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Over is the most common compositing operation, placing a foreground element over a background (like applying a sticker). The over operation is defined as
C = C2 + C1 *(1-A2)
The foreground is considered to be premultiplied, so it will not be multiplied by its alpha channel. If your alpha plane has been replaced (by a ChannelCopy or SwitchAlpha COP, for instance), use a Premultiply COP to correct the color plane.
Planes containing geometric data are handled differently (like Zdepth, Normal, Velocity). Alpha blending does not occur on these planes; the operation either takes the foreground (A>0) or the background pixel data (A=0). This avoids edges artifacts when using geometric data after compositing.
The Layer COP allows multiple inputs to be composited instead of just two, each with its own compositing operation. The Composite COP is the more general version of this COP, allowing you to choose any compositing operation, and an optionally different operation for alpha.
This operation may be restricted to certain planes, or components of planes. In addition, the operation may be applied to a subset of frames within the sequence. An image must have both its frame and plane scoped to be modified.
Images that are not modified are passed through, which does not take any memory or processing time.
This operation may be masked, which restricts the operation to an area of the image. The mask may be inverted, brightened or dimmed.
The mask input is on the side of the node. The label on the connector indicates the plane being used as a mask.
The mask input can also be scaled to fit the output image’s resolution, if they differ. 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.
Selects pixels or UV units for the transform.
Translate, Rotate, Scale, Pivot
Transforms the foreground in X,Y relative to the background.
Specifies the filter to use when transforming.
Specifies the foreground image’s wrapping style.
Toggles on motion blur, and specifies the time range around the current frame to blur.
Motion Frame Bias
Shifts the time range for the blur.
Motion Blur Segments
Number of samples to blur together in the specified time range.
Motion Blur Method
Only uses the current frame and the transform to compute past and future positions.
Cooks the images at all time samples.
These parameters specify how to build the output sequence when there are differences between the input sequences.
If the planes in the inputs differ, this specifies what the output planes should be.
If the raster depth for a given plane differs between inputs, this specifies what the output raster depth for the plane should be.
If the frame ranges of the inputs differ, this determines what the output range should be.
If the frame rates of the inputs differ, this determines what the output frame rate should be.
If the frame rates of the inputs differ, this determines which input frame to pick when the cook time doesn’t reside on a frame boundary.
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 (side 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. The mask can be selected from:
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
Useful for masking the operation to the image’s own alpha plane.
Selects the mask from the side mask input.
Turns off masking, without requiring disconnection of the mask input (useful for temporarily disabling the mask).
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.
Specifies the scope for both the RGB components of Color, Alpha, and other planes. The (C)RGBA mask only affects Color components and Alpha. 'C' will toggle all the RGB components.
For planes other than Color and Alpha, the plane name (plus component, if applicable) should be specified in the string field. The pulldown menu can be used to select planes or components present in this node.
A plane is specified by its name. A component is specified by both its plane and component name. The '*' wildcard may be used to scope all extra planes. Any number of planes or components can be specified, separated by spaces.
P N.x N.y P N Pz
Allows scoping of specific frames in the frame range. This is in addition to the plane scope (so a plane at a certain frame must be both plane scoped and frame scoped to be modified).
All frames are scoped.
All frames inside a subrange are scoped.
All frames outside a subrange are scoped.
Even numbered frames are scoped.
Odd numbered frames are scoped.
A user-defined list of frames are scoped.
For Inside/Outside range, this parameter specifies the subrange of the sequence to scope (or unscope). This can be edited in Timeline viewer mode (⌃ Ctrl + 2 in viewer).
For Inside/Outside Range, this parameter specifies certain number of frames before and after to slowly ramp up to scoped. The operation will be blended with its input to 'ease in' or 'ease out' the scoping effect over a number of frames. This can be edited in Timeline viewer mode (⌃ Ctrl + 2 in viewer).
For unscoped frames, this sets the blend factor between the input and modified images. Normally this is zero (use the input image). By setting this to a non-zero value, you can make unscoped frames be 'slightly' unscoped. The value can vary between 0 (unscoped) and 1 (scoped).
The frame list for 'Specific Frames'. Frame numbers should be separated by spaces.
Automatically Adjust for Length Changes
If the sequence range changes, enabling this parameter will adjust the subrange and frame dropoff lengths to fit the new range.
Start of sequence
End of sequence
Input sequence length
Sequence frame rate
Number of planes in sequence
Width and height of image
Image index (0 at start frame)
Image time (0 at start frame)
Current plane array index
Current plane index
Num of channels in current plane
Composite Project X resolution
Composite Project Y resolution
Composite Project pixel aspect ratio
Composite Project raster depth
Composite Project black point
Composite Project white point
The following examples include this node.
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 the numerous ways that images can be composited together.
How to use 3D information to extract portions of an image for mattes or local modification. This examples uses the Geokey COP.
How to make an angled shadow on a flat surface with the Corner Pin COP.
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.