface Functions	21
Mouse, Pen, Keyboard	22
Cutting, Copying and Pasting	22
Entering Text	22
Dragging and Dropping	23
Undoing and Redoing	23
Deleting Elements and Compositions	24
The Gate UI	24
The Drop Gate	26
The Composite Interface	29
The Menu Bar	31
Viewports and Views	32
Viewport	32
Views	33
The Tool UI	35
Node-Independent Tabs	36
Node-Specific Tabs	38
Taskbar	41
Tools, Views & Pick List tabs	42
The Player	46
Using the Player Controls	48
Zooming and Panning	51
Navigating and Browsing	52
Customizing the File Browser	52
The File Browser	53
Browser Settings and Controls	54
The View Button	55
The Bookmarks Button	56
Floating File Browser	60
The Composition Browser	60
Composition Browser Functionality	61
Working with Schematic	62
Node Overview	64
Node Types	65
Node Anatomy	66
Output Nodes	68
Multiple Output Nodes	68
Primary Output	70
Adding Output Nodes	72
Deleting Output Nodes	73
Node Connections	73
Node Options	74
Selecting Nodes Upstream and Downstream	83
Cycling Through Inputs and Outputs	83
Schematic Options	84
Start Compositing Now!	89
Try First, Read Later	89
Start Composite, Create Composition, Import Media and Go	89
Add Media	93
Add Tools	95
To Render the Composition	98
Reference	103
About Reference	105
About the Chapters	105
Projects	107
About Projects	107
Project	108
Example Workflows	109
Setting Project Preferences	109
Archiving or Restoring	116
Archiving Linked Compositions	118
Restoring Archives	119
Relocating Dependencies	120
Changing Default Archive and Restore Settings	121
Wiretap	123
Accessing the IFFFS Libraries on the Network Using Wiretap	123
Wiretap Concepts	124
Accessing Media Via Wiretap	124
Accessing IFFFS Clips	125
Importing Media	127
About Media	127
Physical Location of Media	128
Supported Media Formats	128
Pixel Aspect Ratio	130
Mixed Resolutions	130
Importing Media	130
The Information Tab	134
Using the Image Import Tool	137
Log to Lin Workflows	138
Import and Export Workflows	138
Moving Imported Compositions into Project Folders	138
Image and File I/O	139
Channel Assignments	140
Channel Groups (Import Preferences)	143
Import OpenEXR File	145
Unpremultiply in Import Mode	146
Specifying the Destination Format	147
Using the Gate UI to Create Footage	147
Footage Role	149
Footage Composition	150
Premultiplication	150
Getting Familiar with Your Workspace	151
Working with a Task-Based UI	152
What are Presets?	152
Pick List	153
Working with the Pick List	154
Tool Presets	158
Working with Tool Presets	158
Using Tool Presets as a Display Modifier	160
Using Tool Presets in the Pick List	161
Animation Editor	161
Setting the Animation Editor Options	161
Layer Editor	162
Working with the Layer Editor	164
Player	165
View Layouts	165
Color Picker	166
Working with the Color Picker	167
Calculators	173
Hotkey Editor	175
Hotkey Catalogs	175
Hotkey Editor	176
Setting User Preferences	180
Previewing Video	184
Setting Up Video Previewing	184
Previewing Video	187
Creating User Defined Attributes	188
Composition (Version) UDAs	188
Project UDAs	188
User UDAs	188
Scoped UDAs	188
Creating UDAs	189
Displaying a UDA	192
Using a UDA	193
XML Resource Files	194
Default UDA Tag	199
Read-Only UDA Tag	199
Other Workspace Functions	199
Composite Hotkeys	199
The Player	201
About the Player	202
Player View Default Settings	202
Setting the Target	203
Setting Context Points	203
Playing Back in Multiple Views	204
Playback Performance	204
Setting the Target for the Player	206
Setting the Channels for the Target	207
Setting the Mark In and Mark Out Points for Playback	209
Setting the Repeat Mode	209
Setting the Frame Rate for Playback	209
Setting the Real-Time Playback Preference	210
Synchronizing or Separating Playback between Views	211
Setting the Playback Point when the Player Updates	212
Setting the Resolution for a Player	213
Setting the Grid in the Player	213
Setting a Region of Interest (ROI) in the Player	214
Displaying Masks and Guides	215
Showing or Hiding Tiles	216
Turning Hardware Rendering On or Off	217
Setting the Pixel Aspect Ratio of the Player	218
Displaying Player Option Information in the Player view	218
Displaying Manipulators in the Player	220
In-player Pixel Display	221
Adjusting the Zoom or Pan	221
Applying a LUT or Color Conversion Tool to the Player	222
The Mini-Player	223
Using the Mini-Player	224
The Fullscreen Player	225
Fullscreen Player and the Gate UI	226
Player Controls in the Fullscreen Player	226
Using the Fullscreen Player	227
Working with Compositions	229
Creating Compositions	229
What's in a Composition File?	229
Creating a New Composition	230
Opening and Viewing Compositions	232
Saving Compositions	235
Inserting a Composition	235
Checking the Status of Compositions	236
Rendering, Caching and Versioning	236
Rendering a Composition	236
Caching	238
Creating Versions of a Composition	240
Rendering Results over a Network	241
Viewing Rendered Versions of a Composition	242
Rendering to Wiretap	244
Linking Compositions	246
Determining the Status of a Linked Composition	248
Linking to a Composition	248
Closing a Composition	248
Multilayer Compositing and 3D Effects	251
Reaction Compositing and Effects	252
What is a Reaction Super Tool?	252
Reaction Concepts	252
Compositing Workflow	254
Basic and Advanced Workflows	254
Basic Compositing in Reaction	255
Building a Composition Using the Layer Editor	255
Setting the Player Settings	256
Adding a Reaction Tool and Setting the Composition Background	257
Setting the Background	258
Creating Sources and Layers	260
Working with Maya Pre-Comps	262
Working with Layers	263
Renaming Sources and Layers	263
Selecting Layers	263
Duplicating Layers	264
Reordering Layers	264
Modifying Motion Blur on Individual Layers	265
Setting Layer Visibility Properties	265
Working with Geometric Surfaces	266
Modifying Surface Shape and Geometry	266
Using Parenting Axes	268
Working with Materials	269
About Materials, Shaders, and Textures	269
Setting Material Properties	270
Materials UI	270
Using the Shadow Matte Shader	280
Working with Lights	280
Adding Lights to a Scene	281
Choosing the Type of Light	282
Setting Basic Lighting Properties	283
Setting Shadow Properties	284
Determining How a Light Affects Shading	284
Adding a Projector Texture to a Light	285
Working with Cameras	286
Adding a Camera to Your Scene	287
Setting Camera Properties	288
Accessing Cameras and Camera Views	290
Transforming Cameras	291
Modifying Motion Blur for the Render Camera(s)	292
Resetting the Camera	292
Camera Mapping	293
3D Displacement	295
Transforming Objects	300
Reaction Rendering Effects and Output Results	302
Setting the Reaction Composition Format	302
Setting Rendering Options	302
Adding Motion Blur and Depth of Field to a Scene	304
Enabling Z-Buffer Effects in Your Scene	304
Setting up a Stereo Camera Rig	305
Pre-Compositing	311
About Pre-Compositing	311
Pre-Compositing Import	314
The Pre-Compositing Import Options	318
About Anchors	319
Pre-Compositing Anchors	320
Using Pre-Compositing Templates	322
Template Types	323
Creating a Pre-Compositing Template	325
Pre-Comp File Creation and Updates	325
Non-Destructive Updates	326
Frame Rates	326
Render Pass Compositions	326
Render Layer Compositions	328
Scene Compositions	329
Working with Stereoscopic Compositions	331
Merging Layers	333
Importing FBX Files	335
Importing FBX Files	335
To Import an FBX File	336
FBX Import Limitations	341
Transformation Attributes	341
Locator	342
Camera	342
Camera Image Plane	344
Current Limitations	346
Premultiplication	349
Premultiplied Images	349
When to Premultiply	349
Common Problems with Premultiplication	350
Premultiplication Tools	350
2D Compositing	351
About 2D Compositing	351
2D Compositor	351
Adjusting the Matte's Luminance Curves	353
Alpha Tools	354
Alpha Levels	355
Blend Alpha	356
Blur Alpha	360
Clamp Alpha	361
Cleanup Alpha	361
Comp Alpha Tool	362
Control Edge	364
Detect Edge	366
Drop Alpha	368
Edge Tool	368
Extract Alpha	369
Fade Tool	369
Invert Alpha	370
Median Alpha	370
Remap Alpha	370
Set Alpha Tool	372
Channel Processing Tools	373
Channel Extract Tool	374
Out of Range Tool	374
Channel Replace Tool	375
Channel Rewire Tool	376
Composition Tools	377
Blend	378
Blend & Comp	379
Blend Matte	380
Comp Ops	381
Math Ops	382
Multi-stream Compositing	383
Performing Multi-stream Processing	384
Stereo Viewing	386
Supported Stereo Output Graphics Hardware	389
Supported Technologies	389
Image Processing Tools	391
About Image Processing Tools	391
Filtering Tools	391
Remove Dust Tool	392
About Blurs	397
Lens Blur Tool	412
Median Tool	418
Sharpen Tool	420
Unsharp Mask	420
Formatting Tools	421
Convert Depth Tool	422
Crop Tool	422
Floating Windows	425
Premultiply Tool	425
Unpremultiply Tool	426
Resize Tool	427
Image Generation Tools	431
Setting Image Generation Properties and Formats	432
Bilinear Ramp Tool	433
Checkerboard Tool	435
Color Source Tool	436
Linear Ramp Tool	437
Radial Ramp Tool	438
Noise Tool	439
Slate Tool	441
Transform Tools	443
2D Transform Tool	444
Flip Tool	447
Orient Tool	448
Panner Tool	449
Pixel Expressions	451
About Pixel Expressions	451
PXL Tool	452
PXL Tool Inputs and Outputs	452
PXL Tool UI	453
Output Tab	456
Masking Tab	457
Sharing PXL Tools	457
PXL Presets	458
PXL, the Pixel eXpression Language	468
CTL Tool	475
Accelerating CTL Transforms	477
Warping	479
About Warping	479
Warp 2D	479
Warping Workflow	480
Warp 2D UI	481
Curve Correspondence	486
Output Tab	487
Options Tab	489
Morphing Between Two Images	490
2D Transforms	490
Cropping and Filtering the Output	494
Warping Tools	496
Crumple	497
Displace	497
Lens Distort	499
Magnify	503
Mirror Tool	504
Pinch Tool	504
Polar Tool	505
Ripple Tool	506
Twirl Tool	507
Wave Tool	508
Effects Tools	509
About Effects Tools	509
Drop Shadow	509
Glow	510
Managing Film Grain	513
About Managing Grain	513
Adding Grain to a Composition	514
Removing Grain from a Composition	516
Fine-tuning the Grain	517
Viewing the Response Curves	518
Saving and Loading Grain Profiles	519
Pulling Keys and Creating Mattes	521
Keying Concepts	521
Keying	522
Mattes	522
Color Models	523
Hue	523
Saturation	523
Chrominance	523
Luminance	523
Sharpness	523
Softness	524
Tolerance or Threshold	524
Computer Generated Imagery	524
Keying Workflow	524
Selecting Keying Tools	525
Extracting a Key Using the Diamond Keyer	526
The Diamond Keyer	526
Creating a Difference Matte Using the Difference Tool	529
Extracting a Key Using the Luma Keyer	530
Removing Color Spill with Color Curves	531
Shifting the Hue of a Color Range to a Sampled Hue Shift Target	532
Suppressing a Sampled Color	533
Modifying the R, G, B, Saturation, and Luma	533
Modifying Luma	533
Keyer Super Tool	534
About the Keyer Super Tool	534
Supported Features	535
Inputs and Outputs	535
Workflow	536
Keyer Supertool UI	537
Node Select	537
Generating a Matte with the Master Keyer	538
Removing Unwanted Grays Using Patches	541
Degraining the Key In Image	543
Suppressing Spill	545
Modifying Blend	545
Masking	549
About Masking	549
Masking Concepts	550
Garbage Mask Tool Tabs	550
Garbage Mask Controls	551
Creating Masks	552
Editing Masks	555
Transforming Masks	560
Creating and Editing Edges	566
User Settings	567
Example: User Settings Workflow	568
Output Tab Settings	570
Options Tab Settings	571
Pixel Masking	572
Masking Parameters	573
Pixel Masking Example	574
Raster Paint	579
About Raster Paint	579
Committing and Undoing Operations	580
Paint UI	580
Layer Editor	580
Paint Brush Controls and Attributes	581
Paint Stroke Controls	584
Working with Layers	584
Raster Layer Format	585
Adding, Deleting, Clearing, and Wiping Layers	586
Adding a Layer	586
Deleting Layers	588
Clearing a Layer	589
Wiping Layers	590
Layer Behavior	590
Stroke Operations	594
Paint	594
Drawing a Straight Line	597
Painting the Alpha	597
Revealing Parts of an Image	598
Cloning a Region of an Image	601
Erasing Paint Strokes	604
Using Stencils	604
Vector Paint	607
About Vector Paint	607
Vector Paint Image Inputs	608
Shape Properties	608
Vector Paint UI	609
Shape Browser	609
Shape Creation and Editing Tools	611
Main Tab	613
Main Shape Attributes	613
Clone/Reveal Attributes	615
Point and Gradient Attributes	616
Transform Tab	618
Brush Tab	621
Brush Profile Editor	622
Brush Preview	623
Brush Palette and Brush Palette Controls	623
Output Tab	624
Settings Tab	624
Hotkeys	625
Performance Notes	626
Rendering	626
Clone/Reveal Filtering	626
Multi-Shape Editing	626
Manipulators	627
Shape Transform Manipulators	627
Point Editing Manipulators	627
Clone/Reveal Transform Manipulators	627
Color Correction	629
About Color Correcting	630
Applying LUTs	630
Calibrating your Monitor	630
Working with 1D LUTs	631
Working with the Lustre Color 3D LUTs	635
Working with ASC CDLs	636

Match case Limit results 1 per page

Calculating Image Size in Composite

All Composite images live on a 2D plane.Composite and PXL use a Cartesian

coordinate system to identify points on the plane.This plane and reference

system are called the Image Reference Frame (IRF). This reference system has

an origin and perpendicular X and Y axes. Units along the X and Y axes have

the same length.By default, Composite images are centered at the origin of

the IRF.In Composite, pixels at the highest resolution have a height of 1 IRF

unit, and have a width equal to their pixel aspect ratio, i.e. 1 IRF unit for 1080P

HD material, 0.9 for NTSC material, and 16/15 (1.0667) for PAL material.

For images with non unit pixel aspect ratios, the height of a pixel is 1, but the

width of a pixel is equal to its aspect ratio (e.g. 0.9 for NTSC). Using IRF units

simplifies image manipulation: for example, translating an image by 10 IRF

units will move the image by the same amount, regardless of the direction of

the translation, horizontal, vertical, or any combination thereof.

Setting the Target

The target for the Player view is what it displays. You set the target for an

individual view in the Player options. The target can be the output node of

the dependency graph, the input or output of a tool node, a specific rendered

output of the composition, or a context point (the output of a specific tool

node)

—

see

Setting the Target for the Player

on page 194.

You can specify the channels of the target you want the Player view to display

(RGBA, RGB, A, or any other combination of channels)

—

see

Setting the

Channels for the Target

on page 195.

You can set the resolution you want a Player view to use for its target (full,

half, quarter, or proxy). You can use this to improve playback performance

when full resolution playback is not necessary

—

see

Setting the Resolution for

a Player

on page 201 and

Playback Performance

on page 192.

You can set the aspect ratio of the pixels the Player uses for the target, to either

square or non-square pixels

—

see

Setting the Pixel Aspect Ratio of the Player

on page 206.

Setting Context Points

A context point is a specific tool node you mark as the target for a Player view.

No matter which tool node you select, the view always displays that context

point.

Setting the Target |

191