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This COP loads image files into Houdini. Files without an animated time or frame in the filepath (i.e. default.pic, butterfly1.pic) are interpreted as single images. Otherwise, the last number in the filename (ignoring the extension) is considered to be the frame number of the image.
For numbered files, the frame range is automatically computed by searching the directory where the files found. Missing or bad frames will be replaced with black or neighboring frames, depending on the 'Missing Frames' parameter. Missing frames at the beginning or end of the sequence cannot be automatically detected, though bad frames can be replaced.
Using Proxy Images
Lower resolution images can be used in place of full-resolution images to speed up loading or to conserve space. Proxy filenames are entered in the Proxy tab. The images files themselves should be an integer reduction of the image (1/2, 1/3, 1/4, etc). The main files do not need to exist in order to use proxy files (the largest proxy files will be used).
More than one proxy file can be entered. Houdini will use the closest proxy image resolution not smaller than the current cook resolution (so if you were cooking at 1/3, and there were proxy images for 1/2 and 1/4 resolution, the 1/2 resolution images would be loaded and scaled down, rather than up-scaling the 1/3 resolution images).
Currently, the proxy images should be the same image format as the main images. This may change in the future.
The path of the file(s) to load. The file is searched for
using the HOUDINI_TEXTURE_PATH. Multiple files can be
$I or a more complicated expression for
File Node Naming
The File Node renames itself to match the current file settings. This parameter controls how the new name is built. User Defined or File Operator will disable this behavior. Changing the name manually will automatically switch this parameter to User Defined.
The character "." is treated as a decimal, and sequences of images with fractional frame numbers are loaded. Each fractional frame is placed at the next available integer frame in the sequence (1,2,3…), rather than at subframes (1, 1.25, 1.5…).
Specifies the size of the file to load, either by at the natural resolution or a custom size.
When the file size is overridden, this specifies the image filter to use when scaling.
Pixel Aspect Ratio
Specifies the pixel aspect ratio of the image.
Flips the image vertically if on.
File Raster Depth
Selects how the raster depth is determined.
The image file’s depth is used.
The depth specified in the Composite Project settings is used, overriding the file’s natural depth.
The following Depth parameter selects the raster depth, overriding the file’s natural depth.
Linearize Non-linear Images
When enabled, planes with non-linear colorspaces will be converted to linear colorspace. If the colorspace is unknown, only 8b images will be assumed to be sRGB. 8b non-linear planes will always be upconverted to at least 16b float, unless the File Raster Depth explicity sets a different format.
Image Color Space
When Linearize is enabled, the image color space is determined by looking at the image file itself. In some cases, the file may contain an image in a colorspace that is different that the one the format specifies (ie, an sRGB image in an OpenEXR file, which the format dictates should be linear). This parameter allows you to explicitly state the color space of the loaded image, which may affect if the image is linearized (sRGB) or not (Linear). This parameter is not used if Linearize Non-linear Images is off.
Autodetect from File
Use the image format or image file to determine the colorspace.
Assume the image is in linear space, ignoring the file or format’s colorspace. The image will not be linearized.
Assume the image is in sRGB space, ignoring the file or format’s colorspace. The image will be run through a inverse sRGB transform.
If the File Raster Depth parameter is set to Specific, this parameter sets the raster depth used for the files.
Override Frame Range
If off, the frame range is automatically determined by the lowest and highest frame numbers found in the file pattern. Otherwise the File Range Start, File Range Length, and Shift to Start at Frame parameters set the range.
Detect Frame Range
If Override Frame Range is on, you can do a one-time frame range detect of the sequence by pressing this button. It will put the range values into the following parameters.
When checked, only the first image in the file range will be read and a still image will be created instead of a sequence.
Shift to Start at Frame
Specifies the frame where the sequence should start. If this number is different from the file range start, the sequence will be shifted appropriately.
File Range Start
Specifies the number of the first file where the sequence
should start. For example, if the file name is
and the file range start is 15, the first file in the
sequence will be
file15.tiff. By default, this number is
determined from the first file found matching the file name
pattern, but it can be changed to create a sequence of a
subset of the files.
File Range Length
Specifies the length of the sequence. By default, this number is the number of files matching the pattern. It can be changed to create a sequence of a subset of the files.
If a frame is missing in the sequence, this parameter specifies how to handle it.
For bad or missing frames, the File COP can either use a black frame or a neighboring frame.
Use Closest Frame
Searches forward and backward in the frames to find a substitution. The closest frame is used; in the event of a tie, the previous frame is taken.
Use Previous Frame
Searches backward from the missing frame to find a replacement.
Use Next Frame
Searches forward from the missing frame to find a replacement.
Use Black Frame
Bad and missing frames are replaced with a black frame.
The File node errors when a bad or missing frame is found.
Print Warning for Missing Frames
If on, a message is printed to the shell when a missing or
bad frame is encountered (ie,
/img/img1/file1: Missing frame 1).
Enable Proxy Files
Enables the use of proxies, which are smaller versions of the full sized images. A proxy sequence should be identical to the original sequence, except for the resolution. When cooking the file COP at other resolutions than the proxy resolutions, the closest larger proxy sequence is used.
1/2, 1/4, 1/8 Res Proxy
Specifies the proxy sequence to use for 1/2, 1/4 and 1/8 of the full resolution.
Allows you to specify other proxy resolutions and their proxy sequences.
A mask can be chosen to limit the effect of the operator to areas defined by the mask. The mask can be taken from the mask input (bottom input) or from the first input itself.
If no mask is present, this blends the output with the input by a constant amount (0 = all input, 1 = all output).
If a mask is present, this amount multiplies the mask.
Selects the mask plane to use as a mask from the mask input.
A mask can be a component of a plane or an entire plane. If a vector plane is supplied as a mask, its components are multiplied by the images' components.
Scalar Mask ('A', 'C.r')
C.r = I.r * M C.g = I.g * M C.b = I.b * M
Vector Mask ('C')
C.r = I.r * M.r C.g = I.g * M.g C.b = I.b * M.b
Resize Mask to Fit Image
If the mask image is a different resolution than the output image, turning on this parameter will scale the mask to the output image’s resolution.
If this node is changing constantly, and the mask is not, it is somewhat faster to put a Scale COP down to do the resize for the mask image. Otherwise, the scale will occur every time this node cooks.
Inverts the mask so that all fully 'masked' portions become unmasked. This saves you from inserting an Invert COP after the node with the mask.
This tab contains parameters which deal with the timing and frame range of the generated sequence.
For sequences with a frame range, this determines how to show frames before the start frame.
Cycle the sequence, always playing it forward.
Cycle the sequence, reversing the direction every cycle.
Hold the first frame indefinitely.
Hold N Frames
Hold the first frame for a certain number of frames; before that, show black frames.
The number of frames to hold the first frame for, if Hold N Frames is selected.
For sequences with a frame range, this determines how to show frames after the last frame.
Cycle the sequence, always playing it forward.
Cycle the sequence, reversing the direction every cycle.
Hold the last frame indefinitely.
Hold N Frames
Hold the last frame for a certain number of frames; after that, show black frames.
The number of frames to hold the last frame for, if Hold N Frames is selected.
The following examples include this node.
This example demonstrates a simple wipe effect using the Blend COP. The wipe transition is created by inputting an animated alpha mask into the Blend COP.
This example demonstrates how a Ramp and a Radial Blur can be combined to create an Action Zoom effect on your image.
This example demonstrates some of the blur filter types found in the Blur COP.
It also shows how two blur filter types can be combined and adjusted on individual X or Y axis.
This example demonstrates how to create a glowing effect using the Blur COP.
To do this, part of an image is extracted using luminance and brightened. This area is then blurred to simulate a glow and composited over the original image.
This example demonstrates how alpha masks can control the areas of an image the Blur COP will effect.
There are three different set ups, with various types of mattes to show how the Blur COP can be fine tuned.
This example shows various ways in which the Channel Copy COP can apply channels from its inputs to the final output image.
How to color correct with color curves using the Color Curve COP.
This example demonstrates several features of the Composite COP such as Weighted layers, Transforms, Tiling, and Motion Blur.
This example demonstrates three methods of altering an images viewing area. The differences between the Crop COP, Window COP, and Border COP are compared.
This example explores various methods of blurring an image using the Defocus COP.
This example demonstrates how the Defocus COP can mimic a depth of field effect using a detailed mask. An image containing point and normal map information is used. This allows a Depth of Field COP to act as a camera, and create a focus mask for the Defocus COP.
This example demonstrates how to create a ripple effect using the Deform COP. A custom animated displacement map is created using the Ramp, Gamma, and Noise COPs. The displacement map is then used by the Deform COP to alter the image.
This example demonstrates how the Environment COP is can be used to simulate multiple light sources around a scene. This is a good method of changing scene lighting, because 2D images will render faster then 3D.
This example demonstrates a variety of methods to refine an alpha matte using the Expand COP. The expand, shrink, fill holes, and remove holes operations of the Expand COP are explored. In addition the use of an external alpha mask to further manipulate alpha mattes is shown.
This example demonstrates how the Fog COP can simulate a foggy, misty, hazy, or smokey atmosphere. The point and normal data contained in an images deep raster are used to calculate the fog.
How to use 3D information to extract portions of an image for mattes or local modification. This examples uses the Geokey COP.
How to color correct certain hues by adjusting the saturation and luminance. This example uses the Color Curve COP.
This example demonstrates three different ways that the Lighting COP can simulate 3D lighting, using images with Point and Normal deep raster information. Point lighting, directional atmospheric lighting, and lighting without Normals are explored.
This example demonstrates the effects of the Lighting COP on a 2D image. Flat lighting and lighting with the use of a bump map are explored.
This example shows various masking techniques with the Mask COP.
How to make an angled shadow on a flat surface with the Corner Pin COP.
How to create a matte with the Rotoshape COP to restrict the area of effect of another COP.
Using the Sharpen COP to reduce blurriness and enhance edges.
This example shows the basic uses of Streak Blur.
How to use the Streak COP to create motion trails.
Using the Switch COP to control image network flow. This example shows how to replace empty File COPs with a warning image, and a simple example of controlling blur with a switch and defocus COP.