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USER GUIDE

Tind

Tinder on Nuke

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Visual Effects Software The Foundry

©2008 The Foundry Visionmongers Ltd. All rights reserved.Tinder 1.2v4 User GuideThis manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. This manual is provided for informational use only and is subject to change without notice. The Foundry assumes no responsibility or liability for any errors of inaccuracies that may appear in this book.

No part of this manual may be reproduced, stored in a retrieval system, or transmitted in any form without the prior written permission of The Foundry.

The Foundry logo is a trademark of The Foundry Visionmongers Ltd. Nuke is a registered trademark of The Foundry Visionmongers Ltd. All other products or brands are trademarks or registered trademarks of their respective companies or organisations.

Software engineering Lucy Hallpike, Ralph McEntagart, Andy Whitmore, Ben Kent, Bruno Nicoletti, Simon Robinson.

Product testing Michael Zannetou, Sean Brice, Martin Rose, Jack Binks.

Writing and layout design Jonathan Barson using Adobe FrameMaker.

Proof reading Michael Zannetou, Jonathan Barson.

Rev. 22 July 2008

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Contents

Introduction About this User Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5OFX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5New Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Installing Tinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Install Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Generic Install Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Moving the Plug-ins Directory . . . . . . . . . . . . . . . . . . . . . . . 7Licensing Tinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Other Foundry Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Tinder Plug-ins T_Bandlimit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11T_Caustic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16T_DiffusionFilter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22T_Distorto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26T_Fractal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30T_Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33T_LensBlur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38T_LensFlare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45T_MatteTool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65T_Rays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71T_Silk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77T_Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82T_Starburst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89T_Tile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94T_Wipe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Appendix A Release Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101


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Appendix B End User License Agreement . . . . . . . . . . . . . . . . . . . . . . 105

Appendix C Filtering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Blending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Source Crops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Attenuation Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Index A-Z . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

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About this User Guide

INTRODUCTION 5

INTRODUCTION

Welcome to this User Guide for Tinder 1.3 for Nuke.

Tinder is a rich collection of image processing tools and effects and includes blurs, visual effects, image generators, tools and warpers.

We hope you enjoy using this collection of tools from The Foundry.

About this User Guide

This User Guide will tell you how to use the Tinder plug-ins. Each plug-in is described in detail in later chapters.

OFX Plug-ins These plug-ins have been written and compiled to the OFX plug-in standard. OFX is an open plug-in API for 2D visual effects. For a current list of supported host systems see www.thefoundry.co.uk

For technical information on OFX for developers see openfx.sourceforge.net

New Features To read about the new features, improvements and fixed bugs in this release, see the “Release Notes” on page 101 of Appendix A.


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6Installing Tinder

Installing Tinder Tinder for Nuke is available as a download from our web site www.thefoundry.co.uk.

Tinder on Linux Follow these instructions if you wish to install Tinder on a Linux machine running Nuke.1. Download the file from our web site (www.thefoundry.co.uk)

2. Change directory to:/usr/OFX/

3. Extract the files from the archive using the following command. This will create a Nuke subdirectory.

tar xvzf Tinder_1.3v1_Nuke-linux-x86-release-32.tgz

4. Proceed to “Licensing Tinder” on page 7.

Tinder on Mac OS X Follow these instructions if you wish to install Tinder on a Mac running Nuke.1. Download the file from our web site (www.thefoundry.co.uk)

2. Double click on the dmg file to unpack it, then double click on the pkg file to launch the installer. Follow the on-screen instructions to install the plug-ins.


Tinder on Windows Follow these instructions if you wish to install Tinder on a Windows machine running Nuke.1. Download the file from our web site (www.thefoundry.co.uk)

2. Double click on the exe file to launch the installer. Follow the on-screen instructions to install the plug-ins.


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Install Directory

INTRODUCTION 7

Install Directory A host-specific directory is searched first for the Tinder plug-in and then the general OFX plug-in directory. For Nuke on Windows this is:C:\Program Files\Common Files\OFX\Nuke\

For Linux:/usr/OFX/Nuke/

For Mac OS X/Library/OFX/Nuke/

Generic Install Directory

After looking in the host-specific directory for a Tinder plug-in, we search in the generic OFX plug-in directory as follows.

For Windows:C:\Program Files\Common Files\OFX\Plugins\

For Linux:/usr/OFX/Plugins/

For Mac OS X/Library/OFX/Plugins/

Moving the Plug-ins Directory

You can put the OFX plug-ins anywhere as long as you set the environment variable OFX_PLUGIN_PATH to point to it.

Licensing Tinder Without a license key, Tinder renders a watermark of coloured dots on the image.

The license key is a sequence of numbers and letters that are


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8Other Foundry Products

stored in a text file. License keys can be locked to a particular machine enabling those plug-ins to run only on that machine. Or it can be a floating license enabling any networked machine to run the plug-ins. To get floating licenses to work you need additional software installed (FFT).

The Foundry FLEXlm Tools (FFT) is a collection of tools to manage and monitor floating licenses running on a server across a network of machines. The Foundry FLEXlm Tools for SGI, Linux, Mac OS X or Windows machines is supplied separately and can be downloaded from our web site.

For information on installing this software and our licenses in general, please refer to the Foundry FLEXlm Tools User Guide which can be downloaded from our web site.

Other Foundry Products

The Foundry is a leading developer of plug-in visual effects for film and video post production. Its products include Nuke, Furnace, Tinder, Tinderbox, Keylight and Anvil and run on a variety of compositing platforms. For the full list of products and supported platforms see our web site www.thefoundry.co.uk

Furnace is a collection of film tools. Many of the algorithms utilise motion estimation technology to speed up common compositing tasks. Plug-ins include wire removal, rig removal, steadiness, deflicker, degrain and regrain, retiming, and texture tools.

Tinder and Tinderbox are collections of image processing effects including blurs, distortion effects, background generators, colour tools, wipes, matte tools, painterly effects, lens flares and much more.

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Other Foundry Products

INTRODUCTION 9

Anvil is a collection of colour correction and colour manipulation tools originally developed by First Art.

Keylight is an award winning blue/green screen keyer giving results that look photographed not composited. The Keylight algorithm was developed by the Computer Film Company who were honoured with a technical achievement award for digital compositing from the Academy of Motion Picture Arts and Sciences.

Visit The Foundry’s web site at www.thefoundry.co.uk for further details.


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T_Bandlimit

TINDER PLUG-INS 11

TINDER PLUG-INS

This chapter describes the plug-ins that are available in Tinder 1.3.

T_Bandlimit

Description This plug-in converts an image into fourier space, removes or keeps user specified frequencies, then converts it back into an image. High, low or intermediate frequencies can be removed or retained. What you get is a very stylized result.

It may help to say a little about frequency space. For example, a black to white ramp would be a low frequency image (large features), whereas a frame of video noise is a good example of a high frequency image (small features). Noise over a ramp would have both high and low frequencies.

Figure 1. Source Image. Figure 2. T_Bandlimit.


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T_Bandlimit can be used to remove or show specified

frequencies.

Ringing (banding) is a by-product of this technique and can lead to some interesting visual effects. On the images below,

Figure 3. Low frequency ramp. Figure 4. High & low frequency noisy ramp.

Figure 5. Showing the high frequency noise but not the

ramp.

Figure 6. Showing the low frequency ramp but not the

noise.

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T_Bandlimit

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T_Bandlimit has been applied to colour bars.

Type Effect.

Controls Process - sets which channels to process.

Feature Size - the particular size of the image features that is to be shown or removed. Low values correspond to small features (high frequencies). High values correspond to large features (low frequencies).

Feature Spread - the extent of the fall-off at the selected feature size (frequency). Increase this value for a smoother result.

Gain - the overall luminance of the effect. If you increase the slider, the image will get brighter.

Selected Features• Remove - throws away the selected feature size.

Figure 7. Feature Size = 15. Figure 8. Feature Size = 50.


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• Show - keeps the selected feature size.

Maintain Luminance - ensures that the overall luminance of the output picture is the same as the input picture, before the gain is applied.

Blending How to mix between the source image and the effect. See “Blending” on page 115.

Crops Cropping tools and edge methods. See “Source Crops” on page 117.

About - click the button to display the version number and a brief description of the plug-in.

Figure 9. Remove. Figure 10. Show.

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T_Bandlimit

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Hints & Tips T_Bandlimit can give interesting ripple effects on text. Set the Selected Features to Remove.

In some images, T_Bandlimit can be used to give a soft painterly effect (Figure 14) by setting the Feature Size and Spread to low values and showing (not removing) the Selected Features.

Figure 11. Source Image. Figure 12. Ripples.

Figure 13. Source Image. Figure 14. Painterly effect.


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T_Caustic

Description T_Caustic simulates the patterns created when light rays are reflected or refracted by a curved surface. Caustics can often be seen at the bottom of a swimming pool in bright sunlight or on objects viewed underwater.

Type Generator.


Figure 15. T_Caustic.

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T_Caustic

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Size - zooms into or away from the caustics.

Fractals - the detail in the caustic lines.

Focus - alter this to bring the caustic lines into focus.

Seed - this number generates a number sequence that is used to randomly vary the caustics pattern.

Speed - the rate at which the caustics move.

Samples - increasing this value will increase the quality of the caustic lines.

Background - the colour of the background.

Foreground - the colour of the caustics.

Figure 16. Size = 15. Figure 17. Size = 50.

Figure 18. Focus = 1. Figure 19. Focus = 2.


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Foreground Brightness - the amount of reflected light emitted from the caustics. The higher this value, the brighter the caustic lines.

Height Map Rather than generating the caustics from an algorithm, they can be sourced from an animating height matte. Here’s an example showing the caustic lines following a matte. It works better if the height map is animating. In fact unless it animates the caustics won’t animate. Try animating a Noise

node and use that as the height map.

Height Component - the image used to create caustics. This parameter is explained more fully in an example. See “Example” on page 20.• None - no height map is used and the caustics are

generated by the algorithm.• Source Luminance- the height map is taken from the

luminance of the source image.• Source Inverted Luminance - the height map is taken

from the inverted luminance of the source image.• Source Alpha - the height map is taken from the alpha

channel of the source image.

Figure 20. Height Map. Figure 21. Caustics.

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T_Caustic

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• Source Inverted Alpha - the height map is taken from the inverted alpha channel of the source image.

• Height Luminance - the height map is taken from the luminance of the optional height image.

• Height Inverted Luminance - the height map is taken from the inverted luminance of the optional height image.

• Height Alpha - the height map is taken from the alpha of the optional height image.

• Height Inverted Alpha - the height map is taken from the inverted alpha of the optional height image.

Softness - the blur applied to the height map.


Source Crops Cropping tools and edge methods. See “Source Crops” on page 117.

Height Map Crops Cropping tools and edge methods.



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Example Let’s explain the Height Map parameter with an example. In this composition we have a picture of a koi carp (Figure 22) and a colour bar generator (Figure 23).

Now apply T_Caustics to the Colour Bars and you’ll get the image shown in Figure 24. Now we’ll specify the Height Map. Set this to Source Luminance and you’ll get the image shown in Figure 25. As you can see the Source Luminance is the Src input (koi carp). If you wish to use the Koi Carp as the height map, connect this into the Height Map input of the caustics node and set the parameter Height Map Component to Height Map Luminance. Do that and you’ll get Figure 26.

Figure 22. Koi Carp. Figure 23. Colour Bars.

Figure 24. T_Caustics.

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T_Caustic

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Hints & Tips T_Caustic can be used to generate mattes for use with other plug-ins. Try using a caustics matte with T_Distorto.

Figure 25. Height Map = Source Luminance.

Figure 26. Height Map = Height Map Luminance.


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T_DiffusionFilter

Description This is an optical glow effect that can be applied to highlights to give the impression of radiating heat or light. The lowlights can also be treated with this diffusion filter and both can be colour tinted.

Type Effect.

Controls Display - the image that is rendered.• Result - shows the diffusion filter on the source image.• Highlight Region - shows the highlights as a matte. This

region is then used to produce the highlight glow.• Lowlight Region - shows the lowlights as a matte. This

region is then used to produce the lowlight glow.

Order - controls the layering of the glows over each other.• Highlights then Lowlights - the lowlight glow is layered

over the highlight glow.• Lowlights then Highlights - the highlight glow is layered

over the lowlight glow.

Figure 27. Source Image. Figure 28. DiffusionFilter.

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T_DiffusionFilter

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Highlights Controls all aspects of the highlight glow.

Highlight Type - controls how the highlights are calculated.• None - switches off the highlight glow.• Colour - the luminance of the pixel is used to create the

matte used in the glow and the colour of the glow is taken from the colour parameter.

• RGB - the average of the red, green and blue pixel strengths are used to create the matte used in the glow and the colour of the glow is taken from the image and colour parameter.

Highlight Colour - the colour of the glow.

Highlight Softness - the amount of blur on the highlight glow.

Highlight Strength - the brightness of the highlight glow.

Highlight Clip Min - pixels at or below this luminance value are set to black. Increasing this value restricts the pixels that are used to create the highlight glow.

Highlight Clip Max - pixels at or above this luminance value are set to white. Decreasing this value extends the luminance range of the matte used to create the highlight glow.

Note Display the Highlight Region to see what’s going on when changing the clipping values.

Highlight Shrink or Grow - positive values grow the matte used to create the glow. This will make the glow more obvious, although it can be softened back. Negative values erode the matte used to create the glow.


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Lowlights Controls all aspects of the lowlight glow.

Lowlight Type - controls how the lowlights are calculated.• None - switches off the lowlight glow.• Colour - the luminance of the pixel is used to create the

matte used in the glow.• RGB - the average of the red, green and blue pixel

strengths are used to create the matte used in the glow.

Lowlight Colour - sets the colour of the glow.

Lowlight Softness - the amount of blur on the lowlight glow.

Lowlight Strength - the darkness of the lowlight glow.

Lowlight Clip Min - pixels at or below this luminance value are set to black. Increasing this value restricts the pixels that are used to create the lowlight glow.

Lowlight Clip Max - pixels at or above this luminance value are set to white. Decreasing this value extends the luminance range of the matte used to create the lowlight glow.

Lowlight Shrink or Grow - positive values grow the matte used to create the glow. This will make the glow more obvious, although it can be softened back. Negative values erode the matte used to create the glow.


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T_DiffusionFilter

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Hints & Tips On some images it can produce a kind of dreamy quality.

Figure 29. Source Image. Figure 30. T_DiffusionFilter.

Figure 31. Source Image. Figure 32. T_DiffusionFilter.


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T_Distorto

Description T_Distorto distorts an image using a matte. The amount of distortion corresponds to the brightness of the matte, and the distortion takes the form of a scale, translation or rotation of the image. Where the matte is black there is no distortion. Where the matte is white the full distortion is applied. A matte with smooth changes in luminance will gently ramp in the distortion to give fluid like effects.

Type Warper.


Distortion Source Sets which image to use as the distortion matte and controls its position. The behaviour at the edges of the matte is controlled by the Matte Crops parameter group.

Distort With - the image and channels used to control the distortion.

Figure 33. Source Image. Figure 34. T_Distorto.

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T_Distorto

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Position - the centre of the matte.

Rotation - the rotation of the matte.

Scale - the size of the matte.

Softness - blurs the matte before applying the distortion. Use this to gradually ramp in the distortion.

Strength - the amount of distortion applied based on the settings under Deformation Controls.

Deformation Transform Sets the type of distortion applied to the image.

Deformation Position - the deformation offset.

Deformation Rotation - the deformation rotation.

Deformation Scale - the overall deformation scale.

Source Transform Controls the position of the source image. The behaviour at the edges of the image is controlled by the Source Crops.

Source Position - the centre of the source image.

Source Rotation - the rotation of the source image.

Source Scale - the overall scale factor.

Display• Source - shows the transformations of the source image.


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28T_Distorto

• Distortion Source - shows the transformations of the distorting source (matte).

• Result - shows the result of the deformations.

Filtering - the quality of the anti-aliasing used when processing the effect. See “Filtering” on page 113.

Filter Sharpness - sharpens the image when Filtering is set to High. See “Filtering” on page 113.



Matte Crops Cropping tools and edge methods.


Hints & Tips T_Distorto is used extensively in post production to fake and control reflections in curved surfaces. Computer generated 3D objects need to interact with their surroundings to give the impression the scene has been filmed and not created from separate elements. T_Distorto enables compositors to control reflections at the compositing stage rather than

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T_Distorto

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taking the video footage and using it as environment maps in 3D.

Figure 35. Still. Figure 36. T_Distorto.


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T_Fractal

Description T_Fractal generates organic animating patterns.

Type Generator.


Gain - changes the brightness of the fractals.

Spread - controls the fractal density. If you set this quite low then you can get a random movements in layers like

Figure 37. T_Fractal.

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T_Fractal

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Brownian motion.

Speed - sets the rate at which the fractals animate.

Iterations - controls the number of fractal layers.

Detail - controls the fractal complexity.

Seed - changes the fractal pattern.

Foreground Colour - the colour of the fractals.

Background Colour - the colour behind the fractals.


Figure 38. T_Fractal with Spread=7, Detail=55, Gain=5.


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About - displays the plug-in name, version number and a brief description of the plug-in.

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T_Glass

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T_Glass

Description T_Glass gives the impression of viewing an image through a layer of distorting glass. Lights can also be applied to illuminate the glass.

Type Effect.


Glass Component - the image and channels used to control the glass effect.• Source [Channel] - the current layer with all the effects

applied will be used as the glass matte.• Glass [Channel] - pick this option if you want to use a

raw layer with no effects applied. If you pick one of these

Figure 39. T_Glass.


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options you must specify the layer you want to use with the Glass Layer parameter.

Mask Component - the image and channels used to control the compositing of the image back over the effect.

Figure 40 shows T_Glass applied to a flower with an “s” shaped matte as the glass layer. Image softness has been applied to blur the image in the glass. Using the “s” shaped matte as the Mask layer brings the background back into focus.

Bump Amount - the amount the glass matte appears to deform the image in the z axis. Positive values push out from the screen. Negative values indent.

Distortion Scale - the amount light rays are refracted (bent) when entering the glass. This is also known as the refractive index of the glass. Changing this parameter alters the amount of distortion of the source image in the glass.

Figure 40. Mask used to Restore the Source Image.

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T_Glass

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Clip Min - pixels in the glass matte at or below this luminance value are set to black.s

Clip Max - pixels in the glass matte at or above this luminance value are set to white.

Glass Softness - the amount of blurring applied to the glass matte.

Aberration - introduces colour fringing in the distortions.

Image Softness - the amount of blurring applied to the image. This gives the effect of pulling the glass into focus and the background, seen through the glass, out of focus.

Light See “Light” on page 123.

Light Type• None - no lights are used. Lighting parameters are

switched off.• Infinite - simulates the parallel rays from a distant light

source, like the sun.• Local - simulates the light rays from a light source close

to the surface of the image.

Figure 41. Softness = 10. Figure 42. Softness = 50.


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Light Elevation - the height of the light source above the image plane.

Light Direction - the direction of the light source.

Light Distance - the distance of the Local light from the image plane.

Light Position - the location of the Local light.

Specular Lighting See “Specular Lighting” on page 125.

Specular Colour - the light colour.

Specular Strength - the brightness of the light source.

Specular Fall-off - controls how quickly the light fades away with distance from the light source. This gives a sense of shininess.


Filter Sharpness - sharpens the image when Filtering is set to High.



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Glass Crops Cropping tools and edge methods.


Hints & Tips A simple example showing an image used as both the image and glass inputs.

Figure 43. Stained Glass Window. Figure 44. T_Glass.


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T_LensBlur

Description T_LensBlur simulates the true defocusing properties of a camera lens to give realistic focus pulls. It includes controls for the shape of the camera diaphragm, highlight blooming and chromatic aberration. Figure 45 shows Hong Kong’s

skyline at night. Figure 46 is a close-up of part of the image showing the pentagon shaped bloomed highlights.

Type Blur.


Radius - the strength of the blur. Increase this value to increase the defocussing.

Overall Gain - the brightness of the image. A value of 50 will halve the luminance. A value of 200 will double the luminance.

Diaphragm Rotation - the rotation of the camera

Figure 45. Source Image. Figure 46. LensBlur (enlarged).

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diaphragm.

Polygonal Diaphragm - switch this on for polygonal highlights and off for circular highlights.

Number of Sides - the number of sides of the polygonal highlights.

Lens Shape - the type of lens used.• Normal Lens - the light is refracted through the lens

before exposure onto the film.• Catadiatropic Lens - the light is reflected by mirrors

before reaching the film. This method produces a dark circle at the centre of the highlight.

Catadiatropic Core Size - the size of the dark circle at the centre of the highlight.

Chromatic Aberration - the defects of the lens that causes the image to display coloured fringes.

Blooming These parameters control the over exposure of the effect when blooming is switched on.

Do Blooming - switch this on to allow the overexposure of

Figure 47. Normal Lens. Figure 48. Catadiatropic Lens.


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highlights on the film.

Bloom Clamping - controls the value of pixels outside the legal range for the project.• Clamp To Pixel Max - the blooming will produce colours

up to peak white.• Clamp To Image Max - the brightest pixels of the output

image will not exceed the brightest pixels of the original image.

Threshold - the luminance level above which pixels will bloom.

Amplify - the brightness of the blooming.

Matte Component - the image and channels used to control the attenuation of the blooming. The image attenuates the threshold value between the current parameter value if the matte is white to a threshold value of 100 if the matte is black.

Scissoring Controls the clipping of the highlights into irregular shapes.

Scissored Shutter - switch this on to activate the

Figure 49. Amplify = 200. Figure 50. Amplify = 800.

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diaphragm clipping.

Scissored Position - the extent to which the left and top clip planes intersect the bloomed highlights. At 50 the lines will intersect the centre of the highlights.

Scissored Angle - the rotation of the top clipping plane around the centre of the highlight.

Depth Attenuation Depth of field can be simulated using these parameters. A z-depth matte is used to drive the blurring. This is an extremely CPU intensive process, so to speed things up the matte is sliced into discreet layers that are blurred.

Depth Component - the image and channels used to control

Figure 51. Scissored Shutter. Figure 52. Scissored Shutter.

Figure 53. Scissored Position. Figure 54. Scissored Angle.


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the depth matte.

Near - the near clipping plane. Luminance values in the depth matte at this value or below are set to black.

Far - the far clipping plane. Luminance values in the depth matte at or above this value are set to white.

Accuracy - the number of slices made. Large values will dramatically increase render times.

Focal Point - the luminance value in the depth matte which is in focus.

Output Type• Result - the blurred image.• Depth - the matte used to blur the image.




Depth Crops Cropping tools and edge methods.


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T_LensBlur

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Hints & Tips Digital Gaussian blurs are commonly used to simulate out-of-focus elements. This can be perfectly acceptable in many situations, but if a true camera defocus is required a filter that will bloom highlights ought to be used. The picture below shows a well-focused scene. Now look at the two

images below. On the left we have changed the focus of the lens so that the image is no longer sharp. Note what happens to the candle flames and the sparkles from the candle holders. They exhibit noticeable blooming rather than just a softening and take on the characteristic shape of the camera’s aperture. Note also that the edges are well defined. You can often see these polygonal shapes in lens flares. See

Figure 55. A well-focused scene.


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“T_LensFlare” on page 45. The image on the right shows a digital Gaussian blur. Note the difference.

Figure 56. T_LensBlur. Figure 57. Gaussian blur.

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T_LensFlare

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T_LensFlare

Description Camera lenses are designed to focus light onto a photo-sensitive surface. The lens housing often contains many individual glass lenses through which the light is refracted. However, a small percentage of light is reflected from the surface of the lenses and this reflected light forms the lens flare patterns we see on the photographed image. Lens flares are most noticeable when the lens is pointed towards a very bright light.

T_LensFlare generates realistic and highly customized lens flares. It can be used over a background image or to generate an image from scratch.

The lens flare is made up from 12 elements. These are:

1. Rays

2. Spikes

Figure 58. T_LensFlare on the Burg al Arab in Dubai.


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3. Uniform Spikes

4. Diced Spikes

5. Halo Ring

6. Chromatic Ring

7. Chromatic Radial

8. Chromatic Ripple

9. Arc

10.Light Shard

11.Disc

12.Polygons

These are described in more detail below. You can make your lens flare by adding together these elements. Simply select the number of elements you want and then edit their parameters.

Type Effect.

Controls Presets - some example lens flares to get you started.

Process - sets which channels to process.

Highlight Position - the position of the source of the light.

Pivot Position - the position of the pivot point usually the centre of the image. The polygons are drawn in a line from the highlight position through the pivot point.

Overall Gain - the overall brightness of all elements in the lens flare. This parameter can be driven by the Obscure With

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parameter - for example, to get the lens flare to automatically flick on and off as it goes behind a line of trees.

Number of Elements - up to 12 components can be added to form the lens flare.

Reset Element Params on Type Change - switch this on to reset the parameters of an element if the type changes.

Element 1: Rays Renders light rays of equal length and unequal spacing around the centre to form the bright highlight glow.

Element Type - the element type.

Gain - the brightness of the rays.

Radius - the length of the rays.

Aspect - the horizontal and vertical weighting of the effect.

Offset - the shift in position of the ray centre from the highlight position to the pivot position.

Rotation - the rotation of the rays.

Figure 59. Rays.


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Width - the width of the rays.

Spoke Number - the number of rays drawn from the highlight.

Fractal Depth - essentially controls the amount of detail in the rays. If set to 1, a smooth glow ball is drawn. As the detail is increased soft gaps appear in the glow. As the detail increases further the gaps become more numerous and are thinner.

Glow Radius - the size of the bright glow at the centre of the highlight.

Core Colour - the inner colour of the glow and the rays.

Edge Colour - the outer colour of the glow and the rays.

Addition - the compositing method used to blend the lens flare components together.

Element 2: Spikes Renders light rays of unequal length and unequal spacing around the centre.


Figure 60. Spikes.

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Element 3: Uniform Spikes

Renders light rays of equal length and spacing around the centre.










Figure 61. Uniform Spikes.

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Element 4: Diced Spikes Same as Spikes but with luminance variations along each light ray. These luma variations are controlled by the Glow Radius.

Type - the element type.





Figure 62. Diced Spikes.


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Glow Radius - in this mode it controls the luma variations along the length of each ray. Reduce the Glow Radius to get more variations.




Element 5: Halo Ring Renders a two colour ring.

Figure 63. Halo Ring.

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Element 6: Chromatic Ring Renders a rainbow coloured ring intersected with dark rays drawn from the centre of the ring.

Figure 64. Chromatic Ring.


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Gain - the brightness of the ring.

Radius - the size of the ring.


Offset - the shift in position of the ring centre from the highlight position to the pivot position.

Rotation - the rotation of the ring.

Width - the width of the ring.

Spoke Number - the number of rays drawn from the highlight that form the ring.


Element 6: Chromatic Radial

Renders a rainbow coloured ring intersected with dark rays drawn from the highlight position. The difference between Chromatic Ring and Chromatic Radial only becomes apparent when the Offset is non-zero.

Figure 65. Chromatic Radial.

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Element 6: Chromatic Ripple

Renders a rainbow coloured ring intersected with evenly spaced dark rays drawn from the centre of the ring.


Figure 66. Chromatic Ripple.


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Element 6: Arc Renders a two colour arc.


Gain - the brightness of the arc.

Figure 67. Arc.

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Radius - the size of the arc. This affects the curvature.



Rotation - the rotation of the arc.

Width - the width of the arc.

Core Colour - the inner colour of the arc.

Edge Colour - the outer colour of the arc.


Element 7: Light Shard The light shard centered on the highlight position.


Gain - the brightness of the arc.

Radius - the size of the arc. This affects the curvature.

Figure 68. Light Shard.


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Rotation - the rotation of the arc.

Width - the width of the arc.

Core Colour - the inner colour of the arc.

Edge Colour - the outer colour of the arc.


Element 8: Disc The solid circle offset from the highlight position. This

element is made from two overlapping circles.


Gain - the brightness of the disc.

Radius - the size of the disc.

Figure 69. Disc.

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Aspect - the horizontal and vertical weighting of the effect. Use this to make an ellipse.


Rotation - the rotation of the disc.

Core Colour - the inner colour of the disc.

Edge Colour - the outer colour of the disc.

Inner Radius - the size of the inner disc.

Softness - the blur applied to the discs.

Chromatic - switch this on to render coloured discs.

Grain - the amount of grain added to the disc.


Element 9: Polygons These are the circular or polygonal coloured glows that lie on a line from the center of the highlight through the pivot


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point.


Number of Polygons - the number of polygons drawn along the line between the highlight and pivot positions.

Gain - the brightness of the polygons.

Radius - the size of the polygons.

Aspect - the horizontal and vertical weighting of the effect. Use this to squash the circles into ellipses.

Offset - shifts the position of the polygons along the line between the highlight and pivot positions.

Rotation - the rotation of each polygon about its centre.

Sides - the number of sides of the regular polygon. For circles make this value large.

Core Colour - the colour at the centre of the polygon.

Edge Colour - the colour at the outer edge of the polygon.

Figure 70. Polygons.

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Inner Radius - the radius of the core circle drawn at the centre of the polygon.

Softness - the edge softness of the polygons.

Chromatic - switch this on to render rainbow coloured polygons and switch it off for two colour polygons.

Curvature - the bending of the lines drawn between the polygon vertices. Increase this value to bow out the poly sides. High values will render circles.

Spacing - the distance between the polygons.

Seed - generates a random number sequence used to position the polygons.

Grain - the amount of grain added to the polygons.

Colour Variance - the deviation in colour of the polygons. a value of zero will ensure all polygons are the same colour.

Gain Variance - the deviation in polygon brightness. A value of zero will ensure that all polygons are the same brightness.

Radius Variance - the deviation in polygon size. A value of zero will ensure that all polygons are the same size.

Position Variance - the deviation in position along the straight line between the highlight and pivot positions.


Matte Layer - the layer used if Matte is set to Matte Layer


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Luminance/Alpha.

Obscuration Matte Component - the image and channels used to control the obscuration matte. This matte is used to switch on and off the lens flare. You may want to put the sun behind a row of trees in a panning camera shot. You can use the matte of the trees to switch on and off the lens flare.

Obscuration Radius - the extent to which the matte will have an affect on the lens flare. If you have a hard edged matte and want the lens flare to flick off at the boundary then set this value to zero. If you want the lens flare to gradually dim as it approaches the hard edge in the matte then increase this value.

Position Component - you can drive the position of the highlight from a matte. Select a layer that has a bright white spot moving in it. If set to None, then keyframe the Highlight Position.


Matte Crops Cropping tools and edge methods. See “Source Crops” on page 117.

Position Crops Cropping tools and edge methods. See “Source Crops” on page 117.

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Hints & Tips The introduction of a lens flare when creating a scene with a bright light source is quite common. It can play an important part in making the scene look right.

Real lens flares can be shot against a black background and composited into your scene. However, it can be tricky and expensive to match the camera moves of the two sequences so that the lens flare appears correct. Digital lens flares are fast and can easily be animated to track the movement of the light source in your scene.

Lens flares occur when a bright light is shone directly into the camera lens. Each lens flare has a bright highlight caused by the overexposure of the light on the film and a trail of polygons caused by the multiple reflections of the light rays in the lenses that form the focussing assembly of a camera. The shape of the iris that forms the camera’s aperture is responsible for the shape of the polygons formed in the lens flare. Since lens flares are constructed inside the camera, when you come to digitally creating them they should always be composited over everything else in your scene.

The precise form of the lens flare comes from the lens properties and not the light source. This is particularly apparent for anamorphic lenses which produce horizontal lens flares. These can be recreated using the Light Shard element of T_LensFlare.


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You should also be aware that the polygons will move at different speeds relative to each other whenever the light source or camera is moving. This is caused by the different position of the lenses within the lens assembly. When animating T_LensFlare you should keep the pivot position static in the centre of the image and animate the highlight position. The relative positions of the rings and polygons will automatically animate in relation to these two coordinates.

It is worth spending time looking at real lens flares to get a feel for the shapes, colours and movement. Just spending an evening in watching television will doubtless prove fruitful in this quest. You should note that lens flares have very subtle imperfections and tend to flicker over time.

You can use T_LensFlare to create rainbows. Switch everything off apart from one chromatic ring.

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T_MatteTool

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T_MatteTool

Description T_MatteTool provides a suite of tools to manipulate mattes, in particular, the growing and eroding (Figure 73) of edges with subpixel precision. However, it excels at providing a comprehensive set of tools for manipulating mattes pulled from blue and green screen keyers. Tools include matte clean-up while preserving edge detail and halo tools (Figure 74) for softening edges in composites.

Type Tool.

Figure 71. Cartoon. Figure 72. Matte.

Figure 73. Shrink. Figure 74. Halo.


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Controls

Channels The channels to process. You can choose to manipulate the luminance or any combination of the red, green, blue or alpha channels.

Process - sets which channels to process.• RGBA• Luminance

Process Red - switch this on to process the red channel.

Process Green - switch this on to process the green channel.

Process Blue - switch this on to process the blue channel.

Process Alpha - switch this on to process the alpha channel.

Radius - the amount of eroding or growing of the matte edges. Negative values erode the matte. Positive values grow the matte.

Mode - how to manipulate the matte.• Shrink / Grow - positive values grow the matte edges.

Negative values erode the matte edges.• Halo In / Out - creates a line on the inside (or Outside)

edge of the matte. See Figure 75 and Figure 76.

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• Halo - creates a line centered on the edge of the matte.

Shape - sets the profile of the filter used to erode/grow the matte edges.• Circle - corners are rounded off with this algorithm.• Square - sharp corners are preserved with this algorithm.

Softness - the amount of blurring applied to the matte.

Softness Aspect - the horizontal and vertical weighting of the effect.

Negate - switch this on to invert the matte.

Halos Cut Blurs - this cuts into the inside or outside edges of softened In/Out Halos.

Despeckle Black - increase this to remove black pixels in white areas while preserving edges. This works by growing the surrounding white pixels into the black spots.

Despeckle White - increase this to remove white pixels in black areas while preserving edges. This works by growing the surrounding black pixels into the white spots.

Figure 75. Split Screen showing Halo In and Halo Out.

Figure 76. Close-up of Halo In and Halo Out.


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Clip Rollback - controls the amount of erosion of the edges of the black threshold matte when Clip Min is used to remove dust in the background.

Figure 77. 3-way vertical split screen showing the original matte on the left, the modified Matte using Clip Max on the right and the Rolled Backed Matte in the middle. Note that

the Rolled Back Matte recovers the original edges while firming up the foreground matte. For additional clarity a

horizontal split screen of the same images is shown below.

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Clip Min - pixels at or below this luminance value are set to black. When compositing, this parameter can be used to improve the background image if parts of the foreground are showing through.

Clip Max - pixels at or above this luminance value are set to white. When compositing, this parameter can be used to firm up the centre of the matte making it less transparent to the background. Increasing this value too much will affect the edges of your matte. Roll Back Max should be used to compensate.


Figure 78. 3-way horizontal split screen showing top to bottom the Clip Max, Clip Rollback and Original Matte.


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Hints & Tips Can be useful for tidying up mattes from keyers. Also if you have an image and associated matte which when composited into a scene has a rather harse line around it, you can use T_MatteTool to extract a soft halo which can then be used in T_BlurMasked to soften the edge.

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T_Rays

TINDER PLUG-INS 71

T_Rays

Description T_Rays creates a backlit ray effect. The rays are sourced from selected areas of the image’s luminance, or a matte. The colour of the rays can come from the source image or a fixed colour. Figure 80 shows T_Rays applied to a picture of

the London Eye on the south bank of the river Thames.

Type Effect. It has an optional second input for a matte to define the source of the rays.


Source Position - where the rays come from.

Colour Method - determines the ray colour.• Source - takes the colours of the rays from the source

image.

Figure 79. Source Image. Figure 80. T_Rays.


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• Colouring - takes the colours of the rays from user selected colours.

Gain - the brightness of the rays. Increase this for brighter rays.

Ray Length - the length of the rays. Increase this for longer rays.

Colours This controls the colours of the rays if Colour Method is set to Colouring.

Number of Colours - the number of colours used to colour the rays when Colour Method is set to Colouring.

Highlight - the colour of the brightest part of the rays.

Figure 81. Source. Figure 82. Colouring.

Figure 83. Gain = 1. Figure 84. Gain = 2.

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Colour 1 -

Colour 2 -

Colour 3 -

Colour 4 -

Colour 5 -

Scintillation Controls the flickering or shimmering of the rays. This movement can be controlled in three ways.

1. Set the Scintillation Speed to give a random breakup in the rays.

2. Animate the Phase to rotate the shimmer around the Source Position.

3. Animate the Source Position and switch on Change with Position. This moves the shimmer with the ray source. The Speed setting controls the rate of movement of the shimmer pattern in relation to the source position.

Scintillates - switches the effect on and off.

Scintillation Amount - the strength of flicker.

Figure 85. Scintillation off. Figure 86. Scintillation on.


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Scintillation Speed - the rate of flicker.

Scintillation Detail - the number of lines that form the flicker.

Phase - animating the phase will rotate the shimmer around the source position.

Change with Position - switch this on to control the flicker as a function of the Source Position. You’ll need to animate the Source Position.

Speed - controls the rate of shimmer if animating using the Change with Position.

By default the rays are sourced from the luminance of the source image, but you can specify another layer instead using these matte controls. When making adjustments to these controls it is useful to turn on Show Matte. Rays will emanate from white areas of the matte.

Matte Component - the image and channels used to control the source of the rays.

Matte Clip Min - pixels at or below this luminance value are set to be black

Figure 87. Detail = 0. Figure 88. Detail = 200.

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Matte Clip Max - pixels at or above this luminance value are set to be white

Show Matte - switch this on to display the source of the rays. You should look at this when setting up the effect so that you can see clearly where the rays will come from. You need to switch Blending to None to see the matte properly.




Crop Output to Project Window - switch this on to only render the visible rays. Switch it off to render the rays beyond the viewer window. The former is much quicker to render, but if the rays are translated further down the tree you’ll get unwanted black edges where there should be rays.

About - click the button to display the version number and a

Figure 89. Add. Figure 90. Composite Effect.


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brief description of the plug-in.

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T_Silk

TINDER PLUG-INS 77

T_Silk

Description T_Silk is digital wrinkle cream. It is used to reduce the

appearance of ageing, just like it says on the adverts.

Figure 91. Rough.

Figure 92. Smooth.


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It smoothes out wrinkles, freckles and minor blemishes in actors’ faces. The clever bit is that it doesn’t require mattes to retain detail. Figure 92 on page 77 shows the results of smoothing the source image in Figure 91 on page 77. T_Silk is a blur with a variable kernel size that ramps off as it approaches an edge. T_Silk is effectively a smart blur.

Type Blur.


Smoothness - the amount of blurring applied if not near an edge.

Iterations - repeats the silk process up to a maximum of three times. The maximum value will give slightly higher quality results, but take longer to render.

Output• Result - the silked image.• Edges - the edges we’re avoiding.• Detail - the source image we’re compositing back over.

Crops These parameters control the edges that are avoided by the blur.

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Edge Threshold - clips some of the line detail. Increase this

value for fewer lines.

Edge Pre-blur - blurs the image before calculating the edges.

Edge Grow - expands the edge matte.

Edge Matte - select this to use another layer as the edge

Figure 93. Strength = 10. Figure 94. Strength = 40.


Figure 97. Grow = 1. Figure 98. Grow = 10.


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matte. If set to None the edges are extracted from the source image using the parameters below.

Detail These parameters control the blending back of the source image over the silked image.

Preserve Detail - defines the areas that will be kept and composited back over the silked image. Increase this parameter to expand the detail areas.

Detail Softness - softens the matte used to composite the detail. This helps to blend it into the silked areas.

Figure 99. Detail = 1. Figure 100. Detail = 50.


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T_Silk

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Detail Grow - expands the edges of the region, defined by

the Preserve Detail, that will be composited back. It does not add new areas of detail, to do that you need to increase the Preserve Detail.

Detail Matte - select another layer here to composite over the silked image. If set to None the detail is extracted from the source image using the parameters below.




Hints & Tips If there are large parts of the image that you don’t want affected regardless of edge information, mask out the area you want and composite it back over the image.

Figure 103. Grow = 5. Figure 104. Grow = 20.


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T_Sky

Description T_Sky generates realistic evolving sky backgrounds. This plug-in has a great number of parameters which can give a wide variety of results.

Type Generator.


Presets - this provides some suggested values for different effects. These can be used as a starting point when using

Figure 105. Preset - Moon. Figure 106. Preset - Cirrus.

Figure 107. Preset - Sunny. Figure 108. Preset - First Light.

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T_Sky

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T_Sky.

Red Shift - the amount of red light in the atmosphere. This is useful for sky simulations at dawn or sunset.

Camera Angle of View - the field of view of the camera. This affects how much of the sky is visible through the camera.

X Rotation - rotation of the built-in camera around the x axis.

Y Rotation - rotation of the built-in camera around the y axis.

Z Rotation - rotation of the built-in camera around the z axis.

Exposure - the amount of ambient light entering the camera.

Noise - the amount of noise added to the image.

Sun There are three components of the sun. The sun itself, the bright glow around the sun (corona) and the radial light streaks that simulate the internal reflections and refractions of bright light within the camera lens (lens flares).

Sun Colour - the colour of the sun.

Sun Brightness - the intensity of the light emitted from the sun.


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Sun Direction - the location of the sun in the sky.Note If the Sun Direction and the Camera Direction are the same, the

sun will appear in the centre of the screen (horizontally).

Sun Elevation - the height of the sun in the sky.

Sun Fall-off - the extent to which the brightness of the sun fades away with distance.

Corona Brightness - the intensity of the light glow around the sun.

Corona Fall-off - the extent to which the brightness of the corona light fades away with distance.

Corona Haze - switch this on to enable the corona glow to illuminate the haze in the atmosphere. This will result in the

Figure 109. Fall-off = 200. Figure 110. Fall-off = 2000.

Figure 111. Corona Brightness = 0.

Figure 112. Corona Brightness = 500.

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corona lighting the foreground objects rather than being in the background.

Flare The light flares.

Spokes - the number of flares around the sun.

Flare Brightness - the intensity of the light flares.

Flare Fall-off - the extent to which the brightness of the flares fade away with distance.

Rotation - the rotation of the flares around the sun.

Flare Sharpness - the spikiness of the flares. A value of 2

will give sharp spikes.

Clouds Controls for the clouds.

Size - the size of the clouds.

Count - the number of clouds in each tile. Note The size of each tile is set under Tile Scale.

Figure 113. Sharpness = 0.2. Figure 114. Sharpness = 2.


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Edge Detail - the complexity of the cloud edges.

Cloud Colour - the colour of the clouds.

Cloud Brightness - the luminance of the clouds.

Sharpness - the cloud definition.

Density - the thickness of the clouds. A value of zero removes all clouds.

Cloud Direction - the direction of the cloud drift.

Speed - how fast the clouds move.

Speed Variance - the variation in speed of different clouds.

Bump Scale - the apparent depth of the clouds. Increase this for cumulus clouds.

Bump Soft - the cloud softness which affects the reflected light.

Light Edges - switch this on for under cloud lighting.

Height - the height of the clouds.

Under Lighting - the amount of light reflected from the underside of the clouds.

Tile Scale - the size of each tile repeated across the sky.

Streaky - switch this on to generate cirrus clouds.

Seed - this number generates a number sequence that is

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used to randomly vary the cloud pattern.

Atmosphere The sky or atmosphere is actually a rendered dome with the camera at the centre. You may find it helpful to think of this model when you are altering parameters.

Ambient Brightness - controls the amount of light in the atmosphere.

Zenith Colour - the colour of the sky when you look directly upwards.

Horizon Colour - the colour of the sky at the horizon.

Fog Fog parameters

Haze Brightness - the brightness of the fog layer.

Distance - the distance between the fog layer and camera.

Haze Fall-off - the extent to which the brightness of the fog falls away with distance. The higher this value, the shorter the distance the fog brightness will penetrate.

Source - the colour of the fog.• Colour - the colour of the fog is taken from the Colour

box.• Horizon Colour - the colour of the fog is taken from the

Atmosphere - Horizon Colour.

Haze Colour - the colour of the fog when Source is set to Colour.


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88T_Sky




Hints & Tips As well as using T_Sky to create complete new skies, it can be used to add detail and contrast to an existing sky.

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T_Starburst

TINDER PLUG-INS 89

T_Starburst

Description T_Starburst adds sparkles to the highlights of your image.

There is also a mode to add random sparkles regardless of the highlights in the image.

Type Effect.


Presets - activates a number of popular starburst effects.

Mode - determines where the sparkles are positioned.• Starburst - adds sparkles to highlights.• Sparkles - adds randomly positioned sparkles.

Radius - defines the length of the spokes of the sparkles.

Threshold - defines which areas of the source are considered to be highlights. Increasing this value will restrict the sparkles only to the very brightest highlights.

Figure 115. Source Image. Figure 116. T_Starburst.


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Gain - the brightness of the highlights.

Rotation - the angle of the highlight spokes.

Spoke Count - the number of spokes per sparkle. Lots of spokes and a gap gives a haloed glow effect as shown in Figure 118.

Gap - the distance between the centre of the starburst and the point at which rays are drawn. Increase this to get a gap around the sparkle centre. See Figure 118.

Chromatic Aberration - the defects in the lens surface that cause the image to display colour fringing.

Keep Spoke Brightness - switch this on to preserve the luminance of the spokes.

Figure 117. Source Image. Figure 118. T_Starburst.

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T_Starburst

TINDER PLUG-INS 91

Sparkles Controls the random sparkles if mode is set to Sparkles.

Sparkles are added to the image in random positions rather than on highlights.

Density - the number of sparkles. Increase this to pack more sparkles into your image.

Average Sparkle Size - the size of the sparkle core. The actual size varies.

Brightness Variation - how much the brightness of the sparkles varies.

Sparkliness - the rate of flicker. To stop the flickering set this to zero.

Movement Speed - the rate at which the sparkles move. Set this to zero to get the sparkles to flicker in the same position, like fairy lights on a Christmas tree.

Figure 119. Random Sparkles with a Matte.


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Coloured Sparkles - switch this on for coloured sparkles.

Seed - this number generates a number sequence that is used to randomly vary the sparkles.

Matte Controls Matte Component - the image and channels used to control the attenuation of the tile.

Matte Clip Min - pixels at or below this luminance value are set to black.

Matte Clip Max - pixels at or above this luminance value are set to white.

Show Matte - switch this on to show the clipped matte.





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T_Starburst

TINDER PLUG-INS 93

Hints & Tips T_Starburst can be used to add subtle highlights to moving water. Keep the Radius small and the Threshold high for a subtle effect.

T_Starburst can give some great effects when applied to car headlights on night footage.

Figure 120. Car Headlights at Night.

Figure 121. Lights Enhanced with T_Starburst.


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94T_Tile

T_Tile

Description T_Tile translates, rotates, scales and shears the source image. The edge controls can then be used to repeat the pattern to form regular tiles as shown in Figure 123.

Type Effect. It has an optional second input which can be used as a matte to attenuate the distortions.


Tile - switch this on to tile the image.

Position - the centre position of the tile.

Rotation - the rotation of the image tile.

Scale - the overall size.

X Scale - the horizontal size of the tile.

Y Scale - the vertical size of the tile.

Figure 122. Source Image. Figure 123. Tile.

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T_Tile

TINDER PLUG-INS 95

X Shear - the amount of horizontal shear.

Y Shear - the amount of vertical shear.


Filter Sharpness - sharpens the image when Filtering is set to High. See “Filtering” on page 113.

Matte Layer Component - the image and channels used to control the attenuation of the effect. See Figure 126 on page 95.

Figure 124. X Shear = 25. Figure 125. Y Shear = 25.

Figure 126. Matte. Figure 127. Attenuating Scale.


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96T_Tile


Source Crops Cropping tools and edge methods.

See “Source Crops” on page 117.

Matte Layer Crops Controls the behaviour of the edges of the matte image.


Figure 128. Blending = Mix. Figure 129. Blending = Difference.

Figure 130. Reflect. Figure 131. Wrap.

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T_Tile

TINDER PLUG-INS 97

Hints & Tips You can use the Source Crops to produce an interesting reveal for objects. Set the Edge Method to Repeat and animate the crops.

Figure 132. Crop and Repeat. Figure 133. Crop and Repeat.


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98T_Wipe

T_Wipe

Description This is a simple directional wipe used to transition between one image (src) and another (to). The wipe can be vertical or horizontal or any angle in between. The edge of the wipe can also be softened.

Type Transition. T_Wipe has two image inputs, "src" and "to".


Transition - the amount of wipe between one image and the other.

Figure 134. Simple directional wipe with soft edge.

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T_Wipe

TINDER PLUG-INS 99

Soft Width - sets the blurring of the edge of the wipe.

Direction - sets the angle of the wipe. A value of zero gives a vertical wipe. A value of 90 gives a horizontal wipe.

Smooth Blend - switch this on to ease in the wipe edge by changing the ramping method from linear to cubic.

From Crops Cropping tools and edge methods. See “Source Crops” on page 117.

To Crops Cropping tools and edge methods. See “Source Crops” on page 117.

About - displays the plug-in name, version number and a brief description of the plug-in.


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Release NotesAPPENDIX A 101

APPENDIX A

Release Notes This section describes the requirements, new features, improvements, fixed bugs and known bugs & workarounds for each release of Tinder.

Tinder 1.3v1 This is a new release of Tinder to support 64 bit releases of Nuke.

Requirements• Nuke 5.1v1 or later.• Foundry FLEXlm Tools (FFT) (4.0v1 or later) for floating license

support.

Release DateAugust 2008

New FeaturesThere are no new features.

ImprovementsThere are no improvements to existing features.

Fixed BugsThere are no fixed bugs.

Known Bugs and Workarounds in TinderThere are no known bugs.


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Known Problems in NukeThere are no known bugs in Nuke that affect Tinder.

Tinder 1.2v4 This is a maintenance release of Tinder to support new releases of Nuke.


support.

Release DateApril 2008


ImprovementsTinder 1.2v4 for Nuke is installed to the host-specific place (for example on Mac OS X) /Library/OFX/Nuke/ rather than the general /Library/OFX/plugins/ folder of previous releases. Although Tinder for Nuke are OFX plug-ins and should work in other hosts (like Fusion), this change ensures that this version, that has been tested for Nuke, is loaded before any others.

Fixed BugsVarious fixes to ensure compatibility with Nuke 4.8 and Nuke 5.0.

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Known Problems in NukeTinder 1.2v4 running on Nuke 5.0v1 will take an interactive license (tinder_ofx_i) when rendering from the command line. In Nuke 5.0v2 this has been fixed so that a tinder_ofx_r license is taken.

Tinder 1.2v2 This is a maintenance release of Tinder to fix some bugs in Tinder on Nuke.


support.

Release DateDecember 2007


Improvements1. T_Sky icon.

Bug Fixes1. Icons. The Tinder icons failed to appear in Nuke 5.0 on Win-

dows. This has been fixed.

2. T_Rays - BUG ID 3256 - the parameter Crop Output to Project Window did not work. This has been fixed.


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104Release Notes


Known Problems in NukeThere are no known bugs.

Tinder 1.2v1 This is the first release of Tinder built and tested for Nuke.


support.

Release DateNovember 2007

New FeaturesThis is the first release of Tinder for Nuke

ImprovementsThis is the first release of Tinder for Nuke.

Bug FixesThis is the first release of Tinder for Nuke.


Known Problems in NukeThere are no known bugs.

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End User License Agreement

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Appendix B

End User License AgreementIMPORTANT: BY INSTALLING THIS SOFTWARE YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT, UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS. IF YOU DO NOT AGREE TO THE TERMS OF THIS AGREEMENT DO NOT INSTALL, COPY OR USE THE SOFT-WARE.

This END USER SOFTWARE LICENSE AGREEMENT (this "Agreement") is made by and between The Foundry Visionmongers Ltd., a company registered in England and Wales, ("The Foundry"), and you, as either an individual or a single entity ("Licensee").

In consideration of the mutual covenants contained herein and for other good and valuable consid-eration (the receipt and sufficiency of which is acknowledged by each party hereto) the parties agree as follows:

SECTION 1. GRANT OF LICENSE. Subject to the limitations of Section 2, The Foundry hereby grants to Licensee a limited, non-trans-ferable and non-exclusive license to install and use a machine readable, object code version of this software program (the "Software") and the accompanying user guide and other documentation (col-lectively, the "Documentation") solely for Licensee's own internal business purposes (collectively, the "License"); provided, however, Licensee's right to install and use the Software and the Documenta-tion is limited to those rights expressly set out in this Agreement.

SECTION 2. RESTRICTIONS ON USE. Licensee is authorized to use the Software in machine readable, object code form only, and Licensee shall not: (a) assign, sublicense, transfer, pledge, lease, rent, share or export the Software, the Doc-umentation or Licensee's rights hereunder; (b) alter or circumvent the copy protection mechanisms in the Software or reverse engineer, decompile, disassemble or otherwise attempt to discover the source code of the Software; (c) modify, adapt, translate or create derivative works based on the Software or Documentation; (d) use, or allow the use of, the Software or Documentation on any project other than a project produced by Licensee (an "Authorized Project"); (e) allow or permit any-one (other than Licensee and Licensee's authorized employees to the extent they are working on an


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106End User License Agreement

Authorized Project) to use or have access to the Software or Documentation; (f) copy or install the Software or Documentation other than as expressly provided for herein; or (g) take any action, or fail to take action, that could adversely affect the trademarks, service marks, patents, trade secrets, copyrights or other intellectual property rights of The Foundry or any third party with intellectual property rights in the Software (each, a "Third Party Licensor"). Furthermore, for purposes of this Section 2, the term "Software" shall include any derivatives of the Software.

Licensee shall install and use only a single copy of the Software on one computer, unless the Soft-ware is installed in a "floating license" environment, in which case Licensee may install the Software on more than one computer; provided, however, Licensee shall not at any one time use more copies of the Software than the total number of valid Software licenses purchased by Licensee.

Furthermore, the Software can be licensed on an "interactive" or "non-interactive" basis. Licensee shall be authorized to use a non-interactive version of the Software for rendering purposes only (i.e., on a CPU, without a user, in a non-interactive capacity) and shall not use such Software on workstations or otherwise in a user-interactive capacity. Licensee shall be authorized to use an interactive version of the Software for both interactive and non-interactive rendering purposes, if available.

Finally, if the Software is an "Educational Version," Licensee may use it only for the purpose of train-ing and instruction, and for no other purpose. Educational Versions of the Software may not be used for commercial, professional or for-profit purposes.

SECTION 3. BACK-UP COPY. Notwithstanding Section 2, Licensee may store one copy of the Software and Documentation off-line and off-site in a secured location owned or leased by Licensee in order to provide a back-up in the event of destruction by fire, flood, acts of war, acts of nature, vandalism or other incident. In no event may Licensee use the back-up copy of the Software or Documentation to circumvent the usage or other limitations set forth in this Agreement.

SECTION 4. OWNERSHIP. Licensee acknowledges that the Software and Documentation and all intellectual property rights relating thereto are and shall remain the sole property of The Foundry and the Third Party Licensors. Licensee shall not remove, or allow the removal of, any copyright or other proprietary rights notice included in and on the Software or Documentation or take any other action that could adversely affect the property rights of The Foundry or any Third Party Licensor. To the extent that Licensee is authorized to make copies of the Software or Documentation under this Agreement, Licensee shall

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reproduce in and on all such copies any copyright and/or other proprietary rights notices provided in and on the materials supplied by The Foundry hereunder. Nothing in this Agreement shall be deemed to give Licensee any rights in the trademarks, service marks, patents, trade secrets, copyrights or other intellectual property rights of The Foundry or any Third Party Licensor, and Licensee shall be strictly prohibited from using the name, trademarks or service marks of The Foundry or any Third Party Licensor in Licensee's promotion or publicity without The Foundry's express written approval.

SECTION 5. LICENSE FEE. Licensee understands that the benefits granted to Licensee hereunder are contingent upon Lic-ensee's payment in full of the license fee payable in connection herewith (the "License Fee").

SECTION 6. TAXES AND DUTIES. Licensee agrees to pay, and indemnify The Foundry from claims for, any local, state or national tax (exclusive of taxes based on net income), duty, tariff or other impost related to or arising from the transaction contemplated by this Agreement.

SECTION 7. LIMITED WARRANTY. The Foundry warrants that, for a period of ninety (90) days after delivery of the Software: (a) the machine readable electronic files constituting the Software and Documentation shall be free from errors that may arise from the electronic file transfer from The Foundry and/or its authorized reseller to Licensee; and (b) to the best of The Foundry's knowledge, Licensee's use of the Software in accordance with the Documentation will not, in and of itself, infringe any third party's copyright, patent or other intellectual property rights. Except as warranted, the Software and Documentation is being provided "as is." THE FOREGOING LIMITED WARRANTY IS IN LIEU OF ALL OTHER WARRAN-TIES OR CONDITIONS, EXPRESS OR IMPLIED, AND The Foundry DISCLAIMS ANY AND ALL IMPLIED WARRANTIES OR CONDITIONS, INCLUDING, WITHOUT LIMITATION, ANY IMPLIED WARRANTY OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, REGARDLESS OF WHETHER The Foundry KNOWS OR HAS REASON TO KNOW OF LICENSEE'S PARTIC-ULAR NEEDS. The Foundry does not warrant that the Software or Documentation will meet Lic-ensee's requirements or that Licensee's use of the Software will be uninterrupted or error free. No employee or agent of The Foundry is authorized to modify this limited warranty, nor to make addi-tional warranties. No action for any breach of the above limited warranty may be commenced more than one (1) year after Licensee's initial receipt of the Software. To the extent any implied warran-


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ties may not be disclaimed under applicable law, then ANY IMPLIED WARRANTIES ARE LIMITED IN DURATION TO NINETY (90) DAYS AFTER DELIVERY OF THE SOFTWARE TO LICENSEE.

SECTION 8. LIMITED REMEDY. The exclusive remedy available to the Licensee in the event of a breach of the foregoing limited war-ranty, TO THE EXCLUSION OF ALL OTHER REMEDIES, is for Licensee to destroy all copies of the Software, send The Foundry a written certification of such destruction and, upon The Foundry's receipt of such certification, The Foundry will make a replacement copy of the Software available to Licensee.

SECTION 9. INDEMNIFICATION. Licensee agrees to indemnify, hold harmless and defend The Foundry and The Foundry's affiliates, officers, directors, shareholders, employees, authorized resellers, agents and other representatives (collectively, the "Released Parties") from all claims, defense costs (including, but not limited to, attorneys' fees), judgments, settlements and other expenses arising from or connected with the operation of Licensee's business or Licensee's possession or use of the Software or Documentation.

SECTION 10. LIMITED LIABILITY. In no event shall the Released Parties' cumulative liability to Licensee or any other party for any loss or damages resulting from any claims, demands or actions arising out of or relating to this Agree-ment (or the Software or Documentation contemplated herein) exceed the License Fee paid to The Foundry or its authorized reseller for use of the Software. Furthermore, IN NO EVENT SHALL THE RELEASED PARTIES BE LIABLE TO LICENSEE UNDER ANY THEORY FOR ANY INDIRECT, SPECIAL, INCI-DENTAL, PUNITIVE, EXEMPLARY OR CONSEQUENTIAL DAMAGES (INCLUDING DAMAGES FOR LOSS OF BUSINESS OR LOSS OF PROFITS) OR THE COST OF PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES, REGARDLESS OF WHETHER THE RELEASED PARTIES KNOW OR HAVE REASON TO KNOW OF THE POSSIBILITY OF SUCH DAMAGES AND REGARDLESS OF WHETHER ANY REMEDY SET FORTH HEREIN FAILS OF ITS ESSENTIAL PURPOSE. No action arising out of or related to this Agreement, regardless of form, may be brought by Licensee more than one (1) year after Licensee's initial receipt of the Software; provided, however, to the extent such one (1) year limit may not be valid under applicable law, then such period shall limited to the shortest period allowed by law.

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SECTION 11. TERM; TERMINATION. This Agreement is effective upon Licensee's acceptance of the terms hereof (by clicking on the "Accept" button) and Licensee's payment of the License Fee, and the Agreement will remain in effect until termination. If Licensee breaches this Agreement, The Foundry may terminate the License granted hereunder by notice to Licensee. In the event the License is terminated, Licensee will either return to The Foundry all copies of the Software and Documentation in Licensee's possession or, if The Foundry directs in writing, destroy all such copies. In the later case, if requested by The Foundry, Licensee shall provide The Foundry with a certificate signed by an officer of Licensee con-firming that the foregoing destruction has been completed.

SECTION 12. CONFIDENTIALITY. Licensee agrees that the Software and Documentation are proprietary and confidential information of The Foundry and that all such information and any communications relating thereto (collectively, "Confidential Information") are confidential and a fundamental and important trade secret of The Foundry. Licensee shall disclose Confidential Information only to Licensee's employees who are working on an Authorized Project and have a "need-to-know" such Confidential Information, and shall advise any recipients of Confidential Information that it is to be used only as authorized in this Agreement. Licensee shall not disclose Confidential Information or otherwise make any Confidential Information available to any other of Licensee's employees or to any third parties without the express written consent of The Foundry. Licensee agrees to segregate, to the extent it can be rea-sonably done, the Confidential Information from the confidential information and materials of others in order to prevent commingling. Licensee shall take reasonable security measures, which such mea-sures shall be at least as great as the measures Licensee uses to keep Licensee's own confidential information secure (but in any case using no less than a reasonable degree of care), to hold the Software, Documentation and any other Confidential Information in strict confidence and safe cus-tody. The Foundry may request, in which case Licensee agrees to comply with, certain reasonable security measures as part of the use of the Software and Documentation. Licensee acknowledges that monetary damages may not be a sufficient remedy for unauthorized disclosure of Confidential Information, and that The Foundry shall be entitled, without waiving any other rights or remedies, to such injunctive or equitable relief as may be deemed proper by a court of competent jurisdiction.

SECTION 13. INSPECTION. Licensee shall advise The Foundry on demand of all locations where the Software or Documentation is used or stored. Licensee shall permit The Foundry or its authorized agents to inspect all such locations during normal business hours and on reasonable advance notice.


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SECTION 14. NONSOLICITATION. Licensee agrees not to solicit for employment or retention, and not to employ or retain, any of The Foundry's current or future employees who were or are involved in the development and/or creation of the Software.

SECTION 15. U.S. GOVERNMENT LICENSE RIGHTS. The Software, Documentation and/or data delivered hereunder are subject to the terms of this Agreement and in no event shall the U.S. Government acquire greater than RESTRICTED/LIMITED RIGHTS. At a minimum, use, duplication or disclosure by the U.S. Government is subject to the appli-cable restrictions of: (i) FAR §52.227-14 ALTS I, II and III (June 1987); (ii) FAR §52.227-19 (June 1987); (iii) FAR §12.211 and 12.212; and/or (iv) DFARS §227.7202-1(a) and DFARS §227.7202-3.

The Software is the subject of the following notices:

* Copyright (c) 2007 The Foundry Visionmongers, Ltd.. All Rights Reserved.

* Unpublished-rights reserved under the Copyright Laws of the United Kingdom.

SECTION 16. SURVIVAL. Sections 2, 4, 5, 6, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17 and 18 shall survive any termination or expi-ration of this Agreement.

SECTION 17. IMPORT/EXPORT CONTROLS. To the extent that any Software made available hereunder is subject to restrictions upon export and/or reexport from the United States, Licensee agrees to comply with, and not act or fail to act in any way that would violate, the applicable international, national, state, regional and local laws and regulations, including, without limitation, the United States Foreign Corrupt Practices Act, the Export Administration Act and the Export Administration Regulations, as amended or otherwise modified from time to time, and neither The Foundry nor Licensee shall be required under this Agree-ment to act or fail to act in any way which it believes in good faith will violate any such laws or reg-ulations.

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SECTION 18. MISCELLANEOUS. This Agreement is the exclusive agreement between the parties concerning the subject matter hereof and supersedes any and all prior oral or written agreements, negotiations, or other dealings between the parties concerning such subject. This Agreement may be modified only by a written instrument signed by both parties. If any action is brought by either party to this Agreement against the other party regarding the subject matter hereof, the prevailing party shall be entitled to recover, in addition to any other relief granted, reasonable attorneys' fees and expenses of litigation. Should any term of this Agreement be declared void or unenforceable by any court of competent jurisdic-tion, such declaration shall have no effect on the remaining terms of this Agreement. The failure of either party to enforce any rights granted hereunder or to take action against the other party in the event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforce-ment of rights or subsequent actions in the event of future breaches. This Agreement shall be gov-erned by, and construed in accordance with English Law.

Copyright (c) 2007 The Foundry Visionmongers Ltd. All Rights Reserved. Do not duplicate.


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FilteringAPPENDIX C 113

Appendix C

There are many controls that are common to the Tinder plug-ins. These are all described in detail in this appendix.

Filtering Filtering is used to control the quality of your processed images by reducing the jagged lines characteristic of pixel devices. To render high quality images you should switch filtering on. With all image processing you have a trade off between quality and time. Filtering will increase the quality of your image but will also increase the time it takes to process the image. Some plug-ins have a single filter control

that can be switched on or off. Other plug-ins give a choice of filtering methods. These usually are:• Low - this uses point sampling. Highly distorted images

may show jaggies. This is the fastest option.• Medium - this uses a Bilinear filter.

Figure 135. Low, Medium and High Filtering.


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114Filtering

• High - this uses a MIP Bilinear filter. This is the slowest option but gives the best results.

Filter Sharpness - depending on the effect being filtered, the high filtering option may over-soften the image. To combat this, the filter sharpness control can be used to compensate. The default value of 100 is normal sharpness, increasing it will sharpen up the result, decreasing it will soften further.

Note Filter Sharpness only has an effect when using the high filtering option.

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BlendingAPPENDIX C 115

Blending Many of the Tinder plug-ins have blending controls which allow you to specify how to mix between the output of the plug-in with the image effect applied (effect image) and its original un-treated image (source image). Controls are also available to affect the gain of the effect image and its source image.

Blending - sets how to blend the effect image with the source image. • None - no blending is applied and the effect image is

displayed. Blend, Effect Gain and Source Gain have no affect when in this mode.

• Colour - takes the hue and saturation of the effect image and the luminance of the source image.

• Colour Burn - increased contrast of the source image to match the contrast of the effect image.

• Colour Dodge - decreased contrast of the source image component to match the contrast of the effect image component.

• Darken - takes the darkest component of the effect image or the source image.

Figure 136. T_Etch with blending set to none.

Figure 137. T_Etch with blending set to colour.


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116Blending

• Difference - subtracts the source image from the effect image.

• Exclusion - similar to darken but produces results with lower contrast.

• Hard Light - combination of multiply and screen (inverse multiply) depending on the magnitude of the components. Opposite of overlay and not at all related to Soft Light.

• Hue - takes the hue of the effect image and the saturation and value of the source image.

• Lighten - takes the brightest component of the effect image and the source image.

• Linear Burn - decreased brightness of the source image to match the brightness of the effect image.

• Linear Dodge - increased brightness of the source image component to match the brightness of the effect image colour.

• Linear Light - combination of linear burn and linear dodge, depending on the magnitude of the components. Less than half white is burned by decreasing the brightness, more than half grey is dodged by increasing the brightness.

• Luminosity - takes the luminance of the effect image and the hue and saturation of the source image.

• Multiply - multiplies the effect image and source image components together.

• Overlay - mixes colours while preserving highlights and shadows.

• Saturation - takes the saturation of the effect image and the hue and value of the source image.

• Screen - produces a bleaching effect. Light colours have more of an effect than dark colours. (A+B)-(A*B) or if you prefer 1-((1-A)*(1-B)) which is like combining the negatives of the two shots and "printing" the result.

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Source CropsAPPENDIX C 117

• Soft Light - diffused spotlight effect. Less than half white is colour dodged and more than half white is colour burned.

• Mix - blends the effect image and the source image.

Blend Mix - sets the amount of mix between the effect image and its source image. A value of 1 will show just the effect image. A value of 0 will show just the source image.

Source Gain - sets the brightness of the original image. The result of this is used in the Blend. The Source Gain also affects the alpha of the image. Setting Source Gain to 0.5 will half the brightness of the original image and will also half the value of its alpha.

Effect Gain - sets the brightness of the effect image. The result of this is used in the Blend. The Effect Gain also affects the alpha of the image. Setting Effect Gain to 0.5 will half the brightness of the effect image and will also half the value of its alpha.

Clamp Values 0 to 1 - some blending methods will produce undesirable results on floating point images where the pixel values stray outside the range 0 to 1. Switch this on to fix this problem.

Source Crops This group of controls defines the value of pixels outside the rectangular cropping area.

X Method - sets the behaviour of the image at its left and right boundaries.• Wrap - uses the pixels from the opposite edge.


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118Source Crops

• Reflect - mirrors the image at the boundary.• Repeat - repeats the last line of pixels at the boundary.• Colour - uses a solid colour. This colour is set by the

colour pot at the bottom of this group of controls.

Y Method - sets the behaviour of the image at its top and bottom boundaries.• Wrap - uses the pixels from the opposite edge.• Reflect - mirrors the image at the boundary.• Repeat - repeats the last line of pixels at the boundary.• Colour - uses a solid colour. This colour is set by the

colour pot at the bottom of this group of controls.

Edge Colour - sets the colour that will fill the image outside the crop boundaries, if the cropping method is set to Colour.

In the example below, the image of the elephant has been cropped on all sides. The behaviour of the pixels is shown for all four cropping methods.

Figure 138. Colour. Figure 139. Repeat.

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Attenuation MattesAPPENDIX C 119

Left - left crop.

Right - right crop.

Bottom - bottom crop.

Top - top crop.

Attenuation Mattes

Many Tinder plug-ins use an optional second input or source alpha channel. This matte is used to scale (attenuate) one or more of the parameters in the plug-in.

Where the matte is black the parameters will be multiplied by zero and the effect will not be seen in these areas. Where the matte is white the parameters will be multiplied by one, and the effect will be seen. Grey areas of the attenuation matte will scale the parameters accordingly.

To illustrate this effect, take a checker (Figure 142) as the input to T_Tile and the ramp (Figure 143) as the attenuation

Figure 140. Reflect. Figure 141. Wrap.


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120Attenuation Mattes

matte.

Then scale the image using the parameters in T_Tile. Note that the image is not scaled on the left where the mask is black, and fully scaled on the right where the mask is white. Values in between are linearly ramped to give the result shown Figure 144 on page 120. The attenuation matte also affects the angle parameter (Figure 145 on page 120). Again, on the left of the image there is no rotation but on the right the pixels are rotated 45 degrees.

Figure 142. Checker. Figure 143. Ramp used as an attenuation matte.

Figure 144. Attenuating scale. Figure 145. Attenuating scale and rotation.

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ProcessAPPENDIX C 121

Process Controls which of the colour channels will be affected by the effect. The options can be a subset or all of the following. The most common are at the top of the list. Figure 146 shows a two layer composite of a polar bear with triangular alpha channel composited over a flower. T_Blur has then been applied with the most common processing options shown in Figure 147 to Figure 149.• RGBA - the red, green, blue and alpha channels are

processed. Figure 147.

• RGB - only the red, green and blue channels are processed. Figure 148.

• Alpha - only the alpha channel is processed. Figure 149.

• Grey - this affects the result of (R+G+B)/3.• Red - only the red channel will be affected.• Green - only the green channel will be affected.

Figure 146. Two layer composite. Figure 147. RGBA.

Figure 148. RGB. Figure 149. Alpha.


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• Blue - only the blue channel will be affected.• Luminance - the luminance of the image will be affected.• U - only the U video signal will be affected.• V - only the V video signal will be affected.• Chroma - the U and V channels will be affected.• You should note that some plug-ins operate on the alpha

channel of the source image, like T_Blur in the example above, and other plug-ins generate their own alpha replacing any alpha that was part of the source image. You can see this in Figure 150 where T_Caustic has been applied to the polar bear layer and the triangular alpha channel is ignored.

Figure 150. RGBA processing with T_Caustic.

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LightAPPENDIX C 123

Light Some plug-ins include controls for adding lighting.

Light Type• None - no lights are used.

• Infinite - simulates the parallel rays from a distant light source, like the sun.

Figure 151. None.

Figure 152. Infinite.


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124Light

• Local - simulates the light rays from a light source close to the surface of the image.

Light Direction - the direction of the light source. If set to 0 the light appears to come from the right. If set to 270 the light appears to come from the bottom of the screen.

Light Elevation - effectively controls the height of the light source above the image plane. Elevation changes the angle between the image plane and a line from the light source to

Figure 153. Local.

Figure 154. Direction = 0. Figure 155. Direction = 180.

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LightAPPENDIX C 125

the image centre.

Light Distance - sets the distance between the local light source and the image plane. As distance increases more of the image is illuminated.

Light Position - the position of the light.

Specular Lighting Specular or highlight reflection is observed on any shiny surface. Illuminate a shiny metal sphere and the highlight is caused by specular reflection while the light reflected from the rest of the sphere is caused by diffuse reflection.

Figure 156. Elevation = 5. Figure 157. Elevation = 30.

Figure 158. Specular Colour.


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Specular Colour - the colour of the specular highlights.

Specular Strength - the amount of reflected specular light.

Specular Fall-off - controls how tight (Figure 160) or diffuse (Figure 159) the highlights are on the surface. This equates to the apparent shininess of the surface.

Figure 159. Low Fall-off.

Figure 160. High Fall-off.

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A-Z

INDEX

Index

A-Z

AAnvil 8Attenuation Mattes 119

BBanding

Adding 12Bilinear filter 113Blending 115Blooming 38, 39Blurs

LensBlur 38Blurs

See T_Silk 78

CCamera defocus 43Camera diaphragm 38Camera lenses 45Catadiatropic Lens 39Caustics 16Chromatic Aberration 39Chromatic aberration 38Clouds 85

DDigital Gaussian blur 44Distorting images. See Warping

images

EEnd User License Agreement 105Environment Maps 29environment variable 7

FFilter Sharpness 114Filtering 113

High 114Low 113Medium 113

Focus pulls 38Fog 87Fourier space 11Frequency space 11

GGlass 33

HHalo 67Haze 84Highlights

see T_DiffusionFilter 23

IInstalling Tinder 6

Jjagged lines 113

KKeylight 8

LLens flare 45Licensing Tinder 7Light Rays 16

See also T_RaysLighting

Specular 125

MMatte

Attenuating an effect 33mattes

Eroding. See T_MatteTool 65Growing. See T_MatteTool 65halos. See T_MatteTool 65

MIP Bilinear filter 114Moving the Install Directory 7

OObscuration matte 62OFX 5OFX_PLUGIN_PATH 7Optical glow 22

PPaint effects

T_Bandlimit 15Process 121


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INDEX

Tind

A-Z

Qquality 113

Rradiating heat 22radiating light 22Rainbows 64Rays 71Refractive index 34Release Notes 101Requirements 101, 102, 103,

104Ringing. See Banding 12Ripple effects on text 15

SScissored Shutter 40Shearing. See T_TileSky 82Sparkles 89Specular Lighting 125Sun 83

TT_Caustic 16T_LensFlare 45T_Sky 77T_Starburst 89T_Tile 94T_Wipe 98The Foundry 8Tinder 8

Tinderbox 8tolerance blur 78

VVideo noise 11

WWarping images

T_Glass 33Water

See T_Causticweb site 8Wipes

See T_Wipe 98wrinkle cream 77www.thefoundry.co.uk 8

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