Apple Shake 3 User Manual

Shake 4TutorialsShake Homepage.qxp 5/17/05 11:03 AM Page 2

10 Preface Welcome to Shake 4

100 Chapter 3 Depth Compositing 3 Connect the Copy1 node to the second input of ZCompose1.So what’s the result? Probably different than you expecte

Chapter 3 Depth Compositing 101 3 In the city_bg parameters, click the button to enable autoAlpha.A solid white alpha channel is created for the im

102 Chapter 3 Depth Compositing Color Correcting Premultiplied ImagesTo create a more realistic lighting effect, you can color correct the foregrou

Chapter 3 Depth Compositing 103 To color correct the balloons image: 1 In the Node View, select balloons, then insert a Color–Add node.2 In the Add

104 Chapter 3 Depth Compositing The Add1 node applies a tint to the balloons and the sky, but doesn’t affect the buildings from the background imag

Chapter 3 Depth Compositing 105 This is an extreme color change, but it helps illustrate the issue with premultiplied images. Time to tone it down

106 Chapter 3 Depth Compositing To limit color correction with a rotoshape mask: 1 Insert a Color–Brightness node after the Add1 node. 2 Insert a C

Chapter 3 Depth Compositing 107 Fading With DistanceIn this section, you’ll add some depth cueing by varying the color correction between the foreg

108 Chapter 3 Depth Compositing 5 Connect the DepthKey output to the mask input of the Fade1 node.6 Click the left side of ZCompose1 to load the re

Chapter 3 Depth Compositing 109 If you’re happy with the results at this point, then you’re done!Otherwise, you can add some additional nodes to im

1 111 Shake BasicsThis tutorial introduces Shake through a series of common tasks, including loading and compositing images, tuning parameters, t

110 Chapter 3 Depth Compositing This is one example of the node tree you could create for this solution: The KeyMix1 node layers a copy of city_bg,

Chapter 3 Depth Compositing 111 This DepthKey2 node pulls a key from the combined Z channel of balloons and city_bg. The Compress node uses DepthKe

112 Chapter 3 Depth Compositing To set up the 3D scene:1 Add an Image–FileIn node to the Node View.2 Browse to $HOME/nreal/Tutorial_Media/Tutorial_

Chapter 3 Depth Compositing 113 The wireframe camera lets you adjust the position of the rendering camera, which becomes the output of the MultiPla

114 Chapter 3 Depth Compositing Click the camera to select it, and you’ll see two sets of transform controls: one set at the center of the camera,

Chapter 3 Depth Compositing 115 To adjust the position of the camera: 1 If it is not already selected, click the yellow wireframe camera in the Per

116 Chapter 3 Depth Compositing Now that you’ve had some practice manipulating the camera, you need to reset it to the default position. 4 Right-cl

Chapter 3 Depth Compositing 117 The floor_plane appears, but it’s in the wrong position. Before you start moving anything around, it’s a good idea

118 Chapter 3 Depth Compositing Make sure you check all the view panes while you move, because it’s practically impossible to get precise positioni

Chapter 3 Depth Compositing 119 3 Drag a noodle from the walking_woman node to the + (plus) sign on the MultiPlane1 node. f4 In the Camera1 pane, s

12 Chapter 1 Shake Basics • Setting resolution• Creating a new element• Tuning parameters• Working with layer nodes• Transforming an image• Applyin

120 Chapter 3 Depth Compositing It won’t look perfect because the camera is in the wrong position. So that’s the next step—place the camera in a po

Chapter 3 Depth Compositing 121 Here are the camera settings for the project shown in the illustrations: 6 Open the Globals tab, then click the Aut

122 Chapter 3 Depth Compositing 3 In the Top pane, move the camera position—but do not move the camera target—to the left edge of the floor. 4 Move

Chapter 3 Depth Compositing 123 The first 10 frames look okay. At about frame 40, however, we begin to see just how two-dimensional and superficial

124 Chapter 3 Depth Compositing If you had camera data for Betty’s animation, you could import it into Shake and get a better lock on the camera mo

Chapter 3 Depth Compositing 125 Importing Camera and Animation DataIn this example, continue with the MultiPlane node, and create a composite by co

126 Chapter 3 Depth Compositing 2 Browse to the $HOME/nreal/Tutorial_Media/Tutorial_03/scripts directory, select multiplane-start.shk, then click O

Chapter 3 Depth Compositing 127 If you look in the Perspective pane, you’ll now see these elements:The image sequences include moving objects and o

128 Chapter 3 Depth Compositing 3 Expand the subtree beneath the L8 (sunsky) layer and set the camera distance value to 2500.Note that this changes

Chapter 3 Depth Compositing 129 Before you import camera data, it’s very important that the in/out frames on the Time Bar match the start/stop fram

Chapter 1 Shake Basics 13 Using the Shake PanelsWhen you start Shake, you’ll notice that the interface is divided into four panels: Viewer, Node Vi

130 Chapter 3 Depth Compositing To adjust the position of the still images:1 Display the Image tab in the MultiPlane1 parameters. 2 Expand the subt

Chapter 3 Depth Compositing 131 The point cloud data can help you determine the placement for layers in the composite and verify the camera move. Y

4 1334 Working With ExpressionsThis tutorial shows how to generate animation with expressions, rather than keyframes. Starting with one image of

134 Tutorial 4 Working With Expressions Step 1: Set up the basic composition, both in the frame and in time. Since you have only five images of th

Tutorial 4 Working With Expressions 135 4 Click the Home button in the playback controls to load the new frame range into the Time Bar.To composite

136 Tutorial 4 Working With Expressions 5 Toggle the clipMode parameter of Over2 to set the resolution to foreground.The image should now look like

Tutorial 4 Working With Expressions 137 4 Using the onscreen controls, position the gradient shape in the upper-right corner, then drag the middle

138 Tutorial 4 Working With Expressions Looping Frames in the Time ViewClick the Time View tab to view the clip length of your nodes. Only image ge

Tutorial 4 Working With Expressions 139 2 In the fan node parameters, open the Timing tab.3 Set the outMode to Repeat.The inMode and outMode parame

14 Chapter 1 Shake Basics Contextual HelpMove the mouse pointer over a control or parameter to display brief help messages in the Info field at the

140 Tutorial 4 Working With Expressions Creating Flicker on the LightmIn the Node View, select the RGrad1 node and insert a Color–Fade node between

Tutorial 4 Working With Expressions 141 3 Edit the value expression so that it reads like this: rnd(time)This returns a random value between 0 and

142 Tutorial 4 Working With Expressions You can’t edit this curve in the Curve Editor because each value is generated by the expression. However, y

Tutorial 4 Working With Expressions 143 8 Set keyframes for animVal at frames 1, 40, and 75. One of the keyframes—it doesn’t matter which one—shoul

144 Tutorial 4 Working With Expressions Note: To frame the curves, position the pointer in the Curve Editor and press the Home key.This trick make

Tutorial 4 Working With Expressions 145 3 In the RBlur parameteres, set the iRadius to 35. The default values do not greatly modify the RGrad, so y

146 Tutorial 4 Working With Expressions As a result, the RGrad gradient shape appears only where there is no alpha in the ceiling/fan composite. RB

Tutorial 4 Working With Expressions 147 To link the node parameters:1 In the RBlur1 parameters, expand the center parameter subtree, then type the

148 Tutorial 4 Working With Expressions 6 Connect the output of Fade1 to the second input of Over2.The Fog_Add (IAdd) node adds the two images toge

Tutorial 4 Working With Expressions 149 If you scrub through the Time Bar, you might see a frame where the RGrad is mostly outside the workspace (p

Chapter 1 Shake Basics 15 For many onscreen controls, there are also click-and-hold behaviors: • Click a button to toggle between its two default s

150 Tutorial 4 Working With Expressions 2 Drag the Viewport onscreen controls to enlarge the canvas to reveal that the RGrad exists outside of the

Tutorial 4 Working With Expressions 151 2 Display the alpha channel (press A with the pointer over the Viewer) and it will look similar to this: Th

152 Tutorial 4 Working With Expressions The solid alpha value is extended infinitely, and masks the RGrad outside of the ceiling frame.6 View RBlur

Tutorial 4 Working With Expressions 153 You are finished with this stage. 3 Display the Viewport1 node and compare the difference between the outpu

154 Tutorial 4 Working With Expressions 2 Insert a Brightness node and a Mult node from the Color tab, then set Brightness1 as the active node in P

Tutorial 4 Working With Expressions 155 4 In the Mult1 parameters, set the color to blue using the Virtual Color Picker. Hold down the B key and dr

156 Tutorial 4 Working With Expressions Adding Motion Blur to Pre-Animated Elements As you view the animation, the fan movement appears too... well

Tutorial 4 Working With Expressions 157 • Under the postion parameter, set yPos to 140.Your result should look like this: Note: To update the Text

158 Tutorial 4 Working With Expressions Because the fan is dark, boost the fan node brightness (with a Brightness node), or view the alpha channel.

Tutorial 4 Working With Expressions 159 • Set xAngle to –7.5.• Set yAngle to –25.• Set zAngle to –195.• Leave center (x, y) at 80.The result looks

16 Chapter 1 Shake Basics Loading ImagesTo load images into your project, you use the FileIn node from the Image Tool tab. In these tutorials, the

160 Tutorial 4 Working With Expressions Instead of a flat value before and after the two keyframes, the zAngle parameter keeps the same slope into

Tutorial 4 Working With Expressions 161 When you view Move3D1, the transformation moves the fan image, but that’s not what you want. You want to us

162 Tutorial 4 Working With Expressions That’s it. Now you’ve learned how to create simple volumetric effects and animation through expressions. We

5 1635 Using KeylightThis tutorial covers the basics of using the Keylight node, including how to pull keys, apply masking, create holdout mattes

164 Chapter 5 Using Keylight Using Keylight to Pull a KeyThe first section of this tutorial demonstrates the basic steps for using the Keylight nod

Chapter 5 Using Keylight 165 5 In the Keylight parameters, click the screenColour control (the blue-colored box), then drag the pointer across the

166 Chapter 5 Using Keylight To test the mask using a Viewer lookup table:1 Click and hold the VLUT (Viewer Lookup Table) button in the Viewer shel

Chapter 5 Using Keylight 167 3 In the Parameters2 tab, boost the Viewer gamma level by typing “2.2” into the viewerGamma value field.The heightened

168 Chapter 5 Using Keylight 4 Set screenRange to 0.03. The edges soften, and the mask is filled in, but some of the hair detail drops off.5 Return

Chapter 5 Using Keylight 169 So right about now, you may be thinking that these parameters are useless and ought never be touched. To the contrary,

Chapter 1 Shake Basics 17 3 Double-click the background directory to open it, select the [email protected] image sequence, then click Next at t

170 Chapter 5 Using Keylight 6 Connect the RotoShape node to the fourth input (GarbageMatte) of the Keylight node to remove the gunk on the side of

Chapter 5 Using Keylight 171 The Blur node is faster than using the RotoShape feathering.11 In the Blur1 parameters, adjust the values of the xPixe

172 Chapter 5 Using Keylight Color Correcting the Foreground ImageTo venture away from keying for a moment, this section discusses color correcting

Chapter 5 Using Keylight 173 When the output is switched to “unpremult,” the composite looks terrible. This unpremultiplied state is temporary, unt

174 Chapter 5 Using Keylight Here is the crucial trick: 7 In the Over1 parameters, activate preMultiply. The nasty gunk around the character is rem

Chapter 5 Using Keylight 175 Although this is an extreme color correction used for illustration purposes, the principal concept here is that you sp

176 Chapter 5 Using Keylight To begin the composite:1 Add an Image–FileIn node, then load the saint_fg.1-5#.jpg and saint_bg.1-5#.jpg image sequenc

Chapter 5 Using Keylight 177 3 In the Node View, select the saint_fg node and apply a Key–Keylight node.4 Connect the saint_bg node to the second i

178 Chapter 5 Using Keylight Using fgBias to Remove Blue SpillSome blue spill appears on the actor’s hair, on the right side.Since the blue spill i

Chapter 5 Using Keylight 179 To minimize any yellowness that may occur in the image, you can decrease the fgBias saturation. The stronger the satur

18 Chapter 1 Shake Basics .After you click OK, the selected images appear as FileIn nodes in the Node View. They might overlap each other, but this

180 Chapter 5 Using Keylight 4 Connect the HoldKey node to the third input of the Keylight node.5 In the HoldKey parameters, boost the screenRange

Chapter 5 Using Keylight 181 6 Insert a Filter–DilateErode node and a Filter–Blur node between the HoldKey and Keylight1 nodes.7 In the DilateErode

182 Chapter 5 Using Keylight To test the effect of the holdout matte:mIn the lower portion of the Keylight1 parameters, expand the plumbing subtree

6 1836 Using PrimatteThis lesson describes the basic use and mechanics of the Photron Primatte keying plug-in, as well as masking and spill suppr

184 Chapter 6 Using Primatte3 Add a Key–Primatte node, then connect the bg node to the second input (background) of the Primatte node.In Primatte,

Chapter 6 Using Primatte 185 The alpha channel reveals the basic key. The majority of the background should appear black in the alpha channel.Note:

186 Chapter 6 Using PrimatteThe composite appears in the Viewer.Inner Mechanics of PrimatteSo, what is Primatte doing to the image pixels? Whereas

Chapter 6 Using Primatte 187 To view the color zones in the composite: mClick the “status” button in the Primatte output parameter. As you can see,

188 Chapter 6 Using PrimatteThe foreground operator is assigned and a new color control is automatically activated.3 In the Viewer, scrub the shirt

Chapter 6 Using Primatte 189 When scrubbing fails, it may be time to apply some rotoscoping to the key. In this case, a holdout matte will work bet

Chapter 1 Shake Basics 19 11 Drag a selection box around all the nodes, then press L on your keyboard to line them up. You can also right-click in

190 Chapter 6 Using PrimatteBy using the foreground and background operators, you have assigned pixels to either zone 1 or 4. Picking any of the ei

Chapter 6 Using Primatte 191 The currentOp slider scrolls from 0 (the Center pick) to the number of applied operators. Each operation can be access

192 Chapter 6 Using Primatte3 Show the composite (Primatte node) in the Viewer (click the left side of the node).4 Make sure the QuickPaint1 node p

Chapter 6 Using Primatte 193 To create a holdout matte:1 Add a second QuickPaint node (a RotoShape node would also do the job), and connect the nod

194 Chapter 6 Using PrimatteBy default, Primatte replaces the alpha channel, but you can also add, subtract, or multiply the two masks. With this t

Chapter 6 Using Primatte 195 2 In the Viewer, drag along the purplish edge of the woman’s hair. 3 You may need to apply two or three spill sponge o

196 Chapter 6 Using Primatte2 In the Viewer, drag along the bluish part of her shirt.3 Adjust the spillSponge slider (under the color control). The

Chapter 6 Using Primatte 197 5 Connect the Blur node to the replaceImage input (the last input) on the Primatte1 node.Since the black chair backing

198 Chapter 6 Using PrimatteUnder the right circumstances, this can reduce blue or green spill quite nicely. Under the wrong circumstances, it can

Chapter 6 Using Primatte 199 4 Turn on the affectAlpha button, then view the alpha channel of the node to test the area you are modifying. 5 Set al

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

20 Chapter 1 Shake Basics • To view the alpha channel, place the pointer over the thumbnail and press A. To return to the RGB view, place the point

200 Chapter 6 Using PrimatteCompositing Outside of PrimattePrimatte has a great deal of flexibility because you can composite within the node or pa

7 2017 Tracking and StabilizationThis tutorial demonstrates the primary uses for Shake’s tracking technology, including removing unwanted motion

202 Chapter 7 Tracking and Stabilization • Transform–Stabilize: This node generates one, two, or four tracking points, or uses points generated by

Chapter 7 Tracking and Stabilization 203 The Time Bar range is set from frame 1 to frame 15.This does not affect your rendered frames, but helps yo

204 Chapter 7 Tracking and Stabilization 5 Drag the tracker box to a high-contrast area— for example, the large window in the middle of the image.T

Chapter 7 Tracking and Stabilization 205 Note: When tracking large plates, turn on limitProcessing in the Stabilize parameters to decrease image l

206 Chapter 7 Tracking and Stabilization Converting Stabilization Data to MatchMove DataUse the same building clip to build a simple matchmove. In

Chapter 7 Tracking and Stabilization 207 The eatatjoes image drifts away from the background image. The Stabilize node is trying to stabilize the i

208 Chapter 7 Tracking and Stabilization Using the MatchMove NodeThe next example uses more complicated tracking information to match a background

Chapter 7 Tracking and Stabilization 209 5 Connect the bus2 node to the second input of the MatchMove node.Although this project calls for a 4-poin

Chapter 1 Shake Basics 21 • To load the parameters into the Parameters tab, click the right side of the node.• To load a node into the Viewer and t

210 Chapter 7 Tracking and Stabilization The search region is too small to encompass the movement in the clip—the bus moves too far to the right. I

Chapter 7 Tracking and Stabilization 211 Gee, everything was going fine until around frame 34, right? At that frame (results vary), the tracker spi

212 Chapter 7 Tracking and Stabilization 12 In the MatchMove Parameters tab, set the referenceBehavior pop-up menu to “update if below reference to

Chapter 7 Tracking and Stabilization 213 The three extra trackers are activated. Each tracker is located in the relative corner where it should sta

214 Chapter 7 Tracking and Stabilization This ensures the track is not overwritten.An active tracker is green in the tracker list.3 Go to frame 1.4

Chapter 7 Tracking and Stabilization 215 When finished, the three points should be reasonably accurate. If not, use the visibility toggles to isola

216 Chapter 7 Tracking and Stabilization 2 Toggle applyTransform to active.If an image appears brighter in an Over operation (in effect adding the

Chapter 7 Tracking and Stabilization 217 To adjust the foreground sign position:1 Go to frame 1.2 Ensure that the Viewer Autokey button is deactiva

218 Chapter 7 Tracking and Stabilization The image is now slightly larger in the composition.Color Correct the Foreground ElementAnybody who has vi

Chapter 7 Tracking and Stabilization 219 Note: You do not need a MDiv/MMult set because you are working on the full frame.For the color correction

22 Chapter 1 Shake Basics The gray square on the right side of the background node—it’s supposed to be a tiny text field—indicates that this node i

220 Chapter 7 Tracking and Stabilization The sign is a neutral grey color. Some warm color makes it stick out a bit and draws the viewer’s attentio

Chapter 7 Tracking and Stabilization 221 3 Set shadowOpacity to approximately .7.Note: For additional fine tuning, look at the script bus_track2.s

222 Chapter 7 Tracking and Stabilization 6 Insert a CornerPin node above the Stabilize node. CornerPin is used to position the foreground over the

Chapter 7 Tracking and Stabilization 223 To copy the tracks into Stabilize:1 Right-click the trackNames, then choose Load Track from the shortcut m

224 Chapter 7 Tracking and Stabilization You are currently applying the motion to only one point, so toggle your trackType to “4 pt.”Things don’t q

8 2258 Working With MacrosThis tutorial demonstrates how to create reusable groups of commands, called macros. In this example, you’ll set up a b

226 Chapter 8 Working With Macros The following images demonstrate the creation of a macro. The first image shows four connected nodes—the Text nod

Chapter 8 Working With Macros 227 4 Attach a second Rotate node.In this example, the algorithm works by rotating the image, blurring the image on t

228 Chapter 8 Working With Macros To test the effect:1 Load the Rotate2 parameters into the Parameters tab.2 Adjust the angle parameter. The blurri

Chapter 8 Working With Macros 229 4 In Shake, drag to select the Rotate1, Blur1, and Rotate2 nodes in the process tree.5 Press Command-C or Control

Chapter 1 Shake Basics 23 Panning, Zooming, and FramingWhile working in Shake, you’ll need to pan, zoom, and frame the contents of the Node View, t

230 Chapter 8 Working With Macros The text in your editor is raw script, meaning it is not formatted as a macro. If you paste it back in, you get t

Chapter 8 Working With Macros 231 1 Add the formatting for the macro body and declare the macro type and name:image RotateBlur( ){Rotate1 = Rotate(

232 Chapter 8 Working With Macros 4 Indicate what you want to spit out of the macro with the return line. This is the final image (or float, int, s

Chapter 8 Working With Macros 233 To test the macro:mGo to the command line in Terminal.You might be saying to yourself right now, “Hey, why am I t

234 Chapter 8 Working With Macros Now try your new macro on an image. If you do not have an image, use the sample image in the $HOME/nreal/Tutorial

Chapter 8 Working With Macros 235 3 Set the xSize parameter to 75.4 Set the ySize parameter to 40.The result is an image that is 75 x 40 pixels. To

236 Chapter 8 Working With Macros Important: Shake assumes you have matched the tab name with the file name, so if you actually did place this int

Chapter 8 Working With Macros 237 • If there is nothing at all, you have made an error in your ui file. Check the error messages for an indication.

238 Chapter 8 Working With Macros This sets the slider range from 0 to 400 for the blur parameter of the RotateBlur function. Spelling and capitali

Chapter 8 Working With Macros 239 The node tree appears in the Node View.2 In the Node View, select the Rotate1, Blur1, and Rotate2 nodes that buil

24 Chapter 1 Shake Basics Working With WindowsNow that you have a few images loaded, this is a good time to practice methods of working with the Sh

240 Chapter 8 Working With Macros The Shake MacroMaker is launched.The top portion of the Shake MacroMaker window contains text fields for the name

Chapter 8 Working With Macros 241 • The “Shake directory” is the <ShakeDirectory>/include/startup directory. When this option is checked, the

242 Chapter 8 Working With Macros 7 Make sure the float angle Visibility button is on.The Rotate1 “image In” parameter is activated automatically.

9 2439 Creating Clean PlatesThis tutorial demonstrates how to stitch images with the AutoAlign feature, and how to use SmoothCam to stabilize foo

244 Tutorial 9 Creating Clean Plates To stitch images using the AutoAlign node: 1 From a new Shake script, insert an Image–FileIn node.2 In the Fil

Tutorial 9 Creating Clean Plates 245 Now that the the images are connected, you can tell AutoAlign to analyze and stitch them. There are two differ

246 Tutorial 9 Creating Clean Plates 9 Turn on the matchIllum option to fix the color match between images. Now you should have a fairly good backg

Tutorial 9 Creating Clean Plates 247 This image is attached to the first input of the AutoAlign1 node, and is designated as the “locked” plate—mean

248 Tutorial 9 Creating Clean Plates You may already be familiar with the Stabilize node and wonder why we’re not using that to stabilize the foota

Tutorial 9 Creating Clean Plates 249 To stabilize the clip1 image: 1 Select the clip1 node, then insert a Transform–SmoothCam node.2 In the SmoothC

Chapter 1 Shake Basics 25 Flipbook ControlsThe following table contains several Flipbook controls.You can have as many Flipbooks as memory allows,

250 Tutorial 9 Creating Clean Plates 7 Now insert Transform–SmoothCam nodes for the clip2 and clip3 nodes, and repeat the stabilization process for

Tutorial 9 Creating Clean Plates 251 To crop the stitched plate:1 Select the AutoAlign1 node, then insert a Transform–Crop node.2 In the Viewer, dr

252 Tutorial 9 Creating Clean Plates To adjust for lens distortion:1 Select the CCrop1 node, then insert a Warp–LensWarp node. 2 Load LensWarp1 int

Tutorial 9 Creating Clean Plates 253 There are many ways to accomplish this. You might immediately think “Clone brush” in QuickPaint, and you are i

254 Tutorial 9 Creating Clean Plates When creating a clean plate, try to select frames with as little overlap of the foreground characters as possi

Tutorial 9 Creating Clean Plates 255 2 Add a Color–Invert node to the Move2D1 node.3 Select the bridge001 node and add a Layer–Mix node.4 Connect t

256 Tutorial 9 Creating Clean Plates The images are aligned when most of the background noise disappears.7 In the Node View, select the Invert1 nod

Tutorial 9 Creating Clean Plates 257 9 In the QuickPaint controls in the Viewer shelf, click the “frame” button twice until it reads “persist.” Whe

258 Tutorial 9 Creating Clean Plates 5 If you paint too far to the left, and reveal the actors in frame 38, use the Eraser to tidy up. Unfortunatel

Tutorial 9 Creating Clean Plates 259 Once you have a clean plate, add an Image–FileOut node and render the clean plate as a new image or image sequ

26 Chapter 1 Shake Basics Compositing ElementsNow that you know how to navigate through the Shake interface, you’re ready to composite the elements

Chapter 1 Shake Basics 27 You can also drag from the bottom of table to the second input on Over1.Information flows downward in the Node View like

28 Chapter 1 Shake Basics Look in the Parameters tab, where the Over1 parameters now appear. The first parameter is the same for all nodes: the nam

Chapter 1 Shake Basics 29 The node logic is switched, which completely changes the result of the composite. The orchid now appears behind the table

3 1 Contents Preface 7Welcome to Shake 47 The Tutorial Lessons 8 Installing the Tutorial Media 8 Mac OS X Notes Chapter 1 11 Shake Basics11 Tu

30 Chapter 1 Shake Basics 7 In the Node View, select the orchid_Over_table node and add one more Over node. Use the following illustration as a gui

Chapter 1 Shake Basics 31 If you were paying attention when you connected images to that first Over node, your composite looked like this for a bri

32 Chapter 1 Shake Basics So, what does this have to do with the clipped image in our composite? What you saw earlier was the result of Shake’s aut

Chapter 1 Shake Basics 33 4 To ensure that the resolution is 720 x 486 pixels, set clipMode to foreground.The image is no longer clipped. 5 Double-

34 Chapter 1 Shake Basics 5 Using the following illustration as a guide, add a new Image–RGrad node and attach it to the side mask port on the Blur

Chapter 1 Shake Basics 35 2 Click the right side of the RGrad1 node to load it into the Parameters tab.3 In the RGrad1 Parameters tab, set radius t

36 Chapter 1 Shake Basics In the illustration below, the radius is set to 312 and the falloffRadius is set to 370.It’s looking better, but there’s

Chapter 1 Shake Basics 37 10 Drag in the luminance bar, under the ColorWheel, until you see a softer focus for the background in the Viewer. Workin

38 Chapter 1 Shake Basics 4 Arrange the nodes as shown in the illustration below. Composite the soft shadows first. 5 Select the Over1 node, then a

Chapter 1 Shake Basics 39 7 In the lMult1 parameters, drag the percent slider to set it to 65. Next, composite the lighting pass. 8 Select the lMul

4 Contents 93 Working With Z Channels 98 Creating Composites With ZCompose 102 Color Correcting Premultiplied Images 107 Fading With Distance 111 3D

40 Chapter 1 Shake Basics 10 Drag the noodle from the second input on Screen1 to the first input. That fixed the clipping situation but didn’t chan

Chapter 1 Shake Basics 41 Or, in the Viewer, drag a corner of the Move2D transform control until the scale parameter is set to 2. The size is right

42 Chapter 1 Shake Basics 2 Right-click Fade, then choose Create from the shortcut menu (or, you can click Fade while holding down the Control and

Chapter 1 Shake Basics 43 The finished image will look similar to this:Rendering a SequenceWhen you’re ready to create the final images for your co

44 Chapter 1 Shake Basics 5 Once you have entered your file name settings in the File Browser, click OK. To save the script:1 Click the Save button

Chapter 1 Shake Basics 45 2 In the File Name text field, type “orchid.shk” as the name for the script, then click OK.Note: To Save As, use Command

46 Chapter 1 Shake Basics 2 Open Terminal and navigate to the directory where your orchid.shk script is saved.3 Type:shake -exec orchid.shk -vNote:

2 472 Intermediate SkillsThis tutorial shows how to optimize your workflow with the SetDOD node, and how to use the Shake Time View, and the Curv

48 Tutorial 2 Intermediate Skills To explore the topics of this tutorial, you’ll work with images from the Beanfield music video Tides, kindly prov

Tutorial 2 Intermediate Skills 49 • Replace: Select the node you want to replace, then Control-click a node button in the Tool tabs.• Insert Uncon

Contents 5 215 Position the Foreground Element 218 Color Correct the Foreground Element Chapter 8 225Working With Macros225 Tutorial Summary 225 What

50 Tutorial 2 Intermediate Skills • Delete: Select the nodes by clicking, Shift-clicking or dragging a selection box, then press Delete.• Delete C

Tutorial 2 Intermediate Skills 51 Optimizing With SetDODA DOD (Domain of Definition) is a rectangular region around an element that defines the par

52 Tutorial 2 Intermediate Skills To add the SetDOD node:1 In the Node View, select the mitosis node.2 Insert a Transform–SetDOD node.3 Make sure t

Tutorial 2 Intermediate Skills 53 This tells Shake to calculate only the image information within the DOD boundaries. The rest of the image is igno

54 Tutorial 2 Intermediate Skills To group the mitosis, setDOD1, and Move2D1 nodes:1 In Node View, drag to select the mitosis, setDOD1, and Move2D1

Tutorial 2 Intermediate Skills 55 4 Click the Expand button on the mitosis_group node to show its contents. When a group is expanded, you can selec

56 Tutorial 2 Intermediate Skills Each image node and layer node in the composite is represented by a horizontal bar, lined up with the frames in t

Tutorial 2 Intermediate Skills 57 To load the mitosis node into the Parameters tab, do one of the following: mIn the Node View click the right side

58 Tutorial 2 Intermediate Skills To modify the clip’s position in the Time Bar:mIn the Time View, drag the middle of the mitosis bar to the right.

Tutorial 2 Intermediate Skills 59 To extend the length of the mitosis clip:1 In the Time View, press the Control or Command key and drag the right

6 Contents

60 Tutorial 2 Intermediate Skills You now have everything set up for the first original copy of our “little guys” element. The next step is to make

Tutorial 2 Intermediate Skills 61 3 Drag the selected nodes to the left in the Node View to make room for the copies. 4 Right-click in the Node Vie

62 Tutorial 2 Intermediate Skills 6 Using the illustration below as a guide, connect the copies to the rest of the node tree.So you have your copie

Tutorial 2 Intermediate Skills 63 To position the “little guys”:1 Load the leftmost Over1 node into the Viewer. 2 Click the Expand/Collapse button

64 Tutorial 2 Intermediate Skills 5 Drag a corner of the Move2D onscreen controls (the box overlay) to change the size of the element. 6 Drag the t

Tutorial 2 Intermediate Skills 65 3 Double-click the Over1 node (the last Over node at the bottom of the node tree), to see the results of the comp

66 Tutorial 2 Intermediate Skills Creating Motion BlurThe motion blur feature lets you simulate the effect you see with moving objects in real phot

Tutorial 2 Intermediate Skills 67 2 Click the Globals tab and expand the motionBlur subtree. Note: The Move2D, Move3D, CornerPin, CameraShake, Pan

68 Tutorial 2 Intermediate Skills To create a transformation for motion blur:1 Select the front_man node, then insert a Transform–Move2D node. 2 Mo

Tutorial 2 Intermediate Skills 69 5 Click the right side of the Over4 node to load the final output into the Viewer. No motion blur, right? You sti

7 Preface Welcome to Shake 4 This guide includes hands-on tutorials, demonstrations, and explanations of Shake features and workflow. In addi

70 Tutorial 2 Intermediate Skills 3 Set motionBlur to 0.25 to lower the blur quality. 4 Enter a few different settings for shutterTiming to test th

Tutorial 2 Intermediate Skills 71 Note: Generally, it’s better to define motion blur settings for individual transform nodes. You can set motionBl

72 Tutorial 2 Intermediate Skills Now use the Photoshop import feature to read in the same file. To import a Photoshop file using the Import comman

Tutorial 2 Intermediate Skills 73 As you can see, each Photoshop layer has its own set of parameters inside the Composite node. The clipLayer param

74 Tutorial 2 Intermediate Skills Zoom in on the Composite node (press Command-middle-click or Control-middle-click and drag right). You’ll see the

Tutorial 2 Intermediate Skills 75 12 In the Parameters tab, use the Reposition controls to drag the wawa2 and wawa3 layers below the grass layer. 1

76 Tutorial 2 Intermediate Skills In the Move2D1 Parameters tab, click the AutoKey button next to the pan parameters.3 Move the playhead to frame 3

Tutorial 2 Intermediate Skills 77 6 Click the Curve Editor 2 tab (in the Tool tabs) to view the animation curves.Note: To expand the window, posit

78 Tutorial 2 Intermediate Skills 10 Drag the yPan keyframes until your curves look similar to the following illustration. Now make use of what you

Tutorial 2 Intermediate Skills 79 13 Before you continue, click the Save button at the top of the Node View to save the changes you’ve made. Curve

8 Preface Welcome to Shake 4 • Tutorial 6: “Using Primatte” —This lesson describes the basic use and mechanics of the Photron Primatte keying

80 Tutorial 2 Intermediate Skills Color CorrectionYou’ve got a nice composite with the animated “wawas.” Now it ‘s time to blend the elements using

Tutorial 2 Intermediate Skills 81 A ColorMatch node appears after the wawa1 node. ColorMatch1 is already loaded into parameters, but we need to see

82 Tutorial 2 Intermediate Skills The ColorMatch Parameters tab also contains controls for colors you want to match (the “Dest” or destination colo

Tutorial 2 Intermediate Skills 83 7 Click to select the midSource color control, then drag inside a gray area between the wawa’s nose. This should

84 Tutorial 2 Intermediate Skills 10 Click the midDest color control, then drag inside a neutral area or a midrange value between the lightest and

Tutorial 2 Intermediate Skills 85 The image doesn’t look quite matched. So let’s make adjustments to the color selections. You can do this with pre

86 Tutorial 2 Intermediate Skills To adjust colors with the keystroke modifiers:1 Hold down the G key on your keyboard while dragging over the midD

Tutorial 2 Intermediate Skills 87 Since you have multiple characters—and they’re composited at different places in the node tree, a better method i

88 Tutorial 2 Intermediate Skills You see a connection between the original ColorMatch node and the clone, with an arrow pointing toward the parent

Tutorial 2 Intermediate Skills 89 Now that you’ve color corrected the base colors of the characters, you can add other nodes to simulate lighting f

Preface Welcome to Shake 4 9 Important: Macintosh users should bear in mind that the Delete key used in Shake is not the key located below the F12

90 Tutorial 2 Intermediate Skills It doesn’t need to be exactly the same as the illustration, but the color correction on wawa2, should match the d

3 913 Depth CompositingThis tutorial demonstrates different methods for creating “real” and simulated depth in your composites. You’ll start with

92 Chapter 3 Depth Compositing Simulated Depth and 3D CompositingIn this tutorial, you’ll use various methods to create the illusion of depth in co

Chapter 3 Depth Compositing 93 Working With Z ChannelsMost compositing depends on the information in the R, G, B, and alpha channels to create a fi

94 Chapter 3 Depth Compositing As shown in the illustration above, Shake orders these pixels and outputs the higher values when it layers the image

Chapter 3 Depth Compositing 95 Displaying Z ChannelsThe Z channel—or lack of it—in the background image is a problem because some of the balloons a

96 Chapter 3 Depth Compositing To view the Z channel of an image:1 Load the balloons node into the Viewer.2 Press and hold the Viewer Script button

Chapter 3 Depth Compositing 97 The real Z values are placed into the alpha channel for analysis. The inverted display is a result of the Alpha chan

98 Chapter 3 Depth Compositing Some software processes Z channel data differently than Shake. If you’re using 3ds Max, for example, you’ll see nega

Chapter 3 Depth Compositing 99 4 In the Reorder parameters, enter “rgbar” in the channels value field. This string specifies that red goes to the r