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This operation does a series of composite operations (over, under, inside, add, etc.) on the background image (input 1) using the foreground images (inputs 2 and up). The compositing operation may be changed per foreground input, and each foreground input has its own transform. The first input is always the background image, and subsequent inputs are composited in order. The size of the resulting image is the size of the background image.
In the case of an over, the result image is:
4 over (3 over (2 over 1))
for four inputs, 1 to 4.
Tip: For a more traditional A over B method, use the Composite COP.
Specifies the global compositing operation:
Places the foreground over the background.
Places the foreground under the background’s alpha.
Places the foreground over the background only where the background alpha exists.
Places the foreground inside the background’s alpha.
Places the foreground outside the background’s alpha.
Acts as a saturating add, much like photographic addition.
Adds the foreground to the background.
Subtracts the foreground from the background.
Takes the absolute difference between the foreground and the background.
Multiplies the background by the foreground.
Takes the minimum of the foreground and background.
Takes the maximum of the foreground and background.
Takes the average of the foreground and background.
Takes the exclusive or of the two alpha planes, so that alpha areas that overlap are removed.
Specifies the compositing operation for the alpha plane, which is normally the same as the global compositing operations (see above).
Selects pixels or UV units for the transforms.
Specifies the filter to use when transforming.
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.
Transform (1 set per foreground input)
Specifies the composite operation for this input. The default compositing operation is "global" which uses the operation specified on the Layer page.
Specifies the composite operation for the alpha channel of this input. By default, this input’s compositing operation is used (which also may point to the global compositing operation).
What this input shows when data outside its image bounds is needed.
Repeat the image again, as if tiled.
Holds the edge pixels' values (useful for ramps).
Use black and zero alpha.
Repeat the image again, reversing it every other time.
Translate, Rotate, Scale, Pivot
Transforms this foreground in X,Y relative to the background.
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.
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 the numerous ways that images can be composited together.
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.
How to make an angled shadow on a flat surface with the Corner Pin COP.