Combustion Handbook (Diseño Rhino Ceros) PDF

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GOVERNMENT USE
Use, duplication, or disclosure by the U.S. Government is subject to restrictions as set forth in FAR 12.212
(Commercial Computer Software-Restricted Rights) and DFAR 227.7202 (Rights in Technical Data and Computer
Software), as applicable.
Documentation by: Marcus Schioler, Claudette Dwyer, Mylène Pepin, Susan Daoud, Gordon Bradley.
Layout Design by: Brenda Barrie
Title: Combustion User’s Guide
Date: June, 2000
1 Walkthrough
toc Table of Contents
1
A Quick Tour of Combustion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Starting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Importing Footage into a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
An Introduction to Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
An Introduction to Keyframing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Using the Paint Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Using Lights and Cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Rendering the Finished Product . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2 Welcome to Combustion 23
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
About Combustion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Overview of the Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Using the Workspace Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Using Operator Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Using the Viewports. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Using the Toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Using the Filmstrip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Using the Playback Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Using the File Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Using the Pick Color Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Setting Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
......................................................................... 50
3 Building Workspaces 51
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
i
About Combustion Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Planning your Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Getting Media onto the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Starting a New Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Opening an Existing Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Importing a Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Importing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Replacing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Branch Settings vs. Footage Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Editing Composite Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Specifying Paint Display Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Changing Footage Source Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Changing Footage Output Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Creating Proxy Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Changing Footage Start and End Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Saving a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4 Compositing 85
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
About Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Adding Layers to a Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Selecting Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Transforming Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Controlling the Behavior of Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Duplicating and Moving Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Creating Nested Composites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Applying Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
5 Surface Properties 115

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
About Surfaces Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
The Surface Properties Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Using Transfer Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Using Preserve Alpha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Using Reflectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Using Reflectivity Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Making Shadows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Using Color Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
ii
Table of Contents ❚❘❘
Setting the Highlights (Specular Level and Glossiness) of the Current Layer . . . . . . 125
Creating a Double-Sided Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
6 Channels 127
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
About Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Using View Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Creating an Alpha Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Creating Alpha Channels with Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Creating Alpha Channels with Keyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Creating Alpha Channels with Paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Importing Files with Existing Alpha Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Using Stencils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Applying a Matte to a Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Using Channel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Editing Channel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Removing Channel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Examples of Using the Channel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Rendering Alpha Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
7 Using Masks 155

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
About Mask Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Mask Tool Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Using the Mask Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Editing Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Animating Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Deleting Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Modifying Mask Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Feathering Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Inverting Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Combining Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
8 Keyframing 169
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
About Keyframing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Enabling Keyframing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
iii
Creating Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Editing a Motion Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Timeline Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Playback Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Creating Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Editing Keyframes and Animation Curves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Cutting, Copying, and Pasting Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Deleting Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Previewing an Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Linking Moving Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Animating with Onion Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
9 Introduction to Paint 199

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
About Paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
About Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Editing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Using Paint in a Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Using Paint as a Stand-alone Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Paint Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Paint Menu Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Modes Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Transform Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Brushes Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Gradient Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Shadow Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Settings Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Color Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
10 Paint: Drawing Basics 237

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
About Paint Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Creating a Paint Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Arrow Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Setting Object Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Editing Object Transform Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Editing Object Shapes with Control Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Aligning and Distributing Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
iv
Grouping and Ungrouping Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Changing Object Stacking Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Cutting, Copying, and Pasting Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Deleting Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Using Draw Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
11 Paint: Advanced Drawing Tools 261

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
About Advanced Drawing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Creating Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Animating Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Example: Drawing Gradients on the Alpha Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Using the Reveal Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Using the Clone Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
About Rotoscoping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
12 Paint: Drawing Selections 281

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
About Selection Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Using Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Creating Selection Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Editing a Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Adding, Subtracting, and Intersecting Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Using Selection Modifier Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Cutting, Copying, and Pasting Selections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
13 Paint: Working with Text 297

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
About Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Text Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Creating Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Editing Text Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Aligning Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Kerning and Leading Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Example: Animating Letters Separately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
v
14 Filters 309
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
About Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
The Filters Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Blur/Sharpen Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Channel Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Cineon Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Color Correction Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Distort Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Noise Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Selection Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Stylize Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Transitions Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Using Third-Party Plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
15 Keying 337
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
About Precision Keying. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
The Discreet Keyer Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Basic Keying Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Setting Up the Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Setting the Range to Key Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Extracting a Single Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Extracting a Range of Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Extracting a Key Based on Luminance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Adjusting the Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Removing Background Spill and Color Correcting Your Clips . . . . . . . . . . . . . . . . . . 357
Using Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Animating Keyer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Importing and Exporting Setups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Keying Uneven Blue Screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Using Selections to Isolate Part of the Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
16 Color Correction 365

Summary:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
About the Color Corrector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
The User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
The Color Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
The Basics Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
vi
The Histogram Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

The Curves Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
The Ranges Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Saving Color Corrector Setups to discreet’s SGI-Based Products . . . . . . . . . . . . . . . . 379
Storing Operator Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
17 The Tracker 383

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
About Tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
The Tracker Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Using the Tracker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Tracking Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Tracking Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Tracking Combinations of Position, Scaling, and Rotation . . . . . . . . . . . . . . . . . . . . . 395
Tracking Multiple Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Tracking the Center Point of an Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Stabilizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Stabilizing Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Advanced Tracking Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Importing and Exporting Tracker Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413
18 Camera Controls 417

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
About Cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
The Camera Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Changing to Camera View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Using Cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Locking Layers to the Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Using Camera Animation in 3D Studio MAX RLA Files. . . . . . . . . . . . . . . . . . . . . . . . 425
19 Adding Lighting Effects 427

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
About Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
The Lighting Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Displaying Light in a Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Using Ambient Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Using Source Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434
vii
20 Audio 439
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
About Combustion and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Supported Audio File Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Supported Sampling Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Audio and RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
The Audio Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Audio Details and Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Loading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Slipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Linking Audio to Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Audio Rendering and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
21 Rendering 447
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
About Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
The Rendering Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Rendering Your Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Using Quick Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
The Quick Setup options are applied to the outputs. Using Presets . . . . . . . . . . . . . . 474
Rendering a Single Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Monitoring your Rendering Jobs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Network and Batch Rendering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Rendering to RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482
A Combustion and 3D Studio MAX 487

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
3D Studio Materials and the Combustion Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Using Rich Pixel Renderings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Importing Rich Pixel Renderings into Combustion. . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Compositing Rich Pixel Renderings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
3D Post Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
B Using Combustion with Edit 515

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
About Integrating Combustion and Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Combustion and Edit Integration Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
viii
Launching Combustion from Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Using Combustion and Edit in a Workgroup Environment. . . . . . . . . . . . . . . . . . . . . 524
Accessing Edit Bins from Combustion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Current Limitations to the Combustion / Edit Integration . . . . . . . . . . . . . . . . . . . . . . 526
ix
x
1 Walkthrough
This Walk through takes
you through some basic
functions and orients you

a
to some Combustion
workflow patterns.
et
B
Combustion beta documentation 1

1 Walkthrough
A Quick Tour of Combustion The New dialog appears.

This chapter gives you an overview of the most
common tasks you will perform and features that
you will use in Combustion.
Keep in mind that the chapter usually presents only

one way of performing tasks. In most cases, there are
other ways of performing the tasks as well. You can
learn about the features in depth in the chapters that
follow.
Starting a Workspace
The workspace is the file that stores information that
references your footage, composite order and layout,
animation, and operators. The very first step in
starting a new project is creating a workspace and
2. Select composite from the Type list.
importing footage.
3. In the Name field, enter a name for the compos-
Before you create the new workspace, take a second ite branch of the workspace.
to think about the settings you require. For informa-
4. Select D1-NTSC from the Format Options list.
tion on workspaces, see “About Combustion
Workspaces” on page 52. The corresponding format properties (resolution,
aspect ratio, pixel shape, and playback rate) appear
To create an new NTSC workspace for under the Format Options list.
compositing:
5. In the Duration field, enter a duration for your
1. Choose File | New. composite in either frames or in SMPTE timecode.
Note: You can also press CTRL+N (Windows) or 6. Click the Background Color box to select a back-
COMMAND+N (Macintosh). ground color.
The background color appears in your rendered
workspace wherever layers are transparent or in
areas where no footage is present.
7. Click OK.
A new composite is added as a branch to your work-
space. If you did not have a workspace open before
choosing File | New, a new workspace is created as
well.
Once you create an empty composite, you are ready
to import footage and begin compositing.
2 Combustion beta documentation

Importing Footage into a Workspace ❚❘❘
Importing Footage into a A new layer (or layers) containing the selected
Workspace footage appears in the composite. The footage
You can choose from among many different file appears in the current viewport.
formats for importing footage into Combustion.
These include Video for Windows (AVI), Quick-
time™ (MOV), Targa, and many others.
For more information about importing footage, see

“Importing Footage” on page 63.
To import a clip:
1. In the Workspace panel, double-click the com-
posite into which you want to import footage.
Managing Layers and Operators

When you import footage, it becomes a layer in the
active composite. You can view the relationships
2. Choose File | Import Footage. between footage, layers, and the workspace by navi-
The Import Footage file browser appears. gating in the Workspace list.
3. Navigate to the folder containing the clip you Expand the highest-level Branch (composite) of the
want to import, select the clip, and then click OK. workspace to see the composite.
Note: CTRL-click (Windows) or COMMAND-click
(Macintosh) to select multiple files. Selected files
appear at the bottom of the file browser. To remove Composite
a selected file, double-click it in the bottom part of
the browser.

1 Walkthrough
Expand the composite to see the layers contained in layer positions at any time by dragging them to their
the composite. new position.
Toggling Layer Visibility

Hide a layer to temporarily see the layers beneath it.
Layer You can hide a layer in a composite by clicking the
icon to the left of the layer.
Click to toggle
layer visibility.
Expand a layer to see that layer’s footage (and opera-

tors, if there are any).
Note: You can also toggle the visibility for compos-

ites, operators, and footage by clicking their icon.
Operators
Compositing
Footage You can use imported footage as layers in your
composites.
Compositing is the process of combining layers
together to form one final image. It can be as simple
as placing one partially-transparent image over
Arranging Layers in the Stack another one or creating a split-screen effect, or as
Layers higher up in the Workspace list stack appear complicated as combining blue screen talent,
in front of layers lower down. You can rearrange multiple alpha-keyed CG layers, effects, back-
grounds, and text to create a sci-fi action sequence.
Different types of composites
One layer superimposed over Four layers scaled and Multi-layer composite.
another. positioned.

Compositing ❚❘❘
Positioning, Scaling, Rotating, and To orient layers in a composite:

Shearing 1. After importing a footage into a composite, ex-
One of the simplest forms of compositing involves pand the composite in the Workspace panel, and se-
scaling, rotating, and positioning layers so that lect the layer.
multiple layers are visible simultaneously and form
one final result.
In the following example, you orient copies of one

layer to create a composition comprised of multiple
layers.
The layer is highlighted in the active viewport.

Selected layer
One layer selected in the viewport.
After scaling, rotating, and positioning copies of the

layer, your scene transforms into something more
2. Click the Toolbar tab.
dynamic.
3. Use the following tools to transform the selected
layers.
Use: To:
Move the selected layer in the ac-
tive viewport. Use the tool op-
tions to contain the movement
along the X, Y, or Z axes.
Rotate the selected layer in the
active viewport. Use the tool op-
tions to contain the rotation
Multiple copies of the layer, rotated, scaled, and around the X, Y, or Z axes.
positioned in 3D space.

1 Walkthrough
Use: To:
In the following example, the footage of a couple is
shot in front of a green screen so it can be compos-
Scale the selected layer in the ac-
ited over a background depicting a busy tavern.
tions to contain the scaling along
the X, Y, or Z axes.
Shear the selected layer in the ac-
tions to constrain shearing to the
X, Y, or Z axes.
Move the selected layer’s pivot
point in the active viewport. Use
the tool options to contain the Left: Foreground layer shot in front of a green screen.
movement along the X, Y, or Z Right: Background layer.
axes.
Note: You can also double-click the icon to type in To create the final composite, first you combine the
exact transform values. layers so that the front layer is in front of the back
layer.
4. Click the Transform button on the Composite
Controls panel to fine tune all the transforms.
Keying and Masking

Use keying and masking techniques to make areas of
a layer transparent, which allows you to see through Combined layers.
the layer to layers behind it.
Keying Out a Color

You typically use keying in conjunction with clips
shot in front of blue or green screens. The keying
process removes the specified color (typically shades
of blue or green) allowing you to see through to the
layers underneath. For more information on keying
techniques, see “Creating Alpha Channels with
Keyers” on page 131 and “Keying” on page 337.

After you combine the layers, you use a keyer to key 4. Click the color picker button , then click
out the green from the front layer. anywhere in the solid background color to sample
the background green.
Sample green
in this region.
The green is keyed out of foreground layer.

5. Drag the Tolerance value until the background
color disappears. A value around 20-25% often pro-
duces good results.
To pull a green screen key:
▲ When the Tolerance value passes a certain
1. Import a front layer (shot in front of a green level, you may begin keying out portions of the
screen) and a back layer into the current composite. image you want to keep.
2. In the Workspace panel, arrange the front layer 6. You can remove more of the unwanted back-
so that it is in front of the back layer, then select the ground color from the matte using the Cleanup slid-
front layer. er. Usually a Cleanup value of 100% works well.
7. After you finish adjusting the key controls, the
key color is removed and the front layer appears
composited over the back layer.
Masking Layers
3. Choose Operators | Keying | Linear Keyer. Masks perform a similar function as keyers, except
The Linear Keyer controls appears. you use masks to define the shape of transparent
areas of layers. For more information on masks, see
“Using Masks” on page 155.
Note: When using the Linear keyer, it is easiest to

attain good results when Feedback is enabled. This
lets you see the way the key changes on-the-fly as
you change keyer parameters.

1 Walkthrough
In the following example, a mask is used to isolate The Mask operator opens and a default size rect-
the subject in the foreground layer so it can be angle mask is added to the layer.
composited over the background layer.
Rectangle mask
Highlighted bounding box
subject is isolated
with a freeform
mask.
4. Click the Toolbar tab, and then click the Arrow

tool .
Background layer 5. In the viewport, use the bounding box to adjust
the size and rotation of the mask. For information
on sizing and rotating with a bounding box, see “Ed-
iting Object Transform Properties” on page 247.
6. Click the Modes button on the Mask Controls
panel.
Masked foreground
composited over 7. The Modes controls appear.
background layer.
To create a rectangular mask:

1. Import a front layer and a back layer into the cur-
rent composite. 8. Set the mask combination setting to Replace.
2. In the Workspace panel, arrange the front layer 9. If necessary, you can feather the mask edge.
so that it is in front of the back layer, then select the
front layer.
Mask with
feathering
set to 20.
3. Choose Operators | Mask | Rectangular Mask.

10. Click Invert to invert a mask or adjust the opac- to the nested layers. In the Workspace list on the left,
ity slider to vary the mask’s opacity. you can see the separate layers that were used to
build the composite. In the workspace list on the
right, you can see that the three layers are inserted
Inverted mask
into a Nested Layer, which, in turn, is rotated and
with opacity scaled (thereby transforming all nested layers
set to 50%. simultaneously).
Note: Layer 1 in the composite is a copy of Layer 3

that has been masked to isolate the subjects from
the background.
11. Double-click the composite in the Workspace
panel to return to the composite and see the results To nest layers:
of the masking operation.
1. In the workspace list, select the layers you want
to nest.
Nesting Layers and Composites
2. Choose Object | Nesting.
Use nesting to combine layers and composites in one
workspace. The Nesting Options dialog appears.
3. Enter a name for the nested layers in the Com-
Creating Nested Layers posite Name field.
Nesting layers means taking selected layers (or a
4. Click Select Layers, and then click OK.
composite) and grouping them together.
The layers are grouped together.
In the example on the next page, three layers are
composited and nested, then a transform is applied
+ + =
Layer 1 Layer 2 Layer 3 Composite
Nested Layers

1 Walkthrough
Creating Nested Composites (including composites, footage, filters, and so on)

Nesting composites means taking one composite and import them into the current composite as
and placing it as a layer in another composite. By layers.
nesting composites as layers, you can work on
3. Select the operator that corresponds to the com-
several composites individually, then merge them
posite you want to import as a layer.
together to arrive at a final result.
In the following illustration, two composites from
previous examples are nested as layers in this final
result. composite
operators
4. Repeat steps 2 and 3 to import the other com-

posite as a layer.
5. When you expand the remaining composite, you
will see two new layers called Layer(1) and Layer(2).
You apply filters or transforms to these new layers as
you would any other layer in the workspace.
To nest composites:
6. Expand Layer(1) and Layer (2) to see the origi-
1. Starting from a workspace that contains multiple nal nested composites.
composites, double-click one composite branch to
make it current.
Composite
branches
Note: This is the composite into which you will

nest the other composites. Double-click to load composites into viewports.
2. Choose Object | New | Layer from Operator. Note: You can double-click either of the nested
The Operator Picker dialog appears. This dialog composites to load them into the active viewport.
allows you to select any operators in your workspace

An Introduction to Operators ❚❘❘
An Introduction to Operators You can place an operator anywhere in the branch —

An operator modifies a layer or a composite. Opera- on a layer, on the output of a nested composite, or on
tors can be as simple as a box blur filter, or as the output of the entire branch.
complex as an Paint animation. Operators can be Operator
stacked and are processed one after another. The applied to entire
branch
result of one operator serves as the input for the next.
For instance, you can use a keyer operator to key out Operator applied
a portion of a layer, and then use a color corrector to nested
composite.
operator to color match the layer to the background.
Operator applied
to one layer.
At any point in your project, you can move an oper-

ator to another place in the processing pipeline,
modify its parameters, change its animation, copy it,
Color Corrector operator applied on top of a Keyer
operator. or simply delete it.
If, however, you drag the color corrector operator

Applying an Operator to a Layer
below the keyer, the key is created taking into
You can add operators to any layer in the workspace.
account the changes to the layers color.
To apply an operator to a layer:
1. Double-click a composite to make it current.
2. In the current composite, select a layer.
3. From the Operators menu, choose an operator.
The Operator controls appear. The Operator is
applied to the selected layer over its entire duration.
Keyer operator applied after Color Corrector operator
produces different results. 4. Adjust the Operator controls.
An Introduction to Keyframing
You can animate a layer by setting at least two
keyframes for the layer’s categories at different times.
A keyframe is a point in time that records any change
to a layer in your workspace.

1 Walkthrough
Before you can create keyframes, you have to enable You can see a keyframe has been set for the Z Posi-
the Animate button. tion channel.
Use keyframing to add motion to layers in your composite

(or, in the above example, rotation to the windmill’s
vanes).
To animate a layer using keyframes: Keyframe at

frame zero.
1. Enable the Animate button.
6. Press the END key to move to the last frame.
Change the value for the Z Rotation channel.
A keyframe is set at the last frame. The values
between the keyframes are determined automati-
cally using interpolation.
2. Select a layer (for instance, select the Vanes layer

from the illustration above to rotate the windmill’s
vanes).
3. Press the HOME key to move to the first frame of
the animation.
4. Use the Transform controls to set a rotation
property category at the first frame of the animation.
Keyframe at
For instance, set the Z Rotation to 130°.
last frame.
5. Click the Timeline tab, then expand the Vanes
layer and the Transformation category.

An Introduction to Keyframing ❚❘❘
7. Click the Graph button to see the shape of the in- The motion path starts here.
terpolated animation curve.

tool .
Animation Graph 5. In the active viewport, drag the selected layer to

curve button its starting position.
6. Use the playback controls to move to the frame
8. Move back to the first frame, and then press the where you want to create a second keyframe.
Play button on the playback controls to
watch the animation.
Note: You can adjust the shape of the animation Click and drag to move
curve between keyframes to create customized between frames.
animations.
7. Drag the layer to its new location (you can also
rotate, scale, or adjust any other channel).
A keyframe is created, and the layer’s motion path
appears.
8. Advance (or go back) to another frame, and
move the layer again to create another keyframe.
The keyframes are joined by a motion path.
For information on adjusting animation curves, see

“Editing Keyframes and Animation Curves” on
page 184.
Animating with Motion Paths

Once you create two (or more) keyframes for a layer,
you can adjust the way the layer moves by changing
the shape of the motion path.
To create a motion path for a layer in a composite:

1. In the Workspace panel, select the layer you want Keyframe Motion Path Keyframe
to animate.
9. Continue adding keyframes until you achieve a
2. Use the playback controls to move to the first
result you like.
frame (or press HOME).

1 Walkthrough
10. To change the shape of the motion path between Using the Paint Tools
keyframes, drag the tangent handles at a keyframe. Paint is an interactive, vector-based and object
oriented drawing operator that you apply to a layer as
Tangent you would other operators. It allows you to perform
handle a wide range of painting tasks from simple
retouching, to motion tracking, to full cartoon
animation. As with other painting-type software
packages, there are tools for creating paint strokes,
geometric shapes, text, selections, and masks.
As with all other operators in combustion*, at any
Copying and Pasting Keyframes point in the compositing process, you can go back
When creating animations with multiple layers, you into the Paint operator and modify the objects.
can save time by copying and pasting keyframes
between the layers. In the following example, you use the paint* tools to
create a banner with an opacity gradient and a text
To copy and paste keyframes from one layer to caption with a drop shadow over a composite.
another:
1. In the Workspace panel (or active viewport), se- Step 1: Nesting the Layers
lect the layer that contains the keyframes you want to
Before you can paint on composited layers, you must
cut or copy.
nest the layers together in a composite, and then add
2. Click the Timeline tab. a Paint operator to the output of the composite.
3. In the Timeline, expand the category with the
keyframes you want to cut or copy, then select the To nest layers together:
channel. 1. In the workspace panel, select the layers you
The keyframes appear in the Timeline. want to nest.
4. Draw a rectangle selection around all the key-

frames you want to cut or copy.
5. Choose Edit | Copy or press CTRL + C (Windows)
or COMMAND + C (Macintosh).
6. Select the channel to which you want to paste the
keyframes.
7. Position the Timeline cursor where you want to
first keyframe to be pasted.
8. Choose Edit | Paste or press CTRL + V (Win-
dows) or COMMAND + V (Macintosh). 2. Choose Object | Nesting.
The keyframes are pasted into the selected channel The Nesting Options dialog appears.
starting at the location of the Timeline cursor.
3. Click Selected Layers, and then click OK.

Using the Paint Tools ❚❘❘
The selected layers are grouped into a composite 6. In the Paint Controls panel, click the Modes but-
called “Nested Layers.” ton, then click the foreground color box to specify
the fill color for the rectangle.
Foreground
color box
4. Select “Nested Layers,” and then choose

Operators | Paint.
A Paint operator is added to the Nested Layers. You
are ready to begin painting. The Pick Color dialog appears.
7. Select a bright shade of red and click OK.
Step 2: Creating a Paint Object The rectangle in the viewport turns red.
You use the painting tools to create paint objects
such as rectangles and ellipses, text, and brush 8. Click the Gradient color mode button.
strokes. In this example, you create a filled rectangle Gradient color
to use as a banner in your composite. mode button
To create the filled rectangle:

1. Press the HOME key to make sure you are posi-
tioned over the animation’s first frame.
3. Click the Filled Rectangle tool .
4. Draw a rectangle over the bottom-left portion of 9. Click Gradient button to access the gradient
the image as illustrated below: controls.
The Gradient controls appear.
Rectangle
added over
all layers
Opacity gradient bar
5. Click the Arrow tool and click the rectangle 10. Click the Opacity Gradient Bar to add an opacity
to select it. gradient tag, then drag the new tag all the way to the
left.

1 Walkthrough
11. Click the opacity gradient bar again, then drag 3. Click the composition window over the banner
the new tag all the way to the right. and type:
12. With the right opacity gradient tag selected, drag My Composite.
the opacity slider to 0%.
4. Click the Arrow tool .
A text object is created and added to the
composition.
Opacity value set to 0%.
The red rectangle turns progressively transparent.
5. Position the text object so it is over the filled rect-

angle object.
Step 4: Creating the Drop Shadow

To create a sense of depth, add a drop shadow to the
text caption.
Step 3: Adding a caption To add a drop shadow:

Now you need to add a text caption to your banner. 1. With the text object selected, click the Shadow
button to access the drop shadow controls.
To add a text caption:
1. On the Toolbar, click the Text tool .
Text tool options appear.
2. Set the text properties to the following values:

• Font = Arial
• Size = 35 pts 2. Click Enable Drop Shadow to activate the drop

shadow controls, then create a drop shadow using
• Color = White. the following values:
• Distance = 5

Using the Paint Tools ❚❘❘
• Direction = 315 To change object duration:
• Scale = 100% 1. Click the Timeline tab to view the Paint objects.
You have to extend their duration to the end of the
• Opacity = 100% composite.
• Softness = 4
3. Click the Color box and pick a bright yellow
shade from the Pick Color dialog.
At this point, your composition should resemble the
following:
2. Select the My Composite object and the Filled

Rectangle object.
3. Press the END key to move to the last frame of the
sequence.
4. Press the period (.) key on the keyboard to ex-
tend the object length for the duration of the se-
quence.
Step 5: Extending Object Duration Note: You can also set object duration using the
By default, a new object exists only on the frame Default Object Duration setting in the Paint
Controls. For more information on object duration
upon which you create it (therefore, it has a one
and other Paint controls, see Chapter 9, “Introduc-
frame duration). You have to extend the length of tion to Paint.”
your Paint objects so they last the entire duration of
the animation.
Step 6: Playing the Animation
Now that all the elements are in place, you are ready
to play your animation.

1 Walkthrough
To play an animation: The clip is imported. An audio waveform appears on

1. Click the Workspace tab. the Audio panel.
2. Double-click the composite above the Nested

Layers.
Double-click
here
Play button
4. Use the Play Region option to restrict playback

to a portion of the audio file.
5. Click the Play button to play the audio.
6. Click the Timeline tab.
7. Enable Waveform in the Timeline control but-
You exit Paint and return to the composite. tons.
3. Click the Play button to play through the
animation.
Waveform
Working with Audio
With the scratch-track audio capabilities of
Combustion, you can import audio, link audio to
clips, slip audio to synch to your composition, and
save audio in workspaces for reference and
organization. 8. Audio waveforms appear in the Timeline.
9. Hold down CTRL+ALT (Windows) or COM-
Note: Supported file formats are WAV, AIFF, Quick- MAND+OPTION (Macintosh), then drag the wave-
time embedded audio, and AVI embedded audio.
form to change the position of the audio with respect
to the layers in your composite.
To import and play back audio:
1. Click the Audio tab.
2. In the Audio panel, click the Browse button.
The Open Audio dialog appears.
3. Navigate to the audio clip, select it, then click
OK. Drag left or right to change
the audio file in point.

Using Lights and Cameras ❚❘❘
Note: The first time you play the imported audio, When Combustion light strikes an layer it is
the system creates a RAM-cached preview file. The reflected and refracted, and it casts shadows in the
second time you play, you hear the audio normally. scene. The effect that light has on a layer depends on
the surface characteristics of the layer as much as it
depends on the type, color, and intensity of the light.
Using Lights and Cameras
The compositing workspace in Combustion is three For example, the behavior of light depends on the
dimensional. Use lights to illuminate the surfaces in opacity, luminosity, and specular level of the layer it
your composite, add depth with shadows and strikes—just as real-world light striking a shiny
shading, and realism to your composites. Use the metal surface has a different effect from that striking
camera to navigate through the three-dimensional a rough wooden surface.
landscape.
To enable the default lighting:
1. Double-click the composite for which you want
to enable lighting.
2. On the Composite Controls, click the Settings
button.
3. Under the Render Effects heading, enable Shad-
ing, Shadows, and Reflections.
Perspective view of a scene illuminated by a

spotlight. The camera is visible in the view.
Render
Effects
Lighting is enabled.
To adjust the lighting controls:

Select a light operator in the Workspace list, then
click the Light button on the Composite Controls
panel.
Scene as viewed through the camera.
Adding Lights to a Composite

You can use lighting to add realistic effects and
texture to your compositions. The Combustion
lighting controls are versatile and can be keyframed.

1 Walkthrough
For information on light controls, see “The Lighting To view your composite through the camera:
Interface” on page 429. 1. Right-click the viewport, and then choose Cam-
era from the context menu.
Viewing the Scene Through a Cameras
To access the camera controls:
The camera behaves like any other object in a 3D
composite. You can move and rotate the camera to On the Composite Controls panel, click the Camera
view your composite from a different angle without button.
disturbing the elements within. You can keyframe
the camera to animate the viewpoint of a composite
or to produce cinematic effects such as dollies and
truck shots.
When you are viewing the scene in Perspective view,
the camera appears as an element of your composite For information on the camera controls, see “The
— you can see a visual representation of the camera Camera Interface” on page 418.
and its field of view.
Rendering the Finished Product

Once you finish your animation project, you must
render it to create a finished movie that can be played
back on the device of your choice.
To render your composite as a Quicktime movie:

1. Choose File | Render.
The Render Queue dialog appears.
2. Enter the path and name for the rendered file(s)

in the Filename field.
Camera Field of view
Note: You can also click the Filename button to

enter a path and name using the file browser.
3. Select Quicktime from the Format list, and then

click the Options button to the right of the Format
list to specify the Quicktime compression settings.
For more information on these settings, see “Ren-
dering” on page 447.

Rendering the Finished Product ❚❘❘
4. To speed up rendering time, set the Quality to for real-time playback of your clip. You can also
Preview and the Frame Size to half. choose to render two different operators to compare
the results or you can save the results to disk.
Note: If you were rendering a final project, you
would set these values to the maximum quality The time bar in the Render to RAM dialog indicates
possible. whether your system has enough RAM to play back
5. Enter the first frame to render in the Start field. the entire clip. If the time bar extends for the full
Enter the last frame to render in the End field. By de- duration of the clip, then your system can sustain
fault, the entire project is rendered. real-time playback for the entire clip. If you cannot
play your entire clip, then you do not have enough
RAM. For information on increasing available
RAM, see“Setting Caching Preferences” on page 46
To render to RAM:
1. In the Workspace panel, select the operator that
Drag the bar to you want to render.
set Start and End
2. Choose File | Render to RAM, or press CTRL+R
Drag to set Drag to set
Start frame End frame
(Windows) or COMMAND+SHIFT+R (Macintosh).
6. Click Process.
Combustion begins rendering your project. The
status of your rendering is displayed on the Status
bars and in the Statistics panel.
Note: You should not use your computer for other

tasks while rendering, as this can have a significant
impact on the time it takes to render your project.
Rendering to RAM for Real-time

Playback
Combustion provides two ways to render your work
using your system RAM. You can simply use the
Playback controls to preview your work in a view-
port. Once Combustion has buffered every frame in
its memory once, the clip will play at near real-time
playback speed. You can continue to work on your
projects, and the results of your changes will dynam-
ically update as it plays in the viewport.
You can use the Render to RAM dialog to customize

the output options, such as frame size and quality,

1 Walkthrough

2 Welcome to Combustion
combustion* provides a
unified non-destructive,
a
paint and compositing
environment to finish
complex effects shots.

et
B

Summary space. Layers are the result of footage and operators,

This chapter explains: or even a nested composite.
• “About Combustion” on page 24 Workspace containing three branches.
• “Overview of the Interface” on page 25

Two-layer
• “Using the Workspace Panel” on page 27 composite
Operators
• “Using Operator Controls” on page 29 applied to
footage
• “Using the Viewports” on page 29
• “Using the Toolbars” on page 35 Paint branch
• “Using the Timeline” on page 36

Keyer branch
• “Using the Filmstrip” on page 37
• “Using the Playback Controls” on page 38
• “Using the File Browser” on page 39

The term operator refers to any process that is
• “Using the Pick Color Dialog” on page 42 applied to an item in your workspace. For example,
Paint, a Keyer, or a Ripple effect are all operators,
• “Setting Preferences” on page 43
which you can apply to footage, to a layer, or even to
a branch.
About Combustion The order of the items in the workspace (from

With Combustion, you create workspaces that bottom to top) determines the order in which they
contain composites and paint projects. Each of these are processed. By re-ordering items you can change
contains footage items (movie clips or images) your final result.
arranged in a viewport and animated over time. You
You can move operators freely around in a branch—
use the Workspace panel to view and arrange the
and all operations are non-destructive. Therefore, if
contents of your workspace.
you change the settings of a Brightness filter or Paint
Each workspace is organized into branches. A
branch can be either 2D or 3D, depending on what
you choose when you create it. For example, you can
create a (3D) composite branch with multiple layers,
or (2D) Paint or Keyer branches. Each branch is
independent of the others, but you can copy, move,
or create instances of items between them. You can
even have composites within composites.
A composite branch is made up of layers—two-
dimensional objects that you can move freely in 3D

Overview of the Interface ❚❘❘
On Layer 1, the footage goes into the Keyer, and the Branch
result (output) appears on the layer.
Composite
On Layer 2, the footage goes into the color corrector,
(Front layer keyed on color-
and the result (output) appears on the layer.
corrected background.)
Both layers make up the composite.
Layer 1 Layer 2
Color
Keyer
Corrector
Footage Footage
operator on a layer, your changes automatically

ripple to the operators added later in the flow.
Use the multiple viewports to display the elements in

your workspace at any point in the flow, and to play
back your projects in real time. As you work on your
projects, the results of your changes dynamically
update in the viewport.
Overview of the Interface

The main elements of the Combustion user interface
are the Workspace panel, Timeline, operator
controls panel, and viewports.
In the workspace, you can view all the branches,
composites, layers, and operators in your file, and
display them in the viewports. You can select an
operator to set its options in the operator controls
panel. Use the Timeline to animate your projects
over time.

Main Interface Elements
Viewport
Workspace panel Toolbar tab Timeline tab Operator controls panel
Detailed information on these, and the other Reset Buttons

elements in the Combustion interface, is provided in Click the Reset button to reset all the parameters
the following sections of this chapter. under the current heading.
Reset button
Button Conventions
In addition to the standard button types, Combus-
tion uses the following conventions.
Fields
You use fields to set parameter values. There are
several methods that you can use to set the value of a
field. You can type a specific numeric value, use a
slider, or use a calculator.

Using the Workspace Panel ❚❘❘
To type a value:
Do this: To:
1. Click a field once to change it to a numeric input
Shift+Drag Increase or decrease the value by
field. larger increments.
2. Type a value, and then press ENTER. Ctrl+Click Increase or decrease the value by
very fine increments.
Alt+Click Snap the range indicator to the
cursor position. This option is avail-
able for fixed range sliders only.
To use a calculator:
1. Double-click a field to launch the calculator.
To use a slider: 2. Once you have calculated the required value,
click OK to enter the result in the selected field.
1. Click and drag your cursor over a field to change
it to a slider. Drag the cursor to the right to increase
the value; drag it to the left to decrease it.
There are two kinds of sliders: infinite range sliders
and fixed range sliders. Infinite range sliders display
diagonal stripes when you click them.
Slider with an
infinite range
Fixed range sliders use a range indicator to highlight

the selected value within the range.
Slider with a fixed range

Using the Workspace Panel
The Workspace panel displays a graphical represen-
tation of the elements in your workspace (.cws) file.
2. To change how precisely the slider value increas- You use the Workspace panel to select layers, access
es or decreases, use the following options: operator controls, and choose what is displayed in
the viewports. More importantly, you use it to orga-
Do this: To:
Drag Increase or decrease the value.
Ctrl+Drag Increase or decrease the value by
more precise increments.

nize the order of operators to control your final An arrow appears to the right of the operator name.
output, or result.
“Upnlogo” layer is selected
Branch
Composite The information in the Timeline view or operator
Keyer operator
controls (depending on which one is currently
displayed) is updated.
Layer
• To select an operator, display the operator controls,
and display the operator in the current viewport,
Paint project double-click an operator.
Footage
This is the current operator. A gray box appears to the
left of the operator name.
Click the black triangles to the left to expand a
branch. The yellow icons next to objects indicate
that they are on (visible in the composition). Click
an icon to turn it off. This makes it invisible in the
composite, but does not delete it or change its
properties. Footage operator is
the current operator
To show the Workspace panel:

Choose Window | Palettes | Show Workspace.
Keyer is off
Changing What Appears in the
Workspace
You can choose what level of detail is displayed in the
Last three
layers are Workspace panel. This level of detail affects what is
off displayed in the Timeline, as well. For example, if
you display operators in the Workspace panel, the
objects and properties appear in the Timeline. For
To select and display operators: detailed information, see “Timeline Overview” on
page 175.
• To select an operator in the Workspace panel, click
an operator once. By default, only operators appear in the Workspace
panel.

Using Operator Controls ❚❘❘
To change the level of detail in the Workspace Using the Viewports

panel:
The viewports in Combustion are used to control
1. Click the Workspace menu button. both what you see and how you see it. You can also
use viewports to select, transform, and animate the
objects in your workspace.
The viewports also provide real-time playback of

your projects, at any point in your work cycle. For
more information, see “Using the Playback
2. Enable the required option. You can choose to
Controls” on page 38.
display operators, operators and headings, or opera-
tors, objects, and properties. The selected viewport is the active viewport, and is
indicated by a white outline.
Using Operator Controls The viewport title appears in the upper left corner of
The operator controls are also context-sensitive— a viewport. It provides information about what is
only the controls that apply to the selected operator currently displayed (a composite, Paint branch,
are displayed. When you select an operator in the filter) and the selected view.
Workspace panel, its controls appear and the name
of the panel changes to that of the selected operator.
For example, if you select a composite, the You can use one large viewport to view a single
Composite controls appear. Select a Paint operator element of your workspace, or use multiple view-
to display the Paint controls. ports to track several operators, layers, or
You can adjust the controls of an operator even if that composites at once. For example, you can work on
operator is not displayed in a viewport. This is refining a matte by loading the Keyer in one
useful, for example, if you have a box blur applied viewport.
over a color corrector on a layer. You can view the
output of the entire composite in the viewport and
just select the color corrector to make adjustments.
The results displayed in the viewport have the box
blur applied as well.
To access the operator controls:

1. Select an operator in the Workspace panel.
2. To access the operator controls and display the
operator in the current viewport, double-click it in
the Workspace panel.

At the same time, you can work on the background Changing Views
layer in Layer view in another viewport. Changing the view changes your viewing perspec-
tive on the objects displayed in the viewport. When
viewing composites, you can set each viewport to
one of three views: Perspective, Camera, or Layer.
Use Perspective view to see the entire 3D space from

a vantage point separate from the scene. You can
navigate in Perspective view by panning, rotating, or
magnifying the view.
Use Camera view to view the composite through the

camera lens. In this view, you cannot see the camera
itself. When you create a new composite, a camera is
And you can view the resulting composite in a third created by default. For more information, see “Using
viewport. Cameras” on page 421.
Use Layer view to view a “flat” image of only the

selected layer. Layer view is useful when you need to
adjust the effects on a layer, particularly if the layer is
difficult to see in Perspective view.
You use Object view in the same way as Camera

view; however, you view the composite from the
perspective of the selected object.
Orthographic views are each defined by using two of

the three coordinate axes. Use the orthographic
views to see a “straight ahead” view of your
Displaying Operators in the Viewport
composite: either top, bottom, front, back, left, or
In Combustion, you can use the viewport controls to
right.
display an operator in a viewport.
Note: If you view an operator, such as Paint or the
To display an operator in a viewport: Color Corrector, it is displayed in a flat 2D view, like
1. Select an operator in the Workspace panel. the Layer view.
2. Click the Send Up button. This is the same

as double-clicking the operator.
The operator is displayed in the current viewport.
Note: Use the Send Down button to load the

operator in the active viewport into the Controls
panel and Toolbar.

Using the Viewports ❚❘❘
To change views: The four available layouts are illustrated below.

1. Select a viewport.
2. Right-click the viewport title and select an op-
tion from the context menu.
To change the viewport layout:

Select a layout from the Viewport Layout list.
Viewport
Layout list
Views
Changing the Zoom Factor

You can set the amount of zoom for each viewport.
Note: You can render from either Camera or Zooming in or out changes the size of the displayed
Perspective view. image.
Note: Changing the zoom factor is not the same as

Changing the Viewport Layout using the Perspective Zoom tool. For more infor-
You can display a single viewport or choose from mation on this tool, see
three different multiple-viewport layouts. You can,
You can change the zoom factor by using the zoom
for example, use multiple viewports to adjust an
buttons or by using the Magnify tool in the Toolbar.
operator in one and see how it affects the entire
composite in another. Note: Press the tilde “~ “key once to toggle your
views to full screen. Press it again to return to the
default setup.

To change the zoom factor: To choose which objects to view:

1. Select a viewport. 1. Select a viewport.
2. Do any of the following: 2. Choose Display.
• Click the Zoom Out or Zoom In buttons, 3. Select one of the following options, as required.
as required.
Use: To:
• To return to a centered, 100% zoomed image, click
Wireframe Display only the wireframes of the
the Home button. Click the Home button objects in the composite.
again to toggle between 100% and the last-selected
Current Display only the current object in
zoom factor.
the viewport. This option increases
• Click the Magnify tool in the Toolbar, and then rendering speed as well as offers a
click in the active viewport to zoom in. ALT-click to clear view of the current object.
zoom out. Relatives Display the current object and any
relatives of the object, such as ob-
• Click the Magnify tool and choose the percentage jects parented, hinged, or targeted
of zoom from the Zoom Factor list. to the current object.
All Objects Display all objects in the composite.
This is the default option.
Magnify tool Changing View Modes

You can look at any channel in your viewport using
Zoom Factor
list the different view modes. Several view modes show
multiple channels simultaneously (such as alpha
overlay).
To change the view mode:

• Choose Window | Zoom In or press CTRL+= (Win-
dows) or COMMAND+= (Macintosh). 1. Select the viewport, then choose Window | View
Mode.
• Choose Window | Zoom Out or press CTRL+-
A menu appears containing all the view modes. The
(Windows) or COMMAND+- (Macintosh).
current view mode is checked.
2. Choose the view mode corresponding to the

Choosing Which Objects to View channel you want to see.
You can choose what objects are displayed in your
The image in the active viewport changes to show
viewport. You can also choose to view only a wire-
the selected channel(s).
frame (outline) of your layers. You set these options
for each composite separately. Note: You can also right-click a viewport and
choose View Modes followed by the view mode
When you are working with many objects, the Wire-
corresponding to the channel you want to see.
frame option substantially reduces rendering time
when making changes to the frame.

Using the Viewports ❚❘❘
For more information, see “Using View Modes” on 3. If you choose Best, you can customize the Qual-
page 130. ity options. To set these options, click the Settings
button in the Composite Controls panel.
Changing Display Quality 4. Enable the required Quality options.

Use the Display Quality list to control the amount of
detail and image quality displayed in the viewports.
The higher the image quality setting, the more time
required to update your viewports.
You can also set the anti-aliasing and supersampling

options for each branch. The configuration of these
The following options are available.
options is used for rendering, by default. However,
you can choose to override these settings at any time. Enable: To:
For more information, see “Rendering” on page 447.
Anti-Aliasing Smooth the edges of diagonal
lines, reducing the jaggies.
To change the display quality: You can use this with the Best
1. Choose an option from the Display Quality list. option only.
Supersampling Enable anti-aliasing for shad-
Display Quality ows and reflections. You can
list use this with the Best option
only.
The following options are available. Displaying Lighting and Surface

Effects
Select: To: You can control the display of the lighting and
Preview View Best quality, without anti-alias- surface effects in your composite using the Render
ing. Effects options. When you create a new composite,
Best View the highest quality, anti-aliased these options are disabled by default.
version of your projects.
You set these options for each composite separately.
Medium View your clips at half resolution.
You cannot use Anti-Aliasing or Su- If you are not working on these effects, disable these
persampling with this option. features to improve display performance.
Draft View your clips at a quarter resolu- For more information, see “Displaying Light in a
tion. You cannot use Anti-Aliasing or
Composition” on page 431 and “Surface Properties”
Supersampling with this option.
on page 115.
2. To redraw objects in the viewports as you modi-
fy them, enable Feedback. Disable this setting to re-
draw after a setting has been changed

To display lighting and surface effects: There are three possible menus in Combustion: the
1. Select the composite whose lighting you want to basic menu, the composite menu, and the Paint
view. menu.
2. Click Settings and enable the required Render

Effects options.
Top: Basic menu

Middle: Composite menu
Bottom: Paint menu
The following options are available:
The Edit Menu
Enable: To: The following options are available in the Edit menu.
Shading Turn on lights in the composition.
Use: To:
Shadows View shadows cast by objects onto
other objects in the composition. Undo Erase the last action. You can cus-
tomize the number of undo lev-
Reflections View reflections and highlights on els available. For information, see
surfaces created by light bouncing “Setting General Preferences” on
from one object to another. page 43.
Redo Perform the last action again.
Using the Menu Commands Select All Select all objects in the current
The menu commands that are displayed in Combus- viewport, including lights, layers,
tion are context-sensitive—only the commands that and cameras.
apply to your current task are displayed. If the option Select None Deselect all selected objects.
you require is not available, make sure to first
Cut Remove a selected object and
double-click the appropriate operator in the Work-
paste it to the clipboard. The ob-
space panel. ject remains on the clipboard un-
til you choose Cut (or Copy)
again.
Copy Make a copy of the selected ob-
ject on the clipboard. The object
remains on the clipboard until
you choose Copy (or Cut) again.
Paste Paste the contents of the clip-
board into the selected tree.
Duplicate Create a copy of the selected ob-
ject and paste it in the viewport.

Using the Toolbars ❚❘❘
Use: To: Use: To:

Delete Delete the selected object. Hide Marquee Hide selection marquees in the
viewport.
Delete All Delete multiple selected objects.
View Mode Choose which channel to display
The Window Menu in the current viewport. For infor-
The following options are available in the Window mation, see “Using View Modes”
on page 130
menu.
Palettes
Use: To:
For information on the other menu options, please
Back This is similar to the Back button
refer to the following table.
in an internet browser.
Forward Navigate forward to the next op- Option: See:
erator. This is similar to the For-
File Chapter 3, “Building Workspac-
ward button in an internet
es.”
browser.
Display “Choosing Which Objects to
Zoom In Increase the zoom factor in the
View” on page 32 and “Display-
current viewport. For informa-
ing Lighting and Surface Effects”
tion, see “Changing the Zoom
on page 33.
Factor” on page 31.
Select
Zoom Out Decrease the zoom factor in the
current viewport. For informa- Object Chapter 4, “Compositing.”
tion, see “Changing the Zoom
Operators
Effects
Fit In Window
Movie “Using the Playback Controls” on
Conform Win-
page 38.
dow
Help
Screen Mode
Show Safe Display safe zone boundaries in
Zones the viewport. For information,
see “Setting Safe Zone Preferenc- Using the Toolbars
es” on page 45. The Toolbars contain tools that you use to work on
Use Aspect Ra- your clip in a viewport. Toolbars are context sensi-
tio tive. This means that the set of tools available in the
Toolbar depends on what you have selected as the
Onion Skin Use onion skinning. For informa-
tion, see “Animating with Onion current operator.
Skin” on page 196.
Onion Skin Set- Set onion skinning options. For
tings information, see “Animating with
Onion Skin” on page 196.

For example, the Layers Toolbar includes tools to The operator becomes the current operator. Its tools
move and rotate layers and change the Perspective are loaded in the Toolbar and it appears in the
view. current viewport.
To show the toolbar:

Choose Window | Palettes | Show Toolbar.
Showing or Hiding Interface Elements

When you first start Combustion, all the interface
elements appear. You can hide or show panels
depending on which ones you need for your work.
To show or hide a panel:
Whereas the Paint Toolbar includes tools to draw 1. Choose Window | Palettes.
lines, masks, and selections.
2. Select the panel that you want to show or hide

from the list.
For information on the Paint tools, see “Paint Inter-

face” on page 211. For information on the layer Using the Timeline
tools, see “Compositing” on page 85. The Timeline provides an overall view of all
animated channels in the workspace. Use the Time-
To access a Toolbar:
line to view and edit all keyframes. Before you begin
1. Select an operator in the Workspace. creating animations, you should be familiar with the
2. Do one of the following: Timeline.
• ALT-click the operator. The Timeline is divided in three parts. The Timeline
list lists all the layers, objects, effects, and keyframes
• Click the Send Up button.
in the current branch or composite. The Timeline
view depicts objects and keyframes over time in

Using the Filmstrip ❚❘❘
Graph or Overview modes. The control buttons You can show or hide the frame numbers, and
control various aspects of the Timeline view and change their display units.
animation.
Menu button
The information displayed in the Timeline depends
Zoom In/Zoom
on what you have selected in the Workspace panel. Out buttons
For example, if you select a composite in the Work-
space panel, the layers of that composite are
displayed in the Timeline. You can navigate through
the layers and operators in your projects in the same
was as you do in the Workspace panel.
For detailed information on navigating in the Time-
line, see “Using the Timeline” on page 182. For
information on creating animations, see
“Keyframing” on page 169. Current frame
indicator
To show the timeline:
Choose Window | Palettes | Show Timeline.
Frame number
Note: Press SHIFT+TILDE (~) once to toggle the
Timeline to full screen. Press it again to return to
the default setup.
Using the Filmstrip

The filmstrip displays thumbnails of a series of
frames in your composite or Paint branch. Any Note: When you scroll the filmstrip, the thumb-
changes you make in the viewports are automati- nails update automatically. Note that the current
cally updated in the filmstrip. Scroll through the frame is unchanged: the filmstrip scroll bar is inde-
pendent of the Frame controls.
filmstrip to get an overview of your project, or use it
to move to a specific frame. To use the filmstrip to go to a frame in the clip:
Below each thumbnail, the corresponding frame 1. Drag the scroll bar so that the frame that you
number appears. The current frame is highlighted in want is visible.
yellow. A red line, the current frame indicator, marks 2. Click the thumbnail to go to that frame.
the position of the current frame in the scroll bar.
The frame number is highlighted in yellow to indi-
cate that it is the current frame and it appears in the
active viewport.

Customizing the Filmstrip Use: To:

By default, the filmstrip displays thumbnails verti-
Zoom Out Contract the thumbnail view by
cally. You can place it horizontally below your increasing the interval between
viewports, or choose to hide it altogether. You can frames. You can also click the
customize the display units to display either time- button on the filmstrip.
code or frame numbers, change the appearance of Goto Current Scroll the filmstrip so that the
the thumbnails, and set the ratio of thumbnails-to- Frame thumbnail of the current frame is
frames. visible. Use this option when “Al-
ways Show Current Frame” is de-
To show the filmstrip: selected.
Choose Window | Palettes | Show Filmstrip. 1 Frame Display a thumbnail for every
frame.
To customize the filmstrip: 2, 5 or 10 Display thumbnails for every 2, 5
1. Click the right arrow at the upper right corner of Frames or 10 frames.
the filmstrip. 1, 2, 5 or 10 Display thumbnails for every 1, 2,
The Filmstrip menu appears. Seconds 5 or 10 seconds of a clip. The num-
ber of thumbnails that are
2. Set the following options, as required. skipped depends on the frame
rate. For example, a filmstrip
Use: To: zoom level of 1 second displays a
thumbnail for every 30th frame in
Mini, Small, Select the size for the filmstrip
an NTSC project; and every 25th
Medium, or thumbnails.
frame in a PAL project.
Large
Horizontal or Select the orientation of the film-
Vertical strip. Using the Playback Controls
Show Edits Combustion provides real-time playback of your
Show Time Show or hide the timecode (or composites or Paint projects. Real-time playback is
frame number) under each limited by the amount of RAM available on your
thumbnail. system. You can use these controls to preview your
Always Show Automatically scroll the filmstrip work by playing or scrubbing through your clips.
Current Frame so that the thumbnail of the cur-
When playing clips, Combustion uses the RAM
rent frame is always visible.
cache to store playback information. When you first
Render All play a clip, playback is slower as the information is
Zoom In Expand the thumbnail view by being stored for the first time. Once you have cycled
decreasing the interval between
frames. You can also click the
button on the filmstrip.

Using the File Browser ❚❘❘
Go to first frame Play reverse Go 1 frame forward Go to next keyframe
Current frame field Go 1 frame backward Play forward Go to last frame
Go to previous keyframe
Playback Controls
through your frames once, playback speed Setting the Play Mode
increases. You can choose how playback behaves when it
reaches the end of the clip. Click the Play Mode
Note: You can start and stop play by pressing the
button to cycle through the available modes.
Return key.
You can access the playback controls through the Play Mode button
Movie menu as well.
• Set it to play once to stop playback when it

reaches the end of the clip.
• Set it to loop play to repeat the clip from the
beginning.
• Set it to ping pong to play the clip forward,

and then backward when it reaches the end.
The Current Frame field displays the current frame.

Click and drag to scrub through your clip.
Using the File Browser
Use the Duration box to view the total duration of You use the Combustion file browser when opening
your branch. an existing workspace file, importing footage,
rendering, and saving. The file browser has inte-
grated search, filtering, and display options.
Note: If you cannot see the Combustion browser

(the file browser that you see is the standard
system file dialog), make sure that Use Thumbnail
Browser is enabled in the Preferences dialog. For

information, see “Setting General Preferences” on Note: Double-click a file to select it and close the
page 43. dialog.
To display the file browser: 3. If you are opening or importing footage, you can
CTRL+click or SHIFT+click to select multiple files.
1. Do one of the following:
The selected files appear in the lower right pane.
• Choose File | Open Workspace to open a Work-
space file. You can also open effect* and paint* ver- 4. To remove a file from the lower pane, double-
sion 2.x files. click it, or select it and click Remove. To remove all
files, click Clear.
• Choose File | Open to open footage or images.
Changing the View
• Choose File | Import Footage or press CTRL+I to im- You can choose to view files in either a list or as
port footage into the current composition. thumbnail images.
The file browser appears.
To change the view:
To use the browser: In the browser, click the List View or Thumbnails
1. Use the tree view to navigate to the appropriate button.
folder. Click a black triangle to expand the folder.
Searching in the Browser

You can use the browser’s built-in search and
filtering capabilities when trying to locate files.
To search in the browser:

1. In the file browser, select the folder that you want
to search.
2. Click the Search button.
The contents of the selected folder appear in the
right pane.
2. Click a file once to select it.

Information about the selected file appears in the
preview pane.

Using the File Browser ❚❘❘
The Search dialog appears. Customizing the Browser

You can choose to customize the appearance of the
browser, including how folders are displayed, and
the size of the thumbnails.
You can also set how the browser displays numbered

sequences of images. Image sequences share a
common name, followed by a number. For example,
image01.tiff, image02.tiff, and image03.tiff are in a
sequence.
To collapse image sequences:

1. Enable the Collapse button to display
3. Enter the file name for which you want to search image sequences as one item.
in the Search For field. You can enter a partial name,
as well.
Collapsed
4. To search through the folders that are in your se- sequence
lected folder as well, enable Search Subfolders.
5. To filter your search results, do any of the follow-
ing:
The name of the sequence begins with the same first
• To filter based on the creation date of your files, en- letter as the individual files. The number of images
able Only Show Files Newer Than, and then set the in the sequence appears to the right of the name.
options. You can choose to filter files newer or older
2. Disable the Collapse button to display each im-
than the amount of time entered. Choose whether
age in the sequence as a separate file.
this number represents hours, days, weeks, or years.
• To filter based on the size of your files, enable Only

Show Files Larger Than, and then set the options.
You can choose to filter files larger or smaller than
the size entered. Choose whether this number repre-
sents bytes, kilobytes, megabytes, or gigabytes.
6. Click OK.
The results of your search appear in the browser.

To set the browser options: Using the Pick Color Dialog

1. Click the Options button in the browser. The Pick Color dialog appears when you click a color
The Browser Options dialog appears. box to set a color value. Use the dialog to select a
color based on HSV or RGB color models.
You use the mode list to select which two color

components to display in the color area. The third
appears in the color bar to the right of the color area.
For example, if you choose Hue vs. Saturation, you
use the color area to choose the hue and saturation
values, and the color bar to choose the value.
Mode list
Color area
2. Set the following options as required.

Color bar
Use: To:
Show Folders Include folders in the right win- Color
dow, in addition to tree list. model list
Collapse Image Display image sequences as

Sequences one item.
Thumbnail Size Set the size of the thumbnail im-
ages displayed in the browser (if
you are in Thumbnail View). Sliders Preview window
Choose Mini, Small, Medium, or
Large.
Delete Cache Set the number of days after To use the color picker:
Items After which items in the cache will be 1. Select a mode from the mode list.
deleted.
Limit Cache Size Set the maximum size of the
To cache in megabytes.
Flush Cache Clear the contents of the cache.
3. Click OK.

Setting Preferences ❚❘❘
• Click the color area to set the two color components The General preferences appear.
listed in the mode list. Use the color bar slider to pick
the third.
• Select RGB or HSV from the color model list, and

then use the sliders to specify a color.
The color is displayed in the preview box.

3. Click OK to set the color.
Setting Preferences
This section describes how to use the Combustion
preference settings to control various aspects of the
You can set the following options.
application.
Save Window Positions — Enable to save the
To access the Preferences dialog:
screen layout when you exit Combustion. Disable to
Choose File | Preferences, or press CTRL+P use the default window positions on startup.
(Windows) or COMMAND+P (Macintosh).
The Preferences dialog appears. Photoshop Filter Emulation — Enable to display
Adobe Photoshop™ plug-ins in Combustion in the
same way as other Combustion effects. For more
Setting General Preferences information, see “Filters” on page 309.
Use the General preferences to control the autosave
duration, how time is displayed, and various other Tight Selections — Enable to display the marquee
aspects of Combustion. inside the selection boundary. For example, if you
feather a selection, the marquee is placed in the
To set general preferences:
middle of the feathered portion, rather than at the
Click Host | General. outer edge. For more information, see Chapter 12,
“Paint: Drawing Selections.”
Enable Multiprocessing — Enable to use all

available processors on your system.
Use Thumbnail File Browser — Enable to use the

Combustion file browser when opening and saving

files. Disable to use the standard system file dialog. To set transparency preferences:
For more information, see “Using the File Browser” 1. Click Host | Transparency.
on page 39.
2. The Transparency preferences appear.
Auto Save — Enable to create autosave files. Enter
the duration between autosaves (in minutes) in the
box.
Display Time As — Display time in either SMPTE

timecode, frame numbers starting at 0, or frame
numbers starting at 1.
Undo Levels — Set the number of undo operations

available when you select Edit | Undo. The default is
10; however, the number is limited only by the
amount of memory available on your system.
At Startup — Controls the default behavior when Opacity box Pattern color Pattern preview
launching Combustion. You can choose to open a and slider boxes window
new document, open an existing document, open
the last workspace, or do nothing.
3. Set the following options as required.
Scratch Directory — Sets the default location on
your hard disk where Combustion stores extra data. Use: To:
Pattern Size Set the size of the squares in the
Setting Transparency Preferences pattern. You can choose Small, Me-
dium, or Large.
Use these preferences to control how the transparent
(or semi-transparent) portions of your composites Pattern Color Set the colors of the alternating
appear in the viewports. boxes squares in the pattern. Click a
square and use the Pick Color dia-
log that appears. For information,
see “Using the Pick Color Dialog”
on page 42.
Opacity box Set the Alpha Overlay color and
and slider opacity. For information, see “Us-
ing View Modes” on page 130.
4. Click OK.

Setting Safe Zone Preferences 3. The Safe Zone preferences appear.

Over-scanning television picture tubes, a common
industry practice, causes a portion of the outer edge
of an image to be lost. If you are creating projects for
videotape or television broadcast, you need to place
important content so that it will not be cut off.
Since the amount of over scan is not consistent from

one television set to another, use safe zones to help
avoid eliminating important elements.
4. Set the following options as required:
The Video safe zone represents the cutoff of most
televisions. Anything outside this boundary may not Use: To:
be visible on screen. The default value is 90%, which Video Safe Set the size of the Video (outer) safe
is the commonly accepted setting in the video zone. The value is a percentage of
the pixel dimensions of your project.
industry.
Title Safe Set the size of the Title (inner) safe
You should keep any text, such as titles, phone zone. The value is a percentage of
numbers, and so on, within the Title safe zone. The the pixel dimensions of your project.
default value is 80%, which is the commonly Color Set the color of the safe zone guides
accepted setting in the video industry. that appear in the viewports. Click
the color box and then choose a col-
or from the Pick Color dialog. For in-
formation, see “Using the Pick Color
Dialog” on page 42.
5. Click OK.
To view safe zones:

1. Select a viewport.
2. Enable Window | Show Safe Zones or press the
“ ‘ ” key.
Note: You can also set Safe Zones by right-clicking

in a viewport and choosing Show Safe Zones.
To set safe zone preferences:
1. Choose File | Preferences. Setting User Interface Preferences
You can toggle between two preset color schemes,
2. Click Safe Zone.
Charcoal or Platinum, or set custom colors for each
of the various elements of the interface.
The Charcoal color scheme is set by default.

To set user interface preferences: Setting Behavior Preferences

1. Click Host | User Interface.
To set behavior preferences:
2. The User Interface preferences appear.
1. Click Host | Behavior.
The Behavior preferences appear.
You can set the following options as required.
Setting Caching Preferences

You can choose the maximum amount of memory
Combustion can use for caching.
To set caching preferences:

3. Select a preset from the Preset list.
1. Click Host | Caching.
4. To create a custom preset, do one of the follow-
The Caching preferences appear.
ing:
• Click a color box next to an interface element and
then choose a custom color from the Pick Color dia-
log. For information, see “Using the Pick Color Dia-
log” on page 42.
• Use the Brightness, Contrast, and Gamma fields to

adjust all interface elements simultaneously. 2. Enter a value in the Maximum Cache Usage field.
Choose an option from the list to determine whether
5. To change the height of the menu bars (Work-
the value is a percentage of the total memory avail-
space, Timeline, Controls panel, etc.) enter a value in
able, or a fixed number of megabytes.
the Bottom Menu Bar Height box.
3. Click OK.
6. Click OK.
Setting Framebuffer Preferences

You can use the framebuffer preferences if you have
a Matrox DigiSuite card installed on your system.

Use this option to paint directly on the live video To set the mesh preferences:
output of a Matrox DigiSuite card, in real time. 1. Click Host | Mesh.
The Mesh preferences appear.
To set framebuffer preferences:
1. Click Host | Framebuffer.
The Framebuffer preferences appear.
2. Set the following options, as required.
Enable: To:
2. To paint on the video output of your DigiSuite Anti-alias Mesh Remove jaggies from the mesh
card, choose Matrox DigiSuite from the Framebuffer lines.
Type list. Display During Display the mesh when you play
3. You can then set the following options, as re- Playback back an animation.
quired. Color Click the color box to choose a
custom color from the Pick Col-
Enable: To: or dialog. For information, see
Overlay on Video “Using the Pick Color Dialog” on
page 42.
Use with Ram Play frames cached in RAM on
Player the framebuffer for quicker
playback. Setting Paint Preferences
Use the Paint preferences to control various aspects
when working with a Paint project, including modi-
Setting Mesh Preferences
fying the size of the render cache.
In 3D Studio MAX, you can choose to display your
3D objects as 2D meshes in Combustion. Use the In Paint, objects are drawn on top of other objects.
mesh preferences to customize the appearance of the When you modify an object created earlier in the
mesh. pipeline, all objects occurring after must be redrawn
to display the correct information. The render cache
pre-draws objects in memory to increase the speed
of screen updates.

To set the Paint preferences: position. This option is available for the filled
1. Click Paint | General. drawing tools.
The Paint preferences appear.
You can set the following options as required.
Display Brush Outlines — Changes the pointer to

an outline that represents the shape and size of the Render Cache Size — Controls the redraw speed
current brush. This option is available for the of objects. The size is specified in megabytes, with a
unfilled drawing tools. default value of 4MB. As a guideline, set this value to
the single frame memory requirements of your
project, at minimum. For example, if your project is
640 x 480, set this value to at least 1.2MB.
You can experiment with different Render Cache

Size settings. Increase the value if it takes a long time
to redraw objects. However, be careful not to set this
value too high, as it may interfere with the memory
available for rendering effects and other processor-
intensive actions.
Display Cross Hairs — Displays crosshairs that
Note: On a Macintosh, the Render Cache takes
span the width of the viewport to indicate cursor
memory from the application’s memory partition.
Therefore the value cannot be higher than the size
of this partition.
Hiding the Camera Icon

You can turn the camera off to make the icon invis-
ible in the composite. Turning a camera off does not
delete it or change its properties.
To turn a camera on or off:

In the Timeline, click the camera icon next to the
name of the camera.

The icon is yellow when the camera is on, and gray Color Plot — Displays a color box indicating the
when it is off. current color.
Color Values — Displays the RGB values of the

Camera is off current color. Click this area to toggle between
integer and percentage values.
Using the Info Palette

The Info palette is located across the bottom of the Cache Meter — Displays the total available
Combustion screen and displays information about memory and total amount used for caching.
the cursor position, current tool, cache and
memory.
You can choose which elements to display on the

Info palette or hide the palette altogether. Progress Indicator — Displays an icon that indi-
cates when rendering is in progress.
To hide the Info palette:
Choose Window | Palettes | Hide Info.
To customize the Info palette:

Flushing the Cache
1. Right-click the Info palette. You can choose to clear all information from the
2. Enable the required options in the context menu. cache to free your available memory.
To flush the cache:

1. Right-click over the cache meter on the Info pal-
ette.
2. Choose Flush Cache from the context menu.
Position — Displays current the X and Y position

of cursor.


3 Building Workspaces
You start every project by working
with composite and paint

a
branches, and, of course, footage.
This chapter readies you to open an

et
existing, or create a new,
workspace.
B

Summary The Workspace panel displays a hierarchical over-

This chapter explains: view of your workspace, including the composite
and Paint branches, the layers, and all operators.
• “About Combustion Workspaces” on page 52
• “Planning your Projects” on page 52

Composite
• “Starting a New Workspace” on page 55
Operators on
• “Opening an Existing Workspace” on page 62
Layer 1
• “Importing Footage” on page 63
Layers in
• “Replacing Footage” on page 69 composite
• “Importing Audio” on page 69 Paint branch
• “Changing Footage Source Settings” on page 73

• “Changing Footage Output Settings” on page 77
• “Creating Proxy Footage” on page 81

• “Changing Footage Start and End Points” on page You use the Workspace panel to select layers, access
83 operator controls, and choose what is displayed in
the viewports. For more information, see Chapter 2,
• “Saving a Workspace” on page 84
“Welcome to Combustion.”
About Combustion Workspaces Planning your Projects

In a workspace, you can create completely indepen-
Before you begin working on your composites, think
dent composites or Paint branches, or you can
about what type of footage you need and what your
combine all layers into one big composite that
final output requirements are. For instance, there is
includes multiple layers of footage and Paint opera-
no need to work in full 24-bit color at D1-NTSC
tions that modify specific layers within the
resolution if you are planning on creating streaming
composite.
video for a web site. For information on workspace
You apply operators to layers to modify your footage. settings, see “Choosing Format Options” on page
Operators include Paint, filters (such as Gaussian 59.
Blur and Lens Flare), the discreet Keyer, and the
Keep track of where the footage you use comes from.
discreet Color Corrector.
The way footage is created can affect the way it
appears in a workspace. For instance, if you import
an animation rendered out from 3D Studio MAX,
you need to set the pixel aspect ratio for the footage
to “Square,” otherwise it may appear distorted in an

Planning your Projects ❚❘❘
NTSC workspace. For information, see “Changing broadcasting. Also, watch out for degradation of
Footage Source Settings” on page 73. image quality due to generation loss and
compression.
Proper planning from the outset can save you
considerable amounts of time and work in the long
Streaming Web Video — Remember that when
run.
creating streaming video, there is a limit to how fast
most viewers can stream the file (this depends on the
Choosing Media Settings speed of their modems). If you know your viewers
If you are creating media that is destined to air on have high-speed internet access, you can use higher
television, you should consider the resolution, color image resolutions and frame rates than if the
depth, and frame rates that will produce results that intended viewers are likely to be accessing the file
are acceptable for broadcast. On the other hand, if using 28.8 Kbps modem. In most cases, however,
you are working on streaming video for the web, you you cannot exceed 10-15 fps. Also, the codec you use
can save processing and rendering time by working to compress the video is important in determining
at smaller resolutions, color depths, or frame rates. the final file size.
Remember that for batch rendering at different For information, see “Video Output Options” on
outputs, you need to work with media that matches page 451.
the highest required output settings.
Video-on-Demand — With video-on-demand,
Another thing to consider is pixel aspect ratio. If you
the viewer downloads the entire video file onto their
are mixing footage with different pixel aspect ratios,
hard drive and plays it back locally. This removes
you need to specify the proper values for each
some bandwidth limitations, however, you do not
footage on the Settings panel. If you do not, you
want to create files that take too long to download.
could end up with distorted images.
As such, try keeping finding a happy medium
Also, make sure workspace settings match the between frame size/playback rate and image quality.
footage settings and rendering settings. For
instance, if you are working on film, make sure the Film — With film, you need to consider whether the
frame rate for the workspace is properly set to 24 fps. footage was captured with a telecine, in which case
For more information, see “Branch Settings vs. you may need to remove 3:2 pulldown prior to
Footage Settings” on page 70. creating your composite. For more information on
3:2 pulldown, see “Removing 3:2 Pulldown” on page
The best way to ensure good results is to create and
75.
output a composite, then view it using the same type
of viewer that the intended audience will use. With film, it is very important that you pay special
attention to avoiding degradation of image quality
Depending on the media you plan on creating, keep
due to generation loss and compression. Also, make
the following issues mind.
sure you use the proper frame aspect ratio and play-
back rate.
Videotape — If you are outputting to video, take
note of the video format (NTSC or PAL), and make
sure to keep your colors within the legal limits for

CD-ROMs — The most import thing to consider adjusting the in-point and out-points in the
when creating media for CD-ROM playback is timeline.
whether the viewer’s computer is fast enough to
The timeline also allows you to position layers and
sustain the necessary data rate. As such, you should
objects in time by giving you a visible representation
limit the playback rate as much as possible without
of the duration of the clips in addition to the total
making the video appear jerky. Also, the codec used
duration of your composite.
to render the video is important in determining file
size. Frame Rate
For information, see “Video Output Options” on The frame rate is the number of frames that are
page 451. played back per second of a rendered composite. You
can specify a different frame rate for each composite
branch. Typically, the frame rate you assign to a
Footage Basics
composite depends on the type of rendered output
When working with footage, you should be aware of
you will generate. For film, use 24 fps. For video use
the following: how frames are identified, clip dura-
either 29.97 fps (NTSC) or 25 fps (PAL). If you are
tion, frame rate.
creating video for the web, you should use frame
rates in the vicinity of 12 fps (lower than that
Time and Timecode
Frames (and time) are identified in Combustion in produces jerky video).
one of two ways: using numbered frames or SMPTE
timecode. Cross-Platform Considerations
Combustion workspaces are completely compatible
With numbered frames, each clip is numbered
between Mac OS and Windows-based systems.
starting at one and incrementing by one for each
successive frame. However, in order for the workspace to find the
referenced media, you need to place copies of your
Timecode is the standard indexing method used for
footage on both systems in the same folder as the
keeping track of video frames. The numbers in a
Workspace file.
timecode value denote hours, minutes, seconds, and
frames (00:00:00:00) elapsed on a videotape.
Drop-frame timecode compensates for the small Getting Media onto the System
difference between theoretical 30 fps and the real- There several ways of getting media onto your
world NTSC frame rate of 29.97 fps. In drop-frame system. You can:
timecode, the first two frame numbers of every
• install media from a temporary storage device
minute are skipped (or dropped). You can identify
(such as a CD-ROM, JAZ drive, even floppy disk)
drop-frame timecode by the semi-colon between the
seconds and frames (00:00:00;00). • copy media across a network
• digitize audio and video (if your system is equipped

Duration and Timelines
with the proper hardware). For information on dig-
All your layers, composites, and objects have dura-
itizing media, refer to your video hardware docu-
tions. You can change the duration of a layer by
mentation.

Starting a New Workspace ❚❘❘
• download media from the internet. 2. Select the footage you want to open, and then
click OK. CTRL-click (Windows) or COMMAND-click
The way you decide to get media onto your system (Macintosh) to import multiple files.
will depend on your hardware and media
The Open Footage dialog appears.
requirements.
Starting a New Workspace

In Combustion, you can create and save workspaces
that contain one or more composite or paint
branches. To create a new workspace, first close any
open workspaces and then create a new composite
or a new paint branch. You can also create multiple
composites and Paint branches within a workspace. Note: You cannot open Adobe Illustrator *.AI files
in this manner. To use these files in your compos-
Finally, you can simply import footage into the
ites, you have to import them using the Import
workspace footage library. You do not apply effects Footage command.
or transformations to this footage in the footage
library, but you can select it as a matte for other 3. Click Composite and then click OK to import
layers, as a clone source, or as an operator in an the selected footage into a new composite.
effect. For information, see “Importing Footage into The footage is imported into a new composite with
the Footage Library” on page 68. the following format settings: the size is set to the
size of the largest imported footage file, the duration
Note: Combustion workspace files are saved with is set to the duration of the longest file.
a .CWS file extension.
To create an empty composite:
Creating a New Composite 1. Choose File | New.
When you create a new composite with no work-
space currently open, Combustion automatically Note: You can also press CTRL+N (Windows) or
COMMAND+N (Macintosh).
creates a new workspace at the same time.
There are two ways to create new composites. You
can open footage and place it in a new composite, or
you can create a new composite, then import footage
or images into it.
To open footage into a new composite:

1. Choose File | Open.
The Open file browser appears.

The New dialog appears. 7. Click OK.

A new composite is added as a branch to your work-
space. If you did not have a workspace open before
choosing File | New, a new workspace is created as
well.
Once you create an empty composite, you then

import footage into it. For more information, see
“Importing Footage” on page 63.
Creating a Paint Branch

2. Select composite from the Type list.
When you create a Paint branch with no other work-
3. In the Name field, enter a name for the compos- space currently open, Combustion automatically
ite branch of the workspace. creates a new workspace at the same time.
4. Select one of the standard formats from the For-
There are two ways to create new Paint branches. You
mat Options list or choose Custom to create a cus-
can open footage and place it in a new Paint branch,
tom format.
or you can create a blank Paint branch if you do not
The corresponding properties (output size, frame
need to paint over footage. You can import footage
aspect ratio, pixel aspect ratio, and frame rate)
into the blank Paint branch later if necessary. For
appear in the Format Options box.
more information, see “Replacing Footage” on page
69.
Format
Options list Note: Creating a paint Branch is not the same as
Format adding a Paint operator to a layer in a composite.
Options box For information, see Chapter 9, “Introduction to
Paint.”
To open footage into a new Paint branch:

5. In the Duration field, enter a duration for your
composite in either frames or in SMPTE timecode. 1. Choose File | Open.
6. Click the Background Color box to select a back-

ground color. 2. Select the footage you want to open, and then
The background color appears in your rendered click OK.
workspace wherever layers are transparent or in
areas where no footage is present.

The Open Footage dialog appears. 4. Select a standard format from the Format Op-
tions list or choose Custom to create a custom for-
mat.
Format
Options list
Format
3. Click Paint and then click OK to import the se-
Options box
lected footage into a new Paint branch.
The footage is imported into a new Paint branch
with the following format settings: the size is set to 5. In the Duration field, enter a duration for your
the size of the largest imported footage file, the dura- Paint branch in either frames or in SMPTE time-
tion is set to the duration of the longest file. code.
6. Click the Background Color box to select a back-
To create an empty paint branch:
ground color.
1. Choose File | New.
The background color appears in your rendered
Note: You can also press CTRL+N (Windows) or workspace wherever layers are transparent or in
COMMAND+N (Macintosh). areas where no footage is present.
The New dialog appears. 7. Click OK.

A new Paint branch is added to your workspace. If
you did not have a workspace open before choosing
File | New, a new workspace is created as well.
New Paint branches contain no actual footage by

default. There is, however, a solid layer upon which
you can Paint. You can replace this solid layer with
2. Select paint from the Type list. an image file. For more information, see “Replacing
Footage” on page 69.
3. In the Name field, enter a name for the Paint
branch.

Creating a Keyer Branch imported footage file, the duration is set to the dura-
You can open footage directly into a discreet Keyer. tion of the longest file.
This is useful for quickly creating a separate matte
clip or to create an alpha keyed layer for use in a
composite branch of your workspace.
Note: You cannot import footage (such as extra

layers for compositing) into an existing discreet
Keyer branch.
To open footage into a discreet Keyer:

2. Select the footage you want to open, and then

click OK.
Creating a Color Corrector Branch

You can open footage directly into a discreet Color
Corrector branch. This is useful for quickly color
correcting a clip for use in other composite or Paint
branches.
To open footage into a discreet Color Corrector:

3. Click discreet Keyer and then click OK to import
the selected footage into a new discreet Keyer branch 2. Select the footage you want to open, and then
of the workspace. click OK.
The footage is imported with the following format The Open Footage dialog appears.
settings: the size is set to the size of the largest

3. Click discreet CC and then click OK to import

Format: Description:
the selected footage into a new discreet Keyer branch
of the workspace. NTSC Full Frame size: 648 x 486
The footage is imported with the following format Frame aspect ratio: 4:3
settings: the size is set to the size of the largest Pixel aspect ratio: 1
imported footage file, the duration is set to the dura- Frame rate: 29.97 fps
tion of the longest file. Field order: upper first
NTSC-DV Frame size: 720 x 480
Frame aspect ratio: 3:2
Pixel aspect ratio: 0.9
Frame rate: 29.97 fps
Field order: lower first
D-1 NTSC Frame size: 720 x 486
discreet edit* NTSC Frame aspect ratio: 4:3
Field order: lower field first
PAL Frame size: 768 x 576
Pixel aspect ratio: 1
Frame rate: 25 fps
Note: You cannot import footage (such as extra Field order: upper field first
layers for compositing) into an existing discreet
Keyer branch. PAL-DV Frame size: 720 x 576
Choosing Format Options Frame rate: 25 fps
When you create a composite or Paint branch, you
Field order: upper field first
can use one of several common formats or create a
custom format that meets your requirements. D-1 PAL Frame size: 720 x 576
discreet edit* PAL Frame aspect ratio: 4:3
You should select a format option to match the Pixel aspect ratio: 1.067
output parameters you need to achieve. The Frame rate: 25 fps
following standard format options are available. Field order: upper field first
Format: Description: HDTV 720/30p Frame size: 1280 x 720

NTSC Frame size: 640 x 480
Frame rate: 30 fps
Field order: upper first

Format: Description:
The New dialog appears.
HDTV 1080/24p Frame size: 1920 x 1080

Frame rate: 30 fps
Motion Picture 2K Frame size: 2048 x 1536
(Anamorphic) Frame aspect ratio: 8:3
Frame rate: 24 fps
Field order: no fields
Cineon Full Frame size: 3656 x 2664
Frame rate: 24 fps
Cineon Half Frame size: 1828 x 1332
Frame aspect ratio: 8:3 Additional options under the Format Options
Pixel aspect ratio: 2 heading.
Frame rate: 24 fps
Customizing File Formats

You can choose to create a custom format instead of
using one of the standard formats listed previously.
Use the Custom Format option to set exact values for
the frame aspect ratio, pixel aspect ratio, frame size,
and frame rate.
Note: The Square Projection option is not available

if you choose a Format Option with non-square 2. Enter a width and height in the corresponding
pixels. fields.
To create a custom file format: 3. To set the pixel aspect ratio, select a standard ra-
tio from the list, or enter a value in the Pixel Aspect
Ratio field.
Note: You can also press CTRL+N (Windows) or 4. To set the Frame Rate, select a standard rate from
COMMAND+N (Macintosh). the list, or enter a value in the Frame Rate field.

Multiple branches (left) imported as layers

into one composite called “MULTI COMP”
(right).
5. To specify the field order, click one of the field This option does not apply to format options with
order buttons. square pixels—for example, NTSC and PAL.
Creating Multiple Composite or Paint

Branches
6. In the Duration field, enter a duration in frames
You can create multiple composite or Paint branches
or in SMPTE timecode.
within each workspace. This is useful for working on
Note: You can use the following shortcuts: substi- elements of an effect separately within a workspace,
tute a colon(;) with a period(.). Type “5.” to indicate painting on footage, even keying or color correcting,
5 seconds, or “5..” to indicate 5 minutes.
then combining all the modified footage together as
7. Click OK to create the custom composite layers in one final composite.
branch.
To add another composite to your workspace, follow
the steps in “Creating a New Composite” on page 55
Note on Square Projection — If you select a
for each new composite branch you want to create.
format with non-square pixels, click the Square
Projection button. Because computer monitors use To add another Paint branch to your workspace,
square pixels, many standard output formats look follow the steps in “Creating a Paint Branch” on page
“squashed” on-screen. By turning on Square Projec- 56 for each new Paint branch you want to create.
tion, the viewport is scaled so that you can see what
For information on merging separate branches of a
your output looks like with the right aspect ratio.
workspace together into one composite, see
The Format Options box displays the adjusted pixel “Creating Nested Composites” on page 101.
width and height for the selected format.

Opening an Existing Workspace 2. In the Format list, select effect* 2.0 Project.
In addition to creating workspaces, you can open a
workspace that you previously saved to continue
editing your work. You can modify all the objects,
motion paths, effects, settings, file names, and more.
You can also open existing effect* and paint* 2.x
projects and save them as Combustion workspaces.
To open an existing workspace: Format list
1. Choose File | Open Workspace (or press

Note: effect* 2.x files have .ICP file extensions.
CTRL+SHIFT+O).
3. Navigate to the folder containing the effect* 2.x
Note: You can have only one Combustion work-
project you want to open, and then click OK.
space open at a time. If you already have a
workspace open, save and close it before opening The effect* project appears in the viewports. You are
another workspace. ready to continue compositing.
2. In the Open Workspace dialog, browse to the ap-

propriate directory and select the workspace file that Opening a Paint 2.x Project
you want to open. You can open Paint 2.x projects in Combustion.
3. Click OK.
▲ If you save a paint* 2.x project in Combustion,
The selected workspace is opened and appears in the you can no longer open the project in paint* 2.x.
Combustion viewport(s).
To open a Paint 2.x project:
Opening an effect* 2.x Composition 1. Choose File | Open Workspace.

You can open effect* 2.x composition into a The Open Workspace file browser appears.
Combustion workspace. 2. In the Format list, select paint* 2.0 Project.
▲ If you save an effect* 2.x composition in

Combustion, you can no longer open it in effect*
2.x.
To open an effect* 2.x composition:

1. Choose File | Open Workspace.
The Open Workspace file browser appears.
Format list
Note: paint* 2.x files have .IPP file extensions.
3. Navigate to the folder containing the paint* 2.x

project you want to open, and then click OK.

Importing a Workspace ❚❘❘
4. If the project contains committed frames, you The missing footage is replaced by the newly speci-
are prompted to convert the frames into a clip or im- fied footage.
age sequence.
4. If you choose to open the workspace without re-
The paint* project appears in the viewports. You are
placing the missing footage, a Missing File icons re-
ready to begin painting. places the missing footage in the viewports.
Finding or Replacing Missing Footage

If you move a workspace and the associated footage,
and then open the workspace, Combustion auto-
matically searches for the original footage in the new
location. If you move only the footage associated
with a workspace, Combustion searches your system
to try and locate the missing footage.
Importing a Workspace
If the footage is not found, you are prompted to You can import an existing workspace as a new
replace it. You can either navigate to the new location branch of your current workspace. This is useful for
of the missing footage, or select new footage entirely. reusing effects in multiple jobs.
To replace missing footage: To import a workspace:

1. Choose File | Open Workspace to open the
Note: You must have a workspace open to follow
workspace that contains the footage you want to re- this procedure.
place.
If Combustion cannot locate the associated footage, 1. Choose File | Import Workspace.
you are prompted to replace the footage. The Import Workspace dialog appears.
2. Click OK to replace the footage. 2. Navigate to the directory that contains the work-
The Open dialog appears. space you want to open, select the workspace, and
then click OK.
The workspace is imported as a branch into the
currently opened workspace.
3. Use the nesting tools to incorporate the new

workspace into the current one. For more informa-
tion, see “Creating Nested Composites” on page 101.
Importing Footage
3. Navigate to the replacement file, and then click After you create a workspace, you can import
Open. footage into it in several different ways. Normally,
you import clips or image sequences. You can also
Note: You can select the original footage from a import still images with a pre-defined duration.
new location, or choose different footage entirely.

When you import footage into a composite, a new Importing an Image Sequence
layer appears in the Workspace panel. The layer When importing footage, you can import a series of
contains one operator—the footage operator. sequentially numbered image files as one layer or
Once your footage is imported, you are ready to you can import a single image from a sequence with
begin compositing, animating, painting, and so on. an undefined duration (you specify the image dura-
tion after you import it into the workspace).
To import a clip: For files to be considered part of a sequence, they
1. In the Workspace panel, double-click the com- have to be located in the same folder, and named in
posite into which you want to import footage. a manner similar to the following:
2. Choose File | Import Footage. filename001.tga, filename002.tga, filename003.tga,
The Import Footage file browser appears. filename004.tga, and so on.
3. Navigate to the folder containing the clip you
To import an image sequence as a layer:
want to import, select the clip, and then click OK.
Note: CTRL-click (Windows) or COMMAND-click posite into which you want to import footage.
(Macintosh) to select multiple files. Selected files
appear at the bottom of the file browser. To remove 2. Choose File | Import Footage.
a selected file, double-click it in the bottom part of The Import Footage file browser appears.
the browser.
3. Navigate to the folder containing the sequence.
A new layer (or layers) containing the selected
4. Click the Collapse button.
footage appears in the composite. The footage
appears in the current viewport. It also appears at Collapse button
the top of the Timeline list.
Imported clip in the Imported clip in the

Workspace timeline

Importing Footage ❚❘❘
The image sequence is collapsed into one single 9. To import a subset of the sequence, do one of the
thumbnail preview. following:
• Enter the first and last images to import in the First
and Last Frame fields.
• Enter the first image to import in the First Frame

field and the enter the duration of the sequence sub-
set in the Duration field.
Thumbnail preview
• Enter the last image to import in the Last Frame
5. Select the thumbnail preview. field, and enter the duration of the sequence subset
in the Duration field.
6. It appears in the bottom portion of the browser.
Sequence Options 10. Select a frame rate from the Frame rate list, or
button enter the required value in the Frame Rate field, and
then click OK to close the Image Sequence Options
dialog.
Note: The frame rate you specify for a sequence is

independent from the composite frame rate.
Normally, you want the frame rates to match, but
you can change the frame rate as needed.
11. Click OK to import the selected image or image

sequence.
7. To import the entire sequence as a single layer,
click OK. The file is imported into a Combustion A new layer containing the selected image sequence
workspace. appears in the composite and in the current view-
port. It also appears at the top of the Timeline list.
8. If you want to import a portion of the image se-
quence, select the thumbnail preview, then click the
Sequence Options button.
Image Sequence Options dialog appears.
Imported sequence in the Imported sequence in

Workspace the timeline

Importing a Still image so on). The bottom layer in these files is opaque.
You can import a still image and assign it a duration. While the alpha channels for any other layers are
maintained. You can change the way the alpha is
When you import a still image, the image is placed in
interpreted for the layers using the Channels &
a layer and its duration is set to the number of frames
Alpha settings. For information, see “Changing
defined in Default Still Image Duration in the Pref-
Channel Settings” on page 74.
erences under Footage | General. This value is set to
1000 by default. When you import these files, you can specify how
the system manages the original layers.
To import a still image:
To import files containing layers:
posite into which you want to import footage. 1. From an existing composite, choose File | Open.
2. Choose File | Import Footage. The Import Footage dialog appears.
The Import Footage file browser appears. 2. Navigate to the footage you want to import, and
then click OK.
3. Navigate to the folder containing the clip you
want to import, select the image, and then click OK. The Import Options dialog appears.
4. If the image is part of a sequence, make sure you

disable the Collapse button.
A new layer containing the selected file appears in
the Workspace panel and the footage appears in the
current viewport. It also appears at the top of the
Timeline list.
3. Select one of the following options.
Select: To:
Flat Image Import the file(s) as a single layer.
You can view the layers separately
using the Source Layer option in
Imported sequence in the Imported sequence in
the Footage Controls panel.
Workspace the timeline
For information, see “Specifying
Source Layer” on page 76.
Importing Multi-layer Files

You can import file types that support multiple
layers (such as Adobe Photoshop files, RPF files, and

Importing Footage ❚❘❘
Select: To:
If you select Nested:
Grouped Import all layers as separate layers

in a composite.
With this option, once you import
the file, each layer from the original
RPF file can be manipulated sepa- Nested RPF
rately. file layers
Nested Import all layers as separate layers

in a nested composite.
With this option, once you import
the file, each layer from the original
RPF file can be manipulated sepa-
rately.
4. Click OK to import the file(s). Importing Cineon Files

The workspace list appears as follows depending on Cineon files are the preferred file format for trans-
how you selected to import the file(s). ferring film to video because of the way the file is
stored using 10 bits per channel. This makes it
If you select Flat Image:
possible to reproduce the full dynamic range of color
in film.
You can import Cineon files into your workspace as

Imported a sequence of numbered frames of as still images.
RPF file Once the files are imported, you have to convert
them to 8 bit files using a Cineon Color Converter
plug-in.
To import a Cineon image sequence:

posite into which you want to import footage.
If you select Grouped:
2. Choose File | Import Footage.
The Import Footage file browser appears.
Separated 3. Navigate to the folder containing the Cineon se-

RPF file quence.
layers
4. Click the Collapse button to collapse the se-
quence into one single thumbnail preview.
5. Select the thumbnail preview.
6. To import the entire sequence as a single layer,
click OK. The file is imported as a layer into the
workspace.

7. Select the layer containing the Cineon footage. The footage is imported with the following format
8. Choose Operators | Cineon | Cineon Color Con-
settings: the size is set to the size of the largest
verter. imported footage file, the duration is set to the dura-
tion of the longest file.
A Cineon operator is added to the imported footage
and the sequence is interpreted as an 8 bit file. The
sequence appears normal. Supported Footage Formats
Combustion supports the following movie and
9. Adjust the Cineon Color Converter controls as
image formats. Many of these file formats can
needed.
support alpha channels in addition to the color
information. For more information, see “Video
Importing Footage into the Footage Output Options” on page 451.
Library
All the footage you use in your composite or Paint • QuickTime
branches appear in the footage library. • Video for Windows AVI (Windows only)
You can also import footage directly into the footage • Adobe Illustrator AI
library without using it in composite or Paint
branches. • Filmstrip (.flm)
• ElectricImage (.ei)
To import footage into the footage library:
• Quantel VPB (.vpb)
• Inscriber Chunk
Note: You can also double-click Footage Library in
the Workspace panel. • Cineon
The Open file browser appears. • Bitmaps (.bmp)
2. Select the footage you want to import, and then • GIF (.gif)
click OK.
• JPEG (.jpg)
• Photoshop (.psd)
• PNG (.png)
• RLA (.rla)
• Softimage
• Targa (.tga)
• TIFF (.tiff)
3. Click Workspace and then click OK to import

the selected footage into the footage library.

Replacing Footage ❚❘❘
Replacing Footage Note: If you want to replace the current footage

with a series of sequentially numbered image files,
You can replace existing footage in a composite with
make sure to enable the Collapse option.
another clip, or replace the solid layer in a Paint
branch (or a composite) with an image sequence or The old footage is replaced with the new clip.
clip.
To replace footage: Importing Audio

1. In the Workspace panel, expand the composite With the scratch-track audio capabilities of combus-
and layer or Paint branch containing the footage you tion*, you can import audio, link audio to clips, slip
want to replace. audio to synch to your composite, and save audio in
2. Select the Footage operator. workspaces for reference and organization.
Note: Supported file formats are .WAV and .AIFF.

Only one mono or stereo audio file per workspace
is supported.
To import audio into your workspace:

1. Double-click the composite or Paint branch into
which you want to import audio.
2. Click the Audio tab.
The Audio panel appears.
Browse button
The Footage Controls appear.

Source Replace
button button
3. Click Browse.
The Open Audio file browser appears.
4. Navigate to the file you want to open and click
OK.
The clip is imported.
5. Click the Play button.
3. Click the Replace button to the right of the file
name field. • The first time you play thought the audio, the sys-
The Replace Footage file browser appears. tem generates a RAM-cached audio preview.
4. Navigate to the appropriate directory, select the • The second time you playback the audio (and each
new clip or image file, and then click OK. time thereafter), you hear the audio play normally.

For more information on using audio in your work- To access Settings controls for a composite
spaces, see Chapter 20, “Audio.” branch of your workspace:
1. Double-click the composite that you want to se-
lect.
Branch Settings vs. Footage
Settings
You can specify settings independently for branches
and each footage element you import into a
workspace.
Normally, you specify branch settings when you

create the branch. These settings include resolution,
pixel aspect ratio, field interpretation, and so on.
However, you can change these settings at any time.
For instance, you may be working in a D1-NTSC
composite branch, but decide you want to output
your work to Motion Picture 2K resolution instead.
To do so, you change the following composite
settings. The Composite Controls appear.
2. Click the Settings button.
Change: From: To:
Width 724 2048
Height 480 1536
Pixel Aspect Ra- 0.9 2.0
tio
Frame Rate 29.97 24
Field Upper First No fields
Interpretation
Note: Changing the branch settings does not

change the individual footage settings. In other
These settings are related to how the composite
words, if you make the composite larger, the
footage remains the same size. appears in the viewports.
3. Change the composite settings as needed.
Editing Composite Display • To change the composite resolution, adjust the val-
ues in the Width or Height fields.
Settings
The composite display settings are specified when
you create a new composite. You can change these
settings at any time.

Specifying Paint Display Settings ❚❘❘
• To change the pixel aspect ratio, enter a value in the Once the Paint branch is created, you can change the
Pixel Aspect Ratio field. You can also select the fol- settings in two ways: by replacing the footage, or
lowing values from the Pixel Aspect Ratio list. resizing the solid layer.
Select: To: To replace the footage:

Square Specify a pixel aspect ratio of 1.0. 1. In the Workspace panel, expand the Paint
D1-NTSC Specify a pixel aspect ratio of 0.9. branch and select the Footage operator.
The Footage controls appear.
D1-PAL Specify a pixel aspect ratio of
1.07. 2. Click the Replace button to the right of the file
Custom Enter a custom value in the Pixel name field.
Aspect Ratio field.
3. Select the replacement footage from the Replace
Footage browser and then click OK.
• To change the composite frame rate, enter a value in
the Frame Rate field. You can also select from several Note: You can also adjust the resolution of the
common frame rates in the Frame Rate list. source footage using the resolution fields on the
Output controls. For more information, see
• To change composite duration, enter a new dura- “Setting Footage Resolution” on page 79.
tion in the Duration field.
To adjust the size of a solid layer:
• To change the field interpretation, click the appro-
1. In the Workspace panel, expand the Paint
priate field interpretation button.
branch and select the Footage operator.
• To set the composite’s custom target size, enable The Footage controls appear.
Custom Target Size, and then enter Width and
Height in the appropriate fields.
Note: Use the Custom Target Size to specify a

composite’s size when you import it as a layer into
another composite.
Specifying Paint Display

Settings 2. Adjust the Width and Height fields as needed.
You manually specify Paint display settings when
you create a new Paint branch within a workspace. Note: When you resize the solid layer, the top left
When you do this, Paint opens up with a solid layer corner is used as the point of origin. If you make the
only. You paint on the solid layer. layer smaller, existing objects may disappear.
Display settings are set automatically when you open

footage into a new Paint branch. The settings match
the settings of the opened footage.

Changing Footage Source 3. Select the Footage operator.

Settings
Use the settings in the Source controls to determine
how the original footage settings are interpreted Footage
operator for
within the specific workspace. Layer 1.
Normally, the footage settings are determined
according to how the media file was originally
created and are automatically set when you import
the media into the workspace. Select a Footage oper-
ator to change the original media file settings at any
time.
When you select a Footage operator, controls appear Footage Controls appear.
that give you access to Source and Output settings
for the selected footage. Note: You can also select the Footage operator in
the Footage library.
This section describes the Source controls located
on the Footage Controls panel. 4. Click the Source button.
The source settings determine how the digital media
To access Source controls for a Footage operator: file is interpreted for use in the current workspace.
1. Double-click the composite or Paint branch that
contains the Footage operator you want to select. Note: When you copy a layer, the copy references
the same media file as the original. This allows you
2. In a composite, expand the appropriate layer. to make several copies of a layer without affecting
memory usage and system performance. Keep in
mind that the footage settings are the same for the
Footage Settings 3:2 Pulldown

Channels & Alpha Field Dominance Settings Source Layer
Frame Rate & Aspect Ratio

Changing Footage Source Settings ❚❘❘
original layer and the copy. If you change the mined by the type of video card you used to digitize
footage settings for one, the other also changes. footage. Make sure that the field dominance in your
workspace is the same as the field dominance of the
Use Source controls for:
original source material. If it is not, clips are
• “Changing Channel Settings” on page 74 displayed incorrectly.
• “Setting Field Dominance” on page 74
To set field dominance:
• “Changing the Frame Rate” on page 74 1. In the Workspace panel, expand the layer that
• “Changing the Pixel Aspect Ratio” on page 75 contains the footage settings you want to modify,
then select the Footage operator.
• “Removing 3:2 Pulldown” on page 75
Note: You can also select the Footage operator in
• “Specifying Source Layer” on page 76 the Footage library.
The following sections describe how to modify each 2. Click the Footage Controls tab.
setting in detail. The Footage Controls appear.
3. Click the Source button.
Changing Channel Settings
When you open a clip that contains an alpha 4. Select an option from the Field Separation list.
channel, the system detects it and automatically
displays RGB color and the alpha channel.
You can select or change the channels present in the

footage, invert the alpha channel, or turn off either
the color channels or the alpha channel altogether.
Select: To:
No Fields Specify that each frame is a com-
plete video frame.
Upper First Specify that the upper field (even) is
For more information, see Chapter 6, “Channels.” generated first.
Lower First Specify that the lower field (odd) is
Setting Field Dominance generated first.
Each video frame is made up of two fields of alter-
nating lines. These fields are updated at twice the Changing the Frame Rate
frame rate of the clip. Field dominance determines The Frame Rate field indicates the frame rate of the
which field is generated first and is usually deter- footage. By default, it is set to the frame rate of the

original media file. You can set the frame rate as 3. Select a standard aspect ratio from the Pixel As-
needed. pect Ratio list.
To change the frame rate:

Pixel Aspect
1. In the Workspace panel, expand the layer for Ratio list
which you want to change footage settings, and then
select the Footage operator for that layer.
4. To set a custom value, enter a value in the Pixel
Note: You can also select the Footage operator in Aspect Ratio field.
The Footage Controls appear. Removing 3:2 Pulldown

When transferring film to video using a telecine, a
2. Click the Source button. process called 3:2 pulldown is used. This process
3. Select a standard rate from the Frame Rate list. converts film shot at 24 fps into NTSC video’s 30 fps
by periodically creating a “split frame,” which is a
Frame Rate
list
frame made from one field each from the frames
before and after the split frame. This process can
create image artifacts that you may need to eliminate
4. To set a custom value, enter a value in the Frame before you can use the footage in your effects.
Rate field, or click the Frame Rate field and enter a The telecine process can use one of five different 3:2
value.
pulldown sequences. These are:
Changing the Pixel Aspect Ratio WWWSS, WWSSW, WSSWW, SSWWW, and
You can change the pixel aspect ratio of your footage. SWWWS.
In each type, “W” refers to a complete (whole)

To change the pixel aspect ratio: frame, and “S” refers to a split frame. The repeating
1. In the Workspace panel, expand the layer for pattern of complete and split frames consists of three
which you want to change footage settings, and then complete frames and two split frames. The two split
select the Footage operator for that layer. field frames are always adjacent to each other and
Note: You can also select the Footage operator in may cause image artifacts.
Note: The 3:2 pulldown options are available only
The Footage Controls appear. when one of the field options (Upper First or Lower
First) is specified.
You can use the options in the 3:2 Pulldown list to
eliminate the split frames (and therefore, the image
artifacts).
Note: When you remove 3:2 pulldown, your clip’s

playback speed changes to 24 fps.

Changing Footage Source Settings ❚❘❘
To remove 3:2 pulldown: Specifying Source Layer

1. In the Workspace panel, expand the layer with Use this option in conjunction with imported RPF
the footage settings you want to modify, and then se- files or Adobe Photoshop files.
lect the Footage operator.
If you select footage that contains layers, you can use
Note: You can also select the Footage operator in the Source Layer list to view the layers separately,
the Footage library. then modify only the layer you need in that footage.
The Footage Controls appear. Note: If you want to animate, apply filters to, or
2. Click the Source button. transform each layer in a file separately, make sure
you import the file using either grouping or
3. Select either Upper First or Lower First in the nesting. This makes copies of the footage for which
Field Separation list. you can specify source layer settings indepen-
dently. For more information, see “Importing Multi-
4. Do one of the following: layer Files” on page 66.
• Select a 3:2 pulldown type from the 3:2 pulldown
list. To select one layer from a source:
3:2 Pulldown list 1. In the Workspace panel, select the Footage oper-
ator for the footage that contains source layers.

Guess 3:2
Phase The Footage Controls appear.
button
3. Disable Merge Layers to access the individual
layers.
• If you do not know the 3:2 pulldown type, click the

Guess 3:2 Phase button. Combustion analyzes the Source Layer list
clip to determine which of the five 3:2 pulldown Merge Layers
types was used on the original film footage. If the
type of pulldown cannot be determined, the Type
menu displays “Unknown.” 4. Select the layer you want to see from the Source
Layer list.
The 3:2 pulldown is removed from the footage and The source layer appears. All other layers are turned
the footage frame rate becomes 24 fps. If you want to off.
set the footage frame rate back to NTSC, use the 3:2
pulldown settings in the Render Queue dialog. For If you enable Merge Layers, all layers reappear and
more information, see “Setting Field Dominance” are merged together.
on page 472.

Changing Footage Output 3. Select the Footage operator.

Settings
Use the settings in the Output controls to modify the
way the original media appears in the workspace and Footage
operator for
how it plays back. Layer 1.
When you select a Footage operator, controls appear
that give you access to Source and Output settings
for the selected footage.
This section describes the Output controls located

on the Footage Controls panel.
To access Output controls for a Footage operator:

Footage Controls appear.
1. Double-click the composite or Paint branch that
contains the Footage operator you want to select. Note: You can also select the Footage operator in
2. In a composite, expand the appropriate layer.
4. Click the Output button.
Use Output controls for:
• “Setting Footage Display Quality” on page 78

• “Setting Footage Resolution” on page 79
• “Changing the End Behavior” on page 79

• “Changing Footage Direction” on page 80
Footage Output Settings

Resolution & Quality End Behavior Cropping
Reverse & Frame Holding Frame Blending

Changing Footage Output Settings ❚❘❘
• “Specifying Frame Holding Duration” on page 80 To set image quality for all images in a composite
or Paint branch:
• “Cropping Footage” on page 81
Select an option from the global image quality list to
• “Frame Blending” on page 80 the right of the playback controls.
Global Image
Setting Footage Display Quality Quality list
Use the quality controls to determine the display

quality of each layer or the entire composite or Paint
branch. By using lower image quality for selected
layers, you can improve system performance (espe-
cially when working with many layers).
Note: Changing the global quality setting does
To set image quality for a layer in a composite: not override quality explicitly set for a specific layer.
1. Expand the layer in the workspace panel and se-
lect the Footage operator.
Note: You can also select the Footage operator in Select: To:
the Footage library. Preview Set the image quality for all footage in
a composite to the full image quality
The Footage Controls appear. as specified for the original footage
2. Click the Output button. on the Output panel.
Best Set the image quality for all footage in
3. Under Resolution, select an item from the Qual-
a composite to the full image quality
ity list.
as specified for the original footage
on the Output panel.
In addition, in Best mode, you can en-
Quality list
able Anti-aliasing and Supersampling
for the composite on the Settings
panel.
Medium Set the image quality for all footage in
a composite to the medium image
quality as specified for the original
Note: Select Custom to degrade the image quality footage on the Output panel.
by a factor of your choice. Enter the image degra-
Draft Set the image quality for all footage in
dation factor in the field to the right of the Quality
a composite to the draft image quality
list.
as specified for the original footage
on the Output panel.

Setting Footage Resolution To change the end behavior:

You can change the resolution of the selected footage 1. In the Workspace panel, expand the layer with
using the Output controls of the Footage Controls the footage settings you want to modify, and then
panel. click the Footage operator.
▲ Be careful when increasing resolution of Note: You can also select the Footage operator in
footage above its original settings. This results in the Footage library.
up-sampling of pixels, which can cause a pixelated
looking image.

To set footage resolution:
3. Select an option from the End Behavior list.
1. In the Workspace panel, expand the layer with
the footage settings you want to modify, and then
click the Footage operator. Repeat field

the Footage library. End Behavior
list

3. Set the new resolution values using the Target
Width and Target Height fields. Select: To:
Stop Stop playback normally on the
last frame of the layer.
Target Width and Ping-pong Play the layer from start to end,
Target Height then play backwards to the start
fields again. The value in the Repeat
field determines how many times
this cycle is repeated.
Loop Play the clip from start to end
4. Enable Proportional to maintain the original then return to the Start frame
footage’s aspect ratio. When Proportional is enabled, and play it again. The value in the
if you change the height, the width changes accord- Repeat field determines how
ingly (and the other way around). many times this cycle is repeated.
Hold Last Play the clip from start to end,
Changing the End Behavior then hold on the End frame for
The End Behavior setting determines what happens the number of frames indicated
in the Repeat field.
during playback when the end of the layer is reached.
This is useful if, for instance, you import a short layer
4. Depending of the your specified end behavior,
into a longer composite and you want the layer to enter the number of times to repeat playback in the
loop within the composite or hold on the last frame. Repeat field.

Changing Footage Output Settings ❚❘❘
Changing Footage Direction This is a particularly useful setting for cartoon

You can reverse playback direction for selected animators. For instance, if you import an image
footage using the Reverse Footage option in the sequence for which each frame has to repeat four
Output controls. times before advancing, the associated frame rate
would have to be 7.4925 fps.
To reverse playback direction:
To specify a hold duration:
the footage settings you want to modify, and then 1. In the Workspace panel, expand the layer with
click the Footage operator. the footage settings you want to modify, and then
click the Footage operator.
the Footage library. Note: You can also select the Footage operator in
3. Enable Reverse Footage.
3. Enter a value in the Hold Frame Duration field.
Reverse
Footage
Hold Frame
Duration field
Next time you play back the footage, it plays in

reverse. Next time you play back the footage, its frames
advance according to the specified hold duration.
Specifying Frame Holding Duration
You can specify a hold duration for each frame. For Frame Blending
instance, if you set the Hold Frame Duration to 2, the Use frame blending in conjunction with the Hold
footage moves ahead one frame as the composite Frame Duration field to create an interpolated
moves ahead by two. This is the same as setting the smoother transition between frames when you
frame rate to 15 fps. specify a Hold Frame Duration.
If you change the frame hold duration, the clip dura-

tion also changes. By setting the hold duration to
two, you are doubling the length of the clip. Set the
frame hold duration to three to triple the length of
the clip, and so on.

To enable Frame Blending: 3. Select an option from the Cropping list.

After setting a hold duration, enable the Frame
Blending button.
Cropping list
Frame Blending Available cropping options include the following.
Select: To:
Cropping Footage Manual Manually crop the edges off the se-
Crop lected footage using the Top, Left,
Use the crop tool in the Output panel of the Footage
Right, and Bottom sliders.
Controls to crop off unnecessary edge material in
your media. Individual Analyze the footage’s alpha and set
Frame crop keyframe values to crop off un-
Also, if your footage contains an alpha channel, you used edges for each frame.
can instruct the system to automatically crop off the When you select this option, the sys-
unused portions of the frames (either by creating a tem analyzes and processes the
footage automatically.
crop value keyframe for each frame, or by analyzing
the whole clip and setting a global value across all Combine Analyze the footage’s alpha and set
frames). Frame one global crop value for the entire
sequence.
You can keyframe crop settings. When the footage When you select this option, the sys-
operator is selected, crop values appear in the Time- tem analyzes and processes the
line. For information on keyframing, see Chapter 8, footage automatically.
“Keyframing.”
Note: Click the R button to reset the crop values to
their default settings.
To crop your footage:
the footage settings you want to modify, and then Creating Proxy Footage
click the Footage operator.
You can create a low-resolution version of the
Note: You can also select the Footage operator in footage for quicker feedback and lower memory
the Footage library. requirements. You do this in the Make Proxy dialog.
The Footage Controls appear. For example, if you are working with a film-resolu-
tion workspace, you can open the film-size layers,
and use the Make Proxy dialog to render a D1 or
other sized version to disk from the original footage.

Creating Proxy Footage ❚❘❘
You can then switch between the full size version and 5. Click the Lock button to maintain the
the proxy, as needed. footage aspect ratio when you enter custom height
or width values.
To make a proxy for a layer: 6. Specify the file name and location for the proxy.
1. In the Workspace panel, expand the layer whose You can enter a file path, or click Browse and navi-
footage settings you want to modify, then select the gate to the location where you want to store the
footage operator for that layer. proxy.
Note: You can also select the Footage operator in 7. Click Process.
the Footage library. The system renders a proxy of the selected layer.
2. Click the Make Proxy button.

Make Proxy
button
When rendering is complete, the proxy is inserted in

place of the original footage (the footage is
The Make Proxy dialog appears.
pixelated).
To switch back to the full resolution footage:

1. In the Workspace panel, select the Footage oper-
ator for the footage you want to replace.

The footage Controls appear.
2. Select Main from the Toggle Footage list to the

left of the footage file name.
3. Select a file format from the Format list. Click

the Options button to set the compression options
for the selected format.
4. Select a frame size from the Frame Size list. To
use a custom frame size, enter a value in the width
and height fields.

The system replaces the low-resolution footage with Changing Footage Start and End
the original, high-resolution footage. Points
You can change the start and end points of your
Clearing Proxy Footage footage independently of the duration of your
When you create proxy footage for a file, the new composite or Paint branch. When you adjust the
low-resolution footage is linked to the original start and end point for the selected footage, frames
Footage operator. You can break the link to proxy are removed from the head and tail of the footage
footage and replace it with other footage, or you can and the duration changes accordingly.
reinsert the original, high-resolution footage.
Changing start and end points in this manner differs
You use this feature when you have been working in from dragging in and out points in the timeline. If
proxy mode, then decide to switch to high resolu- you remove frames from the start and end points
tion, but at a lower quality (such as Medium or even using the footage controls, these frames are unavail-
Draft). Once you switch back to the Main footage, able in the timeline. You can then use the end
you no longer need the link to the proxy footage. behavior settings in conjunction with the specified
subsection of the clip repeat the clip in various ways.
To break the link to proxy footage:
For information on setting the end behavior, see
1. Make sure Proxy is selected from the Toggle “Changing the End Behavior” on page 79.
Footage list.
Toggle Footage Clear Proxy To change the start and end points:
list button
1. In the Workspace panel, expand the layer that
contains the footage that you want to modify, then
select the Footage operator for that layer.

The Proxy footage appears in the active viewport.
2. Click the Clear Proxy button.
The link to the proxy is deleted. The following
footage placeholder replaces the proxy. 2. Drag the sliders in the Start and End fields to set
new values, or click and enter the required values.
Start and
3. Select Main from the Toggle Footage list to rein- End fields
sert the original footage in the placeholder.

Saving a Workspace ❚❘❘
The duration of the footage changes to reflect the Reverting to a Saved Workspace
new start and end points. You can revert to the last saved state of your work-
space. Use this when you have made several
modifications to your workspace then decide you
Saving a Workspace want to go back to how the workspace appeared
Once you create a workspace and modify the when you last saved it.
composites and Paint branches, you save your work.
You can save an existing workspace under its current Note: you can only revert to explicitly saved
name or save it with another name. workspaces.
Note: Combustion workspaces are saved with a To revert to the last saved version of a workspace:
.CWS file extension. Choose File | Revert Workspace.
To save a workspace:
Choose File | Save Workspace (or press CTRL+S).
The workspace is saved.

If it is the first time you save the workspace, the Save
Workspace dialog appears.
• Navigate to the directory where you want to save

your file.
• Enter a file name for the workspace in the File field.
• Click OK.
The workspace is saved under the specified name.
To save an existing workspace with a different

name:
1. Choose File | Save Workspace As (or press
CTRL+SHIFT+S).
The Save Workspace dialog appears.
2. Navigate to the directory where you want to save

your file.
3. Enter the new name for the workspace in the File
field.
4. Click OK.
The workspace is saved under the new name.


4 Compositing
Combustion’s fine control
over layers gives you the

a
ability to build sound-stage
“worlds within worlds”, and
to rearrange them
et
dynamically through 3D
space, controlling them
with fine precision.

B

4 Compositing
Summary targeting to control how layers are affected by other

This chapter explains: layers.
• “About Compositing” on page 86 A layer can also contain a composite, which itself is
made up of many layers. This is called nesting.
• “Adding Layers to a Composite” on page 86
• “Selecting Layers” on page 90
• “Transforming Layers” on page 91
• “Controlling the Behavior of Layers” on page 95

• “Duplicating and Moving Layers” on page 100 Nested
composite
• “Creating Nested Composites” on page 101
• “Applying Operators” on page 107
About Compositing You add operators to a layer to modify it. For

When you begin to build a composite, it is some- example, you can import a clip and then color
times helpful to think of a stage theatre as an correct it, and then add a box blur. What appears on
analogy. You start with the backdrop, and then you the layer is the blurred, color corrected clip.
add the scenery layer by layer, from back to front,
until your scene is cohesive and complete. Compos-
iting is literally the blending of multiple layers of
Two-layer
footage, one on top of the other, into one convincing composite
whole.
When you add a clip or image to a composite it

becomes the source for a new layer. Layers are two-
dimensional objects that you can arrange and
animate in 3D space. When you add a new layer to
the workspace, it is placed on top of other layers in
the composite (the stack). Layers at the bottom of
the stack are covered by those above it. Using masks
and alpha channels allows you to see through a layer Adding Layers to a Composite
to what is behind it. You can build a composite from several types of
layers. You can create layers that contain clips or
You can use the Workspace panel to reorder you
images, create solid layers, or even create a layer that
layers, move them within a branch, or even copy
contains a composite (which itself contains several
them between branches. You can change a layer’s
layers).
position, rotation. or scale, and animate these
changes over time. Use features like parenting and

Adding Layers to a Composite ❚❘❘
Creating a Layer from Footage The New dialog appears.

Once you create a composite in your workspace, you
can import footage into it. When you import footage
into a composite, a new layer appears in the Work-
space panel. The layer contains one operator—the
footage operator.
For detailed information, see “Importing Footage”

on page 63.
To create a layer from footage:

1. Double-click the composite into which you want
to import footage to make it the current operator.
3. In the Import Footage dialog, browse to the ap-
propriate folder, select the clip or image file you want
to import, and then click OK.
A new layer containing the selected footage appears
in the Workspace panel and in the active viewport.
3. Select Solid from the Type list.
4. In the Name field, enter a name for the layer.
Creating a Solid Layer
A solid layer is a layer that contains no footage or 5. Select a standard format from the Format Op-
image file. You can choose a color for the layer, and tions list or choose Custom to create a custom for-
apply operators, such as Paint or a Box Blur, as you mat. For more information, see “Choosing Format
Options” on page 59.
would to any other layer.
To create a solid layer: aspect ratio, pixel aspect ratio, and frame rate)
1. Double-click a composite. appear in the Format Options box.
2. Choose Object | New | Composite/Paint/Solid 6. In the Duration field, enter a duration in either
Layer. frames or in SMPTE timecode.
7. To change the background color of the layer,
click the Background Color box, select a color from
the Pick Color dialog that appears, and then click
OK.
8. Click OK.
A new layer is added to your composite.

4 Compositing
Creating a New Paint Layer 9. Click OK.

You can quickly add a new solid layer to your A new solid layer is created in your original
composite that contains a Paint operator. You can composite that contains the new Paint operator. For
then create Paint objects and add operators, or information on replacing solid footage with an
replace the solid layer with footage just as you would image file, see “Importing Footage” on page 63.
normally.
For detailed information on drawing in Combus-

tion, see “Introduction to Paint” on page 199.
To create a new layer with a Paint operator:

1. Select a composite in the Workspace panel. You
will create the new layer in this composite.
2. Choose Object | New | Composite/Paint/Solid
Layer.
Creating a Layer from an Operator
3. Choose paint from the Type list.
You can create a new layer from any operator that
4. In the Name field, enter a name for the Paint op- exists in your workspace. The operator on the new
erator. layer will be an instance of the original. This means
that the operator is a clone that is linked to the orig-
inal; any change to the original affects the clone, and
vice versa.
You can create instances to use the same element in

5. Select a standard format from the Format Op- multiple composites in your workspace, for
tions list or choose Custom to create a custom for- example. Instanced operators are indicated by an
mat. For more information, see “Choosing Format italicized name in the Workspace panel.
6. In the Duration field, enter a duration in either
frames or in SMPTE timecode.
7. To change the color of the solid layer, click the
Background Color box, select a color from the Pick
Color dialog that appears, and then click OK.
8. To set the opacity of the solid layer to 0%, click
Transparent. The layer is 100% opaque by default.

Adding Layers to a Composite ❚❘❘
To create a layer from an operator: A new layer is created that contains an instance of the
1. Select a composite in your workspace. selected operators.
2. Choose Object | New | Layer From Operator.

The Operator Picker dialog appears. The operator names are italicized to indicate that
3. Select an operator in your workspace. they are instanced.
Renaming Layers
When you import clips or images, Combustion
creates a layer name from the name of the imported
file. Once you create a layer, you can rename it at any
time.
To rename a layer:
1. Select the layer.
All operators below the selected one in the stack will

be instanced. In the example above, the Color
Corrector and footage operators from Front Layer
will be instanced on the new layer.
4. Click OK.

4 Compositing
• Click the layer name once in the Workspace panel, The icon is yellow when the layer is on, and gray
type a new name, and then press ENTER. when it is off.
Layer is off
• Choose Object | Toggle Visibility.
• Press CTRL+T (Windows) or COMMAND+T (Macin-

• In the composite controls, click the Name field, tosh).
type a new name, and then press ENTER.
To turn multiple layers on or off:
1. Select the layers.
2. Choose Object | Toggle Visibility, or press
CTRL+T (Windows) or COMMAND+T (Macintosh).
The selected layers are toggled on or off. If some of
The name of the layer changes. the layers are on and others are off, all of the layers
are toggled off.
Turning Layers On or Off

You can turn a layer on to make it visible in the
Selecting Layers
composite or turn it off to remove its effect from the
Before you can move or rotate a layer, or change its
composite. Any shadows or reflections cast by the
properties, you must first select it to make it the
layer will also be hidden. Turning a layer off does not
current object.
delete it or change its properties, but layers that are
off will not be rendered. To select a layer:
To turn a layer on or off: Do one of the following:
1. Select the layer that you want to hide.

• In the Timeline, click the icon next to the name of
the layer.

Transforming Layers ❚❘❘
• Select the layer in the Workspace panel. • Select the layer in the Timeline.
• Select the layer from the Current list.
The layer is highlighted in the Workspace panel and

its pivot point is displayed in the viewport.
Note: To select multiple layers in the Timeline or

Workspace panel, CTRL+CLICK each layer, drag a
selection box around the layers, or SHIFT+click a
• Click the layer in a viewport. range.
Transforming Layers
You can position layers anywhere in your composite,
rotate them around all three axes, and change their
size and shape. You can choose to use the tools on
the toolbar to transform your layers, or use the
Transform controls to obtain precise control.
You can also animate any of these changes in your

composite. For detailed information, see “Creating
Animations” on page 171.
Selected layer To access the Transform controls:

1. Select a layer in the Workspace panel.
2. Click Transform in the Composite Controls
panel.

4 Compositing
The Transform controls appear. tion fields, all selected layers move to those
coordinates.
The following sections describe how to use the
Transform controls when working with layers. 3. To return to the default values, click the Position
Reset button.
Moving and Rotating Layers 4. To move the layer to the required position in a
viewport, click the Arrow tool on the Toolbar
You can rotate and move layers along the X, Y, or Z
and then drag the layer in the viewport.
axes to position them in your composite. You can
also constrain movement to one or two axes, if 5. To constrain the movement to one or more axes,
required. enable the X, Y, and Z options on the Toolbar.
To move a layer:
Note: CTRL+CLICK to select multiple layers.
2. To use the Transform controls to set explicit val-

ues for the position of the layer, click the Transform
button and adjust the X, Y, and Z Position fields.
▲ If you have multiple layers selected, using the

Transform controls sets an exact value for all
selected layers, not an offset from their current Note: When in Camera view, by default you can
value. For example, if you enter values in the Posi- left-click and drag to constrain movement to X and
Transform Controls
Click to reset each Transform control.
Click to reset all

Transform controls.

Transforming Layers ❚❘❘
Y. Right-click and drag to constrain movement to X Note: You can also double-click the Rotate tool,
and Z. and enter an explicit X, Y, and Z rotation in the
dialog that appears.
6. To enter explicit X, Y, and Z positions, you can
also double-click the Arrow tool and enter the values
in the dialog that appears. Scaling Layers
You can scale a layer to change its size and propor-
tions. A scale value of 100% returns the layer to its
original size.
To scale a layer:
ues for the scale of the layer, click the Transform but-
ton and adjust the X, Y, and Z Scale fields.
3. To return to the default values, click the Scale
The layer moves to the new position. Reset button.
4. To drag the layer to scale it in a viewport, click
To rotate a layer:
the Scale tool on the Toolbar and then drag the
1. Select the layer. layer in a viewport.
2. To use the Transform controls to set explicit val- 5. To constrain the movement to one or more axes,
ues for the layer rotation, click the Transform button enable the X, Y, and Z options on the Toolbar.
and adjust the X, Y, and Z Rotation values.
3. To return to the default values, click the Rotation
Reset button.
4. To drag the layer to the required rotation in a
viewport, click the Rotate tool on the Toolbar
and then drag in a viewport.
5. To constrain the movement to one or more axes,
enable the X, Y, and Z options on the Toolbar.
Note: You can also double-click the Scale tool, and

enter the X, Y, and Z position in the dialog that
appears.
6. Enable the Proportional button in the Transform

controls (or press SHIFT while dragging in a view-
port) to preserve the layer’s proportions when scal-
ing.

4 Compositing
Shearing Layers 5. To constrain the movement to one or more axes,

By default, the angles at the corners of a layer are all enable the required X, Y, and Z options on the Tool-
90 degrees. You can use the Shear tool to increase or bar.
decrease this value, changing the shape of your layer
along one or more axes.
Note: You can also double-click the Shear tool, and

enter an explicit X, Y, and Z shear in the dialog that
Unsheared layer Layer sheared -15 degrees appears.
along the Y axis.
Changing the Pivot Point

Note: The placement of the pivot point affects The pivot point is the point around which the layer
how your layer is sheared. See “Changing the Pivot rotates. By default, it is placed in the center of a layer.
Point” on page 94.
However, you can move this point anywhere in your
To shear a layer: scene. For example, move it to the side of a layer to
cause the layer to rotate around its edge, or move it
off of the layer entirely to create a “pole” around
2. To use the Transform controls to set explicit val- which the layer rotates.
ues for the amount of shear, click the Transform but-
ton and adjust the X, Y, and Z Shear fields. The pivot point is represented by the yellow axes that
appear when the layer is selected.
3. To return to the default values, click the Shear
Reset button.
To change the pivot point:
4. To drag to shear a layer in a viewport, click the 1. Select the layer.
Shear tool on the Toolbar and then drag in a
viewport. 2. To use the Transform controls to set explicit val-
ues for the position of the pivot point, click the
Transform button and adjust the X, Y, and Z Pivot
fields.
3. To return to the default values, click the Pivot
Reset button.
4. To drag the pivot point to position it in a view-
port, click the Pivot tool on the Toolbar and
then drag the pivot point in a viewport.

Controlling the Behavior of Layers ❚❘❘
5. To constrain the movement to one or more axes, To parent a layer:

enable the required X, Y, and Z options on the Tool- 1. Select a layer. This will be the child layer.
bar.
• Select the layer you want to set as the parent from
the Parent list in the composite controls.
Note: You can also double-click the Pivot tool, and

enter an explicit X, Y, and Z position in the dialog • Click the Parent Pick button, then select the parent
that appears.
layer in a viewport.
When you rotate the layer, it now rotates around the The first layer becomes the child layer to the second.
new pivot point. When you move, rotate, scale, or shear the parent
layer, the child layer is also affected.
Controlling the Behavior of To parent to a null object:

Layers 1. Double-click the composite.
You can create relationships between layers so that
changes you apply to one affect another. Use 2. Select a layer.
parenting, hinging, and targeting to link the move- 3. Choose the null object from the Parent list in the
ment of layers, or to change the way a layer aligns composite controls, or click the Pick button and se-
with its motion path. lect it in a viewport.
Parenting Layers
Use Parenting to make one layer (the parent layer)
control the movement of another (the child layer).
The child can move anywhere in the scene indepen-
dently of the parent, but any transformations to the
parent (moving or rotating, for example) affect the
child.
You can also create a null object which you can use as Note: This procedure assumes you have already
the parent, or parent layers to lights and the camera created a null object in your composite. For infor-
(and vice versa). mation, see “Creating a Null Object” on page 97.

4 Compositing
The layer becomes the child to the null object. When Targeting Layers
you move, rotate, scale, or shear the null object, the Use Targeting to point one layer at another, no
layer is also affected. matter where it is in your scene. When a layer targets
another, it rotates so that its Z axis is always pointed
To remove parenting: at the pivot point of the other layer. This can be
1. Select the child layer. particularly useful when creating animations.
2. In the composite controls, select None from the You can also create a null object that you can use as
Parent list. the target, or target layers to lights and the camera
The link between the two layers is removed. (and vice versa).
To target a layer:
Hinging Layers
Use Hinging to link the edges of two layers similar to 1. Select the layer.
the way a door attaches to a wall. The first (or 2. Select the layer that you want to set as the target
hinged) layer becomes the child of the second layer. from the Target list, or click the Target Pick button
If you move the parent layer, the hinged layer moves and select it in a viewport.
to keep the link to the parent layer.
To hinge layers:
1. Select a layer. This will be the child layer.
• In the Layer controls, select the second layer from
the Hinge list.
• Click the Hinge Pick button in the Layer controls,
then select the second layer in a viewport.
Combustion automatically hinges the closest edges
of the layers. The layer you hinged snaps to the
nearest edge of the parent layer and its pivot point
moves to align along the hinged edge. You can rotate The layer is targeted to the selected layer. When you
the hinged layer along one axis only. move the target, the layer rotates to point at it.
To unhinge layers: To target to a null object:

1. Select the hinged layer. 1. Double-click the composite.
2. In the Layer controls, select None from the 2. Select a layer.
Hinge list.
The link between the two layers is removed.

3. Choose the null object from the Target list, or new null objects, they are named Null Object (1),
click the Pick button and select it in a viewport. Null Object(2), and Null Object(3), by default. You
can rename them at any time.
To create a null object:

1. Select the composite.
2. Choose Object | New | Null Object.
A null object is added at coordinates 0, 0, 0.
Note: This procedure assumes you have already

created a null object in your composite. For infor- You can use the tools on the Toolbar or the Trans-
mation, see “Creating a Null Object” on page 97. form controls to position and rotate a null object in
the same way as you would a layer. For more infor-
You can now move the null object. If necessary, the
mation, see “Transforming Layers” on page 91.
layer changes rotation to point at it.
To delete a null object:
To remove targeting:
1. Select the null object in the Timeline, in a view-
1. Select the layer that is targeted. port, or in the Current list.
2. In the composite controls, select None from the
Target list.
The link is removed. The targeted object can now
move freely.
Creating a Null Object

A null object is an invisible object; it has no pixel
information or dimensions, and is not rendered in
the final output. You can create null objects in your
composite to use when targeting or parenting layers,
for example. 2. Press DELETE.
If you create multiple null objects, Combustion

appends an increasing number (in parenthesis) to
the name of each. For example, if you create three

4 Compositing
Aligning Layers Reshaping Layers

You can align a layer to its motion path, so that a You can change the shape of a layer by moving any of
particular axis will be fixed to the path. The layer its corners along the X and Y axes in your scene.
rotates to maintain the selected axis parallel to the
motion path, ignoring any rotation keyframes that Note: You can also use the Shear tool to change
the size of the corner angles of the layer. For infor-
might prevent it from following its course. You can mation, see “Shearing Layers” on page 94.
align the path to the X-, Y-, or Z-axis of a layer.
To reshape a layer:
To align a layer:
1. Select a layer.
2. In the Layer controls, click the Four-Corner
▲ To align a layer, you must have created a Shape button.
motion path by animating the layer. For informa-
tion, see “Creating a Motion Path” on page 171.
2. In the Composite Controls panel, do one of the

following:
• To align the layer’s X-axis to the motion path, click
the Align X button.
• To align the layer’s Y-axis to the motion path, click

the Align Y button.
• To align the layer’s Z-axis to the motion path, click 3. Click the Arrow tool in the Toolbar.
the Align Z button.
4. Click the Four-Corner button in the Toolbar.
Four-Corner
The layer rotates so that the selected axis is aligned to button
the motion path.
Corner handles appear in the four corners of the
3. To align the layer to the negative X-, Y-, or Z-ax- layer.
is, click the Invert button.
To remove alignment:
Click the X, Y, or Z button again to disable it.

5. Click and drag the corner handles in a viewport • In the Workspace panel, drag the layer name to a
to reshape the layer. new position.
A line appears to indicate where the layer is being

moved.
• Choose an option from the Object menu.
Reshaped layer
Choose: To:
6. To revert to the default layer shape, enable the Bring to Front Move the layer in front of all
Normal Shape button. others in the composite.
Bring Forward Move the layer forward one lev-
Reordering Layers el.
The order in which a layer appears in the Workspace
Send to Back Move the layer behind all others
panel determines whether it is in front of, or behind, in the composite.
other layers. You can move a layer in back of (or in
Send Backwards Move the layer one level back.
front of) individual layers in the composite. You can
also use the Depth Order options to force a layer to
To change the depth order:
appear behind all others in the composite, or to
always appear in the foreground, regardless of where 1. Select a layer.
the layer is placed in 3D space. 2. Click Layer in the Composite Controls panel.
3. Select the required Depth Order option.
To reorder a layer:
1. Select the layer. Click: To:
2. Do one of the following. Background Lock the layer to the back-
ground, forcing it behind all oth-
er layers in the scene.
Normal Move the layer freely.
Foreground Lock the layer to the foreground,
forcing it in front of all other lay-
ers in the scene

4 Compositing
Locking Layers to the Background The layer always appears perpendicular to the
Lock a layer to the camera to prevent it from current viewpoint.
changing perspective when you move the camera.
This is useful when you have footage with real
Changing the Duration of a Layer
camera motion and you want to composite elements
You can change the duration of a layer by stretching
into the footage and “matchmove” the virtual
or compressing it. When a layer is stretched, frames
camera to the real one. In this case, lock the original
are added; when it is compressed, frames are
footage to the background and the camera so that it
removed. For example if you stretch a 1-second clip
does not change perspective. Any other footage you
so that it plays for two seconds, Combustion dupli-
import into the composite changes perspective
cates every frame. If you compress a 1-second clip so
normally when you move or rotate the camera.
that it plays for 30 seconds, Combustion removes
half the frames.
To lock a layer to the camera and background:
1. Select the layer. You can use Frame Blending to create any new
frames by using interpolation. Otherwise, new
2. In the Layer controls, click Background Depth
frames are duplicates of existing frames. Enable
Order.
Frame Blending in the Footage controls. For detailed
information, see “Changing Footage Output
Settings” on page 77.
Duplicating and Moving Layers

In Combustion, you can easily duplicate and move
layers within a composite, between composites on
different branches, or between nested composites.
When a layer is copied, all of its properties (settings,
The layer always appears behind other objects
footage, and any operators) are copied as well.
(unless they are also locked to the background).
For information on moving layers within a
3. Enable Lock Orientation.
composite, see “Reordering Layers” on page 99.
To copy a layer:
Note: To select multiple layers, CTRL+CLICK each

layer or drag a marquee around the layers in the
Timeline or Workspace panel.
2. Choose Edit | Copy or press CTRL+C (Windows)

or COMMAND+C (Macintosh).
3. Select the composite into which you want to
paste the layer.

Creating Nested Composites ❚❘❘
4. Choose Edit | Paste or press CTRL+V (Windows) be moved and reordered in the same way as in any
or COMMAND+V (Macintosh). other. There is no limit to the complexity of the
The layer is copied to the new location. workspaces that you can create.
To duplicate a layer:
Creating a New Nested Composite
1. Select the layer. You can add a layer to an existing composite that
2. Choose Edit |Duplicate, or press CTRL+ALT+D contains a new composite. This new nested
(Windows) or COMMAND+SHIFT+D (Macintosh). composite is the source for the layer. You can then
A copy of the layer is created in the composite. import clips and images, create layers, and add oper-
ators to the new composite just as you would
To move a layer: normally.
To create a new nested composite:
2. Choose Edit | Cut or press CTRL+X (Windows)
1. Select a composite in the Workspace panel. You
or COMMAND+X (Macintosh).
will nest the new composite into this one.
The Layer is removed from the composite.
3. Select the composite into which you want to
move the layer.
4. Choose Edit | Paste or press CTRL+V (Windows)
or COMMAND+V (Macintosh).
The layer is moved to the new location.
2. Choose Object | New | Composite/Paint/Solid
Layer.
Creating Nested Composites The New dialog appears.
When you nest a composite, you move it (and every-
3. Choose composite from the Type list.
thing it contains) onto a single layer in another
composite. This in a sense “collapses” the composite
onto the layer, with an important difference—you
can still modify all of the elements in the nested
composite. You can, for example, move layers, add
effects, and import footage just as you would
normally. 4. In the Name field, enter a name for the compos-
ite.
Using nesting, you can organize the elements in your
workspace by grouping them together, or apply 5. Select a standard format from the Format Op-
effects to multiple layers at once. tions list or choose Custom to create a custom for-
mat. For more information, see “Choosing Format
You can create new nested composites and Paint Options” on page 59.
projects, or choose to move existing layers into a
nested composite. Layers in a nested composite can

4 Compositing
The corresponding properties (output size, frame To nest a layer:

aspect ratio, pixel aspect ratio, and frame rate) 1. Select the layer in your workspace.
Note: To follow this procedure, you must first
6. In the Duration field, enter a duration in either create (or open) a workspace in Combustion that
frames or in SMPTE timecode. contains at least one layer.
7. To change the background color, click the Back-
ground Color square, select a color from the Pick
8. Click OK.
A new layer is created in your original composite
that contains the new composite.

The Nesting dialog appears.
3. Enable Current Layer Only, and then click OK.
Organizing Existing Layers

You can nest a layer, or multiple layers, into a new
composite to organize them in your workspace. For
example, you can nest several layers so that you can
then apply a Color Emboss effect to them all.
When you nest a layer, all of the operators on the A new composite is created on the layer; the
layer (such as footage or a Box Blur) will be moved composite is named Nested Layers by default. The
into the nested layer. original operators are placed on a new layer in this
composite. If you expand the original layer, you can

see the new composite, new layer, and the original 3. Enable Selected Layers, and then click OK.
operators.
The selected layers are nested into a new composite,

To nest multiple layers:
which is placed on a new layer in the original
1. Select the layers in your workspace. To select
composite. The new layer is named Nested Layers by
multiple layers, CTRL+click (Windows) or COM-
default.
MAND+click (Macintosh) the layers, or drag a mar-
quee around them.

create (or open) a workspace in Combustion that
contains multiple layers.
Organizing Existing Composites

In addition to nesting layers, you can nest a
2. Choose Object | Nesting. composite to organize your workspace. You can then
The Nesting dialog appears. easily modify the entire composite simply by adding
operators to the layer on which the composite is
nested. For example, if you want to apply a Paint
operator to an entire composite, you would nest it
into a layer and then apply a Paint operator to the
new layer.

4 Compositing
To nest a composite: The selected composite is nested into a layer called

1. Select the composite in your workspace. “Nested Layer,” which, in turn, is placed in a second
composite.
create (or open) a workspace in Combustion that
contains multiple layers.
If you expand the Nested Layer, you can see the orig-
inal composite and the layers.

Creating Instances
An instance of an operator is a clone that is
3. Enable Composition, and then click OK. completely interchangeable with the original. Any
changes to the original are updated in the instanced
operator, and vice versa.
You can add a layer to your composite that contains

an instance of any operator in your Workspace. For
example, if you have two composite branches, you
can create a layer in the first that contains an instance
of a footage operator in the second. Any changes you
make to an instance updates all instances of the
operator.

Instanced operators are indicated in the Workspace above, the Color Corrector and footage operators
panel by an italicized name. from Front Layer will be nested and instanced
4. Click OK.
To nest and instance an operator:
A new layer is created in the current composite that
1. Select a composite in your workspace.
contains an instance of the selected operator(s).

The Operator Picker dialog appears.
The operator names are italicized to indicate that
3. Choose an operator in your workspace.
they are instanced.
Building a Composite from Existing

Branches
You can use nesting to move an entire branch in your
workspace onto a new layer in a composite. This is
useful for working on elements of an effect sepa-
rately within a workspace, painting on footage, even
keying or color correcting, then combining all the
modified footage together as layers in one final
composite.
For information on creating different branches, see

“Starting a New Workspace” on page 55.
Note: All operators below the selected one in the

stack will be nested and instanced. In the example

4 Compositing
To build a composite from existing branches: The selected branch is moved to a new nested layer
1. Select a composite in your workspace. in the current composite.

3. Choose the top-level operator of the branch that

you want to merge.
In this example, the Paint branch is selected.
4. Click OK.

Applying Operators ❚❘❘
You can repeat this procedure for any branch in your project, you can move an operator to another place
workspace. in the processing pipeline, modify its parameters,
change its animation, copy it, or simply delete it.
Transforming Nested Layers In the following three illustrations, note the opera-
Nested layers behave just like any other layer in a tors on each layer, especially the Box Blur, which is
composite. You can move and rotate them in your applied at different points in each example.
scene, hinge and parent them to other layers, and set
In the first example, the Sky layer is modified by a
the layer properties.
single Sharpen filter. The Couple layer is modified by
three filters, each one affecting the result of the filter
below it: the Linear Keyer is applied to the footage,
Applying Operators
then the Matte Controls are used to refine the output
An operator is an operation that modifies a layer or
of the Linear Keyer. The Brightness/Contrast filter is
a composite. It can be as simple as a box blur filter, or
used to brighten the keyed result. The Couple layer is
as complex as an Paint animation. Operators are
processed one after another. The result of one oper-
ator serves as the input for the next.
You can apply an operator to a single layer, to a

nested composite, or to an entire branch. You can
place an operator anywhere in the branch — on a
layer, on the output of a nested composite, or on the
output of the entire branch. At any point in your
Multiple branches (left) imported as layers into

one composite called “MULTI COMP” (right).

4 Compositing
composited with the Sky layer and the Box blur is The second example is the same except that the Box
applied to the output of this composite. blur is moved onto the couple layer.
Example 1: Box Blur on the composite Example 2: Box Blur on the couple

In the third example, the Box blur is moved onto the more information on the footage operator, see
sky. “Changing Footage Source Settings” on page 73.
Applying an Operator to a Layer

You can add operators to any layer in the workspace.
To apply an operator to a layer:

1. Double-click a composite to make it current.
2. In the current composite, select a layer.
3. From the Operators menu, choose an operator.
The Operator controls appear. The Operator is
applied to the selected layer over its entire duration.
4. Adjust the Operator controls.
Applying Operators to Nested Layers

When you apply operators to a nested layers, the
operators modify the nested composite that is in the
Example 3: Box Blur on the sky nested layer.
Operators can be grouped into four main categories, In the following example, the shot in the lower right
each represented by a different icon in the Work- corner of the composite is itself a composite of two
space panel: layers, a talent keyed over a background. It stands
out because it is too bright and clear.
• Filters, which include, noise filters, keyers, col-
or correctors, third-party plugins, and so on. These
operators are described in the current chapter.
• Paint operators, which include Paint, masks,
and selections. For more information on Paint oper-
ators, see Chapter 9, “Introduction to Paint."
• Composite operators, which composite the

layers in your workspace. effect automatically adds a
composite operator when you import or nest layers.
For more information, see Chapter 4, “Composit-
ing."
• Footage operators, which determine how the

source footage is interpreted in the composite.For The following procedure explains how to apply
Noise and Color Correction filters to the nested
composite so that it blends into the rest of the image.

4 Compositing
To apply an operator to a nested layer: 4. Adjust the Operator controls, and apply addi-
1. In the Workspace panel, double-click the com- tional operators if needed.
posite that contains the nested layer. The operators modify the output of the composite
over its entire duration.
In this example, note how the nested composite in

the lower right corner is modified to look more like
the other images in the composite.
2. Select the nested layer.
Applying Operators to a Branch

To modify the output of the entire composite, you
can apply an operator to the branch.
3. From the Operators menu, choose an Operator. To apply an operator to a branch:

The operator is applied to the output of the 1. Select the Branch.
composite in the nested layer.
2. Choose an Operator from the Operators menu.
3. Adjust the Operator controls.
The operator modifies the output of the branch over
its entire duration.

Using Operators with Selections The current operator is now the Selection operator.
A selection determines what portion of the image is The current viewport displays the selection
affected by any operator placed above it in the Work- marquee, and the menu changes to display only rele-
space panel. vant commands.
In the following illustration, the Elliptical selection 4. When you are satisfied with the selection, make
limits the effect of the Twirl filter, while the Rectan- the composite the current operator so that you have
gular selection limits the effect of the Emboss filter. access to the Operators menu. To do so, double-click
the composite in the Workspace panel.
5. Select the layer (or nested layer) again.
6. Choose an Operator from the Operators menu.
The operator is applied over the selection and modi-
fies only the selected area for the duration of the clip.
If you apply other operators on top of the selection,
they are also limited by the selection.
7. To remove the effect of the selection, in other

words apply an operator to the entire layer, choose
Operators | Selections | Remove Selection.
Note: You can add filters and selections in any

order and then change their stacking order if
required. In the Workspace panel, click and drag an
operator to change its stacking order in a
composite.
Modifying Operators
If more operators were added over the Emboss filter, You can modify an operator’s parameters and
they would also be limited by the Rectangular selec- keyframes at any time.
tion. To apply an operator to the entire image, you
Note: To avoid making unwanted changes when
must first add a Remove Selection filter.
adjusting an operator, make sure that the result
appears in one of the viewports. To do so, select a
To apply an operator to a selection:
viewport, then, in the Workspace panel, double-
1. In the Workspace panel, double-click the com- click the composite or the layer that contains the
posite to make it current. operator.
2. Select a layer (or nested layer). To modify an operator:

3. Choose Operators | Selections, and choose the 1. Select the operator in the Workspace panel.
type of selection you want to create. In the Toolbar,
The Operator controls appear.
click a selection tool and draw a selection on the im-
age. See “Selection Operators” on page 325." 2. Adjust the operator parameters. Advance to the
next keyframe and adjust the parameters if needed.

4 Compositing
Animating Operators To move an operator to a different composite:

You animate an operator by changing its parameters 1. In the Workspace panel, select the operator.
at different points in the clip. This is referred to as
2. Press CTRL + X (Windows) or OPTION + X (Mac-
setting keyframes. intosh), or choose Edit | Cut.
To animate an operator: 3. In the Workspace panel, click the location where

you want the paste the operator, and then press CTRL
1. Apply a operator, or double-click an existing op-
+ V (Windows) or OPTION + V (Macintosh), or
erator in the Workspace panel.
choose Edit | Paste.
The operator controls appear.
The operator is added to the selected location.
2. If animation is not already enabled, click the An-
imate button. The Animate button is red when en- To copy an operator:
abled. 1. In the Workspace panel, select the operator.
3. On the first frame of the animation, set the oper- 2. Press CTRL + C (Windows) or OPTION + C (Mac-
ator parameters to determine how the operator will intosh), or choose Edit | Copy.
look at the beginning of the animation. This sets the
first keyframe. 3. In the Workspace panel, click the location where
you want the copy to appear, and then press CTRL +
4. Use the Frame controls to advance to the last V (Windows) or OPTION + V (Macintosh), or choose
frame of the animation. Adjust the parameters to Edit | Paste.
create the effect you want at the end of the anima-
The operator is added at the selected location.
tion. This sets another keyframe on the last frame.
5. Play the clip to see the result of your animation. To duplicate an operator:
6. You can modify the animation by moving to oth- 1. In the Workspace panel, select the operator.
er frames and adjusting the operator. A keyframe is
2. Choose Edit | Duplicate.
set on every frame where you adjust a parameter.
A copy of the operator is added above the selected
7. For more information see, Chapter 8, “Keyfram-
operator.
ing."
Copying or Moving Operators Deleting Operators

To delete an operator, select it in the Workspace
Use cut, copy, and paste commands to copy or move
panel or in the Timeline, and press DELETE.
operators between layers anywhere in the
workspace.
By changing the stacking order of the operators in a

composite, you create different effects. To move an
operator within the same composite, click and drag
the operator in the Workspace panel or in the Time-
line. To move a operator outside the composite, use
cut and paste commands.

You can delete a filter operator by clicking Remove in When you cut and paste, or copy and paste an oper-
the Filter controls. ator, all its stored settings are also copied.
To store operator settings:

1. In the Operator controls, enable Store.
Note: Store is enabled by default.
2. Click Store number 1 and adjust the operator’s

parameters.
Turning Operators On or Off

You can temporarily turn off an operator without
deleting it from the workspace. This is useful for
As you make adjustments the operator settings are
making “before/after” comparisons without actu-
stored in storage 1.
ally removing the operator from the layer.
3. When you are satisfied with the settings in stor-
To turn an operator on or off: age 1, move to storage 2.
• Click the sphere icon next to the operator’s name in
the Timeline or in the Workspace panel. Click the
icon again to toggle the operator back on.
Storage 1 is stored and copied to storage 2. Any
further adjustments you make are stored in storage
2.
Note: If storage 2 is not empty, select an empty

storage. (A dot in the lower right corner of the
storage button indicates that it is full.)
Storing Operator Settings
Use the storage buttons to store up to five versions of 4. When you are satisfied with storage 2, move to
your operator settings, and then quickly switch storage 3 (or an empty snapshot) and continue to
between the different stored settings to compare the fine-tune the settings. To start adjusting storage 3
results. from scratch, click Reset.
By switching between storage 1, 2, and 3, you can
Keyframes are also stored. This means that you can
compare the settings that you stored in each one.
use storage buttons to compare different versions of
an animation.

4 Compositing
Moving between Stored Settings

If Store is enabled, when you click an empty storage,
the current settings are copied to the empty storage.
In other words, when you go from storage 1 to an
empty storage, the empty storage is “filled” with the
settings of storage 1.
When you move between filled storage buttons, the
system displays the stored settings for each one. But
remember, if you adjust any settings while Store is
enabled, the storage is automatically updated.
Emptying Storage
If you want to copy the settings from one storage to
another so that you can fine-tune the settings in the
second storage, the second storage must be empty.
When you create a new operator, all the store buttons
are empty, but if you have saved settings in all five
storages, you may need to empty a few.
To empty a storage:
1. Select the storage and click Reset.
2. The dot disappears from the lower right corner
of the storage button to indicate that it is empty.
3. Disable Store before moving to another storage.
Now you can repeat the procedure in “Storing Oper-
ator Settings.”

5 Surface Properties
Combustion has a suite of
tools that help you control

a
how surfaces react to light,
and how surfaces react to
other surfaces. This chapter

et
shows how light, opacity,
and many more subtle
parameters can enhance
your composite.
B

Summary options are enabled in the Settings Controls:

Shadows, Shading, and Reflections.
This chapter explains:
• “About Surfaces Properties” on page 116
• “The Surface Properties Interface” on page 116

The Surface Properties Interface
Use the Layer and Surface panels in the Composite
• “Using Transfer Modes” on page 120 controls to adjust the surface properties of selected
layers. The Settings panel controls how the current
• “Using Transfer Modes” on page 120
composite’s surfaces are displayed in the viewport.
• “Using Reflectivity” on page 123
This section provides a brief description of the
• “Making Shadows” on page 124 Layer, Surface and Settings controls. It is intended as
• “Using Color Highlights” on page 125 a quick reference. You will find out more about how
to use these options further on in the chapter.
To access the Composite controls:

About Surfaces Properties
Each layer has surface properties which determine 1. Double-click a layer in the Workspace panel.
how the layer appears in the composite. It can have 2. Click a Layer, Surface, or Settings to access the
realistic shading, cast and receive shadows, have controls on that panel.
glossiness, opacity, and various fine-tuneable (and
animatable) attributes such as diffuseness or specu- To revert back to the default controls settings:
larity. Surfaces can be visible from the front only, the Click the Reset button at any time.
back only, both, or neither.
Note: For any effect involving lights, shadows, or

reflections, you must verify that the following
The Layer controls

The Surface Properties Interface ❚❘❘
The Layer Panel Options — Affect the orientation and the surface
Use the controls in the layer panel to adjust the shape properties of the layer.
of your layer, its placement in relation to other layers,
Lock Orienta- Locks the rotation of the layer to
and how it reacts to lighting and the camera.
tion the position of the camera. If you
rotate the camera, the layer
Shape — Changes the shape of a layer in two-
moves to maintain the same ori-
dimensions. entation in Camera view.
Normal Transforms the layer as a whole. Invisible to Prevents the layer from being
Rays affected by any lights in the
Four-Corner Use control points on each of scene. The layer will not be lit, or
the four corners of the layer to cast reflections and shadows.
change its shape. These control
points can be moved in two di- Invisible to Hides the layer from view when
mensions. Camera using Camera view. However, its
reflections and shadows are not
Reset Reverts to the default settings. hidden. This is good for grids
and items that you may use as
Depth Order — Controls the behavior of a layer in guides, but then would like to
relation to other layers in the scene. hide.
Cast Shadow Causes the layer to cast shad-
Background Locks the layer to the back-
ows in the scene.
ground. It will be placed behind
any other objects in the scene, Receive Shad- Allows the layer to receive shad-
regardless of their position in 3D ow ows cast from other surfaces. If
space. disabled, the layer will be unaf-
Normal Unlocks the layer. fected by any shadows in the
scene.
Foreground Locks the layer to the fore-
ground. It will be placed in front
of any other objects, regardless
of their position in 3D space. RLA/RPF Options — You can import rendered
RPF or RLA files from 3D StudioMAX into
Combustion. Use these options to make flat video
layers appear to move within the 3D space of an RPF
or RLA image.
For more information, see Appendix A, “Combus-

tion and 3D Studio MAX.”
Hinge — Use this option to link two layers by

attaching their edges.

The Surface Panel Reflectivity — Controls the extent to which a layer

Surface controls determine how layers are blended mirrors other layers around it in the composite.
together in the composite. Use these options to
adjust the effect of lights on a layer and to create Reflection Mode — Control the transfer mode
reflections between layers. used to render the reflections of other layers on the
surface of the current layer. The modes used for
Opacity — Sets the transparency of a layer. A value reflections are the same as those used for transfer
of 100 is opaque, while a value of 0 is transparent. modes.
Transfer Modes — Control how a layer is blended Front and Back Visibility — Controls whether a
into the composition and how it interacts with layers layer is visible from the front, the back, or both sides
behind it. when the layer (or camera) is rotated. For example,
you may want to have a movie layer that rotates 180
For most transfer modes, portions of the layer only
degrees in Y to reveal another movie on its back.
take on the transfer mode characteristics when
another layer is directly under it, or behind it in 3D Luminosity — Controls the brightness of a layer in
space; if there is empty space behind portions of the relation to the lights in a scene. This option is similar
layer, those portions appear normal. to reflectivity, except that it controls the reflection of
light from the layer itself, not the reflection of other
Preserve Alpha — Enable Preserve Alpha to
layers.
respect the alpha information of the layers behind
the current layer. In other words, this option makes The higher the percentage, the more light is reflected
the current layer visible only where other layers are from the layer, and the brighter the layer appears.
not transparent.
Diffuse Level — Diffuse level controls how light
Stencil Layer — Stencils allow you to use one layer spreads over the surface of a layer. In most cases, the
as a matte for another. For more information, see effect of the diffuse level is visible only when lights
“Using Stencils” on page 138. are placed very close to the surface of a layer.
The Surface Controls

The Surface Properties Interface ❚❘❘
The higher the percentage, the greater the spread of highlights. A surface with low glossiness has high-
shading across the surface from nearby lights. lights that spread out more.
Low diffuse Low specular

level highlights
High diffuse High specular

level highlights
Specular Level — Specular level controls the Color Highlights — You can have specular and
brightness of the specular highlight (or “hotspot”) diffuse highlights on your layer that are the same
generated when a light is close to a layer. Each light colors as the layer or the same colors as the light(s).
generates a different specular highlight on the
surface of an layer. The appearance of the highlight Shading — Shading can be both on or off globally,
depends on the glossiness of the surface. A surface as well as on or off for each layer. Use the Shading
with a high glossiness value has small, tight, specular box in Settings to set Shading globally.
The Settings Panel

The controls in the Settings panel apply to all the
layers in the selected composite. They include
format controls, and display controls.
The format controls let you change the composite
settings. For more information, see “Editing
Composite Display Settings” on page 70.

The Display controls let you balance display quality Note: You can enable these options only when the
and processing time. You can adjust these controls Display Quality is set to Best. (Set the Display
independently for each composite in a branch. Quality list is next to the Animate button, under the
viewport.)
Object Detail — Determines how the composite is
Render Effects — When adjusting the properties
displayed.
on the Surface and Layer panels, enable Render
Use: To: Effects to see the results. Disable Render Effects to
reduce processing time when you are not working
Wireframe Display only the wireframe of the
on lighting or surface effects in the composite.
layers in the composite.
Current Display only the current layer in the Enable: To:
viewport. This option increases ren-
Shading Turn on lights in the composition.
dering speed as well as offers a clear
view of the current layer. Shadows View shadows cast by layers onto
other layers in the composition.
Relatives Display the current layer and any rel-
atives, such as objects parented, Reflections View reflections and highlights on
hinged, or targeted to the current surfaces created by light bouncing
layer. from one layer to another.
All Objects Display all layers in the composite.
This is the default option.
Using Transfer Modes
Quality — Disable these options to reduce Transfer Modes control the way a layer’s surface is
processing time. blended with any other layers behind it.
Enable: To: Note: Only some Transfer Modes are illustrated.

The effects of others can be best observed in
Anti-Aliasing Smooth the edges of diagonal
Combustion.
lines, reducing the jaggies.
Supersampling Enable anti-aliasing for shad-
ows and reflections.
The Settings Panel

Composite format controls Composite display controls

Using Transfer Modes ❚❘❘
To select a transfer mode: Subtract — Subtracts the Red, Green, and Blue
1. Select the layer. values of the current layer’s pixels from the layers
behind it. The resulting composite can make the
2. On the Surface panel, select a transfer mode
layer’s pixels appear very dark.
from the list.
Multiply — Multiplies the pixel values of the
current layer with the pixels in the background
composition, and clips all RGB values at 255. The
overall effect is similar to drawing with a colored
marking pen over an image: it darkens and colorizes
at the same time using the current layer imagery.
Screen — Combines the pixels in the current layer

with the pixels in the background composition so
that the current layer is composited over the layers in
the background with lighter pixels than before. The
effect is similar to the photographic technique of
combining two slides in a slide “sandwich” and then
reshooting them. Screen mode is the inverse of
Multiply mode.
Overlay — Displays the image through a gel of the

current layer. It combines the colors of the current
layer with those of the layers behind it to create new
tints based upon these results. It boosts contrast and
color saturation at the same time.
Select from the following transfer modes: Soft Light — Shines a soft, diffuse light of the
current layer onto the layers behind it. It does not
Normal — Shows the layer in its normal colors. completely affect areas of detail, but does reduce the
contrast levels in the image.
Dissolve — Randomly dissolves pixels of the
current layer over the layers behind it. Hard Light — Shines a harsh light of the current
layer onto the layers behind it. It mostly affects areas
Add — Adds the Red, Green, and Blue values of the of detail, but greatly reduces the contrast levels in the
current layer’s pixels to the layers behind it. The image.
resulting composite can make the layer’s pixels
appear very bright, especially over a bright backdrop Darken — Composites only pixels of the current
composition. layer that are darker than the pixels of the layers
behind it.

Lighten — Composites only pixels of the current Luminance — Changes the luminance of the layers
layer that are lighter than the pixels of the layers in the background composition to the luminance
behind it. value of the current layer.
Fully Additive Mix — Adds non-opaque pixels of

the current layer to the layers behind it, but compos-
ites opaque pixels normally. This transfer mode is
useful for some keying operations to get a slightly
cleaner edge against the background.
Note: If you are using the Ultimatte keyer plugin

Difference — Displays the difference between the with Combustion, use this mode for the fore-
pixels in the current layer and the pixels of the layers ground image.
behind it.
Grey (Luma) — Displays the current layer in gray-
scale wherever it overlaps other layers behind it. The
gray calculation is based on the luminance of the
current layer.
Grey (HSV) — Displays the current layer in gray-

scale wherever it overlaps other layers behind it. The
Negative — Inverts the colors of the current layer gray calculation is based on the HSV colorspace
wherever it overlaps other layers behind it. value of the current layer.
Hue — Changes the hue of the current layer to the Shade — Uses the current layer to “shade” layers
hue of the layers behind it. This effectively makes the behind it. The hue and saturation of the current layer
current layer take on the “tint” of the elements in the is used, but the value of the background elements is
background of the composition. retained. This looks as if the current layer is taking
on the “texture” of the background elements wher-
Saturation — Changes the saturation of the ever they overlap.
current layer to the saturation values of the layers
behind it. (This differs from Saturate, which uses the Saturate — Uses the saturation of the current layer
saturation of the current layer to increase that of the to increase the saturation of the layers behind it.
layers behind it.) (This differs from Saturation, which equalizes the
saturation of the current layer with that of the layers
Colorize — Changes the hue and saturation of the behind it.)
current layer to the hue and saturation values of the
layers behind it. Desaturate — Uses the saturation of the current
layer to decrease the saturation of the layers behind
it.

Using Preserve Alpha ❚❘❘
Behind — Hides the current layer behind the alpha 3. To see or render the reflections you create, click
channel of the current composition, without moving the Reflections button in the Settings Controls.
it or changing its stacking order in the Timeline
layers list.
Using Preserve Alpha

Preserve Alpha obeys the alpha value of the layer
underneath it, and is only visible there.
To use Preserve Alpha for the current layer:

1. Select the layer
2. On the Surface panel, click the Preserve Trans- Reflectivity on statue layer set to 100 (above).
parency button.
If Preserve Alpha is enabled, the current layer
appears only where another layer is visible, using the
other layer’s opacity value.
Using Reflectivity
The amount of Reflectivity on a layer controls the
amount of mirroring it does of surrounding objects.
The Reflectivity Mode determines how the reflec-
tion is to be cast.
Reflectivity on statue layer set to 25 (above).
To make a layer reflective:
1. Select the layer. Using Reflectivity Modes
2. On the Surface panel, adjust the Reflectivity slid- Just as with overlapping surfaces and transfer
er. modes, Reflectivity Modes control the way in which
The higher the percentage, the more the layer reflects the reflection is blended with the original image.
the surrounding scene. Set reflectivity to 100% to
The Reflectivity Mode called Normal produces
simulate a mirror.
results similar to a mirror.
The default Reflectivity Mode is called Add. With

Add, the RGB values of the reflection’s pixels are
added to the original source, resulting in a brighter
clip.
This simulates more the effect you might have from

reflecting a layer off a white shiny marble floor.

Depending on the properties of the material you are With any number and type of light sources, as well as
trying to mimic with your layer, you will need to play surface types, the range of effects possible in
with the Reflectivity Modes until you find one that is Combustion are limited only by your imagination.
ideal for your scene.
To make a basic shadow:
1. Select a flat, matted-out layer with distinct edges
Making Shadows to cast the shadow.
Combustion is not limited to drop shadows: you can 2. Bring the layer out a little bit from the back in Z
add lights and place matted layers in their way, and Transformation, and perform a small amount of Y
cast shadows on whatever surface the shadows hit. Rotation. This will allow you to better see and ma-
nipulate the shadow. You can later change the Z
You can go from the fairly simple to the very
Transform and Y Rotation amount; this is just to be
complex. able to see the shadow.
3. Ensure that under the Settings Controls, Shad-
ows, Shading, and Reflections are enabled. Under
the Layer Controls, Cast Shadow and Receive Shad-
ow should be on by default.
4. Select the light you began the composite with; it
should look like a starburst. For more on lights, see
Chapter 19, “Adding Lighting Effects”. From the
Light Controls, choose Spot as light type and open
the Cone Angle to about 80-90.
5. Ensure that the Spot light is pointing at the ele-
The figure above has one large spotlight below the ment you want to cast shadows. Try experimenting
scene shining upwards, and both layers are rotated with combinations of different light colors and Spot
in Y to skew the shadows a bit. light angles.
Multiple colored lights at different angles

make striking shadows, depending on the
In the previous figure the light is unchanged, but the
effect desired
layers are flatter to us and the right layer is closer to
us in Z-space.

Using Color Highlights ❚❘❘
Using Color Highlights has its front turned off. They are then parented
The diffuse and specular highlights can assume together so that they stay stuck together as one layer.
whatever color you want.
To produce a double-sided layer:
To set the color of Color Highlights:
1. Start a new composite and import two clips.
1. Select the layer. 2. If they are not the same size, scale down the larg-
2. Click the Color Highlights On or Off button: er of the two so that it matches the size of the smaller
one.
• Select On to use the colors of the layer.
3. In the Transform Controls, rotate one of the lay-
• Select Off to use the colors of the light. ers 180 degrees in Y.
4. Select the layer you want for the front, and, un-
der Surface, turn off Back visibility.
Setting the Highlights (Specular
Level and Glossiness) of the 5. Select the layer you want for the back, and, under
Surface, turn off Front visibility.
Current Layer
The highlights created in Combustion from passing 6. Parent the two together by choosing one of the
lights and reflective surfaces are controlled through layer layers from the list and clicking Parent.
the interaction of Specular Level and Glossiness. Now, when you rotate one layer, the other rotates
with it, and each is only visible from one side. This
To set the highlights of the current layer: technique can be used to build postcards, playing
1. To see the specular highlights turn Shading on. cards, or any other double-sided surface.

3. On the Surfaces Controls, adjust the specular
levels slider.
The higher the percentage, the brighter the specular
reflection (“hot spot”) on the surface of the layer.
4. On the Surfaces Controls, adjust the Glossiness

slider.
Increase Glossiness to make small, dense specular
highlights. Decrease Glossiness to spread the spec-
ular highlights over a larger area.
Creating a Double-Sided Layer

In this brief example, we composite a flat layer that
has two distinct images, one on each side. The trick
that makes this possible is that there are two images
in the same Z-space: one has its back turned off, one


6 Channels
Mattes and channels not
only affect what is retained

a
and discarded in the final
composite--they allow
sophisticated, precise, and

et
artful effects through their
almost infinite
changeability.
B

6 Channels
Summary Alpha Channels

This chapter explains: You use alpha channels to determine how much of
the front image shows over the back image(s).
• “About Channels” on page 128
If you are looking through a keyhole inside a room,
• “Using View Modes” on page 130
then the door is the front, the keyhole is the alpha,
• “Creating an Alpha Channel” on page 130 and the room is the back. Combined together, these
layers form a composite. The following illustration
• “Importing Files with Existing Alpha Channels” on
shows the function an alpha channel performs when
page 136
compositing.
• “Using Stencils” on page 138
• “Editing Channel Effects” on page 147
• “Editing Channel Effects” on page 147

• “Removing Channel Effects” on page 148 Front
• “Rendering Alpha Channels” on page 153
Alpha
About Channels
Channels contain image color information. For
instance, an RGB image has three channels: one for
Back
red (R), one for green (G), and one for blue (B).
When you start a new workspace, color channels
and an alpha channel are created automatically.
Color channels show the amount of the corre-

sponding color present in the clip using an 8-bit
grayscale image. Each workspace has three color
channels, one each for red, green, and blue.
Composite
The alpha channel uses an 8-bit grayscale image to
determine which pixels are opaque and which are
If you render out the contents of the alpha channel,
transparent for each frame. It is represented by a
you get what is called a matte.
grayscale image embedded in the file. The grayscale
value determines the opacity: white pixels are A matte can be completely black and white (called a
opaque (100% opacity); black pixels are transparent “hi-con” for high-contrast), or can contain many
(0% opacity); and gray pixels represent varying shades of gray. In video and film, mattes are rarely
degrees of opacity. static, and are rarely pure black and white. Any areas
of the front containing transparency (glass, smoke,
curly blond hair) or motion blur will appear in the

About Channels ❚❘❘
matte as gray areas, allowing the transparent (or these issues, such as blur, shrink, and erode. For
blurred) areas to partially show through. more information, see “Refining Your Matte Using
Matte Controls” on page 134.
The process of generating a matte (from bluescreen,
for example) is also known as “pulling” a matte. In addition to these concerns, broadcast TV and
Getting as close as possible to the perfect matte is film have their own matte demands. Video footage
perhaps the most important part of compositing. may sometimes contain jagged fields (because of
Because you are superimposing layers on layers with rapid movement, for example) and may require
the aim of creating a “reality,” any imperfections in blurring or de-interlacing before the matte is pulled.
the matte can become glaringly obvious and ruin the You may also find a lot of noise in one or more of the
illusion. channels (red, green, and blue), making the matte
“sizzle” around the edges and perhaps causing indi-
vidual pixels to disappear from the matte. Each type
of film stock, in turn, has a distinct grain, which
necessitates the use of a common film stock when
shooting the different elements of the composite.
FRONT BACK
You can also use degraining before pulling the matte
and regrain the entire composite branch afterwards
to match the grain. For more information on
degraining and regraining, see “Example 2:
Degraining and Regraining” on page 152.
Supported File Formats

Matte is too loose. Matte is good. Matte is too tight. Combustion supports the following file formats that
can include alpha channels:
• QuickTime (with certain codecs only)

• PICT
• Targa
Too much color The Front and Too much hair is • Photoshop
spill is visible Back merge “eroded” away.
around fine hair. together well. • PICS
• Filmstrip
If the matte is too tight to the subject, the edges and
any fine detail (such as curly hair) will be lost. • ElectricImage
Conversely, if the matte is too loose to the subject, • PNG

there will be color spill, meaning that the blue- or • RLA
green-screen origins of the material will be
apparent. Combustion contain tools to manage • SGI

6 Channels
• TIFF Color Only — Displays the color channels (RGB),

but ignores the alpha channel information. Use this
mode to view the color imagery that is not
Using View Modes premultiplied.
You can look at any channel in your viewport using
the different view modes. Several view modes show Red — Displays only the red channel as an 8-bit
multiple channels simultaneously (such as alpha grayscale image.
overlay). When you are looking at an individual
channel, the image is displayed in grayscale. Green — Displays only the green channel as an 8-
bit grayscale image.
To switch between view modes:
Blue — Displays only the blue channel as an 8-bit
1. Select the viewport, then choose Window | View
Mode. grayscale image.
A menu appears containing all the view modes. The
Alpha — Displays only the alpha channel as an 8-
current view mode is checked.
bit grayscale image.
2. Choose the view mode corresponding to the
channel you want to see. Inverted Alpha — Displays and inverts only the
The image in the active viewport changes to show alpha channel.
the selected channel(s).
Note: You can also right-click a viewport and Creating an Alpha Channel
choose View Modes followed by the view mode If a layer does not contain transparency information
corresponding to the channel you want to see.
on the alpha channel, you can create transparency
Normal — Displays RGB color (or a normal using any of the following tools: masks, Paint, or
image). Use this mode to view the normal color keyers. These tools are describes in the following
image for your composite or paint branch. sections.
This view mode is the default setting.

Creating Alpha Channels with
Transparent — Displays RGB color, with alpha
Masks
channel information represented as a checkerboard
Use masks to modify a layer’s alpha channel, thus
pattern behind the original footage. The checker-
creating areas of transparency on the specified layer.
board pattern corresponds to areas of varying
You can then use the visible portion of the layer in
transparency.
your composite.
Alpha Overlay — Displays the RGB color chan- For information on using masks, see Chapter 7,
nels, and overlays the alpha information in semi- “Using Masks.”
transparent red.

Creating Alpha Channels with Keyers ❚❘❘
Creating Alpha Channels with • IFF keyer. This tool is most useful for complex key-
Keyers ing. For information on the Keyer, see “Keying” on
You can key out a specific color or range of similar page 337.
colors from a clip. When keying, the front image
becomes transparent where a color (or range of Using the Linear Keyer
colors) is keyed out. The Linear Keyer gives you a fast and easy way to
composite a front layer on top of a back layer. It is
most suitable for keying out backgrounds shot in
front of relatively uniform blue or green screens
(chroma key). For more complicated keys, use the
Keyer.
FRONT
The Linear Keyer is also useful for pulling simple
keys based on luminance values (luma key), such as
COMPOSITE compositing red letters over a black background into
a composite.
BACK The Linear Keyer is made up of the following

elements.
After keying out a specific color, switch the view
mode to Alpha to see the way the alpha channel is
affected by the keying operation. In the previous
example, the alpha channel for the front layer looks
like this:
Output — Outputs the front layer, the generated

matte layer, or the composite. Select Matte from the
ALPHA
Output list if you want to render a separate matte
from the front layer.
You can perform keying using the following tools:
• Linear Keyer. This tool is useful for simple keys. For Tolerance — Specifies the range of colors that are
information, see “Using the Linear Keyer” on page keyed out (made transparent). Increase tolerance to
131. remove colors further away from the key color. For
blue or green screen work, you typically adjust this
• Difference Keyer. This tool is useful for creating a slider until the key color fringe is removed from the
matte for a clip that was not shot in front of a blue- image.
screen. For information on the Difference Keyer, see
“Using the Difference Keyer” on page 132. Cleanup — Hardens soft edges and semi-trans-
parent regions in the key.

6 Channels
Spill Removal — Adjusts the amount of the key 4. Drag the Tolerance value until the background
color that is removed from the main portions of the color disappears. A value around 20-25% often pro-
footage. In many cases, a subject shot on blue or duces good results.
green screen contains some color spill of the back- ▲ When the Tolerance value passes a certain
ground onto the foreground subject; use this slider level, you may begin keying out portions of the
to color-correct the foreground, removing color image you want to keep.
shades similar to the key color.
5. You can remove more of the unwanted back-
ground color from the matte using the Cleanup slid-
Key Color — Specifies the color to key out. You can
er. Usually a Cleanup value of 100% works best.
specify the key color in two ways: click the color box
and select a color in the Pick Color dialog, or click 6. After you finish adjusting the key controls, the
key color is removed and the back layer appears.
the Pick button, and then click a color in the
viewport. To pull a luma key using the Linear keyer:
To pull a chroma key using the Linear keyer: 1. Place a front layer (such as brightly colored text
in front of a black background) over a back layer,
1. Place a front layer (shot in front of a green or blue then select the front layer.
screen) over a back layer, then select the front layer.
2. Choose Operators | Keying | Linear Keyer.
2. Choose Operators | Keying | Linear Keyer.
The Linear Keyer controls appears.
The Linear Keyer controls appears.
3. Click the Key Color box.
Note: When using the Linear keyer, it is easiest to The Pick Color dialog appears.
attain good results when Feedback is enabled. This
lets you see the way the key changes on-the-fly as 4. Select Black (R=0, G=0, B=0), then click OK.
you change keyer parameters. If you do not use the
If the black ground was uniformly black, you should
Feedback option, you can see the effects of the key
in a thumbnail preview to the right of the Linear not need to adjust any values.
Keyer controls.
▲ If you set the tolerance too high, the text
changes color.
The luma key is complete.
Thumbnail Using the Difference Keyer

updates to show Use the Difference Keyer to generate a matte clip
keyer results
from two source clips with the same background but
different foreground elements. This allows you to
3. Click the color picker button , then click

anywhere in the solid background color.

Creating Alpha Channels with Keyers ❚❘❘
remove an image from one context to add it to Difference Keyer Controls

another. The Difference Keyer is made up of the following
elements.
RGB or YUV — Click one of these buttons to

specify the color model to use for the difference
matte.
Matte produced using the Difference Output — Click a button under this heading to
Keyer from above images.
specify a difference key output. You can choose
Sometimes you do not have the luxury of shooting Front, Back, Matte, or Result.
your subject in front of a blue screen. In this case,
you can use the Difference Keyer to create a matte for Gain — Use this slider to boost the matte. The
the subject. To do this successfully, you need the clip difference keyer multiplies the values of the pixels in
of the subject, and a still image (or a clip) of the the result clip by the Gain.
background with no subjects.
Lift — Use this slider to add the Lift value to all
The difference matte effect calculates the difference pixels in the difference matte.
between corresponding pixels of the two source
images. The value of the pixel in the back image is R, G, or B — Enable the color channel(s) to use for
subtracted from the value of the corresponding pixel the difference matte. You can use any of the Y, U, or
in the front image, and the resulting absolute value is V channels in the YUV color model, or any of the R,
used in the difference matte. G, or B channels in the RGB color model.
The matte is created using the Tolerance and Soft-
Tolerance — Set the tolerance for the matte by
ness values that you specify. The Tolerance value
clicking the color box next to the Tolerance field in
specifies the difference level that is considered black.
the same row as the color channel you are using.
A higher Tolerance value includes more black in the
Drag the color picker around the area of the image to
matte. The Softness value is used to soften the tran-
matte out.
sition between the light areas and the dark areas of
the matte by adjusting the amount of gray at its Note: You can also set the tolerance for the matte
edges. Gray information is not included in the matte directly in the Tolerance fields.
when the Softness is zero. Use a higher Softness
value to increase the gray.

6 Channels
Softness — Set the softness for the matte using 7. Choose the color channel(s) to use for the differ-
either the Softness field or the color box beside its ence matte.
field. 8. Set the tolerance for the matte by dragging the
picker around the area of the image to matte out.
Note: You can also set the softness for the matte
directly in the Softness fields. 9. Set the softness for the matte. Softness values
should be around zero for each color channel to pro-
Back Source — The Back Source field displays the duce a clean matte.
Footage operator that you are comparing to the front You can refine the edges later using matte controls.
layer. Click the Set button to pick a new Back Source. For more information, see “Refining Your Matte
Using Matte Controls” on page 134.
Reset All — Click this button to reset all difference
keyer parameters to their default settings. 10. Use Gain or Lift as needed.
To use the Difference Keyer: Refining Your Matte Using Matte

1. Load a front clip and a back clip into a Combus- Controls
tion composite branch. Matte controls allow you to shrink, erode, or blur the
2. In the Workspace panel, select the front layer. edges of a matte. This is useful for making the
affected layer blend more realistically into your
3. Choose Operators | Keying | Difference. composite.
The Choose Background Source dialog appears.
You can use the matte controls for files with
embedded alpha channels, mattes created using the
keyers, or any other layers or effects that act on a
layer’s alpha channel.
Matte Controls
The Matte Controls panel is made up of the
following elements.
4. Select the Footage operator for the back layer.

The Difference Keying controls appear.
5. Under the Output heading, click the Matte but-
ton to display the resulting matte clip. Shrink — Removes pixels from the edge of the
6. Choose the color model to use for the difference matte. Click Shrink and set the shrink width — the
matte. You can use either RGB or YUV.

Creating Alpha Channels with Paint ❚❘❘
number of pixels to add or remove from the edge of To draw on a layer’s alpha channel:
the matte. 1. In an empty composite branch, import a front
layer and a back layer. In this example, the following
Erode — Creates a transparency gradient at the layers are used:
edge of the matte. Click Erode and set the erode
width in pixels.
Matte Filter — Applies a horizontal or vertical blur

filter to the matte. Click Matte Filter and set the
number of pixels to blur in the vertical and hori-
zontal directions. By default a proportional FRONT
Gaussian blur is used. You can set the blur to Box in BACK
the Filter Type list.
2. In the Workspace panel, select the front layer.
Note: You should not use shrink, erode, or blur
when the subject in the front clip has detailed soft 3. Choose Operators | Paint.
edges (such as hair). The selected layer appears in Paint.
To refine a matte using the matte controls: 4. Choose Window | View Mode | Alpha Overlay.
1. With a matte layer selected, choose The image does not change immediately, but when
Operators | Keying | Matte Controls. you draw on the alpha channel, semi-transparent
The Matte Controls appear. red appears indicating areas of transparency.
2. Enable and adjust the Shrink, Erode, or Blur Note: You do not see the composite in this view
sliders to arrive at the right degree of edge softness. mode. However, you can set another view port to
show the result of the matte in context of the
composite.
Creating Alpha Channels with 5. Click the Toolbar tab, then click the Filled Ellipse
Paint button .
Use Paint to draw directly on a layer’s alpha channel.
6. Click the color box to pick a paint color.
This is useful for retouching mattes or isolating a
part of a clip. Note: When you are working on the alpha
channel, only grayscale colors ranging from white
to black are available.

6 Channels
• Select black to remove areas from the front layer. You return to the composite (and can see what our
subject is thinking about).
• Select varying shades of gray to create areas of par-
tial transparency.
• Select white to add areas back to the front layer.
7. Draw a series of circles in the shape of “thinking

bubbles.”
8. When you have completed drawing the on the Importing Files with Existing
alpha channel, choose Window | View Mode | Alpha Alpha Channels
to see what the alpha channel looks like. If the footage you import contains an alpha channel,
Combustion automatically uses it to determine the
layer’s transparency. If there is no alpha channel in a
clip or still image, Combustion automatically creates
a default one. The default alpha channel has no effect
on a clip’s transparency. You can modify the alpha
channel using Paint, a keyer, a mask, or various
channel effects.
For example, you can create an animated 3D logo in

3D Studio MAX and render it with an alpha channel.
9. Choose Window | View Mode | Normal.
You can then import the logo into Combustion and
You return to the normal view mode. build a composite using any clip as a background for
10. In the Workspace panel, double-click the com- your logo.
posite.
Interpreting Alpha Channels
In some cases, certain file formats may be inter-
preted incorrectly. For example, if you notice
fringing or other unusual edge artifacts in your
image or clip, change the footage channel settings.
You can modify an interpretation for each layer by

selecting or changing the type of alpha channel

Importing Files with Existing Alpha Channels ❚❘❘
present in the footage item, inverting the alpha Color — Ignores the alpha channel information
channel, or turning it off altogether. present in the footage and displays only the RGB
color information.
Alpha channels are displayed over a background
color or transparency, depending on the view mode.
Alpha — Ignores the RGB color information
For more information, see “Using View Modes” on
present in the footage and displays only the alpha
page 130.
information.
To change a layer’s alpha channel settings:
Color+Alpha — Interprets both the color channels
1. Select the layer in the active viewport. and the alpha channel.
2. In the Workspace panel, expand the appropriate
Branch, composite, and layer, and then select the Guess — Combustion determines the type of alpha
Footage. channel present in the footage. This option is used
when the footage file is first opened.
Inverted Alpha — Inverts the alpha channel.

When checked, pixels that were opaque become
transparent, and vice versa.
Premultiplied with — Interprets the color

channel as premultiplied.
Premultiplied color channels combine the color

The Footage Controls panel appears. information with the alpha channel information by
using a specific color as a base, almost always white
or black. Deselect this option to interpret the alpha
channel as a straight alpha channel (that is, a 256-
level grayscale image embedded in the file).
Enabling this option helps eliminate a problem that

occurs when an image has already been composited
over a background with an alpha channel, but then
saved with that same alpha. So if you see a fringe
around a composited image, try enabling the
Premultiplied option in the Footage operator for
Channels & Alpha
that layer.
3. Click Source.
Note: Make sure to set the Premultiplied color to
4. Use the options under the Channels & Alpha the color of the fringe.
heading to determine how the alpha channel is inter-
preted. You can use the following interpretation
modes:

6 Channels
Color box — Specifies with which color the RGB layer 90 degrees, the composite will change to reflect
channel is premultiplied. Click the color square and the transformations applied to the stencil layer.
select a color using the picker.
Note: If you are importing images created in

Adobe Photoshop, the alpha channel corresponds
to channel 4 in a Photoshop document.
FRONT
Using Stencils Relative position of
Stencils allow you to use one layer as a matte for Stencil layer versus Front
another. Transformations to the stencil layer affect layer.
the way the front layer and back layer are

composited. BACK
FRONT Position of Stencil

layer versus Front
layer.
COMPOSITE
To apply a stencil to a layer:

BACK 1. Load a front layer, a back layer, and a matte layer.
2. Stack the layers so the front layer is on top of the
back layer.
3. In the Workspace panel, select the front layer.
4. In the Composite Controls panel, click the Sur-
face button.
COMPOSITE
The stencil’s effect on the front layer changes

depending on the relative position of the stencil with
respect to the front layer. So, if you rotate the stencil

Applying a Matte to a Layer ❚❘❘
5. Under the Stencil Layers heading, select the Animating Stencils

Matte layer from the Stencil Layer list. You can adjust and animate any of a stencil layer’s
transform properties as you would any other layer in
Combustion. In addition, you can animate the
stencil layer independently from its foreground
layer. To make a stencil follow exactly the transforms
of the layer to which it is applied, use layer parenting.
For information on animating layers in general, see

Stencil Layer list
“Creating Animations” on page 171.
Note: You can also click the Pick button and then
click the Matte layer in the active viewport. Applying a Matte to a Layer
If you have a video clip and a corresponding matte
clip that was created separately from the video (not
• Click Alpha to apply the Matte layer’s alpha channel on the alpha channel), you can use the Set Matte
to the front layer. effect to easily composite the clips over a back clip.
Note: The matte layer must contain an alpha By linking the clips together, the matte layer acts as
channel to use the Alpha button. an alpha channel for the front video layer.
• Click Luma to create a matte from the luminance Set Matte differs from stencils in that the matte layer
values of the matte layer. Use this option when your follows the front layer transforms. You cannot move
matte layer is an 8-bit grayscale clip. these layers independently from one another.
• Click Invert to either create a matte from inverted

luminance values of the matte layer or invert the
matte itself. The following illustration shows the ef-
fects of an inverted luma stencil.
FRONT BACK
Front composited over Front composited over back MATTE COMPOSITE

back using luma stencil. using inverted luma stencil.
Note: To follow this example, you must have previ-

Note: Stencil layers are automatically hidden from ously digitized a back clip, a front video clip and a
view because their Invisible to Rays and Invisible to corresponding matte layer clip.
Camera settings are turned on when you apply the
stencil.

6 Channels
To use an existing matte clip: 8. Select the Footage operator under the Matte Lay-
1. Choose File | Import Footage to import the back, er and click OK.
front, and matte clip into Combustion.
The file browser appears.
2. Load the appropriate files and click OK.
Note: Make sure the front and matte clips are Matte
synchronized (the first matte frame corresponds to Layer
the first front layer frame, and both sequences have footage
the same total number of frames).
3. On the Workspace panel, adjust the layer stack-

ing order so that the front clip is on top of the back
clip. The matte layer clip should be turned off.
4. Click the composite, then click the Timeline tab.
5. In the Timeline, select the Front clip. 9. From the Input Channel list, select Luminance.
A matte is applied to the clip. You can see the front
layer applied over the back layer.
Front clip Using Channel Effects

You can modify the individual color channels of the
image using channel effects. They are useful for
applying color correction, or mathematical opera-
tions on color channels, without changing the whole
image. For example, you can use a channel effect to
change the red portion of a clip without affecting the
green or the blue.
6. Choose Operators | Channel | Set Matte.
Set Matte Controls panel appears. The channel effects include:
• Alpha Arithmetic on page 141.
• Blend on page 141.
• Compound Alpha Arithmetic on page 142.

• Compound HSV Arithmetic on page 142.
• Compound RGB Arithmetic on page 143.

7. Click the Layer button.
• HSV Arithmetic on page 144.
• Invert on page 144.

Using Channel Effects ❚❘❘
• Minimax on page 144. click the color square to choose a color from the
Color Picker.
• RGB Arithmetic on page 145.
• Set Matte on page 145. Blend — Specifies the percentage amount for
which the channel effect is visible over the original
For more information on operators in general, see
layer. Values below 100% allow you to see the orig-
Chapter 14, “Filters.”
inal layer.
Using Alpha Arithmetic

Using Blend
Use Alpha Arithmetic to apply specific mathemat-
Use Blend to merge (blend) the current layer with
ical operations to the alpha channel.
another layer.
To apply an Alpha Arithmetic filter:
To apply a Blend filter:
2. Choose Operators | Channel | Alpha Arithmetic.
2. Choose Operators | Channel | Blend.
The Alpha Arithmetic controls appear.
The Blend controls appear.
The Blend controls are made up of the following

The Alpha Arithmetic controls are made up of the
elements.
following elements.
Amount — Controls the amount of blending. At
Operator — Specifies which mathematical opera-
0% the layer is unaffected: at 100% the current layer
tion is applied to the alpha channel. For a complete
is completely replaced by the blend layer.
list of options, see “\Operator List Options” on page
146.
Layer — Specifies the layer with which the current
layer is blended. To remove a layer, click the Layer
Operand — Specifies the intensity of the selected
button, then click the None button in the Operator
operator. The effect depends on the mathematical
Picker dialog.
operator specified. In most cases, 0% applies no
mathematical operations, while 100% is full inten-
sity of the selected operator.
Undefined Areas — Specifies the color used to fill

in the blank (0% opacity) areas of the image. Click
the Pick button to select a color from the screen, or

6 Channels
Method — Specifies the technique used to blend The Compound Alpha Arithmetic controls are made
the two layers. up of the following elements.
Select: To: Operator — Specifies which mathematical opera-

Cross- Dissolve (fade) one layer’s pixels into tion is applied to the alpha channel. For a complete
fade another’s. list of options, see “\Operator List Options” on page
Color Apply the hue and saturation of the 146.
blend layer to the pixels in the current
layer. Layer — Specifies the layer to be used as the source
Tint Apply the hue of the blend layer to the for the mathematical operations. When you click
pixels of the current layer. this button, the Operator Picker dialog appears
Lighten Blend pixels only where the blend layer allowing you to specify a layer.
only is lighter than the current layer. As a re- To remove a layer, click the Layer button, then click
sult, the Blend effect lightens the cur-
the None button in the Operator Picker dialog.
rent layer.
Darken Blend pixels only where the blend layer Input Channel — Specifies which channel of the
only is darker than the current layer. As a re-
source layer is used. Available channels include:
sult, the Blend effect darkens the cur-
rent layer. Luminance, Red, Green, Blue, Alpha, Hue, Satura-
tion, and Value.
Using Compound Alpha Arithmetic Undefined Areas — Specifies the color used to fill
Use the Compound Alpha Arithmetic to set the in the blank (0% opacity) areas of the image. Click
alpha channel of a layer using another image in the the Pick button to select a color from the screen, or
composite. click the color square to choose a color from the
color picker.
To apply a Compound Alpha Arithmetic filter:
1. Select the layer. Blend — Specifies the percentage amount for which
the channel effect is visible over the original layer.
2. Choose Operators | Channel | Compound Alpha
Arithmetic. Values below 100% allow you to see the original
layer.
The Compound Alpha Arithmetic controls appear.
Using Compound HSV Arithmetic

Use Compound HSV Arithmetic to apply specific
mathematical operations to the separate Hue, Satu-
ration, and Value channels of your layer using
another layer as a source. Each channel has a sepa-
rate Operator, Layer, and Input Channel list.

To apply a Compound HSV Arithmetic filter: Using Compound RGB Arithmetic

1. Select the layer. Use Compound RGB Arithmetic to apply specific
mathematical operations to the separate Red, Green,
2. Choose Operators | Channel | Compound HSV
Arithmetic. and Blue channels of your layer using another layer
as a source. Each channel has a separate Operator,
The Compound HSV Arithmetic controls appear.
Layer, and Input Channel list.
To apply a Compound RGB Arithmetic filter:

2. Choose Operators | Channel | Compound RGB
Arithmetic.
The Compound RGB Arithmetic controls appear.
The Compound HSV Arithmetic controls are made

up of the following elements.

tion is applied. For a complete list of options, see
“\Operator List Options” on page 146.
Control s are available for Hue, Saturation, and The Compound RGB Arithmetic controls contain
Value. the following elements.
Layer — Specifies the layer to be used as the source Operator — Specifies which mathematical opera-
for the mathematical operations. To remove a layer, tion is applied. For a complete list of Operator
click the appropriate Layer button, then click the options, see “\Operator List Options” on page 146.
None button in the operator Picker dialog.
Operators are available for Red, Green, and Blue.
Control s are available for Hue, Saturation, and
Value. Layer — Specifies the layer to be used as a source
for the mathematical operations. To remove a layer,
Input Channel — Specifies which channel of the click the appropriate Layer button, then click the
source layer is used. Available channels include: None button in the Operator Picker dialog.
Luminance, Red, Green, Blue, Alpha, Hue, Satura-
tion, and Value. Layer controls are available for Red, Green, and Blue.
Blend — Specifies the percentage amount for Input Channel — Specifies which channel of the
which the channel effect is visible over the original source layer is used.
layer. Values below 100% allow you to see the orig- Input channel controls are available for Red, Green,
inal layer. and Blue.

6 Channels
Blend — Specifies the percentage amount for which Typically, 0% applies no mathematical operations,
the channel effect is visible over the original layer. while 100% is full intensity of the selected operator.
Values below 100% allow you to see the original
Operands are available for the Hue, Saturation, and
layer.
Value channels.
Using HSV Arithmetic Blend — Specifies the percentage amount for which
Use HSV Arithmetic to apply specific mathematical the channel effect is visible over the original layer.
operations to the Hue, Saturation, and Value chan- Values below 100% allow you to see the original
nels. Each channel has an separate Operator list and layer.
Operand slider for specifying settings
independently. Using Invert
Use Invert to invert the color information in the area
To apply an HSV Arithmetic filter:
to which it is applied.
2. Choose Operators | Channel | HSV Arithmetic. To apply an Invert filter:
The HSV Arithmetic controls appear. 1. Select the layer.

2. Choose Operators | Channel | Invert.
The Invert controls appear.
The HSV Arithmetic controls contain the following The Invert controls contain the following elements:
elements.
Channel — Determines which channels are
Operator — Specifies which mathematical opera- inverted: choose RGB to invert all color channels, or
tion is applied to the selected channel. For a choose Red, Green, or Blue to invert these channels
complete list of options, see “\Operator List separately.
Operators are available for the Hue, Saturation, and Using Minimax
Value channels. Use Minimax to change pixels to their minimum or
maximum value within the range of the radius
Operand — Specifies the intensity of the selected sliders, depending on the effect method you select.
operator for the specified channel. The effect You can use this effect to expand or shrink bright
depends on the mathematical operator specified. areas of an image, with independent control over the
horizontal and vertical intensity of the effect.

To apply a Minimax filter:

Use: To:
Max then Min Apply a maximum operation
2. Choose Operators | Channel | Minimax. within the specified radius then
apply a minimum operation with-
The Minimax controls appear.
in the same radius in a second
pass.
Using RGB Arithmetic

Use RGB Arithmetic to apply specific mathematical
operations to the Red, Green, and Blue channels. All
channels have an individual Operator list and
The Minimax controls contain the following Operand slider for specifying settings
elements. independently.
Horizontal Radius — Determines the horizontal To apply an RGB Arithmetic filter:

distance from each pixel the effect takes into 1. Select the layer.
account.
2. Choose Operators | Channel | RGB Arithmetic.
Vertical Radius — Determines the vertical The RGB Arithmetic controls appear.
distance from each pixel the effect takes into
account.
Method — Sets the type of effect applied to the

pixels. The following Methods are available.
Use: To:
Minimum Compare the value of pixels with-
in the range of the radius sliders
and set those pixels to the mini- The RGB Arithmetic controls are made up of the
mum value in the range. This has following elements
the effect of shrinking bright ar-
eas and expanding dark ones.
Maximum Compare the value of pixels with- tion is applied to the specified channel. For a
in the range of the radius sliders
complete list of options, see “\Operator List
and set those pixels to the maxi-
mum value in the range. This has Options” on page 146.
the effect of expanding bright ar- Operators are available for the Red, Green, and Blue
eas and shrinking dark ones.
channels.
Min then Max Apply a minimum operation with-
in the specified radius then apply Operand — Specifies the intensity of the selected
a maximum operation within the
operator for the specified channel. The effect
same radius in a second pass.

6 Channels
depends on the mathematical operator specified, but The Set Matte controls appears.
in most cases, 0% applies no mathematical opera-
tions, while 100% is full intensity of the selected
Operator.
Operands are available for the Red, Green, and Blue

channels.
Blend — Specifies the percentage amount for which

3. Click the Layer button, and then select the oper-
the channel effect is visible over the original layer.
ator to use as a matte from the Operator Picker dia-
Values below 100% allow you to see the original log.
layer.
4. From the Input Channel list, select which chan-
nel in the matte layer sets the alpha channel of the
Using Set Matte other layer. For example, select Luminance to set al-
The Set Matte effect allows you to use one operator pha to zero where pixels are black, and to 100 where
(footage, or any other operator) as the alpha channel pixels are white.
for another. 5. Use Undefined Areas to specify the color used to
fill in the blank (0% opacity) areas of the image.
It makes it easy to use one layer to modify several
Click the Pick button to select a color from the
layers in the composite branch. For example, you
screen, or click the color square to choose a color
can use the alpha channel from a keyed image to from the color picker.
modify several layers by applying a Set Matte effect
6. Set the Blend value to a value below 100% to par-
to each layer whose transparency you want to
tially see through to the original layer.
modify.
Note: Transformations to the layer that you are \Operator List Options
using as the matte layer are disregarded. If the The Operator list appears in most channel effect
matte layer’s dimensions differ from the front
controls. The options in this list specify which math-
layer’s, the matte layer is scaled so the two layers
match. ematical operation is applied to the selected channel.
The following operators are available.
To use the Set Matte effect:
1. Select the layer to which you want to apply a None — Applies no calculation to the channel; that
matte (the layer whose transparency you want to is, turns the effect off. The Operand slider has no
modify). effect.
2. Choose Operators | Channel | Set Matte.
Set — Specifies a preset value for all pixels in the
channel. The Operand slider specifies which value is
used.
Add — Increases the channel levels by adding the

level set by the Operand slider to the current level of

Editing Channel Effects ❚❘❘
pixels in the channel. When used in Alpha Arith- Threshold — Converts channel pixels to either
metic the overall effect makes the footage more fully on or fully off. The Operand slider determines
opaque. the threshold value: channel pixels below the
Operand slider setting are turned fully off, while
Subtract — Decreases the channel levels by pixels with values above the Operand slider setting
subtracting the level set by the Operand slider from are turned fully on.
the current level of pixels in the channel. When used
in Alpha Arithmetic, it makes the overall effect more Screen — Multiplies the inverse of the Operand
transparent. slider setting with pixels in the channel. The new
pixel is always lighter than the existing one.
Multiply — Takes the value of pixels in the channel,
and multiplies it by the value specified by the
Operand slider. Editing Channel Effects
You can modify channel effect parameters after you
Difference — Uses the value of pixels in the apply an effect to a layer in your Workspace panel.
channel and the value set by the Operand slider and
calculates the difference between them. To edit a channel effect:
1. In the Workspace panel, expand the Branch,
Min — Compares the value of pixels in the channel composite, and the layer upon which you applied the
to the value of the Operand slider. If a pixel has the effect.
lower value, it is unchanged; if it has a higher value,
it is changed to the value of the Operand slider.
Max — Compares the value of pixels in the channel Expand Layer

to the value of the Operand slider. If a pixel has the
higher value, it is unchanged; if it has a lower value,
it is changed to the value of the Operand slider.
And — Applies a bit-wise logical AND operation

between the value of the Operand slider and the
channel.
2. Select the effect in the Workspace panel.
Or — Applies a bit-wise logical OR operation
channel.
XOR — Applies a bit-wise logical XOR operation

channel.

6 Channels
The channel effect controls appear in the appro- Examples of Using the Channel
priate control panel. Effects
The following examples illustrate ways of using
channel effects to arrive at specific results. Examples
for the following are included:
• Separating color channels to create a video effect

• Degraining and regraining Video
Example 1: Creating a Channel Effect

3. Make the necessary modification to the effect.
In this example, you learn how to create an effect
4. When you have completed editing the effect, where an image is split into three separate RGB color
double-click the composite operator in the Work- channels, moved out of phase (which makes a
space panel to return to the composite. blurred three-color composite), and recombined
into a normal image.
Removing Channel Effects Step 1: Start a new Workspace and Import

You can delete channel effects from a layer. Footage
To delete a channel effect: 1. Start Combustion, then choose File | New.
1. In the Workspace panel, expand the branch, 2. Select Composite from the Type list and enter
composite, and the layer upon which you applied the Channel_effect in the Name field.
effect. 3. Enter the following document settings:
2. Select the channel effect. • D1-NTSC
• Duration = 00:00:01:00
• Background Color = Black
Selected effect 4. Click OK.
A new composite branch is created.

The Import Footage browser appears.
6. Load a clip or sequence that is at least 30 frames
long.
3. Press the DELETE key.
The footage appears in the active viewport.
The effect is deleted.
7. Name the layer RedChannel. You can change a
layer’s name by selecting the layer in the Workspace

Examples of Using the Channel Effects ❚❘❘
panel, clicking the layer once, entering a new name The RGB Arithmetic Controls appear.
in the field that appears, then pressing the ENTER key.
Enter new
name here.
3. In the Green Operator list, select Set. In the Blue

Operator list, select Set.
8. On the Toolbar, click the Scale button . Green

Operator list
9. Click the layer in the active viewport to select it,
then hold down SHIFT and drag the layer so that it is
scaled to about 75% of the viewport. Blue
Operator list
Note: All Operands should be at 0%.
Because only the red channel remains in your image,

your image should now be comprised of black and
varying shades of red in the thumbnail preview.
Step 2: Create the Red Channel

Use an RGB Arithmetic channel effect to extract
both the green and blue channels from the image
leaving only the red channel.

2. Choose Operators | Channels | RGB Arithmetic.
Step 3: Make the Green and Blue Channels

Make copies of the RedChannel layer, then modify
the effect parameters to create separate Green-
Channel and BlueChannel layers.

6 Channels
1. Copy and paste the RedChannel layer two times. Because only the green channel remains in your
2. Rename one layer GreenChannel and the other
image, you should see black and varying shades of
BlueChannel. green in the thumbnail preview.
Renamed layers
3. In the Workspace panel, expand the GreenChan-

nel layer, and select the RGB Arithmetic operator. 5. In the Workspace panel, expand the BlueChan-
The RGB Arithmetic controls appear. nel layer, and select the RGB Arithmetic operator.
4. From the Red Operator list, select Set. From the The RGB Arithmetic controls appear.
Green Operator list, select None. 6. From the Red Operator list, select Set. From the
Green Operator list, select Set. From the Blue Oper-
ator list, select None.

Examples of Using the Channel Effects ❚❘❘
Because only the blue channel remains in your Step 5: Animate the Layers
image, you should see black and varying shades of Animate the position of each layer so that you see the
blue in the thumbnail preview. color channels of the image move out of phase then
return to a normal-looking image.
1. Move ahead 15 frames into the composite

branch.
2. On the Toolbar, click the Arrow tool.
Step 4: Use Transfer Modes to Combine the

Layers 3. One by one, move each layer slightly away from
Use the additive transfer mode to combine the the center in opposite directions.
“separated” color channels. You can partially see each channel now.
1. In the Workspace panel, select the BlueChannel In the middle of the viewport, where the layers
layer.
overlap, you see an out-of-phase composite of the
2. In the Composite Controls panel, click Surface. color channels.
3. In the Transfer Mode list, select Add.
Transfer Mode list
4. Set the Transfer Mode to Add for the RedChan-

nel and GreenChannel layers, then double-click
composite to see the layers in the active viewport.
Because you are seeing an additive mix between the
red, green, and blue channels, the image appears 4. Press the End key to move to the last frame of the
normal. composite branch.
5. Select a layer and double-click the Arrow button.
The Position dialog appears.

6 Channels
6. Click Reset to center the layer. The grain is less apparent. Try experimenting with
7. Center the other layers.
different values to see how further blurring the Blue
channel affects the image quality. While you are at it,
The image returns to a normal composite image.
try blurring the red and green channel as well.
8. Press Home to move back to the first frame of the
composite and press Play. Step 2: Regraining the Image
9. Try experimenting with the interpolation be-
After compositing with a degrained layer, it is a good
tween the keyframes to arrive at a more interesting idea to put some grain back in the image to make it
effect. For information on keyframing and interpo- fit in with the other layers (and, therefore, look more
lation, see Chapter 8, “Keyframing.” realistic).
To add grain to a composite:

Example 2: Degraining and
Regraining 1. Begin by nesting the composite into a new com-
In this example, you learn a way to remove grain posite. That way you can add grain over all layers at
once. To nest the layers in the composite, choose Ob-
from an image. This can be useful for pulling a
jects | Nesting.
cleaner key or matching footage that was shot on
different film stock. Afterwards, you reapply a
common grain to all footage to give it a uniform look
(thus more realistic).
Step 1: Removing the Grain

Typically, grain in video is found on the blue
channel. By applying a blur effect to the blue channel
only, you can make grain less apparent without
affecting the rest of the image.
1. With grainy footage already loaded into a com-

posite branch, select the layer.
2. Choose Operators | Blur/Sharpen | Channel 2. Click the Composition, then click OK.
Blur. The layers are nested into a new composite. To see
Channel Blur controls appear. the nested layers, click the Workspace tab.
3. Drag the Blue slider to a value of about 2.

Rendering Alpha Channels ❚❘❘
Note: Expand the Nested folder to see the old 9. On the Playback controls, enable Loop ,
composite. If you expand the old composite, you then click Play to see the effects of the
can see your original footage. grain over the composite.
3. To add grain over all layers at once, in the Work-
space panel, select the Nested Layers object.
Rendering Alpha Channels
4. Press Home to make sure you are positioned on Combustion automatically generates an alpha
the first frame of the composite. channel for composites. You can view this alpha
5. Choose Operators | Selections | Channel Selec- channel at any time, and render it embedded into the
tion. final movie or sequence, or to a separate movie or
6. In the Channel Selection Controls, select Blue sequence. Rendering a separate alpha channel is
from the Channel list. useful for creating footage that you can use in other
programs, or as a linear key in a traditional tape-
based editing suite.
To render the alpha channel:

2. Under the Video Output heading, select a file
format that supports alpha channels (such as a Targa
Sequence) from the Format list.
By selecting the blue channel only, you restrict any
further effects to the blue channel of the nested
composite only.
7. Choose Operators | Noise | Add Noise.

Add Noise controls appear.
Format list
8. Set Amount to about 10, enable Monochrome,
and enable Animate. For more information, see “Supported File Formats”
on page 129.
3. In the Name field, enter a name for the output al-

pha channel.
Noise is added uniformly to the blue channel of the

composite only. Name field
Note: Adjust the Amount value as needed to

4. Click Browse to navigate to a destination direc-
create more or less grain.
tory for the render file(s).

6 Channels
In the Channels box, the following options are

available:
5. Click one of the following:

• Click Color to render only the RGB color channels
of the clip.
• Click Alpha to render only the alpha channel.

• Click the Color+Alpha button to render both the
RGB color channels and the alpha channel.
• Enable Premultiply Color if you want to combine
the color information with the alpha channel infor-
mation using black as a base. If you are outputting
RGB images without alpha, you need to enable this
option to get an anti-aliased edge over the back-
ground (otherwise the edges may look somewhat
jaggy if you are compositing over a solid back-
ground).
• Click Invert Alpha if you want to reverse the trans-

parency of the image (pixels that were opaque be-
come transparent, and vice-versa).
For more information on rendering a composite,

refer to Chapter 21, “Rendering.”
6. Click Process to start rendering.
7. When rendering is finished, a “Render Process
Finished” message appears. Click OK.
8. After reviewing the render information, click
Close.

7 Using Masks
Combustion offers masking
tools of such precision and

a
with total control. Typical
usages such as wire and rig
removal become easier,

et
and a world of custom
effects becomes available
through these finely-
controlled mask areas.

B

7 Using Masks
Summary You can also use masks to create a transparency for

This chapter explains: elements of a clip that cannot be keyed out (for
instance, if the subject was not shot in front of a blue
• “About Mask Objects” on page 156 or green screen).
• “Mask Tool Interface” on page 157 In many ways, masks are similar to selections. When
• “Using the Mask Tools” on page 160 you select an area, the area outside the selection is, in
effect, masked. However, with a mask, any area that
• “Editing Masks” on page 163
is masked has an adjustable degree of transparency.
• “Deleting Masks” on page 164
Also, mask objects behave in the same way as Paint
• “Modifying Mask Transparency” on page 165 objects. Once you create a mask object, you can
adjust and animate its properties, stacking order,
• “Inverting Masks” on page 165
and shape.
• “Feathering Masks” on page 165
For information on using Paint objects, see “About
• “Combining Masks” on page 165. Objects” on page 200.
Creating Masks
About Mask Objects You can create masks at anytime when working in
Use mask objects to modify a layer’s alpha channel,
Combustion. Masking tools are available as opera-
thus creating areas of transparency on the specified
tors for creating masks directly on a layer in a
layer. You can then use the visible portion of the layer
composite. You can also create a mask directly in
in your composite.
Paint (when masking in Paint, the mask’s effect only
For instance, use a mask to make the sky in a fore- appears when you return to the composite or when
ground clip transparent and then place a more you render the mask).
dramatic sky in the background.
If you need only to create a mask for a layer, use the
Mask operator. If, however, you may need to retouch
an element of the layer, access the Mask tools from a
Paint operator.
To add a Mask operator to a layer in a composite:

1. Select the layer to which you want to apply a
Top Left: Original image with
plain blue sky.
mask.
Top Right: Image with 2. Choose Operators | Mask, then choose one of
masked out sky (mask is in the following.
black).
Left: Composite over Choose: To:
dramatic sky.
Draw Mask Access the mask tools and draw a
freehand mask.

Mask Tool Interface ❚❘❘
Choose: To:
those who are familiar with creating masks in their
workspaces. Learn more about how to use these
Elliptical Mask Access the mask tools and create
tools further on in this chapter.
an ellipse mask.
Rectangle Access the mask tools and create
Mask a rectangle mask. Mask Toolbar
The Mask Toolbar is divided into two sections: tools
3. Click the Toolbar tab. and the tool options. Each tool has its own set of
The Mask tools appear and the specified to is options.
selected.
Freehand Mask
Mask tools
Click the Freehand mask tool to draw a free-
hand mask.
Tool options
4. Begin drawing the mask on the layer. Make Curves
To access mask tools from a Paint operator:

1. Select the layer to which you want to add a mask. Enable the Make Curves option if you want to
modify control points for your freehand mask after
2. Choose Operators | paint to load the layer into
drawing it.
Paint.
3. Click the Toolbar tab to access the mask tools. Rectangular Mask
The Mask Controls appear at the bottom of the Click the Rectangular mask tool to draw a rect-
Toolbar. angular mask.
Mask tools
4. Select a mask tool.

You are ready to begin drawing the mask.
Mask Tool Interface

This section briefly describes all the mask tools in
Combustion. It is intended as a quick reference for

7 Using Masks
Use the Mode list to access various Rectangle The Mode list tool options give you access the
drawing modes. various Ellipse drawing modes.
Select: To: Select: To:

Normal Draw a rectangle mask of any Normal Draw an elliptical mask of any
size. This is the default setting. size. This is the default setting.
Holding Shift while dragging in Holding Shift while dragging in
Normal mode is the same as us- Normal mode is the same as us-
ing Constrained with a setting of ing Constrained with a setting of
1 and 1. 1 and 1.
Constrained Set a specific width-to-height Constrained Set a specific width-to-height
scale ratio. scale ratio.
In this manner, you can make In this manner, you can make
sure that any mask you draw is sure that any mask you draw is
scaled to the ratio H:W. scaled to the ratio H:W.
Fixed Sets specific rectangular dimen- Fixed Sets specific elliptical dimen-
sions. This is useful for drawing sions. This is useful for drawing
exact shapes quickly. exact shapes quickly.
First, set the mode to Fixed, enter First, set the mode to Fixed, enter
the object size in the X and Y the object size in the X and Y
fields, and then click to set the fields, and then click to set the
center point of the fixed shape. center point of the fixed shape.
Elliptical Mask Polygon Mask

Click the Elliptical mask button to draw an ellip- Click the Polygon mask tool to draw a polygon
tical mask. mask.
There are no tool options for the Polygon Mask tool.
Magnifying Glass Tool

Click the Magnifying Glass button to zoom in on
the viewport.
Grabber Tool
When you click the Grabber button , you can
adjust what you see in the viewport.

Mask Tool Interface ❚❘❘
Arrow Tool Use: To:

When you click the Arrow button , you can select
Mask objects in the active viewport. Subtract Subtract the current mask from all ex-
isting masks.
Intersect Create a new mask by taking only the
Modes Controls intersecting portion of the current
Use the Modes controls to modify how a mask mask and all previous masks.
affects the layer.
Feather
Use this slider to feather the edge of the current
mask(s).
Invert
Enable this option to invert the current mask(s).
Mask mode
list Anti Alias
Enable this option to soften the mask edges.
You can access these controls in Paint or in a
composite: Global Apply Mode
Use the items in the Global Apply list to specify how
• In Paint, on the Paint Controls panel, click the masks affect an existing alpha channel for the
Modes button. selected layer.
• In a composite, after adding a Mask operator to a
layer, click the Modes button on the Mask Controls
panel.
The Modes controls are made up of the following

elements.
Global Apply
Opacity list
Use the Opacity slider to set the mask’s opacity.
Use these settings when you are combining masks on
Mask Mode a layer to determine how the mask and the alpha
Use the items in this list to determine how new mask channel are combined.
objects behave when added to a layer or on top of
existing masks. Use: To:
Replace Replace the existing alpha channel
Use: To: with the current mask(s).
Replace Replace the existing mask objects Add Add the current masks to the existing
with the current mask. alpha channel.
Add Add the current mask to all existing Subtract Subtract the current mask(s) from the
masks. alpha channel.

7 Using Masks
To add a mask to a layer:

Use: To:
1. Import a front layer and a back layer. This exam-
Intersect Intersect the overlapping portion of
the current mask(s) and the alpha
ple uses the following layers.
channel.
Enable Invert to invert the mask/alpha combination.
Transform Controls
Use the Transform controls to adjust mask proper-
ties such as position, rotation, scaling, shear, and BACK
pivot point.
FRONT
2. Select the front layer (the layer to which you want

to add a mask).
3. Choose Operators | Mask, then choose one of
You can access these controls in Paint or in a the following.
composite:
Choose: To:
• In Paint, on the Paint Controls panel, click the
Draw Mask Add a Mask operator to the se-
Transform button. lected layer and begin drawing a
• In a composite, after adding a Mask operator to a Freehand mask object. For more
information, see “Freehand
layer, click the Transform button on the Mask Con-
Masks” on page 161.
trols panel.
Elliptical Mask Add an Elliptical mask object to
For information on using the Transform controls to the selected layer. For more in-
edit Mask objects, see “Editing Object Transform formation, see “Elliptical Masks”
Properties” on page 247. on page 161.
Rectangular Add a Rectangular mask object
Mask to the selected layer. For more in-
formation, see “Rectangular
Using the Mask Tools Masks” on page 162.
Use masks to create transparent areas on a layer. You
can create rectangular, elliptical, and freehand The selected layer opens in the Mask operator.
masks. When you draw a mask over a layer, the
4. As needed, select a masking tool and draw the
portion of the layer that the mask covers is not visible
mask on the layer.
(or partially visible depending on the mask’s opacity
section) in the composite. 5. To adjust the mask’s opacity, click the Modes
button on the Mask Controls panel, then adjust the
Opacity slider.

Using the Mask Tools ❚❘❘
6. To feather the mask’s edge, adjust the value in the Control points appear around the mask.
Feather field.
7. To invert the mask, enable the Invert button.
8. To adjust any of the mask’s transform properties
(position, rotation, scale, and pivot point), click the
Transform button on the Mask Controls panel and
make the necessary modifications.
Freehand Masks
Use the Freehand mask to draw a mask around the
appropriate area of the current layer. In the following
example, a freehand mask is used to completely
isolate the subject (Little Mermaid) from its original
background and composite it over the back layer. 7. Refine the mask as needed.
To draw a Freehand mask:
panel to return to the composite and see the results
1. Select the front layer (the layer to which you want of the masking operation.
to add a mask).
2. Choose Operators | Mask | Draw Mask.
The selected layer is loaded into the Mask operator.

4. On the Toolbar, click the Freehand mask tool
and enable Make Curves.
Freehand Make Curves

Mask tool option
Elliptical Masks
Use the Elliptical mask to mask out an elliptical
Note: Enable Make Curves to refine the edges of
the mask with control points after you finish portion on the current layer. In the following
drawing it. example, an Elliptical mask is used to partially
isolate the subject (Little Mermaid) from its original
5. In the viewport, draw the mask around the sub-
background and composite it over the back layer.
ject you want to isolate.
6. To refine the mask, select it, then click the Con-
trol Points option .

7 Using Masks
To draw an Elliptical mask: 6. Double-click the composite in the Workspace

1. Select the front layer (the layer to which you want panel to return to the composite and see the results
to add a mask). of the masking operation.
2. Choose Operators | Mask | Elliptical Mask.

The Mask operator opens and a default size ellipse
mask is added to the layer.
Rectangular Masks
Use the Rectangular mask to mask out a rectangular
portion on the current layer. In the following
example, a Rectangular mask is used to partially
3. Click the Toolbar tab. isolate the subject (Little Mermaid) from its original
background and composite it over the back layer.
4. On the Toolbar, click the Arrow tool .
5. In the viewport, use the bounding box to adjust To draw a Rectangular mask:
the size and rotation of the Elliptical mask. For in- 1. Select the front layer (the layer to which you want
formation on sizing and rotating with a bounding to add a mask).
box, see “Editing Object Transform Properties” on
page 247. 2. Choose Operators | Mask | Rectangular Mask.

Editing Masks ❚❘❘
The Mask operator opens and a default size rect- Editing Masks
angle mask is added to the layer. Once you create a mask, you can edit its shape, prop-
erties, mode, and so on. To see the mask edges more
closely, use the Magnify tool to zoom in when
editing masks.
To use the Magnify tool:

• Click to Zoom in.
• ALT-click (Windows) or OPTION-click (Macintosh)

to zoom out.
• Use the Grabber tool to scroll the image in the view-

port.
3. Click the Toolbar tab. • Double-click the Magnifying Glass to reset zoom to
4. On the Toolbar, click the Arrow tool . 100%.
5. In the viewport, use the bounding box to adjust To edit a mask:

the size and rotation of the rectangle mask. For in-
formation on sizing and rotating with a bounding 1. On the Workspace panel, double-click the Mask
box, see “Editing Object Transform Properties” on operator.
page 247.
panel to return to the composite and see the results
of the masking operation.
Mask
operator
2. Click the Toolbar tab to access the mask tools,

then click the Arrow tool and select a mask.
3. On the Mask Controls panel, click the Modes
button to edit the mask’s opacity, feathering, and
mix mode.
4. With the mask selected, click the Transform but-
ton to edit the masks position, rotation, scaling,
shear, and pivot point.

7 Using Masks
Note: You can also edit the mask’s shape, position, 6. Drag the control points to give the mask a differ-
and rotation in the active viewport as you would ent shape.
any object.
5. To change the shape of the mask, click the Con-

trol Points option .
The mask bounding box is replaced by control
points.
• CTRL-drag (Windows) or COMMAND-drag (Macin-

tosh) on a point to make it a Bezier control point
with tangent handles that you can drag to change the
shape of the curve.
7. Add a control point by clicking on the mask’s
outline. The following cursor appears when you can
add a control point:
8. Delete a control point by selecting it, then press-
ing the DELETE key.
Animating Masks
Animate mask shape and transform properties to
make a mask follow an area of a clip. You can
• Press CTRL (Windows) or COMMAND (Macintosh)
animate a mask object in the same way other objects
while dragging a tangent handle to toggle between a
are animated.
broken or continuous tangent handle.
For information about animating objects, see
Chapter 8, “Keyframing.”
Tracking Masks
Use the Tracker to track the motion on a clip and
apply that motion to your masks. This makes the
process of animating masks much faster. You can
track a mask object in the same way other objects are
tracked.
For information about animating objects, see

Chapter 17, “The Tracker.”
Deleting Masks
To delete a mask, select it and press the DELETE key.

Modifying Mask Transparency ❚❘❘
Modifying Mask Transparency Inverting Masks

To modify a mask’s transparency, select the mask, To invert a mask, select the mask, then enable Invert
and then adjust the Opacity slider in the Modes in the Modes controls.
controls.
Opacity slider
Invert button
The following example illustrates the effects of

An Opacity of 100% creates total transparent on the inverting a mask.
masked layer. Lower the opacity to see some of the
underlying layer through the mask.
Feathering Masks
To feather the edges of a mask, select the mask, and
then adjust the Feather amount in the Modes
controls.
Combining Masks
Once you create a mask using any of the mask tools,
you can add to the mask, subtract from the mask, or
Feather slider
obtain a mask from the intersecting portion of any
new mask that overlaps existing ones.
Note that if the layer contains transparency already

defined on the alpha channel, you need to use the
Global Apply mode settings to determine how the
alpha channel and mask(s) are combined.
Note: In the Timeline, combined, removed, or

intersected masks are differentiated from regular
masks by a symbol after the name of the selection
object. A (+) indicates a combined mask, a (-) indi-
cates a removed mask, and an (x) indicates an
intersected selection.

7 Using Masks
To combine mask objects: The second mask is removed from the first.
1. Draw a mask object.
2. In the Modes controls, select Subtract from the
Mask mode list. Remaining
mask
3. Select a masking tool and draw the second mask.
The mask are combined. Subtracted
portion of
mask
Note: Press CTRL (Windows) or COMMAND (Macin-

tosh) while drawing with any of the mask tools. Any
part of the new mask that overlaps the previous
mask is removed from the mask.
To intersect two selections:

Elliptical and Rectangular masks combined.
Note: You can also hold down the SHIFT key while 2. In the Modes controls, select Intersect from the
drawing masks with any mask tool to combine Mask mode list.
masks.
3. Select a masking tool and draw the second mask.
To remove a portion of an existing mask object: The resulting mask is the overlapping portion of the
first and second mask.
2. In the Modes controls, select Add from the Mask
mode list.
Elliptical
3. Select a drawing tool and draw the second mask. Mask Intersecting
portion of
masks
Rectangular
Mask
Note: Press CTRL-SHIFT (Windows) or COMMAND-

SHIFT (Macintosh) while drawing a mask that over-
laps another mask. When you release the mouse,

Combining Masks ❚❘❘
the resulting mask is the overlapping area of the

two original masks.

7 Using Masks

8 Keyframing
Combustion borrows the
2D cel animation term

a
"keyframing": you set your
characters or layers when
they "hit their marks" and

et
Combustion does the "in-
betweening". Interpolation
modes add character,
control, and realism.

B

8 Keyframing
Summary When you animate the position of a layer or object,

This chapter explains: you do not simply animate the layer’s position —
you animate its position along the X axis, the Y axis,
• “About Keyframing” on page 170 and the Z axis. Position is a category; X position is a
• “Enabling Keyframing” on page 171 channel.
• “Creating Animations” on page 171 To make a layer appear gradually over a span of two
seconds you have to import the layer, make it fully
• “Editing a Motion Path” on page 173
transparent, then move ahead two seconds into the
• “Timeline Overview” on page 175 video and make the layer fully opaque. Frames at
which you set the opacity become keyframes. The
• “Playback Controls” on page 180
opacity values for the frames between the keyframes
• “Creating Keyframes” on page 183 are calculated automatically using interpolation.
Interpolation is used to create smooth motion. It is
• “Editing Keyframes and Animation Curves” on
easy to change this animation: go to the first or last
page 184
keyframe and change the opacity for the layer. All in-
• “Cutting, Copying, and Pasting Keyframes” on between frames are recalculated automatically.
page 191
• “Deleting Keyframes” on page 191 Keyframing in Paint

You keyframe Paint objects, selection objects, and
• “Previewing an Animation” on page 192
mask objects in the same way you keyframe layers in
• “Linking Moving Layers” on page 193 a composite.
• “Animating with Onion Skin” on page 196 Unless otherwise specified, when referring to
keyframing layers in this chapter, the procedures
also apply to Paint, selection, and mask objects.
About Keyframing
For information on creating Paint objects, see
A keyframe is a point in time that records any change
“Creating a Paint Object” on page 238.
to a layer, light, camera, or object. All these elements
of your workspace can be broken down into catego-
ries, which are specific parameter that define the
appearance of the layers or objects (such as size,
position, or color). Layers and objects can have
many different categories. In some cases, there are
subsets of categories. These are called channels.
Note: In the Timeline, the word channel is used to

refer to subsets of categories that you can animate.
However, a channel also refers to the alpha channel
or the RGB channels.

Enabling Keyframing ❚❘❘
Enabling Keyframing In the following illustration, you can see how a layer
Before you can set keyframes to create any anima- moves across the viewport and fades in at the same
tion you have to toggle the Animate button. When time.
active, the Animate button is red.
First Keyframe In-between Frames Last Keyframe
When this button is turned off, you can adjust any

category at any frame, but the value does not change Creating a Motion Path
over time. The value of the category is set to the last When you keyframe a layer’s position, its movement
specified value for the entire clip. is represented by a motion path that you can easily
manipulate to control the animation. The simplest
form of motion path is a straight line between two
Creating Animations keyframes.
You can create many different forms of animation in
Combustion. For instance, your animation can be as
simple as a layer gradually floating across the screen
or slowly fading out. In contrast, you can create a
cartoon animation in Paint, then composite it as a
layer into a 3D workspace that uses motion paths
and camera movement to add to the sense of
motion.
Keyframe animation, in its simplest form, involves

selecting a layer, setting its property categories at one
frame, moving to another frame, and changing its
property categories. The values between the
keyframes are determined automatically using Motion starts here... ...and ends here.
interpolation.

8 Keyframing
However, you can add complexity (and realism) to There are procedures for applying a motion path to
movement by adjusting the shape of the motion path a layer in a composite and to an object in Paint.
between keyframes using the tangent handles.
To create a motion path for a layer in a composite:
1. In the Workspace panel, select the layer you want
to animate.
2. Use the playback controls to move to the first
The motion path starts here.

tool .
5. In the active viewport, drag the selected layer to
its starting position.
Between keyframes, layer moves up 6. Use the playback controls to move to the frame
and down along the motion path. where you want to create a second keyframe.
Use the motion path to visualize the movement of a 7. Drag the layer to its new location (you can also
layer and compare it to background elements; for rotate, scale, or adjust any other channel).
example, using the motion path you can easily align A keyframe is created, and the layer’s motion path
the movement of a composited boat with an aerial appears.
photograph of a meandering river. 8. Advance (or go back) to another frame, and
River Motion path Boat move the layer again to create another keyframe.
9. Continue adding keyframes until you achieve a
result you like.
The keyframes are joined by a motion path.
Edit the motion path to modify the layer’s direction

of movement. You can also align layers to a motion
path. For information on aligning to a motion path,
see Aligning Layers Along a Motion Path, on page
195.

Editing a Motion Path ❚❘❘
Also, curves are automatically applied to the motion A keyframe is created, and the object’s motion path
path to create smooth motion. appears.
To create a motion path for an object in Paint:

1. In the Timeline list or the active viewport, select
the object you want to animate (paint, mask, or se-
lection objects).
Note: This procedure is also applicable for objects

in Mask and Selection operators.
Grouped Paint
2. Use the playback controls to move to the first objects at start
and end of a
motion path.
The motion path starts here.

tool .
5. In the active viewport, drag the selected object
to its starting position.
6. Use the playback controls to move to the frame 8. Advance (or go back) to another frame, and
where you want to create a second keyframe. move the object again to create another keyframe.
7. Drag the object to its new location (you can also 9. Continue adding keyframes until you achieve a
rotate, scale, or adjust any other object category). result you like.
Editing a Motion Path

Once you create a motion path, you use the
keyframes and the tangent handles to adjust the
path’s shape.

8 Keyframing
To edit a motion path: can adjust the shape of the curve on either side of the
• To move a keyframe, click the Arrow tool and control point.
drag the keyframe in the active viewport.
Note: Once a handle is broken, you no longer have

to hold down CTRL (for Windows) or COMMAND (for
• To change the shape of the motion path between
Macintosh).
keyframes, drag the tangent handles at a keyframe.
• To smooth out broken tangent handles, CTRL-drag
(Windows) or COMMAND-drag (Macintosh) either of
the tangent handles.
• To create a sudden change of direction in the mo-

tion path, press CTRL (Windows) or COMMAND
(Macintosh) while dragging a tangent handle. The
tangent handle breaks at the control point and you

Timeline Overview ❚❘❘
Timeline list Timeline view Control buttons

The Timeline
Timeline Overview Choose this command again to return to the default

While a motion path illustrates how a layer moves in screen layout.
the animation, the Timeline provides an overall view
of all animated channels in the workspace. Before Navigating in the Timeline Hierarchy
you keyframe other categories, you should be When you access the Timeline, the layers and cate-
familiar with the Timeline. Use the Timeline to view gories you see depend on what is selected in the
and edit all keyframes. Workspace panel. For instance, if a composite is
The Timeline is divided in three parts: selected, then in the Timeline you see the layers in
that composite. If one layer is selected, you see that
• Timeline list: lists all the layers, objects, effects, and layer’s categories.
keyframes in the current branch or composite.
You can move up in the Timeline hierarchy to view
• Timeline view: depicts layers, objects, effects, and different layers, composites, and branches as you
keyframes over time in Graph or Overview mode. would in the Workspace panel. This allows you to
• Control buttons: controls various aspects of the see more detail in the Timeline.
Timeline view and animation.
Navigating to a Specific Level
Most of the time, you navigate through the layers
Resizing the Timeline and operators in your workspace using the Work-
If your system is equipped with a dual-monitor
configuration, you can place the viewports on one
monitor and enlarge the Timeline. This gives you
more space for manipulating your animation
channels.
To resize the Timeline:

Choose Window | Palettes | Expand Timeline.

8 Keyframing
space panel. However, you can also use the Timeline in parenthesis to its right. Click and drag the cursor
menu to navigate to any level in your workspace. over the value in parenthesis to increase or decrease
it. Press ALT (Windows) or COMMAND (Macintosh)
Timeline menu
while dragging to pan the Timeline list.
Layer icon
Expand
Triangles
Collapse
triangle
For instance, if you are working on a layer’s catego- Key icon
ries, but want to work on another layer, click the

Timeline menu and select composite. All layers in
the composite appear in the Timeline and you can
Paint object
adjust any categories as needed. Category
Navigating One Level at a Time

You can move up one level at a time in the Timeline Channels
hierarchy by clicking the Up Arrow above the Time-
line menu.
Up Arrow
The Timeline list is made up of the following
elements.
Use: To:
Layer icon Show the type of footage. The icon
varies depending on the type of
footage. Toggle the Layer icon to
show or hide the corresponding lay-
er.
A yellow icon indicates that it is visi-
ble in the viewports.
Timeline List
The Timeline list shows all the layers in the current Expand/ Display or hide categories or chan-
collapse tri- nels. Click the right triangle to ex-
workspace. This list is arranged hierarchically—the
angle pand an item. Click the downwards
first layer created or imported is at the bottom of the triangle to collapse an item.
list, and the most recent at the top. Expand the list to
display animation channels grouped in categories.
When a channel is selected, its current value appears

Value at current frame Y Position curve Positioner
Value axis Timecode axis Keyframes

Timeline in Graph mode
Use: To: Using the Timeline Views

You can view your composite in the Timeline in one
Key icon Turn keyframing on or off. If the key
is on (highlighted), a keyframe is set of two modes: Graph or Overview. Each displays a
when you change the category. If different view of layers, objects, and keyframes. To
the key is off, keyframes are not set display the Timeline in Graph or Overview mode,
automatically, and existing key- click the corresponding button in the Timeline
frames are disabled. controls.
Timeline Categories
Graph Mode
In the Timeline list, expand a layer to display its cate-
Graph mode shows the value of a category’s channel
gories and channels.
over time. Select a channel in the Timeline list to
Expand: To: display its graph line. Horizontal position represents
time, while vertical position corresponds to the
Global Set- Display ambient light and back-
channel’s value. If a channel has no keyframes, the
tings ground categories.
line is straight. In Graph mode, you can edit a
Transform Display position, scale, pivot, and keyframe’s value as well as its position in time. See
color categories.
Editing Keyframes and Animation Curves, on page
Geometry Display Crop, Control Point, and G- 184.
Buffer categories.
Surface Display surface categories such as
opacity, reflectivity, shading, and
transfer modes.
Operators Display filters, operators, and their
channels.

8 Keyframing
Overview Mode Note: The dotted lines that extend beyond the
Overview gives you a “bird’s eye” view of your layer in-point and out-point represent unused
composite. In this view, each layer is represented by available frames in the imported clip.
a horizontal bar that shows the layer’s duration in the
To move a layer in time:
composite.
Drag the center of the bar left or right to move the
If you expand a layer in the Timeline list, each cate- layer in time.
gory is represented by a dotted straight line, with
white squares indicating keyframes. In this mode,
Grab layer
you can edit a keyframe’s position in time, but not its here.
value. For more information, see Editing Keyframes
and Animation Curves, on page 184.
To change a layer’s in point or out point:

Drag the end of the bar to add or remove frames After dragging
layer ahead in
from the layer’s in point or out point.
time.
Timeline Positioner
Drag here.
A vertical line in the Timeline view represents the
current time for the composite. Click and drag the
positioner to change the current frame displayed in
the active viewport.
After adjusting
layer duration. Note: You can also double-click anywhere in the
Timeline view to move the positioner to that
position.
Timeline in Overview mode

Available Handles In point Positioner Out point
Keyframes Layer bar Timecode axis

Zooming and Scrolling the Timeline View Timeline Control Buttons

When you first create a workspace, the Timeline Use the control buttons on the right of the Timeline
shows the duration specified for that workspace. You to control the Timeline view and to edit keyframes.
can zoom in or out to see you timeline in more or
less detail.
To zoom in or out horizontally:

In the Timeline controls, do one of the following:
• Click to zoom in by a factor of two.

• Click to zoom out by a factor of two.
• Click the Frame All button to fit the entire project

in the Timeline view. Graph — Sets Timeline view to Graph mode.
• To zoom in to a specific area, right-click and drag a

Overview — Sets Timeline view to Overview
selection box around that area (Windows only).
mode.
Note: To zoom in or out, you can also move the
cursor over the Timeline, press CTRL (Windows) or Context — Enables or disables context view. When
COMMAND (Macintosh) and drag the mouse left or enabled, selected layers’ categories are automatically
right. expanded in the Timeline list. Use this to display the
graph(s) of the channels you are editing without
To pan the Timeline view:
having to navigate to the categories and channels.
Position the cursor in the Timeline view, then press
ALT (Windows) or OPTION (Macintosh) while you
Auto Scale — Automatically sizes channels to fit in
click and drag the cursor.
the Timeline view.
To zoom in or out vertically:
Waveform — Displays audio waveforms for
• Turn off Auto Scale, switch to Graph view, then imported audio in the Timeline. For more informa-
hold down CTRL (Windows) or COMMAND (Macin- tion on using audio, see Chapter 20, “Audio.”
tosh) and drag in the Timeline’s vertical axis.
• Enable Auto Scale to zoom to the extent of the ani- — Zooms in by a factor of two.
mation so that when you open a channel in Graph
— Zooms out by a factor of two.
view, the animation curve is sized to fit in the Time-
line view.
Frame All — Resizes the entire project so it fits into
the Timeline view.
Add Key — Adds a keyframe to the selected

channel (or channels) at the current time.

8 Keyframing
Reset Tngts — Resets tangents for selected • Click to play the clip.
keyframe(s).
• Click to move ahead to the next frame.
Interpolation — Select an option to set the inter- • Click to move ahead to the last frame of
polation mode for selected channels or keyframes. the clip.
For more information, see “Setting Interpolation
• Click to go back to the previous key-
Method” on page 186.
frame.
Extrapolation Before and After — Select an • Click to go ahead to the next keyframe.
option to define the shape of the Timeline animation
• Click or or to toggle be-
curve before and after the first and last keyframes.
tween play once, pingpong, and loop play mode.
For more information, see “Setting Extrapolation
Methods” on page 188. • Enter a value in the current frame field to
move to a specific frame in the animation.
Math Operation — Displays the Math Operations
• Use the scrub bar to scrub through (preview) the
dialog. Use this dialog to add effects such as jitter,
animation or move to a specific frame.
random noise, and scaling to keyframes. For more
information, see “Math Operations” on page 190. • Use to view the total duration of the ani-
mation.
Playback Controls Navigating in a Workspace

To create an animation, and preview your work, you
Use the current frame field or the scrub bar to navi-
need to navigate between frames in your clip. Use the
gate to specific frames in the workspace. The current
playback controls to move forward and backward
frame field displays the SMPTE timecode (or frame
between frames and to set playback in and out
number) of the current frame.
points. The playback controls are similar to controls
on a VTR. Changing Display Units
The following frame controls are available: You can change the current frame field display to
display SMPTE timecode or frame numbers.
• Click to move back to the first frame of
the clip. To change the frame indicator display units:
• Click to move back one frame. 1. Choose File | Preferences | General Preferences.
The Preferences dialog appears.
• Click to play the clip backward.
Playback Controls
Current Frame field Scrub bar Playback in point Playback out point Animation duration

Playback Controls ❚❘❘
2. Select a unit from the Display Time As list. To scrub through a clip using the current frame
field or the scrub bar:
• Click and drag either the current frame field or the
scrub bar to scrub through the animation. Drag
right to move ahead in the clip; drag left to move
back.
Select from the following options: • Double-click at a specific frame in the Timeline to
move to that frame.
Select: To:
By default, when scrubbing you see a wireframe
Timecode Display time in SMPTE timecode. preview of the motion. To preview images, enable
Frames Display time in total number of Feedback.
(from 0) frames, starting at zero.
Note: The scrub bar offers greater resolution for
Frames Display time in total number of scrubbing. If you find it hard to land on the correct
(from 1) frames, starting at one. frame when scrubbing in the current frame field,
try scrubbing with the scrub bar.
Moving to a Specific Frame
Setting In and Out Points
Click the current frame field and then enter a time-
You can set playback in and out points to limit the
code value or frame number to move to that frame.
range of frames that are played back.
To move to a specific frame: The system always plays back between the specified
1. Click the current frame field. frame range. To play back your entire clip, make sure
the in and out-points are at the first and last frame,
2. Enter the timecode or frame number of the
frame to which you want to move and press ENTER. respectively.
If you start playback when the current frame is
Note: You can type the value in timecode or in
frame number, regardless of the units displayed in outside the range, at first the system ignores the in
the current frame field. and out points and plays normally until it moves into
the range specified by the in and out points. At this
3. Use the following shortcuts when entering time-
point, the in and out points are respected.
code:
To set playback in and out points:
To: Type:
1. To set the in point, drag the green marker under
Go to 5:00:00 5.00.00
the scrub bar to the appropriate frame.
Go to 05:00 5.
2. To set the out point, drag the red marker under
Go to 05:00:00 5.. the scrub bar to the appropriate frame.
Move ahead 5 frames +5
Move back 5 frames -5

8 Keyframing
Using the Timeline To toggle the visibility of several layers at once, select
When creating an animation, use the Timeline to the layers, then choose Object | Toggle Visibility.
manage how layers appear in the viewports. You also
Note: When you render the workspace, hidden
us the Timeline to display the categories and chan- layers are not rendered.
nels that you want to animate.
Changing the Order of Layers

Selecting Layers in the Timeline Each new layer you create is added to the top of the
Before you can edit a layer in the active viewport, stack in the Timeline list.
you have to select it.
Layers higher in the Timeline list appear in front of
To select a layer in the Timeline: layers lower down the list provided their Z positions
(depth) are the same. A layer’s Z position takes
precedence over its order in the Timeline list. For
2. In the Timeline list, click the layer name. example, a layer with a Z value of -10 appears in front
In the active viewport, the selected layer is of a layer with a Z value of 0, regardless of its position
highlighted. in the Timeline list.
Note: You can also click the layer in a viewport to You can change the stacking order of the layers to
select it, or click it in the Workspace panel. move them forward of backward in the viewport. In
the Timeline list, click and drag a layer to change its
To select multiple layers at once: stacking order.
In the Timeline list, drag a selection box around the
layers that you want to select, or SHIFT-click each
one.
The stereo layer is

Showing or Hiding Layers in the above the other layers.
Viewports
By default, layers are visible in the viewports. Click
the icon next to the layer in the Timeline to toggle the
visibility on and off.

Creating Keyframes ❚❘❘
Displaying Categories in the Timeline editing a channel does not set a keyframe; the
List channel maintains a constant value (based on the
Use the Timeline list to display the information you last value you set).
need. Click the expand triangle next to a category to
Note: To change animation default settings,
display its channel information. Click a triangle choose File | Preferences | Animation.
again to collapse its contents.
For instance, to view the channel information

pertaining to the Z position, expand the Transfor- Creating Keyframes
mation category. Combustion automatically creates keyframes when
you make changes to animation channels. For
To expand or collapse items: example, if you import a movie at timecode 00:00,
In the Timeline controls, click the Context button. advance to timecode 00:10 and rotate the layer, a
keyframe is automatically created at timecodes 00:00
When you edit a layer in the active viewport, the and 00:10 for the rotation. Combustion applies an
Timeline list automatically expands to display that interpolation method to calculate the rotation of in-
layer’s categories. between frames and create continuous motion.
Keyframes can be independently created and edited

Enabling/Disabling Automatic for multiple channels. For example, you can have a
Keyframing layer travel along a complex motion path and spin all
Automatic keyframing is enabled by default. Each around the screen, incorporating numerous
time you change a layer’s channels, a keyframe is keyframes, while the opacity of the layer smoothly
created. You can disable automatic keyframing for fades away to 0% using just two keyframes.
channels that you do not want to animate. You can
also disable keyframing to temporarily hide a You can disable automatic keyframing for selected
channel’s animation. channels, if necessary.
To enable or disable automatic keyframing for a To create a keyframe:

channel: 1. Go to the frame where you want to create a key-
In the Timeline list, click the key next to the channel. frame. To navigate in the clip, double-click anywhere
in the Timeline view to move the positioner at that
point, or drag the positioner to the necessary loca-
tion. You can also navigate using the Frame Controls
or the Filmstrip. See “Playback Controls” on page
Toggle for 180, or “Using the Filmstrip” on page 37.
automatic
keyframing 2. Make sure the Animate button is enabled.
3. Select the layer for which you want to create a
keyframe.
4. Set the keyframe value using one of the follow-
When the key is highlighted, a keyframe is set each
ing methods:
time you edit the channel. When the key is gray,

8 Keyframing
• Modify the layer in the active viewport. Keyframes Editing Keyframes and
are automatically created for all channels that Animation Curves
change. Once you create keyframes, there are a number of
• In the Composite Controls, click the Transform ways to edit them:
button then use the sliders to adjust the values for the • Edit keyframes directly in the active viewport.
channels you want to animate. Keyframes are added
automatically for all channels that change. • Drag the keyframe to change its value in Graph
mode.
• In the Timeline list, double-click the channel you
want to keyframe, and type a numeric value in the • Double-click the keyframe you want to change,
field that appears. You can also click and drag a value then enter a new value in the Numerical Input dialog
in parenthesis to increase or decrease it. that appears.
• Move a keyframe in time in either Graph or Over-

To add a keyframe without adjusting the channel
view mode.
value:
In the Timeline list, select the channel that you want • You can also delete keyframes and change the inter-
to keyframe, and click the Add Key button in the polation method used to compute values for in-be-
Timeline controls. tween frames.
Note: You can also click anywhere on a channel

curve to add a keyframe at that point.
Editing Keyframes in the Active
Viewport
A keyframe is created at the current time for the To quickly set up an animation, position your layers
selected channel. This procedure is useful when you to set keyframes in the active viewport.
want to create a keyframe without editing a channel
value. To edit a keyframe in the active viewport:
1. Click the next keyframe or previous
To disable automatic keyframing for a channel: keyframe icon in the playback controls to
Do one of the following: go to the next or previous keyframe.
The next or previous frame that contains a keyframe
• Choose File | Preferences | Animation, and click the
appears in the active viewport.
check box next to the channel that you do not want
to animate. 2. Edit any of the layer’s channels.
• In the Timeline list, click the key icon next to the The keyframe automatically reflects any changes you
channel. If the icon is gray, automatic keyframing is make.
disabled for that channel (the system uses the last
specified value). Editing Keyframes in Graph View
Use Graph mode to gain precise control over
keyframes and animation between keyframes.

Editing Keyframes and Animation Curves ❚❘❘
To edit a keyframe in Graph mode: increase or decrease it. The graph reflects the new
1. In the Timeline controls, click the Graph button. value.
2. In the Timeline list, click the channel whose key-

frame you want to edit. Editing Keyframe Values with the
Keyboard
Note: To select several channels for editing, draw a If you want to enter a precise value for a specific
selection box around the channels you want to keyframe, you can use do so with the keyboard.
select, or Shift-click each one. When you select
multiple channels, each channel appears in a
To set a keyframe value with the keyboard:
different color.
1. In the Timeline list, double-click the keyframe
The curve(s) appear in the Timeline Graph view. you want to edit.
The value of the channel at the current frame The Numerical Input dialog appears.
appears in parentheses in the Timeline list.
2. Type a value in the input field.

3. Click OK to close the dialog and set the key-
3. On the curve, select the keyframe(s) you want to frame value.
edit.
4. Click and drag a keyframe up or down to change Moving a Keyframe in Time
its value. Right-click and drag to move it in time. Normally, you drag a keyframe’s value without
5. Drag a tangent handle to change the shape of the
changing its place in time. You can. however, change
curve at the keyframe. CTRL-drag to break the tan- a keyframe’s time without changing its value.
gent handle. This is useful if you want to change the timing of an
animation or effect. Moving keyframes in time can
be accomplished in both Overview and Graph
modes.
To move a keyframe in time in Overview mode:
Tangent handles before and after breaking. Click and drag the keyframe(s) to its new time.
6. To edit a keyframe using numeric input, double- To move a keyframe in time in Graph mode:
click the keyframe you want to edit, then type a value Right-click (Windows) or OPTION-click (Macintosh)
in the Numeric Input dialog that appears. Or click the keyframe(s) and drag it in time. The cursor
and drag the cursor over the value in parenthesis to

8 Keyframing
changes to indicate that you can drag the keyframes For information on animating with Bezier curves
left or right. and other interpolation methods, see “Setting Inter-
polation Method” on page 186.
To adjust the tangents of Bezier keyframes:

1. In the animation curve, select a keyframe that is
set to Bezier interpolation.
A tangent line with control points appears.
Tangent
control
points
Note: Changing a keyframe’s position in time can

affect the shape of the animation curve between
keyframes.
2. Drag the tangent control points to adjust the

curve as needed.
3. To reset the slope to its original smooth state,

click the Reset Tngts button.
4. CTRL-drag (Windows) or COMMAND-drag (Mac-
intosh) to break control points.
Note: CTRL-drag (Windows) or COMMAND-drag

(Macintosh) again to restore broken control points.
Animation curve before and after
changing keyframe position in time. Setting Interpolation Method
Once you create keyframes for a channel, Combus-
Adjusting Interpolation with Bezier tion uses interpolation to determine the channel
Handles values for the in-between frames. The appearance of
Move Bezier handles to customize the shape of your the animation depends on the interpolation method
animation curve. used. In Graph mode the interpolation method is
represented by the shape of the curve that joins the

keyframes. You can set the interpolation method for Cubic — Draws smooth curves between keyframes,
an entire curve, or for individual keyframes. so that the animated channel does not change
abruptly at keyframes.
Types of interpolation include:
(Mixed) — Lets you use different interpolation

methods.
Bezier — Draws smooth curves, similar to cubic

interpolation, except that you can adjust the slope of
the curve at each keyframe. This can be very useful
for adding “ease” to keyframe motion.
Constant — Draws a line of constant value between
keyframes. There is no interpolation.
Hermite — Works in the same way as Bezier. Use

Hermite for compatibility with the Discreet
Linear — Draws a straight line from one keyframe
Advanced Systems products.
to the next, with sharp, abrupt angles when
changing values.
To set the interpolation method:

1. In the Timeline controls, click the Graph button
to switch to Graph mode.
2. In the Timeline list, select the channel that you
want to animate (if required, expand the categories
in the list until the channel is visible).

8 Keyframing
The animation curve appears in the Timeline view. You see the effects of extrapolation only if your clip
has frames before the first keyframe or after the last
3. Select the keyframe(s) you want to change.
keyframe.
4. In the Timeline controls, select an interpolation
from the Interpolation list. Keyframes set for this region
of the animation curve.
Interpolation
list
Constant extrapolation Pingpong extrapolation

before first keyframe. after last keyframe.
The interpolation is applied to all selected
keyframes. Types of extrapolation include:
Setting Extrapolation Methods Constant — Applies the value at the first or last
Extrapolation is used to determine the behavior for keyframe to all the frames that come before the first
a channel before the first or after the last keyframe. A keyframe or after the last keyframe.
dotted line appears in the Timeline to indicate where
extrapolation is used.
Extrapolation is useful when you want to create a
cyclical effect, such as a shutter flicker (as you would
find in an old-time movie clip). You create one
period in the flicker cycle, then use extrapolation to
repeat the period over and over.

Linear — Continues the curve in a linear fashion backward like a pingpong ball bouncing back and
before the first keyframe or after the last keyframe. forth across a pingpong table.
Loop — Cycles the animation as it appears between Relative Repeat — Cycles the animation as it
the first and last keyframe. appears between the first and last keyframe, simi-
larly to Loop extrapolation, but with a relative offset
based on the channel value at the last keyframe.
Pingpong — Cycles the animation as it appears

between the first and last keyframes forward then
To set extrapolation:
1. In the Timeline controls, click the Graph button
to switch to Graph mode.
2. In the Timeline list, select the channel that you
want to animate (if required, expand the categories
until in the Timeline list until the channel is visible).
The animation curve appears in the Timeline view.

8 Keyframing
3. To set the animation behavior for frames before The Math Operations dialog appears.
the first keyframe, select an extrapolation from the
Extrapolation Before list.
Extrapolation
list
4. To set the animation behavior for frames after 3. Click a button to apply the corresponding oper-
the last keyframe, select an extrapolation from the ation.
Extrapolation After list.
Click: To:
Negate Flip a channel or group of keyframes
horizontally.
Reverse Flip a channel of group of keyframes
vertically.
Extrapolation
Average Apply a weighted average to the se-
list lected channel or group of keyframes.
When you select Average, an Over
field appears. Enter the divisor for the
average operation in this field.
Math Operations Simplify Approximate the selected keyframes
Use the Math Operations dialog to perform or channel using the number of key-
common mathematical transformations on one or frames you specify in the To n Key-
more keyframes, or on an entire channel. Some frames field.
common transforms include: Averaging, Flipping, The overall shape of the curve is pre-
Reversing, and so on. served when you use this operation
Scale Scale the selected keyframes or chan-
To apply a math operation to a channel: nel. You can scale the Horizontal axis
and the Vertical axis separately.
1. In the Timeline, select the keyframes in a chan-
When you click this button, the H and
nel to which you want to apply the math operation.
V fields appear. Enter the scale factors
2. Click the Math Operations button. in these fields.
Remove Remove jitter from selected keyframes
Jitter or channels.

Cutting, Copying, and Pasting Keyframes ❚❘❘
To cut or copy keyframes from the Timeline:

Click: To:
1. In the Workspace panel (or active viewport), se-
Random- Adjust the value randomly at the se-
ize lected keyframes. When you click this
lect the layer that contains the keyframes you want to
button, the Amount field appears. cut or copy.
This operation randomly shifts the val- 2. Click the Timeline tab.
ues at each keyframe up or down
within the value you enter in the 3. In the Timeline, expand the category with the
Amount field. keyframes you want to cut or copy, then select the
This function only applies if a channel channel.
or continuous keyframes are selected. The keyframes appear in the Timeline.
Convert Creates real keyframes out of extrapo- 4. Select all the keyframes you want to cut or copy.
lated channels.
For instance, you have a channel that 5. To cut the keyframes from the selected channel,
loops at the end. If you run the Con- choose Edit | Cut or press CTRL + X (Windows) or
vert math operation on that channel, COMMAND + X (Macintosh).
you can choose to convert any num- 6. To copy the keyframes for the selected channel,
ber of repetitions of that loop into key-
choose Edit | Copy or press CTRL + C (Windows) or
frames which you can then edit.
COMMAND + C (Macintosh).
4. If necessary, enter the operation parameters.
To paste keyframes into a channel:
5. Enable Preview Changes to see the how the se-
1. Cut or copy keyframes as described in the pre-
lected keyframes are changed by the operation with-
ceding steps.
out closing the Math Operations dialog.
2. Navigate to the channel to which you want to
6. Click Apply to apply the operation to the select-
paste the keyframes.
ed channel.
3. Position the Timeline cursor where you want to
first keyframe to be pasted.
Cutting, Copying, and Pasting 4. Choose Edit | Paste or press CTRL + V (Win-
Keyframes dows) or COMMAND + V (Macintosh).
You can cut, copy, and paste keyframes in the Time- The keyframes are pasted into the selected channel
line between channels of a similar type. For instance, starting at the location of the Timeline cursor.
you can copy the X Position keyframes for one layer
and paste them into the X, Y, or Z Position channel
for another layer. Deleting Keyframes
You can delete keyframes from the Timeline.
Note: You cannot cut, copy, and paste keyframes
between channels of differing types.

8 Keyframing
To delete keyframes: RAM player to preview your work in real-time. For

1. Click the expand/collapse triangles until the more information, see Chapter 21, “Rendering.”
channel that contains the keyframes is visible.
To preview animation with reduced detail:
2. Select the keyframes you want to delete. To select
several keyframes at once, drag a rectangular mar- 1. Click the Settings button on the Composite Con-
quee around the keyframes, or SHIFT-click each one. trols panel.
Selected keyframes are highlighted. 2. Click a display option under the Object Detail
heading.
Display options
The selected keyframes are deleted.
To delete all keyframes for a channel:

1. In the Timeline list, expand the category, then
select a channel.
2. Click a keyframe for the selected channel.
3. Choose Edit | Select All, or press CTRL+A (Win-
dows) or COMMAND + A (Macintosh). The following detail options are available:
All keyframes are selected for the selected channel.
Select: To:
Wireframe Replace layers and objects with their
Note: When you delete X position keyframes, the outlines.This mode usually provides
corresponding Y and Z position keyframes are also real-time playback.
deleted (and the other way around).
Current Render only the current layer or ob-
Object ject. Displays only the outline of oth-
er layers or objects.
Previewing an Animation Relatives Display only the current layer or ob-
When you play back a clip, Combustion renders ject and related layers or objects
each frame into cache memory and draws it in the (parent, child, target, and so on).
active viewport. This process can be very slow the
All Objects Display all layers or objects.
first time you play through a composite. Once the
system has cached the frames, however, playback is 3. To preview the animation, click on the
smooth. playback controls, scrub with the current frame field
or the scrub bar, or drag the positioner in the Time-
Note: The number of frames that the system can line.
play back smoothly depends on the amount of
RAM in your system.
The animation preview plays in the active viewport.
To increase the playback speed, you can reduce layer To preview animation at different resolution:
detail, lower display resolution, or turn off Do one of the following:
processing-intensive effects. You can also use the

Linking Moving Layers ❚❘❘
• Select a resolution from the quality list. Play the To preview changes to an animation on-the-fly:
clip. 1. For the sake of this example, create a simple ani-
mation. For instance, animate a layer with two key-
quality list frames moving across the viewport.
2. Click the two-viewport layout button.
Two-viewport
Layout button
Note: You can also use either of the Four-viewport

Layout buttons.
• Disable the Feedback button. The display resolu-
3. Press to make sure you are in Loop play
tion is lowered when you make changes in the view- mode.
port. When you release the mouse button, the
4. Press HOME to move to the first frame of the ani-
original resolution is restored.
mation, then press Play to begin playback.
To preview animation with fewer rendered 5. Click the other viewport to make it active.
effects:
6. Use the scrub bar to move about halfway
1. On the Composite Controls, click the Settings through the animation.
button.
7. In the Transform controls, adjust the layer’s rota-
2. Under the Render Effects heading, disable Shad- tion by 360 degrees along any axis.
ing, Reflections, and Shadows.
The animation updates on-the-fly in the other
viewport.
Changing Animations On-the-Fly
Using multiple viewports, you can play back an
animation in one viewport and make modifications Linking Moving Layers
to the animation in another. As you do this, you see Use parenting, hinging, and targeting to link
the animation change in the viewport that is playing moving layers to other layers in the workspace. You
back. can also align a layer with its motion path.
Parenting Layers
Use Parenting to make one layer (the parent layer)
control the movement of another (the child layer).

8 Keyframing
To parent a layer: rotates to keep the link to the parent hinge layer’s
1. Select the child layer. edge.
2. Do one of the following to select the parent layer:

• Select the parent layer from the Parent list to the
right of the Timeline.
Parent list
• Click the Pick button and click the parent

To hinge two layers:
layer in the active viewport.
1. In the active viewport, orient the two layers so
When you move, rotate or scale the parent layer, the that the edges that you want to hinge together are
child layer is also affected. roughly in the same area. When you enable the hing-
ing, Combustion automatically hinges the closest
To remove the parent-child relationship between edges.
layers:
2. Select the layer to be hinged.
1. Select the child layer.
3. In the Composite Controls, click the Layer but-
2. Select None from the parent list.
ton.
Parent list
Hinge list
Hinging layers
Use Hinging to link the edges of two layers. The 4. On the Layer panel, do one of the following to
hinged layer moves like a door on a hinge, or a page select the parent-hinge layer:
in a book. When you move, rotate, or scale the • Select it from the Hinge list.
parent-hinge layer, the hinged layer moves and

Linking Moving Layers ❚❘❘
• Click the Pick button and click the parent- To target a layer to another:
hinge layer in the active viewport. 1. Select the layer that you want to point at a target.
The layer you hinged immediately snaps to the 2. Do one of the following to select the target layer:
nearest edge of the parent-hinge layer. You can rotate
• Select it from the Target list.
the hinged layer like a door: only along one axis.
When you move, rotate, or scale the parent-hinge
layer, the hinged layer is also affected.
To remove the hinging between layers:

1. Select the hinged layer (the child-hinge).
Target list
2. In the Composite Controls, click the Layer but-
ton.
3. On the Layer controls, select None from the • Click the Pick button and click the layer in
Hinge list.
the active viewport.
When the target layer moves, the other layer rotates
so that it always points at its target.
Targeting layers
Use targeting to “point” one layer at another. When To remove the targeting between layers:
a layer targets another, it rotates so that its Z axis (the
1. Select the layer that points at the target.
one pointing away from it) is always pointed at the
pivot point of the other layer. 2. Select None from the Target list.
Target list
Aligning Layers Along a Motion Path

Align a layer to its motion path so that it moves along
The white layer is targeted towards the black layer. If the
black layer moves, the white layer rotates to face it.
the path like a train car on tracks. When a layer is
aligned to its motion path, it rotates to maintain one
of its axes parallel to the motion path, ignoring any
rotation keyframes that might prevent it from
following its course.

8 Keyframing
You can align the path to the layer’s X, Y, or Z axis. Animating with Onion Skin
Use onion skinning when you are doing frame-
based animation. Onion skinning allows you to see
through the current frame to preceding or successive
frames. This is useful to see how one frame compares
to the frames before or after it.
You can use the onion-skinning animation tech-
nique when compositing and painting; however, it is
most useful when you are drawing a traditional 2D
cartoon-type animation in Paint.
Layer aligned to a motion path at

various points in an animation.
To align a layer to its motion path:

2. Click the X, Y, or Z align button to the right of
the Timeline.
Align buttons
The layer rotates so that the selected axis is aligned to

the motion path.
3. Click the Invert button if you want the layer to

face the opposite direction. You can control the number of preceding and
To remove motion path alignment:
successive frames displayed, the opacity of the
Click the X, Y, or Z align button to turn off motion

path alignment.

Animating with Onion Skin ❚❘❘
frames, and the position of the frames in relation to 2. In the Preceding Frames section, adjust the set-
the current frame. tings for the preceding frames.
Use: To:
Number of Set the number of visible frames be-
Frames fore the current frame.
Starting Set the opacity of the onion skin im-
Opacity mediately before the current frame.
Opacity Set the percentage in which opacity
Fade decreases between onion-skin
frames. For example, if the onion-
skin frame preceding the current
frame is 50% opaque and the fade
value is 50%, then the frame before
it is 25% opaque, and so on.
Onion-skin composite showing Frames 1, 2, and 3
Position Set the position of the onion skin.
Select Above to place the onion skin
To set onion-skinning options: on top of the current frame, or Be-
low to place the onion skin under
1. Choose Window | Onion Skin Settings.
the current frame.
Note: You can also press SHIFT + ].
3. Use the Current Frame Opacity slider to set the
The Onion Skin Settings dialog appears. opacity of the current frame. Set the opacity for the
current frame below 100% for clips without an alpha
channel to see the onion-skin frames behind the
current frame.
4. In the Successive Frames section, adjust the set-
tings for the successive frames.
Use: To:
Number of Set the number of visible frames af-
Frames ter the current frame.
Starting Set the opacity of the onion skin im-
Opacity mediately after the current frame.
Opacity Set the percentage in which opacity
Fade decreases between onion-skin
frames. For example, if the first on-
ion-skin frame is 50% opaque and
the fade value is 50%, then the next
frame is 25% opaque, and so on.

8 Keyframing
Use: To:
Position Set the position of the onion skin in
the viewports. Select Above to place
the onion skin on top of the current
frame, or Below to place the onion
skin under the current frame.
To use onion skinning:

1. In Paint, choose Window | Onion Skin. The on-
ion skin appears in the active viewport.
Note: You can also press the ] key to turn on onion-

skinning.
2. Draw the character on the first frame.

3. Move ahead to the next frame.
You can see through the current frame to the
previous frame.
4. Draw the second frame using the first frame as a

guide, then move ahead to the next frame.
5. Use the frame step buttons
to move back and forth a few frames at a time. This
lets you preview how your animation is progressing.
6. When you are finished, turn off onion skin by
pressing the ] key.

9 Introduction to Paint
Combustion’s vector-based
Paint has dozens of

a
applications: for drawing,
rotoscoping, cloning, and
revealing; for emulation of

et
2D cel animation. It’s user-
friendly on its own, on top
of a single image, or over a
composite clip.
B

Summary Only when the subject blinks, do you need to actu-

This chapter explains: ally change the brush strokes, and even then, you
could make the brush stroke objects transparent for
• “About Paint” on page 200 the “blink” frames.
• “About Objects” on page 200 You apply the Paint operator to a selected layer (or
• “Editing Objects” on page 203 group of layers) in a similar manner as you would
apply a plug-in. The Paint operator is accessible
• “Painting on a Layer” on page 206
through the Operators menu.
• “Painting Over Multiple Layers” on page 207
As with all other operators in Combustion, at any
• “Using Paint as a Stand-alone Application” on page point in the compositing process, you can go back
208 into the Paint operator and modify the objects.
• “Paint Interface” on page 211 Although the Paint operator gives you access to all
the drawing tools, there are two other drawing oper-
ators accessible through the Operators menu from
About Paint which you can access specific drawing tools: the
Paint is an interactive, vector-based and object Selection operator and the Mask operator.
oriented drawing operator that you apply to a layer as
Choose the various Selection operators to use selec-
you would other operators. It allows you to perform
tion tools only. For information on selection tools
a wide range of painting tasks from simple
and the selection operators, see Chapter 12, “Paint:
retouching, to motion tracking, to full cartoon
Drawing Selections.”
animation. As with other painting-type software
packages, there are tools for creating paint strokes, Choose the Mask operators to access a simplified
geometric shapes, text, selections, and masks. version of Paint from which you can only use mask
tools. For information on mask tools and the mask
With Paint, however, you create projects (called
operators, see Chapter 7, “Using Masks.”
branches) for painting on changing video frames,
not on a still. Therefore, you have to make your Paint
objects move to follow the action in a scene. For
About Objects
instance, if you want to change the color of a
Simply put, an object is anything you can draw with
subject's eyes by drawing over them with light-blue
one of the drawing operators. They are divided into
brush strokes, it is not enough to change them on
three main groups: Paint objects, Selections, and
one image only. You have to change the eye color on
Masks.
each frame, and the brush strokes have to follow the
movement of the eyes from frame to frame. You manipulate paint, selection, and mask objects in
the same way; however, you use the objects differ-
You could manually apply paint strokes to each
frame, but, thanks to the object-based nature of
brush strokes in Paint, you can create the strokes for
one frame, then move them (or track them!) for the
successive frames so they follow the eye's motion.

About Objects ❚❘❘
ently. Paint objects create or modify pixels in your Add effect to selection objects to restrict the area
Paint branch. upon which effects act.
Paint objects drawn onto subject to make glasses. Brighten effect and lens flares applied to selections to
simulate real glasses.
Selection objects define a specific area of the screen
within which other paint objects or effects operate. You use mask objects to make areas of a layer
transparent.
Mask object used to mask out background.

Selection objects used to select glasses.
Once you create an object, you can select it and

change any of its properties (size, shape, color,
opacity, and so on). If you draw an object on top of
another object, you can still select the previous
object, change it, even move it on top of the newer
one. Even eraser strokes are objects. If you erase a
portion of the image, then move the eraser object,
the previously erased pixels reappear.

Also, once you create one type of object (say a Paint Setting Object Duration
rectangle), you can change it to another type of By default, when you create an object, it exists only
object of the corresponding type (either a rectangle on the current frame. You can extend an object’s
selection or a rectangle mask). duration automatically using the Auto Duration
Here is a list of all the objects you can create in Paint: feature, or you can set its duration using the
Timeline.
• Brush strokes, Rectangles, Ellipses, and Polygons
You can also set an object’s initial duration using the
• Text Default Object Duration setting in the Settings panel
• Lasso selections of the Paint Controls. For more information, see
“Settings Controls” on page 232.
• Magic wand selections
• Rectangle, ellipse, and polygon selections Using Auto Duration
If the Auto Duration feature is enabled, objects you
• Text selections create are automatically copied to subsequent frames
• Fill as you advance through the Paint branch. The Auto
Duration feature affects only newly created objects.
• Freehand masks It does not change the duration of objects or effects
• Rectangle, ellipse, and Polygon masks. that you created before enabling Auto Duration.
To enable or disable Auto Duration:

About Object Properties
Choose Object | Auto Duration.
Any object you create is associated with specific
properties depending on the object type. All objects A check mark indicates that the feature is enabled.
have position, rotation, scaling, and pivot point
properties. Within these properties, there are chan-
nels that you can animate over time (such as the X
and Y Position or Opacity).
Animated Paint objects changing over time.
In addition to the properties mentioned above, Paint

objects also have color and draw mode properties.
For more information about animating properties,
see Chapter 8, “Keyframing.”

Editing Objects ❚❘❘
Using the Timeline clone. For more information on color modes, see
You can extend an object’s duration by dragging its Chapter 11, “Paint: Advanced Drawing Tools.”
in and out points on the Timeline, or by adding a
keyframe for that object at the desired time.
Editing Objects
After you create an object, you can modify any of its
properties at any time.
Object with a To modify an object’s modes properties (color,
one frame
opacity, draw modes, and so on), use the controls on
duration.
the Modes panel of the Paint Controls. For more
information, see “Modes Controls” on page 217.
Drag the in or out
point (or both) to
To modify an object’s transform properties, use the
extend object controls on the Transform panel of the Paint
duration. Controls. For more information, see “Transform
Changing Object Types

Once you create an object, you can change it into one
of the other two object types. For instance, if you
draw a rectangle, you can change it into a rectangle
Setting Duration with the Keyboard selection or mask with the same proportions.
Use the keyboard to quickly set a selected object’s in
and out points.
To set object duration with the keyboard:

1. Create an object on the first frame of an anima-
tion.
2. Select the object.
3. Move to the last frame of the animation.
4. Press the . (period) key to set the object’s out
Top left: Shape object.
point to the current frame (and, therefore, extend
the object’s duration). Top right: Mask object.
Left: Selection object.
Note: Press the , (comma) key to set the selected
object’s in point to the current frame.
Object Color Modes

You can apply different color modes to any Paint
object. These are: solid color, gradient, reveal, and

To change object type: Stacking Order

1. In Paint, draw an object in the viewport. The stacking order refers to the placement of the
objects in a stack. Objects at the bottom of the stack
are covered by objects at the top of the stack.
3. In the Paint Controls panel, click the Modes but-
ton.
4. Select an object type from the Object list.
Object list
The object changes to the specified object type. Use Highest object in
the following object types: stack appears on
top of other objects
Select: To: in the viewport.
Shape Change the selected object into

a Shape object.
Selection Change the selected object into Each object you create occupies its own position in
a Selection object. your branch and is represented by a name in the
Mask Change the selected object into
Timeline. As you draw, make selections or masks, or
a Mask object. add effects, each new object is added to the active
viewport on top of the other objects. You can change
the stacking order of the objects in your branch at
any time, changing the appearance of the objects
and the effects they may apply to the underlying clip
or still image.

Editing Objects ❚❘❘
You can change the order of objects, moving them Use: To:
backward or forward one step at a time, or moving
Send Move the object back one step. In the
them directly to the front or to the back of the image.
Backward Timeline list, the object moves down
one position.
Note: You can also change the position of objects

by dragging them up or down in the Timeline list.
For more information, see Chapter 8, “Keyframing.”
Stacking and Selections

Selections act on objects above them in the stacking
order until another selection is encountered.
If you create a new selection on top of an existing

selection, the new selection becomes the active
selection. Newly created effect operators only apply
to the new selection.
Changing object
order in the stack Bright/Con effect
changes objects in applies only to
the viewport. Rectangle.
Mosaic effect
applies only to
To change the order of overlapping objects: Ellipse Selection.
1. Select the object whose stacking order you want

to change. You can still add effects to the original selection, but
2. From the Object menu, select one of the follow- to do so, you have to add it to the top of the stack,
ing: then drag it down to the appropriate position above
the first selection (and below the second).
Use: To:
You can combine multiple selections using the Add,
Bring to Move the object in front of all the oth-
Subtract, and Intersect hot keys. For more informa-
Front er objects in the branch. In the Time-
line list, the object moves to the top of tion, see “Adding, Subtracting, and Intersecting
the list. Selections” on page 290.
Bring Move the object forward one step. In
Forward the Timeline list, the object moves up Stacking and Masks
one position. Masks only affect objects above them in the stacking
order.
Send to Move the object all the way behind
Back the other objects in the branch. In the You can combine multiple masks using the Replace,
Timeline list, the object moves to the
Add, Subtract, and Intersect hot keys. For more
end of the list.
information, see “Combining Masks” on page 165.

About Animating Objects The object’s name changes into an editable field.
Because Paint is a painting application for moving
images, you need to be able to animate the proper-
ties of your Paint objects so they follow the motion in
the viewports.
As such, you can animate all Paint objects from one

frame to the next or using keyframing using the
same techniques you learned for animating layers in
Combustion.
For information on animation and keyframing, see

Chapter 8, “Keyframing.” 3. Type a new name and then press ENTER.
The object’s name is updated in the Timeline list.
About Tracking Objects
To speed up the animation process, and also to make
animation easier, you can use the Tracker to make Using Paint in a Composite
your Paint objects follow motion in the background Use Paint in conjunction with a composite to paint
clip or motion you animated on other Paint objects. on one layer or over several layers at a time. For
instance, use Paint to change the subject’s eye color,
For information on using the Tracker, see Chapter
remove wires, and fix video drop-out on a selected
17, “The Tracker.”
layer. Or, create text effects and cartoon animations
and add them over all the layers in your composite.
Naming Objects
When you create an object, Combustion gives it a Paint operators are like any other operator in that
default name. You can give it a more precise name, to you can hide them, delete them, or move them up or
make it easier to locate in the Timeline list. down in the workspace stacking order.
To name an object: Painting on a Layer

1. Select an object in the Timeline. You can add a Paint operator to a single layer. You do
The object’s default name is highlighted in the Time- this when you need to retouch a portion of one layer
line list. within a composite, create text effects on one layer,
and so on.
2. Click the default name in the Timeline list.
You can also use Paint operator to select or mask
areas of a layer.
To paint on a single layer in a composite:

create (or open) a composite in Combustion that
includes at least one layer.

Using Paint in a Composite ❚❘❘
1. Select the layer upon which you want to paint in To paint over multiple layers simultaneously:
the Workspace panel, Timeline, or viewport.
2. Choose Operators | paint. create (or open) a workspace in Combustion that
The layer is loaded into Paint. A Paint operator contains multiple layers.
appears under the selected layer in the Workspace 1. After setting up your layers, select the composite
panel. operator in the Workspace panel.
Paint
operator
3. Click the Toolbar tab to access the drawing tools.

You are ready to begin painting. For information on 2. Choose Object | Nesting.
using the Paint drawing tools, see “Creating a Paint The Nesting Options dialog appears.
Object” on page 238.
4. When you have finished painting, you can re-
turn to your composite by clicking the Workspace
tab, and then double-clicking the composite opera-
tor.
Note: You can also return to the Paint operator at

any time to make changes to the Paint objects. To
do so, double-click the Paint operator in the Work-
space panel.
Painting Over Multiple Layers

3. Select Composition, and then click OK.
You can use Paint in conjunction with Combustion
to paint over multiple layers simultaneously. This is
useful for creating banners or slates for TV
programs, retouching an entire composite, creating
cartoon animations over composites, and so on.
When painting over multiple layers simultaneously,

you first nest the original composite within a second
composite. You then paint directly over the first
composite as if it were a single layer.

The selected composite is nested into a layer called Paint opens with all the layers of the original
“Nested Layer,” which, in turn, is placed in a second composite visible. A Paint operator is added to the
composite. workspace.
Note: If you expand the Nested Layer, you can see 5. Click the Toolbar tab to access the drawing tools
the original composite and the layers. and begin painting. For information on using the
Paint drawing tools, see “Creating a Paint Object” on
page 238.
6. When you are finished painting, you can return
to the composite by clicking the Workspace tab, then
double-clicking the top composite in the Workspace
panel.
Note: You can also return to the Paint operator at

any time to make changes to the Paint objects. To
do so, double-click the Paint operator in the Work-
space panel.
4. Select the Nested Layers, and then choose Oper-

ators | paint. Using Paint as a Stand-alone
Application
Although Paint is an integral component of
Combustion, you can use Paint as a completely inde-
pendent application for creating a wide range of
vector-based animations and effects.
Starting a New Paint Branch

Before you can begin painting, you must start a new
Paint branch.

Using Paint as a Stand-alone Application ❚❘❘
To start a Paint branch: series of sequentially numbered images as a single

1. On your desktop, double-click the Combustion clip. For instance, if you have a series of 60 images in
icon. the same folder labelled “image001.tga,”
“image002.tga,” “image003.tga,” “image060.tga,”
you can open the entire sequence as one 60-frame
clip, as a subset of the sequence (say the first 10
images), or you can open a single frame.
Type list Note: For a list of supported file formats, see

“Supported File Formats” on page 210.
Name field
To open an image sequence or clip:
2. If you are importing a sequence, make sure to

enable Collapse.
3. From the Type list, select Paint, then enter the

name in the Name field.
4. Specify format options, duration, and back-
ground color as necessary. Collapse
For information on the different format options, see

“Choosing Format Options” on page 59. 3. Navigate to the folder containing the footage you
want to open, and then click OK.
5. Click OK.
The Combustion from discreet dialog appears.
A new Paint branch starts.
6. To begin painting, select a viewport, then click
the drawing tools on the Toolbar. For information
on using the Paint drawing tools, see “Creating a
Paint Object” on page 238.
Opening a Clip or Image Sequence in

Paint
You can open existing images or clips and load them
into a new Paint branch.
4. Select Paint to open the selected footage into a
When you open an image that is part of an image Paint branch.
sequence, Paint automatically detects and opens the

The image appears in the viewports. You are ready to To open a Paint 2.x project:
begin painting. For information on using the Paint 1. Choose File | Open Workspace.
drawing tools, see “Creating a Paint Object” on page The Open Workspace file browser appears.
238.
2. In the Format list, select paint* 2.0 Project.
Opening an Existing Paint Branch

You can open previously saved branches to continue
your work.
To open an existing Paint branch:

1. Choose File | Open Workspace.
The Open Workspace file browser appears. Format list
2. Navigate to the folder containing the branch you

3. Navigate to the folder containing the Paint 2.x
want to open. project you want to open, and then click OK.
3. Click OK. The project appears in the viewports. You are ready
The image appears in the viewports. to begin painting.
Supported File Formats

Viewport You can open the following file types in Paint:
• Paint Project
Viewport Viewport
• Video for Windows (.AVI)
Viewport • Quicktime (.MOV)

• Filmstrip (.FLM)
• Electric Image (.EI)

• Quantel VPB (.VPB)
Toolbar • Bitmaps (.BMP)
• Inscriber Chunk (.CHK)

4. Click the Toolbar to begin painting.
For information on using the Paint drawing tools, • Cineon
see “Creating a Paint Object” on page 238. • GIF (.GIF)
• JPEG (.JPG)
Opening a Paint 2.x Project
You can open Paint 2.x projects in Combustion. • Adobe Photoshop (.PSP)
▲ If you save a paint* 2.x project in Combustion, • PNG (.PNG)

you can no longer open the project in paint* 2.x.

Paint Interface ❚❘❘
• RLA (.RLA) • Chapter 12, “Paint: Drawing Selections.”

• SGI (.SGI) • Chapter 13, “Paint: Working with Text.”
• Targa (.TGA) • Chapter 7, “Using Masks.”

• TIFF (.TIF)
• edit* sources Paint Menu Bar

Use the menus to access commands.
Paint Interface File Menu

This section briefly describes all the Paint tool You can access the following commands through the
controls available in Combustion. It is intended as a File menu.
quick reference for those who are familiar with using
Paint tools in their workspaces. Learn more about New — Starts a new Paint or Composite workspace.
how to use these controls in the following chapters:
Open — Opens selected footage into one of the
• Chapter 10, “Paint: Drawing Basics.” following: Workspace, Composite, Paint, IFF Keyer,
• Chapter 11, “Paint: Advanced Drawing Tools.” IFF Color Corrector.
Menu
bar
Paint Brushes
controls palette
Toolbar Color
controls
Status bar

Open Workspace — Opens an existing Remove Selection — Ends a selection.

workspace.
Fill — Fills the active selection, or, if there are no
Import Workspace — Imports an existing work- active selections, the entire frame, with the color in
space into the current workspace. the foreground color box.
Save Workspace — Saves the current workspace. Invert — Inverts a selection.
Save Workspace As — Saves the current work- Feather — Feathers a selection by a specified pixel
space with another name. amount.
Close Workspace — Closes the current Expand — Expands a selection by a specified pixel
workspace. amount.
Revert Workspace — Reverts to workspace to its Contract — Contracts a selection by a specified

state immediately prior to the last explicit save pixel amount.
operation.
Object Menu
Save Image — Saves the current frame as a still You can access the following commands through the
image using the Image Output Options dialog. Object menu.
Render — Opens the Render Queue dialog for Bring to Front — Moves the selected object to the
rendering your clip. top of the stacking order.
Render to Ram — Renders the clip in the active Bring Forward — Moves the selected object up
viewport to RAM. one level in the stacking order.
Preferences — Accesses the Preferences dialog. Send to Back — Moves the selected object to the
bottom of the stacking order.
Exit — Exits the application.
Send Backward — Moves the selected object
Edit Menu down one level in the stacking order.
For information on the commands in the edit menu,
see “The Edit Menu” on page 34. Group — Groups all selected objects together.
Selection Menu Ungroup — Ungroups all objects in a group.

You can access the following commands through the
Selection menu. Make Curve — Converts the selected object into a
curve with control points that you can edit.
Select Entire Image — Creates a selection around
the entire frame.

Paint Menu Bar ❚❘❘
Hide — Hides the selected objects. This is useful neous tools. To use a tool, click the tool’s icon on the
when other objects are obscuring the object you Toolbar.
want to work on.
Drawing tools
Hide All — Hides all objects in the branch.
Selection tools
Show All — Shows all objects that were previously
Miscellaneous tools
hidden.
Mask tools
Horizontal Alignment — Aligns or distributes Tool options
selected objects horizontally.
Vertical Alignment — Aligns or distributes

selected objects vertically. Toolbar - Drawing Tools
Use drawing tools to create paint objects. For more
Auto Duration — When this option is enabled, the information, see Chapter 10, “Paint: Drawing
duration of selected objects is extended automati- Basics.”
cally as you move to other frames.
Freehand and Filled Freehand Tool — Draws
Effects Menu freehand strokes. Choose the Unfilled Freehand
For more information, see Chapter 14, “Filters.” Stroke tool to draw lines. Choose the filled version of
this tool, by clicking again on the icon, to create filled
Movie Menu freehand strokes (the stroke is automatically
connected when you release the mouse button).
For information on the options in this menu, see
“Playback Controls” on page 180.
Window Menu
For information on the options in this menu, see

Straight Line Tool — Draws straight lines of any
“The Window Menu” on page 35.
size and angle.
Paint Toolbar
The Toolbar contains four groups of tools: drawing
tools, selection tools, masking tools, and miscella-
Rectangle Tool — Draws an outlined rectangle or

filled rectangle.

Ellipse Tool — Draws an outlined ellipse or filled Ellipse Selection Tool — Selects an elliptical area
ellipse. of the work space.
Polygon Selection Tool — Use this tool to select a

Polygon Tool — Creates filled or outlined multi-
polygonal area of the work space by creating a Bezier
sided objects by creating a Bezier path.
path.
Text Edit Tool — Creates and edits text.

Text Selection Tool — Use this tool to create a
text-based selection of the work space.
Toolbar - Selection Tools

Use selection tools to select a portion of the image to
which you want to apply an effect or paint. For more Toolbar - Masking Tools
information see Chapter 12, “Paint: Drawing Use these tools in Paint to mask off portions of a clip.
Selections.” For more information, see Chapter 7, “Using
Masks.”
Lasso — Creates a freehand selection.
Freehand Mask Tool — Use this tool to draw a
freehand mask over the current frame.
Magic Wand — Selects an area of contiguous color.
Rectangle Mask Tool — Use this tool to select a

rectangular area of the work space.
Rectangle Selection Tool — Selects a rectangular

area of the work space.

Paint Menu Bar ❚❘❘
Ellipse Mask Tool — Use this tool to select an background color, hold down the ALT key
elliptical area of the work space. (Windows) or OPTION key (Macintosh) as you select
the new color with the color picker.
Polygon Mask Tool — Use this tool to select a

polygonal area of the work space by creating a Bezier Magnifying Glass — The Magnifying Glass
path. zooms in or out on a designated area of an image. To
magnify, click the area of the image you want to
enlarge, or click and drag a rectangular marquee
around a specific area you want to magnify. To zoom
out, hold the ALT key (Windows) or OPTION key
(Macintosh) and click the area you want to reduce.
Toolbar - Miscellaneous Tools
Use these tools to erase, fill, choose a foreground or
background color from the screen, magnify the
viewport, move the contents of the viewport interac-
tively with the mouse, and activate an object for
Grabber Tool — Use this tool to move the image
editing.
within the viewport if the image is larger.
For more information, see Chapter 10, “Paint:
Drawing Basics.”
Eraser — Use this tool to erase effects and objects.

The size of the area erased depends on the size of
Arrow Tool — Use this tool to select or deselect
brush selected.
objects. To select an object, click it. To deselect the
object, either click another object or the back-
ground. To select multiple objects, click the first
object, then press the SHIFT key and click each addi-
tional object. You can also select multiple objects by
Fill — Use this tool to fill any contiguous expanse of drawing a selection box around them.
color with the current foreground color.
Color Picker — Use this tool to pick a color from

the viewports or from one of the color panels to
replace the current foreground color. To change the

Tool Options Tool: Tool Options:

The Tool Options appear at the bottom of the
Unfilled Poly- None.
Toolbar for the current tool. Each tool has its own set gon Tool
of options.
Filled Polygon None.
Tool
Text Tool Font, Size, Character and Line
Direction, and Alignment.
Lasso Make Curves.
Magic Wand Tolerance.
Tool options
Rectangle Se- Mode (Normal, Constrained, or
lection Tool Fixed).
Ellipse Selection Mode (Normal, Constrained, or
For tools used to create both filled and unfilled Tool Fixed).
objects, there are two different sets of options.
Polygon Selec- None.
In some cases, when you select an option, the tool tion Tool
options are updated to display additional options. Text Selection Font, Size, and Alignment.
For example, if you select Fixed from the mode list, Tool
width and height text boxes appear. Eraser Erase to: (Background, Transpar-
The following table lists the options for all the Paint ent, Revert), Pen Pressure (Size,
Opacity).
tools:
Fill Tolerance.
Tool: Tool Options:
Dropper Area Sample.
Unfilled Free- Pen Pressure (Size, Draw Mode,
Magnify Zoom Factor.
hand Stroke Color, Opacity).
Tool Make Curves. Grabber None.
Filled Freehand Make Curves. Arrow Bounding Box, Control Points,

Stroke Tool Pivot Point, Gradient Edit.
Straight Line None. Freehand Mask Make Curves.

Tool Tool
Unfilled Rectan- Mode (Normal, Constrained, or Rectangle Mask Mode (Normal, Constrained, or
gle Tool Fixed). Tool Fixed).
Filled Rectangle Mode (Normal, Constrained, or Ellipse Mask Mode (Normal, Constrained, or
Tool Fixed). Tool Fixed).
Unfilled Ellipse Mode (Normal, Constrained, or Polygon Mask None.

Tool Fixed). Tool
Filled Ellipse Mode (Normal, Constrained, or

Tool Fixed).

Modes Controls ❚❘❘
Modes Controls object’s opacity in the Timeline. The Opacity slider

The Modes controls on the Paint Controls panel controls the same parameter, but provides easier
displays both the current foreground and back- access to its controls. The opacity parameter, like all
ground colors for the current branch. The Modes parameters in Combustion, may be keyframed.
controls change depending on the tool you select.
To change an object’s opacity:
1. Select the object using the Arrow tool .
Modes Controls for Paint Tools
Use the Modes controls with paint tools to set an 2. On the Modes panel, click and drag the Opacity
object’s opacity, change the draw mode of your paint slider.
tools, create gradients, and perform revealing and The opacity appears above the center of the slider
cloning. and the object is updated in the viewport. Set
opacity to 100% to make the object completely
opaque. Set opacity to 0% to make the object
completely transparent.
Modes List
The Modes list changes depending on the tool you
pick.
• For Paint objects, use the items in the Modes list to
Modes Controls for Selection and select a draw mode.
Mask Tools • For selection and mask objects, use the items in the
Use the Modes Controls with selection and masking Modes list to specify how objects are combined.
tools to create opacity for selections and masks,
For information on the draw modes, see “Draw
specify how selection and masks are combined, and
Modes” on page 218.
to feather selections and masks.
For more information on combining selections, see
“Adding, Subtracting, and Intersecting Selections”
on page 290.
For more information on combining masks, see

“Combining Masks” on page 165.
Pressure Slider
For more information on using the Modes controls, Use the Pressure slider in conjunction with a pen
see “Creating a Paint Object” on page 238. and tablet.
Use the Pressure slider to alter the pressure or
Opacity Slider amount of the selected draw mode. This slider is
Use the Opacity slider to control the opacity of
ghosted for draw modes that do not have a variable
objects in the Paint branch. You can also change an
intensity.

Pressure readings range from 0 to 100. As you move Draw Modes

the slider, the current pressure setting is indicated. If All of the draw modes that are available in Combus-
you use a graphic tablet, you can use the Freehand tion are listed here and described in the order in
Stroke tool with the Pressure option enabled to set which they appear in the Draw Modes list.
the pressure depending on how hard you apply the
stylus to the tablet. Paint — Paint is the default mode. This mode
applies the current foreground color to the objects
Feather you create or select. It produces no special effects.
Use the Feather slider to feather the edges of selec- The Pressure slider is not available in Paint mode.
tions and masks.
Additive — Additive mode uses the Red, Green
Preserve Alpha and Blue values of the current color and adds these
In the Modes controls, enable Preserve Alpha to values to the area upon which you are painting. By
preserve the transparency of the image. When you using this mode repeatedly, the affected area gradu-
draw an object, it respects the transparency of the ally moves closer and closer to pure white (100%
pixels under it. Use this feature to draw using the each of RGB), assuming that the current color has
document’s alpha channel as a mask. Red, Green and Blue components. If you are using a
In the following example, the text is opaque and the tablet, the Pressure slider value determines the
black background is transparent. Preserve Alpha is amount of addition that takes place. A 100% setting
enabled and a Filled Ellipse object is drawn over the adds color to the affected area so that just one pass
text. The result is the following: makes a complete (100%) addition of the current
color to the RGB values of the affected pixels. A
setting of 50% adds 50%, and so on.
Subtractive — Subtractive uses the Red, Green

and Blue values of the current color and subtracts
these values from the area upon which you are
painting. By using this mode repeatedly, the affected
Disabling Preserve Alpha for the Filled Ellipse object
area gradually moves closer and closer to pure black
results in the following:
(0% each of RGB), assuming that the current color
has Red, Green and Blue components. If you are
using a tablet, the Pressure slider value determines
the amount of subtraction that takes place. A 100%
setting subtracts color from the affected area so that
just one pass makes a complete (100%) subtraction
of the current color to the RGB values of the affected
Invert pixels. A setting of 50% subtracts 50%, and so on.
Enable this option to invert selections or masks.
Brightness — The Brightness mode adjusts the
Anti Alias overall brightness or darkness level of all pixels in
Enable this option to create soft-looking edges.

the area being processed. Use this as you would the and forth between positive and negative modes. The
brightness control on a television set. If you are using Pressure slider is not available in Negative mode.
a tablet, a Pressure slider setting of 50% produces no
effect, while values of more than 50% increase Sharpen — Sharpen mode highlights the detail in
brightness and those of less than 50% cause a reduc- an image. It can be used to clarify and sharpen the
tion in the brightness level. edges and contrast of blurred or out-of-focus
images. Repeated use of this mode has a cumulative
Contrast — Contrast mode modifies the content of effect, with each pass heightening the sharpening
all pixels in the area being processed. It ignores the and creating a crisper effect. If you are using a tablet
current foreground color and modifies the intensity instead of a mouse, the Pressure slider controls the
of the contrast between lighter and darker pixels. If extent of the sharpening effect.
you are using a tablet instead of a mouse, a Pressure
slider setting of 50% produces no effect, while values Smooth — Smooth mode reduces the overall
of more than 50% increase contrast and those of less crispness of an image or clip. It reduces detail and
than 50% reduce contrast. selectively reduces the contrast between adjacent
pixels. It is especially useful to reduce the appearance
Tint — Tint mode changes the tint of an image of “jaggies” in aliased images. It has the opposite
selection while retaining the existing shading and effect of the Sharpen mode. If you are using a tablet
contours. It does this by changing the Hue compo- instead of a mouse, the Pressure slider controls the
nent without affecting saturation and value levels. If amount of smoothing that is achieved with a single
you are using a tablet instead of a mouse, you can brush stroke.
control the amount of tinting effect that occurs
during a single application by setting the percentage Blur — Blur mode has an effect similar to, but more
level on the Pressure slider. pronounced than, Smooth mode. It replaces the
color of each pixel with the average color of the eight
Colorise — Colorise mode functions similarly to pixels that surround it. It is less selective than
the Tint mode, but it is specifically designed to work Smooth mode, so the overall reduction in detail is
with grayscale images. It replaces the Hue and Satu- much stronger. The Pressure slider is not available in
ration of the existing image with those values Blur mode.
contained in the object’s current color. The Pressure
slider is not available in Colorise mode. Posterise — Posterise mode produces dramatic
results. It reduces the number of colors in the area of
Negative — Negative mode converts positive an image or clip. This produces an effect that is remi-
images to negative ones, or negative ones to positive niscent of the days when computers could only
ones. It makes a positive image look like a photo- display a few colors. If you are using a tablet instead
graphic negative, or inverts a negative image to a of a mouse, the Pressure slider adjusts the number of
positive. Since each time you apply the negative colors to which the image is reduced. A 100% setting
mode to an image it works on the new color levels, produces maximum posterization of your image,
repeated applications cause the image to flip back while lower settings create less stark results.

Emboss — Emboss mode detects areas of high levels in different areas of an image. The Pressure
contrast, highlighting them with black and white slider is not available in Luminance mode.
pixels and filling the remaining area with a neutral
gray. Emboss mode produces a 3D, monochromatic Multiply — Multiply mode “multiplies” or
effect similar to the way in which images are combines the current color with existing colors in
stamped into coins when they are minted. The high the image to produce a new, third color that is darker
contrast edges of images appear to cast shadows, than the other two. The overall effect is similar to
with the light source placed in the upper-left corner drawing with a colored marking pen over an image:
of the image. The Pressure slider is not available in it darkens and colors at the same time.
Emboss mode.
Screen — Screen mode is the inverse of Multiply
Color Emboss — Color Emboss mode is similar to mode. It combines the current color with the colors
Emboss mode, except that instead of replacing the in the image to create a third color that is lighter than
color information in the image with a neutral gray, it the existing one. The effect is similar to the photo-
retains the image’s existing colors to create an graphic technique of combining two slides in a slide
embossed, colored, 3D effect. The Pressure slider is “sandwich” and then reshooting them.
not available in Color Emboss mode.
Dodging Modes
Gray — Gray mode removes all color information The name “dodging” comes from the traditional
from an image or clip while retaining all of its bright- darkroom technique of using a small, circular
ness and contrast. The Pressure slider is not available paddle to block (or dodge) the amount of light
in Gray mode. received by a print, thereby lightening the areas of
the print which have been dodged. These dodging
Mosaic — Mosaic mode creates a mosaic or tiled tools do not take into account the current color when
image. It produces square, pixelated effects on the applying their effects. However, the Pressure slider is
selected areas of an image, transforming normally active, and if you are using a tablet instead of a
detailed images into blocks or tiles. You’ve probably mouse, the Pressure setting affects the amount of
seen this effect used to disguise the face of an infor- dodging (or lightening) that occurs with one appli-
mant or to obscure other visual information on TV. cation. Repeated application increases the amount
If you are using a tablet instead of a mouse, the Pres- of lightening that occurs. In all of the dodging modes
sure slider setting controls the size of the resultant the Pressure slider is active and controls the strength
tiles. of the lightening effect. In Combustion, there are
three draw modes that allow you to lighten areas of
Luminance — Luminance mode replaces the your work: Dodge Shadows, Dodge Midtones, and
brightness of the image’s color in the selected area Dodge Hilights.
with the luminance value from the current color.
This is most effectively done by using a shade of gray Dodge Shadows — This mode lightens the
as the current color so that the portion of the image darkest areas of the image.
being affected takes on a uniform level of luminance.
Luminance mode can be used to match brightness

Dodge Midtones — This mode lightens the Desaturate — Desaturation reduces the overall
midlevels or midtones of both color and grayscale saturation of color. It’s like turning down the color
images. level on a TV set. If you are using the tablet instead of
a mouse, the Pressure slider sets the amount of color
Dodge Hilights — This mode lightens the decrease that occurs. You can animate this control to
brightest areas of the image make areas gradually change from color to black and
white.
Burning Tools
The opposite of the dodging technique described Lighten — Lighten mode functions like the normal
above, “burning” a print in a darkroom is achieved paint mode with one difference: before changing a
by holding your hand in sort of an “O”, focusing the pixel, the luminance value of that pixel is compared
light and allowing more light to reach some areas of to that of the current color. If the current color is
a print more than others. Burning an image thus lighter than the pixel to be affected, then change
darkens the selected area. These burning tools do takes place. If the current color is darker than the
not take into account the current color when pixel, no change occurs. The Pressure slider is not
applying their effects. However, the Pressure slider is available in Lighten mode.
active, and if you are using a tablet instead of a
mouse, the Pressure setting affects the amount of Darken — Darken mode functions like the normal
burning (or darkening) that occurs with one appli- paint mode with one difference: before changing a
cation. Repeated application increases the amount pixel, the luminance value of that pixel is compared
of darkening that occurs. to that of the current color. If the current color is
darker than the pixel to be affected, then change
Burn Shadows — This mode darkens the darkest takes place. If the current color is lighter than the
sections of the image. pixel, no change occurs. The Pressure slider is not
available in Darken mode.
Burn Midtones — This mode darkens the
midtones of the image. Difference — Difference mode subtracts the RGB
color values of the current color from those of the
Burn Hilights — This mode darkens the highlights image upon which you are painting. If the result is a
(the lightest areas) of an image. negative number, the inverse value is used. This can
produce a psychedelic effect. In this mode, black has
Saturate — Saturate mode increases the saturation
no effect (since all values are zero) and white creates
of a color without affecting its actual color values or
a complete inversion of the color information.
lightness or darkness. Because it works on color
information, it does not have any effect on grayscale Soft Light — Soft Light mode applies a soft, diffuse
images. It can be used to increase the brilliance of light of the current color onto your image. It does not
colors, transforming pastel areas into brightly completely affect areas of detail, but does reduce the
colored ones. It essentially behaves like the color contrast levels in the image. It takes into account the
control on a television set. If you are using the tablet brightness levels of the current color and can actu-
instead of a mouse, the Pressure slider sets the ally reduce the brightness level of areas if the current
amount of color increase that occurs.

color is a dark one. Using this mode with black Source Type Buttons
produces a very dark effect, with white a very bright Use these buttons to determine how an object
one. The Pressure slider is not available in Soft Light appears. Source types include: Solid, Gradient,
mode. Reveal, and Clone.
Hard Light — Hard Light mode applies a harsh

light of the current color onto your image. It almost
completely affects areas of detail, but greatly reduces
the contrast levels in the image. It takes into account
the brightness levels of the current color before
carrying out its effect. Using this mode with black or
white creates completely black or white results. The Source Type
Pressure slider is not available in Hard Light mode. buttons
Overlay — Overlay mode applies a gel of the Solid

current color onto your image. It combines the Click this button to create solid-colored Paint
colors of the image with those of the current color to objects.
create new tints based upon these results. It boosts
contrast and color saturation at the same time. The Gradient
Pressure slider is not available in Overlay mode. Click this button to create Paint objects with color or
opacity gradients.
Erase — Erase mode erases all objects that lie
beneath it in the stacking order. Note that this mode For information on the Gradient controls, see
erases the background clip as well if you are working “Gradient Controls” on page 229.
with a movie clip or still image. This draw mode is
Reveal
essentially the same as the Eraser tool, except you
Click this button to create Paint objects that reveal
can use it to define erasing characteristics as part of
through to footage from another layer (or a different
any object.
part of the same layer).
Revert — Revert mode “reverts” to the original For information on the Reveal controls, see “Reveal
saved clip, removing any modifications that the Tool Interface” on page 223.
painting of objects or the application of effects has
made since the clip was last saved. This mode does Clone
not erase the background clip, so you can use it to Click this button to create Paint objects that clone
“cut into” other objects below it in the stacking order footage from another layer (or a different part of the
without affecting the background. same layer).
For information on the Clone controls, see “Clone
Behind — Behind mode creates objects that appear
Tool Interface” on page 224.
only in the transparent areas of the image, as defined
by its alpha channel.

Object Options To access the reveal controls:

Use these buttons to specify object options. 1. Select a layer in the workspace.
2. Choose Operators | paint to add a Paint operator
Object options
to the selected layer.
3. In the Source Type section of the Modes panel,
click the Reveal button.
The Reveal controls appear.
Reveal button
Object Type List

Use this list to switch a selected object between a
Shape, Selection, or Mask object.
For more information, see “Changing Object Types”

on page 203.
The reveal controls are made up of the following
Object Mode List elements.
Use this list to switch a selected object between filled
and stroked mode. Source List
Use the Source list to pick the layer to use as the
Channel List reveal source. Select Current to reveal from the
Select an item from this list to draw on a single color footage currently in Paint.
channel. When you switch channels, the viewport
updates to display the specified color or alpha Select Pick Operator to access the Select Reveal
channel(s) for the selected object(s). Source dialog. This allows you to choose another
layer as the reveal source. From this dialog you can
The panels in the Color controls update to reflect also import footage.
changes made using this list. For instance, if you
select the Blue channel from the Channel list, only Frame Field
shades of blue are available through the different Use this field to enter a timecode value corre-
panels, and the blue portion only of the selected sponding to the frame you want to reveal. Enable
object’s color is displayed in the viewport. Lock to reveal from the specified frame only.
Unlock the Frame field to reveal from a sequence
Reveal Tool Interface of frames.
This section describes the reveal tool controls.
Offset Fields
Enter X and Y values in these fields to specify a posi-
tion offset for the reveal source.

You can also click and drag on the Set Position To access the clone controls:
button to move the reveal source to the neces- 1. Select a layer in the workspace.
sary position. To facilitate the placement of the
2. Choose Operators | Operator | Paint to add a
reveal source, when you are moving the reveal
Paint operator to the selected layer.
source, a partially transparent image of the reveal
source appears over the current footage in Paint. 3. In the Color Mode heading of the Modes panel,
click the Clone button.
Edge Mode List The Clone controls appear.
Select an option from the edge mode list to indicate Clone button
how the system treats the reveal operation when it
runs up against the edge of an offset reveal source.
Edge Mode options include:
Transparent — With this option selected, the

reveal source is treated as transparent if you draw
past the edge of the source.
Repeat — With this option selected, the reveal The Clone controls are made up of the following
source repeats (like tiles) if you draw past the edge of elements.
the source.
Source List
Mirror — With this option selected, the reveal Use the Source list to pick the layer to use as the clone
source is mirrored if you draw past the edge of the source. Select Current to clone from the footage
source. currently in Paint.
Select Pick Operator to access the Select Clone

Continuous — With this option selected, the pixels
Source dialog. This allows you to choose another
at the edge of the reveal source are repeated.
layer as the clone source. From this dialog you can
also import footage.
AA Button
Enable the AA button to turn on sub-pixel
Frame Field
positioning of the reveal source. When this option is
Use this field to enter a timecode value corre-
disabled, the reveal source always snaps to the posi-
sponding to the frame you want to clone. Enable
tion of the source to the nearest whole pixel.
Lock to clone from the specified frame only.
Enable this option when you are animating the
Unlock the Frame field to clone from a sequence
reveal source position.
of frames.
By default, this option is enabled.
Position Field
Enter X and Y values in these fields to select the
Clone Tool Interface
starting position for the clone source.
This section describes the clone tool controls.

Transform Controls ❚❘❘
You can also click the Set Position button then Transform Controls
click the image in the starting position. Use the Transform controls on the Paint Controls
If you are using another layer as the clone source, panel to make changes to object transform
when you click the Set Position button , a the properties.
layer appears in the viewport. Click the starting
location on the clone source to return to the other
layer.
Edge Mode List

Select an option from the edge mode list to indicate
how the system treats the clone operation when it
runs up against the edge of an offset clone source. For more information on these controls, see
Edge Mode options include: “Editing Object Transform Properties” on page 247.
Transparent — With this option selected, the

clone source is treated as transparent if you draw Brushes Controls
past the edge of the source. The Brushes controls displays the current brush set.
You can click a brush to select it, double-click to edit
Repeat — With this option selected, the clone its parameters, or click and drag to move the brush
source repeats (like tiles) if you draw past the edge of to a new position on the panel. The arrow in the top-
the source. right corner opens the Brushes Palette menu. Use
this menu to add a new brush to the current set,
Mirror — With this option selected, the clone delete a brush from the current set, edit a brush,
source is mirrored if you draw past the edge of the create a new brush set, and choose a brush set.
source.
Click to display the
Brushes palette menu.
Continuous — With this option selected, the pixels
at the edge of the clone source are repeated.
AA Button
Enable the AA button to turn on sub-pixel
positioning of the clone source. When this option is
disabled, the clone source always snaps to the posi-
tion of the source to the nearest whole pixel.
Working with Brushes
Enable this option when you are animating the clone Use Combustion hard brushes and airbrushes when
source position. creating unfilled paint objects. When you launch
Combustion, the default brush palette appears. It
By default, this option is enabled.
includes both hard-edged round brushes and soft-
edged airbrushes.

Hard-edged round brushes impart a constant Editing Brush Attributes

outline and density to the painting strokes you You can perform many useful edits to your brushes,
make. In contrast, air brushes are soft-edged and in addition to resizing them. Use the Brushes
pressure sensitive: the longer you press on the mouse controls to edit brush parameters.
button, the denser the color.
To access the Brushes controls:
Resizing a Brush On the Paint Controls panel, do one of the following:

Select the brush size from the Brushes controls. You • Click the Brushes button
can resize a brush while you paint, without saving
the new brush size, or you can resize it and save it for • On the Brushes palette, click the right arrow and se-
future use. lect Edit Brush from the menu.
Click to access Brush

To resize a brush for the current stroke: palette menu.
Hold down the CTRL key (Windows) or COMMAND
key (Macintosh), and click and drag.
A temporary brush is created. It doesn’t modify the
original brush in the Brushes controls.
To resize and save the brush:

The Brushes controls appear.
1. On the Paint Controls, double-click the Brushes
button. Changing Brush Shape
The Brushes controls appear. You can use either an elliptical or a rectangular
brush. To change the brush shape, select a shape
from the Shape list.
Changing Aspect Ratio

To change the aspect ratio, move the Aspect Slider
from left to right to increase the vertical dimension
Brush attributes Brush preview with respect to the horizontal. This applies to both
elliptical and rectangular brushes.
2. Adjust the Diameter slider.
The brush size is updated. You can view the new
brush size in the Brush Indicator box, or move the
cursor over the active viewport and view the outline
of the resized brush.

Brushes Controls ❚❘❘
Changing Contact Angle Changing Brush Type

To change the contact angle of the brush, move the Enable Air Brush to create an airbrush stroke using a
Angle Slider from left to right. This rotates the normal brush. Use the Flow Slider to adjust the
contact angle counter-clockwise. amount of color that is applied with the air
brush.The higher the number on the slider, the
greater the density of color.
0° contact 90° contact 135° contact

angle angle angle
Air Brush Air Brush enabled,
disabled 25% flow.
Changing Spacing
The amount of space between dabs of paint depends Anti-Aliasing
on the diameter of the brush used to create the dab Enable Anti-Alias to prevent jagged edges on brush
and the spacing number. The spacing number is the strokes.
percentage of the diameter of the brush used
Anti-aliasing
between the leading edges of two brush dabs. disabled
In the first example of different brush spacing

settings, several dabs are shown touching, but not
intersecting. The spacing value is 100%. In the Anti-aliasing
second example, several dabs of the same brush enabled
intersect; the space between their leading edges is
half the diameter of the brush. The spacing value is
50%. The last line shows no space between the dabs
of paint in the stroke. Its spacing value is zero.
To change the amount of space between dabs of
paint, move the Spacing Slider. The higher the
number, the more space appears between dabs.
100% spacing
50% spacing
0% spacing

Adjusting the Opacity of a Brush Stroke handle anywhere, even outside the brush. To move
Use the profile graph to control the opacity profile of the handle back to the center of the brush, click the
the brush. Center button.
Opacity profile curve Brush preview
Brush handle
Line Type Horizontal Reset Creating a New Brush

button Flip You can create your own brushes and save them on
Vertical Flip Remove Control Point
the Brushes controls.
When adjusting the opacity profile, you can access To create a new brush:
the following controls:
1. On the Brushes palette, select a brush.
Click: To: Brush menu
Profile curve Add a control point.
Line type Toggle between linear and Bezier Brushes palette
button profiles. A Bezier graph creates a
profile where the opacity chang-
es more gradually.
Vertical flip Invert the profile vertically.
button
Note: When you create a new brush, it is inserted
Horizontal Invert the profile horizontally. before the selected brush.
flip button
Remove Remove the selected control 2. Click Brush menu, and select New Brush.
Control Points point. On the Brushes palette, a new brush is inserted and
button highlighted.
Reset button Remove all control points to cre-
3. Set the attributes for the new brush. See “Editing
ate 100% opacity across the en-
tire brush. Brush Attributes” on page 226 for more informa-
tion.
Moving the Brush Handle On the Brushes palette, and in the Edit Brush
When you draw in the active viewport, the cursor Preview area, the brush changes as you modify the
drags the brush handle. By default, the cursor corre- brush parameters.
sponds to the center of the brush. Use the Handle You can now work with the new brush.
button to move the brush handle. You can place the

Gradient Controls ❚❘❘
Deleting a Brush Gradient Controls

1. On the Brushes palette, select a brush. This section describes the gradient controls. For
information about using gradients, see “Creating
2. Click Brush menu, and choose Delete Brush.
Gradients” on page 262.
The selected brush is removed from the palette.
To access the Gradient controls:
Using Brush Sets 1. Select a layer in the workspace.
You can create brush sets, and then organize your 2. Choose Operators | Paint to add a Paint operator
brushes by placing them in different brush sets. to the selected layer.
By default, your system includes the following brush 3. On the Modes panel, click the Gradient color
sets: AirBrushes, Default, FX Brushes, and Solid. mode button.
4. Click the Gradient button to display the gradient
To select a brush set: controls.
Click the Brush menu, and then select a brush set The Gradient controls appear.
from the lower section of the menu.
The selected brush set appears on the Brushes
palette.
The Gradient controls are made up of the following

elements.
Brush Sets
Direction Control Box

Use the direction controls to change the selected
To create a new brush set: gradient’s orientation. For finer control, use the
1. Click the Brush menu, and then choose New gradient control bar (located on the Toolbar tool
Brush. options). You also get a preview of what the selected
The Enter New Brush-Set Name dialog appears.
2. Enter the name of the new brush set and click

OK.
An empty Brush Set appears on the Brush palette.
You can now create new brushes on this palette (see
Creating a New Brush, on page 228).

gradient type and orientation looks like in the direc- colors, opacity, and the rate at which the color
tion control box. changes.
Color Bar
Opacity Bar
Linear Radial
Color and Opacity Tags

Add tags to the color or opacity gradient bar to
increase your level of control and complexity of the
gradient.
Radial Sweep Spiral
For more information on using the gradient control

bar to fine tune the orientation, see “Setting
Gradient tag
Gradient Direction” on page 266.
Click the color gradient bar to add a color tag at the
Gradient Type Buttons
position you clicked.
Click one of the Gradient Type buttons to indicate
what the gradient should look like. Double-click a color tag (or a selection of tags) to set
the color for that tag.
Note: You can select multiple tags and set the

color for them all simultaneously by double-
Gradient Bars clicking any one of the selected tags.
The gradient bars give you a visual representation of
Opacity Slider
how your gradient changes. Add tags to the gradient
Once you’ve added an opacity slider to the opacity
bar to add “keyframes,” which you use to control the
gradient bar, you set the opacity level at that tag
using the opacity slider.
Opacity slider

Shadow Controls ❚❘❘
Note: You can select multiple tags and set the Clear Gradient
opacity for them all simultaneously. Click the Clear button to delete all tags from the
gradient and reset the color to the foreground color
Remove Tags
as specified in the Modes panel.
Click the Remove Tags button to remove the
selected tag(s).
Reverse Gradient
Shadow Controls
Use the Shadow controls to create a shadow on the
Click the Reverse Tags button to reverse all the
underlying objects and footage, based on the shape
tags on both gradient bars.
of the selected object(s). You can use this to create
imagery that appears to float off the screen in 3D.
Gradient before clicking Reverse Tags button.
The Shadow controls are mode up of the following

elements.
Gradient after reversing.
Distance — Specifies how far the shadow appears

Distribute Tags from the selected object(s).
Click the Distribute button to evenly distribute
the tags on both gradient bars. Direction — Determines the orientation of the
shadow with respect to the selected object(s).
By default, this value is set to 315-degrees.
Scale — Makes the shadow bigger or smaller than

Gradient before clicking Distribute Tags button. the selected object(s). By default, this value is set to
100%.
Opacity — Specifies the transparency of the drop

shadow. By default, this value is set to 50%.
Gradient after distributing. Softness — Specifies the fuzziness of the edges of

the shadow. Use this slider to create a more soft-edge
shadow. By default, this value is set to 0.

Color — Specifies the color of the shadow. The Output Selection — Enable this option to keep
default color is black, but you can choose any color selections active when you exit Paint and return to a
by clicking the color box and choosing a color from Composite. This allows you to continue adding
the Pick Color dialog. operators to a layer that only affect the selection you
created in Paint.
Enable — Turns on the shadow.
Note: Until you click this button, you will not see a
shadow.
Color Controls
The Color controls are made up of the Swatches,
To add a drop shadow to Paint objects: Mixer, Color Picker, and Sliders panels.
1. Click the Arrow tool and select the paint ob-
ject to which you want to add a drop shadow.
2. On the Paint Controls panel, click the Shadow
button.
The Shadow controls appear.
Note: A different Color Picker appears when you

3. Click Enable Shadow.
click a color box in the Modes panel, or in a docu-
A default drop shadow appears behind the selected ment settings dialog. For more information, see
Paint object. Using the Pick Color Dialog, on page 42.
4. Modify the Shadow parameters as needed. You

can see the effects of your modifications in the pre-
view window to the right of the controls.
5. Click the Color box to specify the drop shadow
color.
Settings Controls
The Settings controls allow you to set Paint options.
Default Object Duration — Specifies the initial

durations for all new objects. Select All Frames to set
object duration to the duration of the branch.

Color Controls ❚❘❘
Swatches Panel To replace a swatch with the current foreground

The Swatches panel displays customizable color color:
swatches. There are several default swatch “sets” • Press the SHIFT key and click the swatch you want to
available to choose from. replace. It changes to the current foreground color.
Click to display • Press SHIFT while dragging your cursor over a range
Swatches menu of swatches to set them to the current foreground
color.
To delete a swatch:
• Press the CTRL key (Windows) or COMMAND key
(Macintosh) and click the swatch you want to delete
(the cursor changes to scissors). The swatch is re-
moved from the set.
• Press CTRL key (Windows) or COMMAND key (Mac-

intosh) while dragging your cursor over a range of
swatches to delete the selected range of swatches.
To choose a swatch set:
Click the Swatches menu and choose a named To create a spread of colors:
swatch.
• While pressing the CTRL+SHIFT key (Windows) or
To pick a color from the swatch set: COMMAND+SHIFT key (Macintosh), click and drag a
range of swatches. When you release the mouse but-
1. Move the cursor over the Swatches panel.
ton, a “spread” is created between the first color you
The cursor changes to a dropper.
clicked and the last color you clicked.
2. Click the color swatch you want.
• Click and drag your cursor over the empty region
The foreground color changes to the color of the of the Swatches panel to generate a color spread be-
swatch. tween the foreground and background colors.
3. To pick a background color, hold down the OP-
TION key (Macintosh) or ALT (Windows) and click To create a new swatch set:
the swatch you want. 1. Click the Swatches menu, and choose New
Swatch.
To add a color to the current swatch set:
2. Type a new name for the swatch set in the text
1. Move the cursor over a blank area of the Swatch- box that appears.
es panel.
3. Click OK to accept the new name and create a
The cursor changes to a paint bucket.
new swatch set.
2. Click over the blank area. The Swatches panel is empty and ready to create new
The current foreground color is added to the swatches. The new swatch set is listed in the Swatch
Swatches panel. panel list.

To delete a swatch set: Mixer Panel

1. Choose the swatch set you want to delete from Use this panel like a painter’s palette: to mix colors
the Swatches menu. manually.
2. Click the Swatches menu and choose Delete Mixer

Swatch Set. menu
You are prompted to confirm the deletion.
▲ You cannot undo this operation.

3. Click OK to delete the selected swatch set.
Color Picker Panel

Use the Picker panel to select colors based on the
HSV color model. You can drag the cursor around
the picking area in the middle to pick a color based
on hue and saturation, and drag the slider below to
pick a brightness value.
To mix colors on the Mixer panel:
1. Select a color to mix into the current palette from
the Swatches panel, the Picker, or the Sliders.
Hue vs.
Saturation 2. Click the Mix button.
area
3. Click and drag in the mixing area. The initial
movement lays down a “dab” of the foreground col-
or. As you drag, it starts mixing it with the other col-
ors in the palette (including the background color of
the mixing area), very much like a real paintbrush
would.
Value bar
To choose a color from the Mixer panel:
1. Click the Mix button to turn it off.
To use the color picker:
2. Click anywhere in the mixing area to choose the
Select a color by clicking in the Hue Vs. Saturation
color under the cursor as the new foreground color.
area, and then selecting a value using the Value bar at
the bottom of the panel. 3. To select a background color from the mixing ar-
ea, hold down the OPTION key (Macintosh) or the
ALT key (Windows) while you click.
To clear the mixing area:

Click the Clear button on the Mixer panel.

Color Controls ❚❘❘
The mixing area is filled with the current back- Sliders Panel
ground color. Use the Sliders panel to select color by adjusting a set
of RGB or HSV sliders individually.
To choose a preset mixing area:
Click the Mixer menu and choose a named mixer
from the menu.
Click the RGB% button to specify colors based on

To create a new mixing area:
the percent of red, green, and blue present in the
1. Click the Mixer menu and choose New Mixing color.
Area.
Click the RGB button to specify colors based on RGB
2. Type a new name for the mixing area in the text values (from 0 to 255 for each channel).
box that appears.
Click the HSV button to specify colors based on
3. Click OK to accept the new name and create a
new mixing area. HSV values (where Hue goes from 0 to 360-degrees
and both Saturation and Value go from 0% to
The Mixer panel is empty, ready to mix new colors.
100%).
The new mixing area is added to the list in the Mixer
menu.
Status Bar
To delete a mixing area: The status bar displays the X and Y pixel position,
1. Choose the mixing area you want to delete from the current pixel color at the cursor when the cursor
the Mixer menu. moves over the active viewport (in both RGB and
2. Click the Mixer menu and choose Delete Mixing
Area.
A dialog appears prompting you to confirm the
deletion.
▲ You cannot undo this operation.

3. Click OK to deleted the current mixing area.

HSV color), as well as system meters. You also use Enable: To:
the status bar to flush the system’s cache.
Tool Feedback Display updating values that in-
The X and Y coordinates represent the position in dicate what the current tool is
terms of a column/row ordered pair; for example, doing.
the pixel at column 75, row 460. This palette also Cache Meter Display a meter that indicates
displays the pixel’s color values in both the RGB and how much system cache has
the HSV color models. been used.
Progress Indi- Display progress when the sys-
In addition, the right side of the status bar displays
cator tem is rendering.
tool feedback, a cache meter, and a progress
indicator. To flush the system cache:
1. Right-click the status bar, and then choose Flush
To show/hide elements of the status bar:
Cache from the Status Bar menu.
1. Right-click the status bar.
A message appears prompting you to confirm the
The Status bar menu appears. operation.
2. Click OK.
The cache is flushed.
2. Enable the status bar elements as needed. The

following elements are available:
Enable: To:
Position Display X and Y coordinates for
the cursor position.
Color Plot Display the color of the pixel at
the cursor position in a color box.
Color Values Display, in both RGB and HSV val-
ues, the color of the pixel at the
cursor position.
The Status Bar
Position RGB Color Values Tool Feedback Progress

Indicator
Color Plot HSV Color Values Cache Meter

10Paint: Drawing Basics
Drawing tools enable you
to enhance multi-frame
a
clips and single-frame
images. Use the drawing
tools to create and animate

et
paint strokes, geometry,
text, selection objects, and
effects while maintaining

B

10 Paint: Drawing Basics
full control over their individual properties. objects, copy and paste them, as well as apply effects
to them individually or as a group.
Summary
This chapter explains:
• About Paint Objects.
• “Creating a Paint Object” on page 238
• “Editing Object Transform Properties” on page 247
• “Editing Object Shapes with Control Points” on

page 250
• “Aligning and Distributing Objects” on page 253
• “Grouping and Ungrouping Objects” on page 255

The reason all this is possible is because Paint is a
• “Changing Object Stacking Order” on page 256 vector-based paint application. The use of vector-
• “Cutting, Copying, and Pasting Objects” on page based objects offers unparalleled control over the
257 application and editing of effects on your video
clips. It is this ability, the ability to modify an object
• “Deleting Objects” on page 257 after you create it, that differentiates Paint from other
• “Using Draw Modes” on page 258 paint applications.
• “Committing Edits” on page 266

Creating a Paint Object
You draw paint objects in the active viewport using
About Paint Objects any of the tools on the Toolbar. Brush strokes,
A Paint object is what you create when you use the
geometric shapes, and text are paint objects.
painting tools to paint on a clip. A brush stroke is an
object, a filled circle is an object, an eraser stroke is Use the following steps when creating a paint object:
an object, text is an object. • “Selecting Drawing Tools” on page 239
Once you create an object, you can modify any of its • “Selecting an Object Color” on page 239
parameters (position, size, color, opacity) and
animate them. You can even delete an object — even • “Specifying Opacity and Draw Mode” on page 239
if there are other objects on top of it! You can group • “Selecting a Brush” on page 240
• “Drawing Paint Objects” on page 240.
Note: You do not have to perform these steps in

the order listed here.

Creating a Paint Object ❚❘❘
Once you create the object, you can edit any of its Use: To:
properties or the object duration.
Draw a straight line.
Draw an unfilled rectangle
Selecting Drawing Tools
You create paint objects using the drawing tools Draw an unfilled ellipse
located in the Toolbar. Use the Freehand, Rectangle, Draw an unfilled polygon
Ellipse, and Polygon drawing tools to create filled or
unfilled (stroked) objects. These tool icons are like Selecting an Object Color
toggle switches: when you click an icon, it switches Use the color boxes to select the foreground and
between filled and unfilled. background colors. The system applies the current
Freehand Straight Line Rectangle foreground color to new objects.
Ellipse To select a foreground color:

1. In the Modes controls of the Paint Controls pan-
Polygon el, click the foreground color box.
Foreground Color box
Text
For information about creating text objects, see

Chapter 13, “Paint: Working with Text.”
To choose a drawing tool: The Pick Color dialog appears.

1. To create a filled object, click the corresponding
tool until you see the following: 2. Select the color, then click OK.
Note: For more information about using colors,

Use: To:
see “Color Controls” on page 232.
Draw a filled freehand stroke.
Draw a filled rectangle Specifying Opacity and Draw Mode
Draw a filled ellipse Opacity and draw mode affect the way your object
appears in the viewport.
Draw a filled polygon
2. To create an unfilled object, click the corre-

sponding tool until you see the following:
Use: To:
Draw an unfilled freehand stroke.

To specify opacity: stroked object), the outline’s thickness will depend

In the Modes controls of the Paint Controls panel, on the size and shape of the selected brush.
drag the Opacity slider to the appropriate value.
Opacity slider
To specify a draw mode: Rectangles drawn with different brush sizes.

In the Modes controls of the Paint Controls panel,
select a draw mode from the Draw Mode list. To select a brush:
Modes list On the Paint Controls panel, select a brush on the

Brushes palette.
For information about the available draw modes, see For information on customizing brushes or
“Modes Controls” on page 217. selecting different brush palettes, see “Brushes
Selecting a Brush
Many drawing tools also work together with Drawing Paint Objects
brushes, which affect the application of your paint The following sections describe how to draw paint
strokes. Obviously, when using a paint brush, the objects.
brush you select determines the size of the brush
strokes. Also, if you create an outline of a rectangle (a

Freehand Tool paint applied by the airbrush depending on how

Use the Freehand tool to create filled and unfilled hard you press the stylus.
freehand strokes.
Note: Pen Pressure options are disabled when
Make Curve is enabled.
4. If you are drawing:

• An unfilled stroke, select a brush from the Brushes
palette.
• A filled stroke, enable Anti-Alias to remove jagged

edges.
5. Draw the stroke in the active viewport.
Straight Line Tool

Use the Straight Line tool to create straight lines.
Filled freehand stroke Unfilled freehand stroke
To create a freehand stroke:

1. On the Toolbar, click the Freehand tool .
The tool options update to show Freehand stroke
options.
Assorted straight lines.
To create a straight line:

1. On the Toolbar, click the Straight Line tool.
Tool options for unfilled Tool options for filled 2. Select a brush from the Brushes palette.
freehand stroke tool. freehand stroke tool.
3. Draw the straight line in the active viewport.
2. For filled strokes, enable to create a smooth The line is drawn with the currently selected brush
curve with control points that you can edit. and draw mode.
3. If you are using a graphics tablet with Combus-
tion, use the Pen Pressure options to control the
stroke. For example, you can vary the amount of

Rectangle and Ellipse Tools Select: To:

Use the Rectangle and Ellipse tools to create filled
and unfilled rectangles and ellipses. Constrained Set a specific width-to-height
scale ratio.
In this manner, you can make
sure that any object you draw is
scaled to the ratio H:W.
Fixed Set specific Rectangle or Ellipse
dimensions. This is useful for
drawing exact shapes quickly.
To do this, set the mode to Fixed,
enter the object size in the X and
Y fields, and click to set the cen-
ter point of the fixed shape.
3. If you are creating an unfilled object, select a

brush from the Brushes palette.
Filled and stroked rectangles and ellipses.
Note: For filled objects, there is no need to select a
To create a rectangle or an ellipse: brush.
1. On the Toolbar, click the Rectangle tool or
4. Click and drag the cursor in the active viewport
Ellipse tool .
to draw the object.
2. Select a mode from the Mode list at the bottom
of the Toolbar. Bezier Curve Tool
Use the Bezier curves tool to create complex shapes.
With Bezier curves, you have precise control over the
curves in an object using control points and tangent
handles.
Mode list
Use the Mode list to access the various Rectangle or

Ellipse drawing modes.
Select: To:
Normal Use the default setting.
In Normal mode, holding SHIFT
while dragging is the same as us- Filled closed curve Open curve Unfilled closed curve
ing Constrained with a setting of
1 and 1.

To create a Bezier curve: The way the Eraser tool functions depends on the
1. On the Toolbar, click the Polygon tool . tool option you select from the Erase to list.
2. If you are creating an unfilled object, select a

brush from the Brushes palette.
Note: For filled objects, there is no need to select a

brush.
3. In the active viewport, click to draw control

Erase to list
points that are joined by a straight line. Click and
drag to draw Bezier control points that are joined to
create a curved polygon.
Note: You can edit the Bezier control points to

To use the eraser:
change the curve of the polygon. For details, see
“Editing Object Shapes with Control Points” on 1. On the Toolbar, click the Eraser tool.
page 250.
2. Select an option from the Erase To list.
4. To close the polygon, click the first control point.
Select: To:
5. To create an open curve, double-click the last
BG Color Erase the underlying objects and
control point to complete the stroke.
reveal the currently specified back-
ground color.
Using the Eraser Change the background color by
Use the Eraser tool to erase some or all of underlying clicking the background color box
objects as you would with a pencil eraser. As with the and then specifying another color.
other paint tools, the Eraser tool is object-based. Transparent Erase all underlying objects includ-
This means that once you create an eraser object, ing the background. With this oper-
you can move, scale, and rotate it in the same way ation, the area under the eraser
object becomes transparent.
you manipulate other paint objects.
Erasing with this option is like creat-
An eraser object acts on all objects under it. It is not, ing a freehand mask. To see the re-
by default, linked to the objects you originally sults of this option, switch to a view
mode that enables you to see the
erased. If you move an eraser object over another
alpha channel. For instance, choose
object, the old object reappears and the new one is Window | View Mode | Alpha.
erased.
Revert Erase the underlying objects and
reveal the original image.
If there is no original image, Revert
erases to the document back-
ground color (as specified when
you created the workspace).
3. Click a brush to specify the Eraser size.

4. In the active viewport, move the cursor over the To use Fill:
object(s) to erase, then hold down the left mouse 1. On the Toolbar, click the Fill tool.
button and drag to erase.
2. Set the tool options as needed.
5. If you are using a graphics tablet with Combus-
tion, use the Pen Pressure options to control the Use: To:
stroke. For example, you can erase more softly de-
pending on how softly you press the stylus. Tolerance Indicate the fill operation sensi-
tivity. Use a low tolerance value
Note: You can delete an eraser object by selecting so that the fill operation acts only
it and then pressing Delete. on a small range of colors. Set the
Tolerance to zero so only colors
that are identical to the selected
Fill Tool color are replaced.
Use the Fill tool to fill a specific area of your branch Set the tolerance to a high value
with the color currently specified in the foreground so that the fill operation acts on a
color box. wider range of similar colors. Set
the Tolerance to 100 to replace
When you click in the viewport, a Fill marker is all colors with the foreground
added to the composition. The Fill marker acts on color.
the pixels directly beneath it; depending on the Anti-alias Soften the edges of the fill ob-
Tolerance value, all consecutive pixels with a color jects.
similar to the one under the marker are replaced
with the foreground color. You set the Tolerance 3. Click the foreground color box to set the fore-
ground color.
value in the Fill tool options.
4. In the active viewport, click in the area of the im-
If you animate the position of the Fill marker (or age you want to fill.
animate the objects under the Fill marker), the fill
operation may change as the marker passes over
different sections of the underlying image.
Note: Fill is not linked to the object over which it

was originally placed.
Viewport prior to Viewport after fill operation.

fill operation. The color to Fill was within
the black cross (and was
replaced with white).
Note: For best results, fill areas should be of one

fairly homogenous color.
You can animate the Fill tool parameters as you

would any other drawing object.

Arrow Tool ❚❘❘
Color Picker Magnify

Use the color picker to sample the color of a specific Click the Magnify tool and then click the image
pixel (or range of pixels). The sampled color is to zoom in.
loaded into the foreground color box.
You can also specify the zoom factor by selecting a
When you sample a range of colors, an average of all value from the Zoom Factor list at the bottom of the
sampled colors is loaded into the foreground color Toolbar.
box.
To use the color picker:

Home button
1. On the Toolbar, click the Color Picker tool.
2. Move the cursor over the pixel you want to sam-
ple, and then click the mouse button.
The sampled color appears in the foreground color
box. You can now use it with any selected drawing
tool. The color is also applied to all selected objects. Zoom Factor list
To sample a range of colors:

Press ALT (Windows) or OPTION (Macintosh) and
1. On the Toolbar, click the Color Picker tool.
click the viewport to zoom out.
2. Move the cursor over the pixel you want to sam-
You can zoom in on a specific area of the image by
ple, and then click the mouse button.
drawing a rectangle marquee over the appropriate
The sampled color appears in the foreground color
area.
box.
to return to the default zoom factor setting, click the
3. Enable the Area Sample option at the bottom of
Home button above the Toolbar.
the Toolbar.
Grabber Tool
Use the Grabber tool to move your workspace
around within the active viewport. This is useful
when you are zoomed in very tight and want to move
to another part of the workspace.
Area Sample
option
4. Press SHIFT and draw a selection box over the Arrow Tool
area containing the colors you want to sample. Whether you are working with geometry, selection,
The average color is loaded into the foreground or text objects, before you can edit an object, you
color box. You can now use it with any selected must select it using the Arrow tool.
drawing tool. The color is also applied to all selected
objects.

To select an object: automatically using the Auto Duration feature, or

1. On the Toolbar, click the Arrow tool. you can set its duration using the Timeline.
2. In the appropriate viewport, click the object.

The object is highlighted with a bounding box, and
Using Auto Duration
If the Auto Duration feature is enabled, objects you
its name is highlighted in the Timeline list.
create are automatically copied to subsequent
frames, as you advance through the branch. The
Auto Duration feature affects only newly created
objects. It does not change the duration of objects or
Bounding effects that you created before enabling Auto
box Duration.
To enable or disable Auto Duration:

Choose Object | Auto Duration.
A check mark indicates that the feature is enabled.
Note: To select an object, you can also click the

object’s name in the Timeline list. For more infor- Setting Duration with the Timeline
mation on using the Timeline, see Chapter 8, You can extend an object’s duration by dragging its
“Keyframing.” In and Out points on the Timeline, or by adding a
keyframe for that object at the desired time.
To select several objects at once:
1. On the Toolbar, click the Arrow tool.
• Press the CTRL (windows) or COMMAND (Macin- Object with a
one frame
tosh) key, and click and drag the cursor around the
duration.
objects in the viewport.
• Press the CTRL (windows) or COMMAND (Macin-

tosh) and SHIFT keys, and click the objects in the
viewport. Drag the in or out
point (or both) to
Selected objects are highlighted by a bounding box extend object
and their names are highlighted in the Timeline list. duration.
Setting Object Duration

When you create an object, it exists only on the
current frame. You can extend an object’s duration

Editing Object Transform Properties ❚❘❘
Setting Duration with the Keyboard Moving Objects

Use the keyboard to quickly set a selected object’s in You can move geometry, text, and selection objects
and out points. by dragging them to a new position.
To set object duration with the keyboard: To move an object:

1. Create an object on the first frame of an anima- 1. Select the object.
tion. The selection is surrounded by a bounding box with
2. Select the object. size and rotation handles.
3. Move to the last frame of the animation. 2. Position the cursor anywhere inside the object,
and then click and drag.
4. Press the . (period) key to set the object’s out
point to the current frame (and, therefore, extend
the object’s duration).
Note: Press the , (comma) key the set the selected

object’s in point to the current frame.
Editing Object Transform

Properties
You can move, scale, and rotate objects interactively
in the active viewport, using the Transform controls,
or the Timeline.
For more information on using the editing object Note: In the Transform controls, you can also enter
precise position values in the X and Y Position
properties in the Timeline, see “Editing Keyframes fields.
and Animation Curves” on page 184.
To access the Transform controls:

1. Click the Paint Controls tab.
2. Click the Transform button.
The Transform controls appear.
Position fields
3. Click the R button above the Position fields to re-

set changes made to the object’s position to the mid-
dle of the viewport.

Rotating Objects To move an object’s pivot point:

You can rotate objects around their pivot point. You 1. Select the object.
can move the pivot point and create off-centered
2. In the tool options, click the Pivot Point op-
rotations. tion.
To rotate an object: A pivot point appears on the object.

Pivot point
2. Move the cursor to the rotation handle.
The cursor changes to a curved arrow.
3. Click and drag the rotation handle on the
bounding box:
3. Click and drag the pivot point to a new location.
Note: Click the R button above the Pivot fields to

reset changes made to the object’s pivot point.
4. To rotate the object, click the Arrow tool on

Note: You can also type an exact rotation angle in the Toolbar, click the Object Edit tool , and then
the Rotation field of the Transform controls. drag the bounding box rotation handle.
The object rotates around its new pivot point.
Note: You can also change the position of an

object with respect to its pivot point using the X
and Y Pivot fields in the Transform controls.
Rotation field
4. Click the R button above the Rotation field to re-

set changes made to the object’s rotation.
Pivot fields

Editing Object Transform Properties ❚❘❘
Scaling Objects you change the value in one field, the other field
You can change the scale of an object by manipu- updates to the same amount.
lating the bounding box handles. You can scale in
different ways: by changing proportions, resizing
while maintaining aspect ratio, and scaling with
respect to pivot point position.
To scale an object:
Scale Proportional
1. Select the object. fields button
2. Position the cursor over one of the handles on
the object outline. 4. Click the R button above the Scale fields to reset
changes made to the object’s scale.
The cursor becomes a double-headed arrow.
Shearing Objects
You can change the shear of an object using the
Transform controls.
3. Drag the handle to change the object’s propor-

tions:
• To maintain the object’s aspect ratio while resizing,
press the SHIFT key while dragging one of the han- The resulting placement of a sheared object is always
dles. This operation changes the object’s height and relative to the object’s pivot point.
width simultaneously.
To shear an object:
• To scale the object around its pivot point, press the
CTRL (Windows) or COMMAND (Macintosh) key 1. Select the object.
while dragging. 2. Click the Paint Controls tab.
Note: In the Transform controls, you can also enter 3. Click the Transform button.
precise scale values in the X and Y Scale fields.
Enable the Proportional option to maintain the
object’s aspect ratio. With this option enabled, if

The Transform controls appear. freehand strokes, lasso selections, eraser objects,
text, and text selection.
Note: Only the Magic Wand tool cannot have

control points.
When you select an object that does not have control

points, the Control Points option in the tool options
Shear fields
is grayed out.
4. Adjust the object’s shear using the X and Y Shear

fields.
5. Click the R button above the Shear fields to reset
changes made to the object’s shear.
Editing Object Shapes with Disabled Control

Control Points Points option
Most objects have control points that you can use to
more precisely edit the object’s shape.
Note: If the Control Points option is disabled, and
Rectangles, ellipses, polygons, and Bezier curves all the object is a freehand stroke, lasso selection, or
eraser object, choose Object | Make Curve to
automatically have control points.
enable control points. If the object is text or a text
selection, choose Object | Make Outline to enable
control points.Click and drag the object’s control
point.
For more information on editing text objects, see

Chapter 13, “Paint: Working with Text.”
To edit an object’s shape:

2. In the tool options, click the Control Points
option.
Some object types only have control points if they

are created with the Make Curve option enabled:

Editing Object Shapes with Control Points ❚❘❘
The object’s bounding box disappears and is The cursor changes to show crosshairs with a small
replaced by shape control points. plus sign .
The plus sign indicates that you can add a control

point.
4. Click to add a new control point at that location.
Deleting Object Control Points

You can remove one or more control points from an
object after it has been created.
3. Click and drag the object’s control points. To delete a control point from an object:
option.
The object’s control points appear.
3. Click the control point that you want to delete.
The point changes to a solid white square, and its
tangent, if it has any, appears.

Note: To move multiple control points at once,
click and draw a selection box around the points Note: To delete multiple control points at once,
you want to move, and then drag any of the click and draw a selection box around the points
selected points. you want to remove, and then press the DELETE key.
Adding Object Control Points Editing Object Tangents

You can add control points to an object after it has Each curved section of a shape has a tangent at the
been created. control point. The tangent is a straight line
extending outward from the control points with a
To add a control point to an object: control point at each end. Use the tangent to control
the direction and curvature of the shape at a control
1. Click the Arrow tool , and then select the ob-
ject. point.
2. In the tool options, click the Control Points To edit a tangent:

option.
3. Move the cursor to any location along the edge option.
of the object.

3. Click a control point to select it. Example: Transforming an Object’s

The tangent appears. Shape
This example illustrates how to use control points to
4. Click and drag either of the tangent control
points. transform one shape (a square) into another (a star).
The shape of the curve changes as you drag. 1. Choose File | New and create a paint branch
called Transform with the following settings:
• Type: Paint
• Duration: 45 frames
• Format: D1 - NTSC
• Background color: White

2. Click OK.
A new branch appears.
3. Select Black as the foreground color.
5. To break the tangent handle, press the CTRL Foreground

(Windows) or COMMAND (Macintosh) key while color box
dragging. Press CTRL (Windows) or COMMAND
(Macintosh) again to remove the break.
Note: Press the SHIFT key while dragging to

constrain the tangent line to 45-degree
increments.
4. Select a medium-sized brush.
To change a linear control point (no tangent line)
to a Bezier control point (with tangent line):
While pressing the CTRL key (Windows) or
Medium brush
COMMAND key (Macintosh), click and drag the linear
control point until a tangent line appears.
To change a Bezier control point to a linear control

point:
Press the CTRL key (Windows) or COMMAND key
(Macintosh) and click the Bezier control point.
The tangent line disappears, and the shape of the

curve is flattened at that point.

Aligning and Distributing Objects ❚❘❘
5. On the Toolbar, click the Unfilled Rectangle 10. Add one control point to the middle of the bot-
tool and draw a square in the middle of the viewport. tom side.
The square should look like this:
6. Select the square object and click the Control

Points option to turn on its control points.
7. Position the cursor over the middle of the 11. Move to the last frame of the animation, select
square’s top horizontal edge. the Rectangle object in the Timeline, then press .
The cursor changes to the following: . This indi- (period) to extend the object’s duration throughout
the length of the animation.
cates that by clicking, you can add a control point to
the object. 12. Position the square’s control points so that they
form the shape of a star.
Note: Before you add control points, remember
that you must begin the animation with the same
number of control points as you end it.
8. Add three control points across the top horizon-

tal edge.
Add control points here
13. Scrub through the animation. You can see the

square transform to a star.
Aligning and Distributing

Objects
9. Add one control point to the middle of each ver-
Combustion offers the following object alignment
tical edge.
features:

• Align objects horizontally or vertically to each oth- Aligning Objects

er. You can align an object to the top, bottom, left, right,
• Distribute objects evenly. or center of the active viewport. In addition, you can
align objects to other objects.
You can align objects in the following ways:
To align an object horizontally:

2. In the active viewport, or in the Timeline list,
click the object to select it.
3. Choose Object | Horizontal Alignment and se-
lect one of the following:
Use: To:
Left Justify Align the object with the left
edge of the viewport.
Center Justify Align the object with the center
of the viewport.
Right Justify Align the object with the right
edge of the viewport.
To align an object vertically:

2. In the active viewport, or in the Timeline list,
click the object to select it.

Grouping and Ungrouping Objects ❚❘❘
3. Choose Object | Vertical Alignment and select 4. Choose Object | Horizontal Alignment and se-
one of the following: lect the type of alignment from the menu.
Use: To: Use: To:

Top Justify Align the object with the top Distribute Evenly space the left edges of the
edge of the viewport. Lefts object.
Center Justify Align the object with the center Distribute Evenly space the centers of the ob-
of the viewport. Centers jects.
Bottom Justify Align the object with the bottom Distribute Evenly space the right edges of the
edge of the viewport. Rights objects.
Objects are spaced evenly between the left-most

Distributing Objects object and the right-most object.
Distribute objects to space them evenly over a
specific distance, and along the horizontal or To distribute objects vertically:
vertical axes. This feature is useful for spacing char- 1. Select the top-most object, and move it to the de-
acters in a word, as well as for spacing words or lines sired top margin.
of text.
2. Select the bottom-most object, and move it to
the desired bottom margin.
Horizontally 3. Select all the objects to be distributed.
distributed
letters 4. Choose Object | Vertical Alignment and select
the type of alignment from the menu.
Horizontally
Use: To:
distributed
words Distribute Evenly space the top edges of the
Tops object.
Distribute Evenly space the centers of the ob-
Centers jects.
To distribute objects horizontally:
Distribute Evenly space the bottom edges of
1. Select the left-most object, and move it to the de-
Bottoms the objects.
sired left margin.
2. Select the right-most object, and move it to the Objects are evenly spaced between the top-most
desired right margin. object and the bottom-most object.
3. Select all the objects to be distributed.
Grouping and Ungrouping

Objects
You can group individual objects to form a new
object that occupies a single position in the Time-
line. After grouping any edits you perform on the

group, such as moving, scaling or rotating, apply to To ungroup objects:

all objects in the group. 1. Click any of the objects in the group to select the
You can also ungroup any grouped objects. group.
To group an object:
1. Click the Arrow tool , and SHIFT-click each
object you want to group together.
Bounding boxes appear around each object:
A bounding box surrounds the group, and the name

“Group” is highlighted in the Timeline list.
2. Choose Object | Ungroup.

In the Timeline list, the object called “Group” is
replaced by the individual objects’ original names. A
2. Choose Object | Group.
bounding box surrounds each object.
A new object called “Group” appears in the Timeline
list, and a new bounding box surrounds the grouped
object.
Changing Object Stacking Order

Each object you create occupies its own position in
At this point, any further edits you perform on the
your branch and is represented by a name in the
group, such as moving, scaling or rotating, apply to
Timeline. As you draw, make selections, or add
all objects in the group.
effects, each new object is added to the active view-
port on top of the other objects. You can change the
stacking order of the objects in your branch at any
time. Changing the appearance of the objects and

Cutting, Copying, and Pasting Objects ❚❘❘
the effects may affect to the underlying clip or still To copy an object from one branch to another:
image. 1. Select the object.
For more information, see “Stacking Order” on page 2. Choose Edit | Copy.
204. The object is copied to the clipboard.
3. Select the branch where you want to paste the

Cutting, Copying, and Pasting object.
Objects 4. Choose Edit | Paste.
Use the cut, copy, and paste commands to copy The object is pasted into the current branch.
objects within a branch, and between branches.
To copy an object into the same branch:
You can also duplicate objects to create a copy of an
object in the same branch. 1. Select the object.
2. Choose Edit | Duplicate.
Cutting and Pasting Objects A copy of the object appears directly on top of the
You can cut and paste objects from one branch to original object. When you move it, the object under-
another. neath is revealed.
To cut an object from a branch: Note: You can also duplicate an object by pressing
the ALT key (Windows) or OPTION key (Macintosh)
1. Select the object. while clicking and dragging it.
2. Choose Edit | Cut.
The object is removed from the branch.
Deleting Objects
To paste an object into a branch:
You can delete objects in your branch one at a time
or all at once.
1. Open the branch into which you want to paste
the object that was previously cut. To delete an object:
2. Choose Edit | Paste. 1. Select the object(s).
The object appears in the same relative position in
2. Choose Object | Delete (or press the DELETE key).
the branch, whether you paste it into the same or a
The object is deleted.
different branch. Pasted objects include all their
original settings.
To delete all objects at once:
Choose Object | Delete All (or press SHIFT-DELETE).
Copying and Duplicating Objects
Use the copy and paste commands to copy objects
between projects. Use the duplicate command to Undoing Edits
copy objects in the same branch. Duplicate Use Undo to remove unwanted edits. Combustion
combines copy and paste to a single command. provides unlimited user-defined levels of Undo. You
can undo a keyframe, color change, and so on. You
are not limited to edits made to objects themselves.

To set the number of undo levels: These topics are discussed in Chapter 11, “Paint:
1. Choose File | Preferences | General. Advanced Drawing Tools.”
2. Enter the desired number in the Undo Level Use draw modes to apply effects either as you paint
field. or to an existing object. Many draw modes are
similar to the effects available in the Effects menu,
To undo unwanted edits: but differ in application: a draw mode is an attribute
1. Choose Edit | Undo. of a paint object; an effect is applied to a selection or
Your last edit is undone. to the whole Paint branch.
2. Repeat this procedure to undo previous unwant- When you apply a draw mode to a selected object,
ed edits, or commands. the draw mode applies an effect to whatever objects
3. To Redo an edit, choose Edit | Redo. You can exist under the selected object in the stacking order.
redo edits up to the last edit you made. The result varies depending on the order of the
objects. For example, if you draw an object using the
Negative draw mode first, and then draw another
Using Draw Modes one using Tint, the effect would be different than if
By default, tools are set to Paint draw mode, which you had drawn an object in Tint first and then
applies the current color to the image on the screen. another Negative mode. Once an object is created,
By changing the draw mode, you can use paint tools you can modify the draw mode at any time, and
to create varying effects. experiment with different effects.
For an explanation of the different draw modes, see
“Draw Modes” on page 218.
To use a draw mode:

1. In the Modes controls, select a draw mode from
the Modes list.
Modes list
Image created using a series of overlapping

objects set to Negative draw mode.
You can also use the color mode buttons in the Paint
Controls, which, in addition to enabling you to
create a solid object, allow you to create a color or 2. Select a brush type from the Brushes palette, se-
lect a tool from the Toolbar, and then create an ob-
opacity gradient, reveal through to another layer,
ject.
and use cloning.

Using Draw Modes ❚❘❘
In the active viewport, the object you create modifies Note: You cannot animate draw mode changes
underlying objects and images. using anything other than constant interpolation.
Varying the Intensity of a Draw Mode

Effect
You can achieve fine control over an effect using the
Opacity slider in combination with the Pressure
slider to fine-tune the intensity of the effect on the
image. You can also layer various draw modes, or
apply one draw mode repeatedly by painting over an
image several times.
Using the Opacity Slider with Draw Modes

Negative draw mode applied with a freehand stroke.
When used in combination with draw modes, the
Opacity slider determines how much of the draw
To change an object’s draw mode:
mode effect is visible, and how much of the original
1. Select the object (SHIFT-click to select several ob- image remains intact. An opacity setting of 100%
jects). means that the effect takes 100% precedence over
The object is highlighted. the underlying image. A setting of 75% allows 25%
2. In the Modes controls, select a mode from the of the original pixel information to remain intact.
Modes list. The Opacity slider is keyframeable. This means that
In the active viewport, the selected object applies a you can set an effect’s opacity at one level in an early
different effect to the image. frame, move to a later frame and change the setting
so that the effect’s strength increases or decreases
over the selected duration of frames. For more infor-
mation on keyframing, seeChapter 8,
“Keyframing.”
Using the Pressure Slider with Draw Modes

Many of the draw modes include a Pressure slider to
either increase or decrease the strength of the effect
being created. The Pressure slider is located on the
Modes controls. Changing any draw mode’s pressure
value changes the way in which the currently
Tint applied with freehand strokes.
selected object or drawing tool modifies the image.
Note: You can use the Fill command in the Edit The Pressure slider value is keyframeable so you can
menu at any time to apply the currently selected modify this variable at different points in your movie
draw mode to an entire frame. to create virtually unlimited animated special
effects.

If you are using a pressure-sensitive graphic tablet,

the draw modes that include active Pressure sliders
respond to the amount of pressure being applied to
the tablet. The amount of variation that a change in
stylus pressure applies to the image may be modified
by adjusting the Pressure slider.
Repeated Usage of Draw Modes

Many of the draw modes have an additional effect if
used more than once on the same area of an image.
To apply a draw mode more than once, you must
release the mouse button, and then apply the
drawing tool again. This means that using the Free-
hand tool and moving the cursor over an area twice
has no additional effect unless you first release the
mouse button and then draw over the area again.
Whether or not repeated usage of a draw mode has

additional effect depends upon the nature of the
mode itself (for instance, once you’ve created a black
area it cannot get any blacker) and the settings of the
Opacity and Pressure sliders. If both are set at 100%
the first time you use them, repeated use usually
does not have any additional effect.

11Paint: Advanced Drawing Tools
Combustion can create
gradients to add dimension

a
and texture to your
composites. Rotoscope to
remove unwanted artifacts.

et
Use the clone and reveal
tools when rotoscoping to
fix scratches, remove wires,
mask rigs, and more.

B

11 Paint: Advanced Drawing Tools
Summary There are three advanced drawing tools: Gradient

This chapter explains: tool, Reveal tool, and Clone tool.
• “About Advanced Drawing Tools” on page 262 The Gradient tool lets you apply smooth transitions
between two or more colors and opacity levels to
• “Creating Gradients” on page 262 Paint objects. You can use the default gradient
• “Animating Gradients” on page 267 settings, or you can create your own gradient.
• “Using the Reveal Tool” on page 271 You can also place gradients on the alpha channel to
create gradient transparency masks. For informa-
• “Using the Clone Tool” on page 275
tion, see “Example: Drawing Gradients on the Alpha
• “About Rotoscoping” on page 278 Channel” on page 268.
The Reveal tool provides a quick way of “erasing”
through one clip to a clip that is placed behind it.
About Advanced Drawing Tools
Drawing with the advanced drawing tools is like The Clone tool allows you to copy parts of a clip to
drawing with the basic drawing tools. You can draw another clip (or elsewhere in the same clip).
a freehand stroke, create a filled ellipse, or perform
You often use the latter two tools for rotoscoping.
an area fill. However, with the advanced drawing
Rotoscoping can describe many different actions in
tools you do not draw objects with one solid color.
the compositing process, but, in Combustion, it
Your drawing objects, instead, are filled with a
describes the act of painting an element into, or out
gradient or an image taken from another layer.
of, a scene. For instance, if you use wires to support
a subject during shooting, you can rotoscope the
wires out of the scene during post-production,
making the subject appear to be flying. You can use
the Reveal tool to add an element to a scene that was
not present during shooting. You can use the Clone
tool to make many copies of the same image (such as
Solid White Polygon Solid Polygon with making one tree into a forest).
Reveal to another layer
Rotoscoping also refers to the process of drawing
over top of live action to create realistic looking
animation. This topic is discussed briefly in “About
Rotoscoping” on page 278.
Solid Polygon with

Solid Polygon with
Creating Gradients
Gradient You can create color gradients and opacity gradients.
Reveal and Freehand
Clone In a simple linear color gradient, the object’s color
changes gradually from one color to another in a
specified direction.

Creating Gradients ❚❘❘
In a simple opacity gradient, you specify a gradually To create a color gradient:

changing degree of opacity. 1. Select a layer and choose Operators | paint.
With Combustion, you have very fine control over 2. Click the Paint Controls tab, then click the
gradients. You can create a gradient that changes Modes button.
between as many colors as you want. You can select The Modes controls appear.
linear, radial, radial sweep, or spiral gradients. You
3. Click the Gradient color type button.
can also fine tune the gradient orientation.
Gradient color type
button
4. Click the Gradient button.

The Gradient controls appears.
Different gradient types (clockwise from upper-left):
linear, radial, radial sweep, spiral.
Creating a Color Gradient

Apply color gradients to Paint objects to create an
assortment of effects.
5. Click the Color gradient bar to add color gradi-

ent tags (you need at least two tags to create a gradi-
ent).
6. Click and drag the tags to adjust the position.
7. Set the color for each tag to apply new colors to
the different portions of the gradient.
Note: To set a tag’s color, double-click the tag. The

Pick Color dialog appears. Select a color, then click
OK. You can also select a tag, then click a color from
the color swatches.
Gradients added to text, filled rectangles, and
outlines to complete the weather report.
The colors appear in the color bar. A preview of the
gradient appears in the Direction Control box and
on the object in the viewports.

8. Select a drawing tool and draw an object in the To create an opacity gradient:
active viewport. 1. Select a layer and choose Operators | Paint.
The gradient is applied to the new object.
2. On the Modes controls, click the Gradient color
type button.
Creating an Opacity Gradient Gradient color type
Use opacity gradients to create an object with a button
gradual change in transparency across the object.
Gradient button

4. Click the Opacity gradient bar to add gradient

Opacity gradient applied to a filled rectangle object tags.
used to simulate mist.
5. Click and drag the tags to adjust their position.
Opacity levels on the opacity gradient bar are repre- 6. To adjust the opacity value, select a gradient tag,
sented by varying degrees of gray. Pure white is then move the Opacity slider to the amount you
100% opaque, while black is 100% transparent. want.
The opacity is set at the selected gradient tag and is
Once opacity is set for an opacity tag, the corre-
displayed in the direction control box.
sponding opacity is applied to the result gradient
bar. A checkerboard pattern appears on the gradient 7. Select a drawing tool and draw an object in the
bar to indicate where the gradient is transparent. active viewport.
The gradient is applied to the new object.
Editing a Gradient
You can fine-tune a gradient by editing its profile.
You can add and remove tags, and change the color
and/or opacity of a tag. You can also adjust the range
of each color, use a different type of profile, or create
an evenly distributed profile.

Creating Gradients ❚❘❘
To edit a gradient’s profile: To change the color of a particular portion of the

gradient:
1. Select the object with the gradient you want to
change. Double-click the corresponding gradient tag, and
then select a different color from the Pick Color
dialog. You can also select a tag, then pick a color
from the Color swatches.
To add a gradient tag:
To set the opacity for an opacity gradient tag:
Click the gradient bar at the position where you want
1. Select an opacity gradient tag.
to add the tag.
2. Drag the Opacity slider to the appropriate opac-
To move a gradient tag: ity value.
Click and drag the tag to a new position.
To remove a gradient tag:

Select the tag(s), and click the Remove Tag button
.
Opacity slider
The selected gradient tag is removed.
To adjust gradient tag handles: To distribute the tags evenly:
1. Click a gradient tag to select it. Click the Distribute Tags button .
A handle appears under the selected tag. To invert the opacity or color:
Click the Reverse Tags button .
Gradient
handle To compress a gradient:
Press the ALT key (Windows) or OPTION key (Macin-
2. You can adjust the handles as follows: tosh) while dragging a gradient tag.
• Drag the handle outward to expand the range and

create a more gradual gradient.
More gradual gradient
Before compressing a gradient.
Expanded
gradient
handles
• Drag the handle inward to reduce the range and After compressing a gradient.
create a sharper gradient.

Changing Gradient Type To edit the direction of a gradient:

Once you create one type of gradient, you can In the Gradient controls, click the appropriate arrow
change it to any one of the other available gradient in the Direction Control box.
types. These can include: linear gradient, radial
gradient, radial sweep gradient, and spiral gradient.
Direction Control box
To fine-tune a gradient’s direction:

1. Draw an object with a gradient.
2. In the Toolbar tool options, click the Gradient
Control button.
Gradient Control
button
A gradient control bar appears over the object.

Object with two different gradient types.
To change the gradient type:

In the Gradient controls, select the object, then click
one of the Gradient Type buttons.
Gradient type
buttons
3. Use the gradient control bar to adjust the gradi-

ent in the following ways:
Setting Gradient Direction

Use the buttons in the Direction Control box to set
the gradient direction. After you set the general
direction, you can fine-tune the direction of a
gradient using the gradient control bar.

Animating Gradients ❚❘❘
• Click and drag a control point in the direction of Animating Gradients

the line to shrink or expand the gradient. You can animate gradients to create dynamic Paint
objects in you composites, unusual background
effects, varying transparency on the alpha channel.
Default gradient
To animate a gradient:
1. In Paint, press HOME to make sure you are posi-
tioned at the first frame.
Expanded gradient
2. Using any one of the drawing tools, create a Paint
object in the active viewport (for instance, a filled
rectangle).
Shrunken gradient
• Click and drag a control point away from the line to

rotate the gradient.
• Click and drag the control bar to move the gradient.
Note: Experiment with moving and rotating the 3. Select the object.
gradient control bar to arrive at different gradient
4. On the Modes panel of the Paint Controls, click
effects.
the Gradient color mode button.
Gradient color
Modified radial mode button
gradients
Modified spiral
gradients
Modified radial
sweep gradient Gradient thumbnail
preview
5. Click the Gradient thumbnail preview.

The Gradient controls appear. the Toolbar tool options to achieve the necessary re-
sult.
6. Select a gradient type, direction, color, and

opacity.
The gradient is applied to the selected object in the
viewport.
10. Click Play to play through the ani-

mation. You can also scrub through the animation in
the filmstrip.
Example: Drawing Gradients on

the Alpha Channel
7. To the right of the Playback controls, click the Apply a gradient on an alpha channel to create a
Animate button to turn on keyframing. partially transparent layer for use in Combustion.
By painting on the alpha channel, you can create
partially transparent images that you can import
into Combustion to create montages and other
compositions.
8. Press the END key to move to the last frame.
Use a black/white gradient on the alpha channel to
9. Adjust the position, color, or opacity for the gra- create an picture that gradually becomes
dient tags. If necessary, use the Gradient option in transparent.

Example: Drawing Gradients on the Alpha Channel ❚❘❘
To create a partially transparent object: 6. Click the Gradient button.

1. Import a layer into a Combustion workspace. Gradient button
In this example, the following image is used.
The Gradient controls appear.
7. To the Color gradient bar, add black and white

color gradient tags as shown:
2. Select the layer in the Workspace panel, then

chose Operators | paint to add a Paint operator to it.
Paint opens.
3. Choose Window | View Mode | Alpha to switch
to Alpha View mode. 8. Click the Linear Gradient button and click the
The viewport turns completely white. down arrow button on the Direction Control box.
Note: If the imported image sequence already

contains an alpha channel, the viewport will not be
completely white.
4. Draw a Filled Rectangle object over the entire Down Arrow

direction control
viewport.
5. Select the Filled Rectangle object in the view-
port, then click the Gradient color mode button on
the Modes panel.
Gradient color type button

Your Filled Rectangle should look like this: 10. Choose File | Import Footage to import a back-
ground layer.
In this example, the following layer is used.
The dark areas of your gradient will become trans-

parent; the white areas remain opaque. The darker
11. Send the imported layer behind the original lay-
the grays on the alpha channel, the more transparent
er. You can do this by adjusting the stacking order or
they are. by selecting the layer, then choosing Object | Send to
9. Choose Window | View Mode | Transparent. Back.
In this View mode, you can see exactly to what 12. The transparency in the foreground is automati-
degree your image is transparent. cally maintained.
panel to see the following result.
Note: The small checkerboard pattern that

appears under the image indicates the level of
transparency. You can customize the pattern by Note: Use Paint operators to create as many
choosing File | Preferences | Transparency. partially transparent layers as necessary, then use
them as layers in your composite.
In the Workspace panel, double-click the composite
to load it into the active viewport.

Using the Reveal Tool ❚❘❘
Using the Reveal Tool In each case, the way the reveal area is applied
Revealing is similar to using an eraser on one layer, depends on the Edge mode setting.
allowing you to see what is beneath it. Typically you
use this tool for adding or removing objects from a Showing the Reveal Source
scene (rotoscoping). To use the Reveal tool successfully, you need to see
Lock the source to reveal a portion of one frame of the reveal source as you use the drawing tools.
the source clip, or unlock the source to reveal a
To show the reveal source:
sequence of frames on the target clip.
Choose Window | Show Reveal Source.
The Reveal tool is commonly used to remove
unwanted elements of a scene (such as scratches, Note: You can also press ; (semi-colon) to show the
wires, or the microphone boom) that were shot from reveal source.
a stationary camera.
Choose Window | Show Reveal Source again to turn
Before off the reveal source.
removing the
microphone To adjust the opacity of the reveal source:
from the top
part of the 1. Choose Window | Reveal Overlay Settings. You
image. can also press SHIFT + ; (semi-colon).
The Reveal Overlay Settings dialog appears.
After the
boom is
removed
using
Reveal.
2. Set the opacity level and then click OK.
Revealing to the Current Frame

You use the reveal tool in two main ways: You can use the reveal tool as a fast way of copying or
removing objects in the current frame. For instance,
• To reveal from a frame in the current clip. you can perform a quick wire removal of an object in
• To reveal from a frame in another clip. front of a green screen by revealing to the current
layer with a slight position offset. When you paint
Note: If you reveal to the same layer without spec- over the wires (using a Straight Line tool no more
ifying an offset, there is no visible effect to your than a couple of pixels wide or a thin brush) you see
clip.
through to the green screen. For a uniformly lit

green screen, you can no longer distinguish where To remove an object from a clip by revealing to a
the wires were. frame elsewhere in the clip:
1. Load the layer into Paint.
2. Scrub to the first frame in which the object is
present.
3. On the Modes panel of the Paint Controls, click
Reveal.
The Reveal controls appear.
Wires removed by revealing to the current frame with a
position offset of a couple of pixels.
To perform a reveal operation on one frame:

1. Load the layer into Paint.
2. On the Modes panel, click the Reveal button.
3. Move to the frame where you want to reveal (for
instance, the frame that contains the elements you
4. In the Frame field, enter a frame number corre-
want to remove).
sponding to the frame in which the object is not
4. In the Frame field, enter the number of the cur- present, then make sure Lock is enabled.
rent frame and unlock the frame.
5. Offset the position of the current frame using
the X and Y Offset fields or the Set Position button
. Lock button
6. Press the ; key to show the reveal source. Frame field
7. Use the appropriate Paint tools to draw over the

object you want to add or remove from the current
frame. 5. Press the ; key (semi-colon) to show the reveal
source.
Revealing from a Frame in the Same 6. On the Toolbar, select a Paint tool (such as a
Clip Filled Rectangle to remove a microphone boom or a
At times, you may find an unwanted object appears Straight Line to remove a wire).
momentarily in your clip. Often you can remove this 7. Use the selected tool to paint over the unwanted
object by revealing through to another frame at a object.
time that the object was not present (if the scene was
8. Scrub to the last frame in which the object is
shot from a stationary camera). present.
9. Make sure the reveal object is selected, then
press the . key (period) to extend the reveal object’s
duration.

Using the Reveal Tool ❚❘❘
10. If necessary, reposition or scale the reveal object 3. On the Modes panel of the Paint Controls, click
(throughout the clip) so that it covers the unwanted Reveal.
object.
Note: You can also use the Tracker to track the

reveal object to the unwanted element in the
scene (this is especially useful for wire removal).
Revealing from a Source to a Target

Sometimes you may want to reveal from one clip to
another. This is useful when you have to remove an
element that is always present in the scene. If you 4. To select a source image other than the current
have another clip shot in front of the same back- layer for the reveal operation, select Pick Operator
from the Source list.
ground in which the unwanted object is not present,
you can use this clip as a reveal source.
Note: Look in the head and tail margins of a clip for Source list
a frame you can use as a reveal source. Lock button
You may also want to do this if you need to add an Frame field
element to the scene that is not present in the current
clip.
The Select Reveal Source dialog appears.
Plane added to sky by revealing through to another layer.
To reveal a source layer on a target layer:

1. Import two layers into a composite. Use the top-
most layer as a target layer and the bottom layer as
the reveal source.
2. Select the top layer and choose
Operators | paint.
5. Select the Footage operator for the source layer,
then click OK.
6. In the Frame field, type the frame number of the
frame that contains the image that you want to re-
veal.

Note: Click the Lock icon to reveal only to the To select a reveal source:
frame specified in the Frame field. Disable lock if
1. Click Pick Operator from the Source list.
you want the reveal source to advance and reverse
frames as you move through your clip.
7. Click and drag the Set Position button to Source list

position the source layer.
The source layer appears semi-transparently over
the target layer. Release the mouse button when the
layer is in the correct location.
8. On the Toolbar, select the Paint tool. The Select Reveal Source dialog appears.
9. Press ; (semi-colon) to show the reveal source.
10. Begin painting in the active viewport.
The specified frame from the source image is
revealed on the target image.
Selecting the Reveal Source

You can select a source image other than the current
layer for the reveal operation.
2. Select the Footage operator corresponding to the

layer you want to use as the reveal source.
3. If necessary, click Import Footage (or press
CTRL + SHIFT + I) to load new footage into the Work-
space.
4. Click OK to specify the new reveal source.
Positioning the Reveal Source

Because the reveal operation reveals to the pixels that
are directly underneath, you may want to adjust the
position of the reveal source with respect to the
target layer.

Using the Clone Tool ❚❘❘
To position the reveal source, do one of the pasted onto the other image. You can move and edit
following: cloned objects as you would any other object.
• Click and drag the Set Position button to po-
sition the source layer. Cloning on the Current Frame
• Enter X and Y offset values in the corresponding You can repeatedly clone part of an image wherever
fields. you like in the current frame. For example, if the
source image contains a flower, you can repeatedly
clone it to create a field of flowers. Lock cloning to
the target layer.
create a clone from a selected area of one frame, or
unlock cloning to create a clone from a selected area
Locking the Reveal Source of a clip.
Click the Lock icon to reveal only to the frame spec-
ified in the Frame field. Disable lock if you want the To clone part of an image in the current frame:
reveal source to advance and reverse frames as you 1. Open a layer in Paint.
move through your clip.
2. On the Toolbar, select a drawing tool or brush.
3. On the Modes panel, click the Clone button.
Using the Clone Tool The Clone controls appear.
Use the Cloning tool to take a sample from one
frame and then apply it to:
• the current frame

• another frame (or sequence of frames) in the same
clip
• any frame (or sequence of frames) in another clip

4. In the Frame field, make sure the frame number
corresponds to the timecode for the current frame.
Frame field
Lock button
Using the Clone tool to clone sheep.
Set Position
button
Objects that you clone onto the original image are
taken into account if you are cloning on the original
image (for example, cloning from one area of a clip
to another). However, if you are working with two
different layers, cloning works only with the original
image data, ignoring any objects that you might have

Note: The current frame timecode is displayed in 4. On the Modes panel, click Clone.
the Current Frame indicator on the Playback
controls.
Current Frame
indicator
5. To lock cloning to the current frame, enable the

Lock button. To unlock cloning so that it starts at the 5. To select a source image other than the current
selected frame and then advances with the clip, click layer for the reveal operation, select Pick Operator
the Lock button so that it appears unlocked . from the Source list.
The Select Clone Source dialog appears.
6. Click the Set Position button and then
click the part of the source image that you want to
clone.
7. Begin painting.
With each new paint object (brush stroke, rectangle,
fill, and so on) you begin a new clone.
Cloning from One Frame to Another

You can clone from a source image onto the target
image or from one part of a clip to another.
Lock cloning to create a clone from a selected area of

one frame, or unlock cloning to create a clone from
a selected area of a sequence of frames. 6. Select the Footage operator corresponding to the
source you want to use as the clone source, then click
To clone from a source layer to a target layer: OK.
1. Import two layers into a composite. 7. In the Frame field, type the frame number of the
frame that contains the image that you want to clone.
Use the topmost layer as a target layer and the
bottom layer as the clone source.
Frame field
2. Select the top layer and choose
Operators | paint. Lock button
3. On the Toolbar, select a drawing tool or brush.
Set Position
button
8. To lock cloning to the current frame, enable the

Lock button. To unlock cloning so that it starts at the

Using the Clone Tool ❚❘❘
selected frame and then advances with the clip, click To select a clone source:
the Lock button so that it appears unlocked . 1. Click Pick Operator from the Source list.
9. Click the Set Position button and then
click the part of the source image that you want to
clone.
Source list
Note: The point that you click becomes the
starting point of the “clone.”
10. Click the target image where you want the clone
to appear, and begin painting.
The clone appears on the target image.
The Select Clone Source dialog appears.
11. To reapply the clone to a different area of the tar-
get image, move the cursor to the new area and begin
painting.
12. To reapply the clone to a new frame of the target
image, go to the new frame and begin painting.
Note: If cloning is locked, the original clone

appears on the new frame. If cloning is unlocked,
the clone is updated: it is taken from the starting
point that you picked, but on the new frame. For
example, if you advance the target clip by 5 frames,
the source of the clone appears to advance by 5
frames.
Selecting the Clone Source 2. Select the Footage operator corresponding to the
You can select a source image other than the current layer you want to use as the clone source.
layer for the clone operation. 3. If necessary, click Import Footage to load new
footage into the Workspace.
4. Click OK to specify the new clone source.
Specifying the Clone Starting Point

Before you can draw your clone object, you need to
specify the starting point on the source for the clone
operation. The starting point is used as the origin for
each new clone object.

To specify the clone source starting point, do one Rotoscoping also refers to the process of drawing
of the following: over live action to create realistic looking animation.
• Click and drag the Set Position button to po-
sition the source layer.
• Enter X and Y position values in the corresponding

fields.

the target layer. Release the mouse button when the
layer is in the correct location.
Rotoscoping to combine live-action and animation.
Locking the Clone Source
Click the Lock icon to lock cloning to the frame Although this is a slow and labor intensive process,
specified in the frame field. Disable lock if you want once you have learned to use the basic Paint tools in
the clone source to change for each frame. conjunction with onion-skinning (see “Animating
with Onion Skin” on page 196), you can perform
rotoscoping to achieve some very impressive results.
About Rotoscoping
Rotoscoping can describe many different actions in
Example: Rotoscoping
the compositing process, but, in Combustion, it
In the following example, a clip shows a man and a
describes the act of painting an element into, or out
woman climbing on a motorcycle. The word
of, a scene. For instance, if you use wires to support
“Suzuki” is partially visible on the motorcycle’s gas
a subject during shooting, you can rotoscope the
tank. You want to temporarily remove the word
wires out of the scene during post-production,
Suzuki, then gradually make it reappear.
making the subject appear to be flying. You can use
the Reveal tool to add an element to a scene that was
not present during shooting. You can also use a
cloning tool to take one element and make it into
many (such as making one tree into a forest).
Sometimes, more subtle effects are needed, such as

removing a logo from an object. In this situation,
you can use selection objects to select the object to
remove, then try blurring it so it is no longer recog-
nizable, or you can use the Clone tool to copy a part
of the image on top of the logo.
Note: The purpose of this example is to illustrate

one of the many ways of performing a common
rotoscoping task.

About Rotoscoping ❚❘❘
Step 1: Selecting the Logo Step 3: Keyframing the Blurred Logo

Load the footage into a Paint branch. Make sure you Here you want to make the logo slowly reappear. You
are at the first frame, then draw a Polygon selection can do this by animating the blur effects (with linear
that covers the word Suzuki. To make the selection interpolation) so that their values gradually return
blend in, feather the edges slightly. to zero over the course of the clip. First, make sure
Gradual change in
Horizontal Radius channel.
the Animate button is on. Then, extend the duration

for all objects to the last frame of the clip. Finally, at
Polygon selection around logo. the last frame, set the effects values back to zero for
each effect.
Step 2: Blending the Logo into the Image
Use a combination of blurs and color correction to Step 4: Tracking the Logo
Now track the position of the logo as the motorcycle
make the logo impossible to recognize and blend it
shifts position. You could do this manually, but the
with the rest of the image. First, blur the selection
Tracker is much faster. By tracking the selection to
using two different blurs: a Gaussian blur and an
the logo, you ensure that the blurs cover the logo
unconstrained box blur (horizontal radius only). By
completely and move as the logo moves.
blurring the logo, the colors become muddy. To fix
this, apply a Balance color correction to bring vivid
color back into the blurred logo.
Tracking the letter “S.”
Step 5: Play the Clip

Logo blurred beyond recognition. Play the clip to see the effect.


12Paint: Drawing Selections
Combustion’s selections
allow operators to be
a
isolated to selected
portions of a clip. You can
fake depth of field, apply

et
distortions to real-world
images--and the shapes
and magnitude of
operators are animatable.

B

12 Paint: Drawing Selections
Summary or apply an effect to, the selected area of a clip

This chapter explains: without affecting the rest of the clip. Selections,
however, differ from masks in that selections do not
• “About Selection Objects” on page 282 necessarily affect a layer’s opacity.
• “Using Selection Tools” on page 284 Selection objects are similar to the paint objects you
• “Creating Selection Objects” on page 285 create using the paint tools. You can move, rotate,
scale, and change object properties or stacking order
• “Editing a Selection” on page 290
just like you would for paint objects.
• “Adding, Subtracting, and Intersecting Selections”
This means you can animate a selection over the
on page 290
course of a clip so that the selection remains on top
• “Using Selection Modifier Objects” on page 291 of the selected area of the image.
• “Cutting, Copying, and Pasting Selections” on

page 294 Selecting in Combustion
To access the selection tools from a composite, you
have to apply a Selection operator to the appropriate
About Selection Objects layer. After applying a selection operator to a layer,
When compositing or working in Paint, you will Selection controls appear. These controls are similar
want to make changes to one part of your image to the controls in Paint, except that only the Selec-
without affecting anything else. You do this in tion tools are available.
Combustion by selecting the portion of the image
Note: You can access the selection tools directly in
that you want to change. Once you make a selection,
Paint. If you access the tools in Paint (instead of
it becomes a selection object. using the selection operators), you can you can
work with paint, mask, and effect objects as you
Use selection objects to temporarily “isolate”
work with selections. You can also convert a selec-
specific areas of your workspace. You can paint on, tion object into a paint or mask object.
Selection around suspect’s head. Position of selection moved to follow movement of

suspect’s head.

About Selection Objects ❚❘❘
To access selection tools from a composition: The Selection Controls appear.

1. Select the layer (or nest the layers) to which you
want to apply a selection.
2. Choose Operators | Selections, then choose one
of the following:
Choose: To:
Channel Selec- Create a selection based on a col- Make the necessary selection.
tion or channel.
4. Return to the composite and apply an effect to
Elliptical Selec- Create an ellipse selection. the layer.
tion When You choose this com- The effect only appears on the selected portion of
mand, a default size ellipse selec-
the layer.
tion is added to the layer in the
middle of the viewport.
You can edit this selection as Selecting in Paint
needed. The selection tools are always present in the Paint
Feather Selec- Soften the edge of a selection. Toolbar. You use these tools to create selection
tion objects in the same way you create paint and mask
Freeform Se- Draw a freeform selection. objects. For information on objects, see “About
lection Objects” on page 200.
GBuffer Mate- Select materials in an RLA or RPF One advantage of working from within Paint to
rial Selection file.
create selections is that once you create a selection
GBuffer Object Select objects in an RLA or RPF object, you can transform it into either a mask or a
Selection file.
paint object. Also, once you make a selection in
Invert Selec- Invert the current selection. Paint, you can apply effects and paint strokes to it.
tion
For information on changing object type, see
Rectangle Se- Draw a rectangle selection.
“Changing Object Types” on page 203.
lection When You choose this com-
mand, a default size rectangle se-
To access selection tools from Paint:
lection is added to the layer in
the middle of the viewport. 1. Load the layer to which you want to apply a mask
You can edit this selection as into Paint.
needed.
2. Click the Toolbar to access the Paint tools.
Select None End a selection.

The Selection Controls appear at the bottom of the Select: To:

Toolbar.
Draw a rectangular selection. The
selection is drawn out from its center
as you drag. For more information,
see “Creating a Rectangle or Ellipse
Selection” on page 288.
Draw a elliptical selection. The
selection is drawn out from its center
as you drag. For more information,
see “Creating a Rectangle or Ellipse
Draw a polygon selection. Click on
Using Selection Tools the image to create control points as
Use the Selection tools in the second row of the Paint needed, and click the first control
Toolbar to create selection objects. point to close the polygon. For more
information, see “Creating a Polygon
Lasso Rectangular Selection Selection” on page 288.
Draw a text selection. For more
Polygon information, see “Creating a Text
Selection Selection” on page 290.
Text
Selection Setting Up the Selection Marquee
When you create a selection object a marquee
appears to indicate the limits of the selection. You
can customize the way the marquee appears for
feathered selections so that it indicates the inner or
Magic Wand Elliptical Selection
outer limit of the feathering (or anywhere in
The following selection tools ar available. between).
Select: To:
Draw a freehand selection. When you
release the mouse button, a line is
drawn from the first to last position of
the cursor to close the selection. For
more information, see “Creating a
Lasso Selection” on page 286.
Select adjacent areas of similar
brightness and color. Increase the
tolerance to include more shades in
the selection. For more information,
see “Creating a Magic Wand

Creating Selection Objects ❚❘❘
To customize the tightness of selection marquees: To create a selection object:

1. Choose File |Preferences. 1. In the Workspace panel, ALT-click (Windows) or
The Preferences dialog appears. OPTION-click (Macintosh) the layer to which you
want to apply a selection.
2. If you are not already in Paint, choose
Operators | Operators | Paint.
3. On the Toolbar, choose a selection tool.
4. Create the selection in the active viewport.
Stacking Selections
Marquee
Threshold slider If you create a new selection on top of an existing
selection, the new selection becomes the active
selection.
2. Under the Host > General preferences, set the
Marquee Threshold value as follows:
Value: To:
1 Draw the selection marquee at
the outer-most limit of the feath-
ering.
Mosaic effect Bright/Con effect
the halfway mark between applies only to applies only to
where the feathering starts and Ellipse Selection. Rectangle Selection.
the outer limit of the feathering.
the inner-most limit of the feath-
If you create a selection and apply an effect, then
ering. create a second selection and apply a different effect,
the second effect only acts on the second selection
3. Click OK to accept the changes.
Note: You have to exit and restart Combustion for

the changes to take effect.
To show/hide the selection marquee:

Choose Select | Show/Hide Marquee.
Creating Selection Objects

To select part of an image, you surround it with a
selection object.

because the first selection is deselected when you original selection, but to do so, you have to add it to
make the second selection. the top of the stack, then drag it down to the appro-
priate position above the first selection (and below
the second).
You can combine multiple selections using the Add,

Subtract, and Intersect hot keys. For more informa-
tion, see “Adding, Subtracting, and Intersecting
Selections” on page 290.
Creating a Lasso Selection

Use the Lasso to draw a freehand selection around
the outline of an object.
In the following stack, Mosaic Use this tool when you want to select a specific
applies only to the selection
under it. Invert applies only to element of your image (such as a person) without
the rectangle selections. affecting any other part of the image.
In this example, if you drag the Invert effect down in

the stacking order so it is on top of Ellipse Select and
you drag the Mosaic effect up so it is above Bright-
ness/Contrast, your image changes as follows:
Brightness effect applied to a freehand selection.
By moving objects in the

stacking order, you image
changes.
You can see a selection that is lower than other selec-

tions in the stacking order by turning off all
selections above it. You can still add effects to the

To create a Lasso selection: element of your image that has a consistent color
1. On the Toolbar, click the Lasso tool . (without having to trace the image).
The Lasso options appear at the bottom of the Combustion determines how similar adjacent pixels
Toolbar. are using the Tolerance value in the Magic Wand
options.
Enable: To:
Make Curve Create a smooth curve with control
points that you can edit. Generally,
you should enable this option be-
cause you almost always need to
fine-tune a selection after drawing
freehand.
For information on editing control
points, see “Editing Object Shapes
with Control Points” on page 250.
Anti-Alias Remove jagged edges around the
Lasso selection.
2. Draw the shape around the object to select.

Woman’s dress selected with the Magic Wand tool.
To create a selection with the Magic Wand:

1. On the Toolbar, click the Magic Wand tool .
The Magic Wand options appear at the bottom of the
Toolbar.
Use: To:
Anti-Alias Remove jagged edges around the
Magic Wand selection.
Tolerance Specify the range of color that the
Magic Wand selects.
The higher the number, the greater
Negative effect applied to a freehand
the range of color that is selected.
selection around woman’s head.
Set tolerance to 0% to select only an
area of contiguous color that is the
The selection object is outlined with a marquee
exact same color as the one you
(dotted line). click with the Magic Wand. As you
increase the tolerance, the area se-
lected expands to include a greater
Creating a Magic Wand Selection
range of color.
Use the Magic Wand to select portions of your image
based on the hue and brightness similarities of adja- 2. In the active viewport, click in the area of color.
cent pixels. This tool is useful for quickly selecting an

The selected area is outlined with a marquee. The following example illustrates how to select a
simple polygon-shaped object (in this case, the
▲ Because the Magic Wand makes selections object is a rectangle that has been skewed because of
based on pixel color, if the color of the selected
pixel changes on the following frames, the selec-
the perspective).
tion changes. If the color of the pixels change over
time, you have to animate the position of the Magic To create a selection for a simple polygon:
Wand to follow the color area. 1. On the Toolbar, click the Polygon Selection tool
.
Creating a Rectangle or Ellipse 2. Move the cursor over the first corner of the poly-
Selection gon.
Use the Ellipse or Rectangle selection tool to create The cursor turns into crosshairs.
an ellipse or rectangle selection.
To create an ellipse or rectangle selection:

1. In the second row of the Toolbar, click the appro-
priate tool (Rectangle Selection tool , Ellipse Se-
lection tool ).
2. Click and drag the crosshairs until the selection
is the size you want.
3. Hold down SHIFT when drawing the selection to 3. Click to anchor the first control point, then move
create a Square or a Circle. the cursor to the next corner.
Creating a Polygon Selection

Use the Polygon tool to draw simple polygon shape
selections, complex Bezier selections, or a combina-
tion of the two.
4. Click to anchor the control point.

The control points are joined by a straight line.
Filters applied to different polygon selections.

5. Move to the next corner and click to anchor the 3. To create Bezier control points for a curved poly-
control point. gon, click to anchor a control point, and then drag
the crosshairs to create a curved side of the shape.
6. Anchor a control point to the last corner, then

move the cursor back over the first corner. The fol-
lowing cursor appears:
Blur filter applied to Bezier selections

around woman in foreground.
Note: You can edit Bezier control points to change

the curve of the polygon. For more information,
see “Editing Object Shapes with Control Points” on
page 250.
This cursor indicates that by clicking you will close
the selection. 4. Continue marking control points as needed.
7. Click to close the selection. 5. Move the crosshairs back to the first control
point, then click to close the bezier curve selection.
The selection is outlined with a marquee.
The selection is outlined with a marquee.
To create a selection for a complex polygon:
1. On the Toolbar, click the Polygon Selection tool
.
2. Move the cursor to where you want to start the
selection.

Creating a Text Selection 2. Select a font, font size, and alignment.

Use the Text Selection tool to make text-shaped 3. Click in the viewport to place the text cursor,
selection objects. and then type the text.
The selection object is outlined with a marquee
(dotted line).
Editing a Selection
Once you create a selection, you can edit its proper-
ties (shape, size, rotation, and so on) as you can any
other object. For more information on editing
objects, see “Editing Object Transform Properties”
on page 247.
Invert effect applied to a feathered text selection. Adding, Subtracting, and

Intersecting Selections
Text selection objects behave in the same way as text Once you create a selection using any of the selection
objects. For more information, see Chapter 13, tools, you can add to, subtract from, or obtain the
“Paint: Working with Text.” intersection of any new selection you draw over the
previous one.
To create a Text selection:
1. On the Toolbar, click the Text tool . To add to an existing selection:
The Text options appear at the bottom of the Press the SHIFT key while drawing with any of the
Toolbar. selection tools.
Font list Select the font for the text object

from the font list.
Click the Font menu to select a char-
acter direction and line direction.
Only line directions corresponding
to the selected character direction
are available.
Size field Enter the font size in the Size field.
Alignment Click an alignment button to set the
buttons alignment. Only alignments corre-
sponding to the selected character
direction are available.
Anti-alias Turn anti-aliasing on or off by en-
abling or disabling Anti-Alias.

Using Selection Modifier Objects ❚❘❘
The new area is added to the previous selection. To intersect two selections:
Press CTRL-SHIFT (Windows) or COMMAND-SHIFT
(Macintosh) while drawing a selection that overlaps
the previous selection.
When the drawing is completed, the resulting selec-

tion is the overlapping area of the two original
selections.
Mosaic filter applied to a selection that was made by

adding an ellipse to a rectangle selection.
To subtract from an existing selection:

Press CTRL (Windows) or COMMAND (Mac) while
drawing with any of the selection tools.
Any part of the new selection that overlaps the Twirl filter applied to a selection made by
previous selection is removed from the selection. intersecting an ellipse and a rectangle selection.
Note: In the Timeline, added, subtracted, or inter-

sected selections are differentiated from regular
selections by a symbol after the name of the selec-
tion object. A (+) indicates an added selection, a (-)
indicates a subtracted selection, and an (x) indi-
cates an intersected selection.
Using Selection Modifier Objects

Selection modifier objects can be added to the Time-
line to modify, activate, or deactivate existing
selections. These objects do not appear in the view-
Brightness reduced for a selection. The selection was made port, and are automatically added to the top of the
by subtracting multiple ellipses from a rectangle selection.
Timeline by certain commands and actions.
You can also manually add selection modifier

objects to control the affect of multi-layered selec-
tions. There are four menu selection commands
available to create them: Invert, Feather, Expand,

and Contract. In addition, a fifth selection modifier, To invert a selection:

the Selection None object, can also be added to the 1. Draw any type of selection.
Timeline.
All selection modifier objects can be moved to affect
• Choose Select | Invert. Inverting in this way adds an
different selections in the Timeline, or deleted
Invert Selection to the Timeline list.
entirely.
• Select the selection object and click Invert in the
The different objects are explained below:
Modes controls (inverting in this way does not add
an object to the Timeline List).
Invert Selection
This object inverts the active selection in the Time-
line stack.
Once you make a selection, you can invert it so that

everything but the original selection is selected. This
is useful for applying effects to all but a specific area
in a clip. Rather than trying to use a combined selec-
Invert
tion to select all but the specific area, select the
specific area and then invert the selection.
In the following illustration, a polygon selection was
The selection is inverted.
drawn around the patch on the jeans. After inverting
the selection, everything but the patch is selected.
Feather Selection
Feather a selection so that any effect that you apply to
it fades gradually at the edge.
Filters applied to inverted polygon selections.
You can modify the stacking order for Invert Selec-

tion objects in the Timeline list. Noise applied Noise applied to a
to a selection feathered selection

Using Selection Modifier Objects ❚❘❘
You can modify the stacking order for Feather Selec- Expand and Contract Selections
tion objects in the Timeline list. You can also adjust Expand or contract the current selection by a
the feather pixel value for Feather Selection objects number of pixels to fine-tune it. Use this feature to
at any time. gain greater control over a selection. For example,
make a selection with the Magic Wand, and then
To feather a selection: expand or contract the selection to the exact size that
1. On the Toolbar, click a selection tool and create you want.
a selection object in the viewport.
You can modify the stacking order for Expand Selec-
2. Do one of the following: tion and Contract Selection Objects. You can also
• Choose Select | Feather. The Feather Selection dia- adjust the expand/contract pixel value at any time.
log appears. In the Pixels field, type the width of the
feathered border and then click OK (feathering in To expand a selection:
this way adds a Feather Selection object to the Time- 1. Choose Select | Expand.
line list). 2. Enter the number of pixels to expand in the dia-
log.
An Expand Selection object is added to the list and a
dotted line appears on the selection. When you
apply an effect, the effect is applied to the area inside
the dotted line.
• Select the selection object and adjust the Feather To contract a selection:
slider in the Modes controls (feathering in this way 1. Choose Select | Contract.
does not add a feather selection object to the Time-
2. Enter the number of pixels to contract in the di-
line list). alog.
A Contract Selection object is added to the Timeline
list and a dotted line appears on the selection. When
you apply an effect, the effect is applied to the area
inside the dotted line.
Feather Selection None

slider
When a Selection None object is added, it prevents
the active selection from affecting any objects above
it in the Timeline. For example, the Selection None
object is added automatically when you paste the
When you apply an effect or a paint stroke, the effect
contents of a selection to prevent the copied selec-
fades gradually and extends past the border of the
tion from affecting it.
selection. For example, if you set the pixels to 10, the
effect starts to fade at 5 pixels inside the edge, and You can also manually add a Selection None object
continues to 5 pixels past the edge of the selection. to deactivate selections in the Timeline. To add a

Selection None object, select either the Lasso, Rect- 4. Choose Edit | Paste to paste the new object on
angle, or Ellipse selection drawing tool and single- top of the selection.
click in the viewport.
Cutting, Copying, and Pasting

Selections
There are two ways to use cut and copy with selec-
tions: you can cut/copy the selection object itself, or
you can cut/copy the image that the object is
selecting.
To make a copy of the selected portion of the

image:
1. Draw a selection. You can manipulate this object as you would any
2. Click elsewhere in the viewport to deactivate the other object in Combustion.
selection object.
Note: Changing the originally selected underlying
You should see the selection marquee, but no
images or objects does not change the pasted
bounding box. object.
To cut/copy the selection object:

1. Draw a selection.
2. Click the Arrow tool , then click the selection
object to activate it.
A bounding box appears around the selection
object.
3. Choose Edit | Cut or Edit | Copy.

4. Choose Edit | Paste to place the selection object
into the active viewport.
To copy a background object from one project to

3. Choose Edit | Cut or Edit | Copy. another:
Note: If you cut out the selection, the selection is 1. On the Toolbar, click one of the selection tools
replaced with the background color. and select a portion of the background to be copied.
2. Choose Edit | Copy.
The background selection remains in the project
and is copied to the clipboard.

Cutting, Copying, and Pasting Selections ❚❘❘
3. Select the Project where you want to paste the

object.
4. Choose Edit | Paste. The selection is pasted into
the current project.


13Paint: Working with Text
The flexibility and options
of Combustion’s vector-
a
based text not only let you
animate titles and credits--
the traditional domain of

et
text generators--you can
also create stunning
textures and transitions.

B

13 Paint: Working with Text
Summary workspaces. Learn more about how these controls

This chapter explains: work later on in this chapter.
• “About Text Objects” on page 298

Text Options
• “Creating Text” on page 299 When you select the text tool, the following options
• “Editing Text Properties” on page 301 appear:
• “Aligning Text” on page 303

Text tool
• “Kerning and Leading Text” on page 303
• “Example: Animating Letters Separately” on page
305.
Text options
About Text Objects
Text objects in Combustion are like any other object,
with a few important differences. As with all objects, Font list
you can move, rotate, size, and shape text. Once you Select the font for the text object from the font list.
create it, a text block exists as an object on a layer.
You can move it up or down in the stacking order, Click the Font menu to select a character direction
and group or ungroup it. For more information on and line direction.
objects, see “About Objects” on page 200.
Text differs from other objects in that each letter in a

text block is treated as a separate object. This makes
it easy to create complex-looking effects in a short
amount of time.
Font menu
Installing Fonts
Combustion uses system fonts that are installed the
same way you install other fonts on your system.
Note: Only line directions corresponding to the
Postscript and Truetype fonts are supported.
selected character direction are available.
For information on installing fonts on your system,
refer to your system documentation. Size field
Enter the font size in the Size field.
Alignment buttons
Text Interface Click an alignment button to set the alignment. Only
This section briefly describes all the text controls in
alignments corresponding to the selected character
Combustion. It is intended as a quick reference for
direction are available.
those who are familiar with using text tools in their

Creating Text ❚❘❘
If the character direction is horizontal: To create solid text:

1. On the Toolbar, click the Text tool.
Select: To:
Create left-aligned text.
Text tool
Center the text horizontally.
Create right-aligned text.
If the character direction is vertical:
Select: To: Text options
Create top-aligned text.

Center the text vertically. 2. Select a font from the Font list.
Create bottom-aligned text.

Font list
Anti-alias
Turn anti-aliasing on or off by enabling or disabling
Anti-Alias.
3. Enter the font size in the Size field.
4. Click the Font menu and select a character direc-
Creating Text tion.
When creating text objects, you typically set them to
a solid color. However, you can apply draw modes
and gradients to text objects, as well as reveal and
cloning operations.
Combustion supports asian or arabic fonts. You can

set text characters and lines to flow horizontally or 5. Click the Font menu and select a line direction.
Only line directions corresponding to the selected
vertically, as well as align the text accordingly.
character direction are available.
6. Click an alignment button to set the alignment.

Only alignments corresponding to the selected char-
acter direction are available.

If the character direction is horizontal: a new font type. If you make a spelling mistake, you
have to recreate the text object.
Select: To:
To create a text outline:
Create left-aligned text.
1. Repeat the steps in the previous procedure to
Center the text horizontally. create solid text.
Create right-aligned text.
2. Once you have created the text, click the Arrow
tool on the Toolbar.
If the character direction is vertical:
3. In the Paint Controls, select Stroked from the
Select: To: object list.
Create top-aligned text. Object list
Center the text vertically.

Create bottom-aligned text.
7. Turn anti-aliasing on or off by enabling or dis-

abling Anti-Alias. The filled text changes to a text outline.
8. Select a color for the text by choosing a color 4. To adjust the outline thickness, select a brush
from the foreground color box on the Modes panel from the Brushes palette.
of the Paint Controls.
9. In the active viewport, click where you want the Automatic Text Grouping
text to appear. Click and drag to adjust the position When you type text, it is automatically grouped into
of the cursor. letters, words, and text blocks. For example, after
10. Type the desired text. you type “SHOW TITLE” you can see a group called
SHOW TITLE in the Timeline list. This group
The text appears on the background image.
contains two subgroups: SHOW and TITLE. In the
subgroups, each letter is a separate object.
Show
sub-group
▲ Once you create a text object, you cannot

retype the letters, change the alignment, or assign

Editing Text Properties ❚❘❘
The advantage to this approach is that text anima- Scaling Text

tion is very easy to control—you can set motion You can scale letters, lines of text, or text blocks.
paths or other characteristics for individual letters,
and still animate whole words or phrases To edit the proportions of a text block:
independently.
Note: To scale an individual letter in a block, you
have to first ungroup the text block, then select the
letter you want to scale.
Editing Text Properties
As with any other object, you can move text to 1. On the Toolbar, click the Arrow tool .
another area of the viewport, change its scale or 2. Click anywhere on the text.
proportions, rotate it, change its pivot point, and The text block is highlighted with scale and rotation
edit its shape. handles.
An object rotates around its pivot point. So, by 3. Click and drag the handles to scale the text
moving the pivot point, you change the way an block.
object rotates.
Drag: To:
To edit an individual letter: Center handles Change the width.
Click the letter in the Timeline list. Top and Change the height.
bottom handles
To edit an entire word:
Corner handles Change the width and height
Click the word in the Timeline list. simultaneously.
To edit the entire line of text: Note: Hold down Shift to

change the scale while main-
Click the Group in the Timeline list. taining the proportions of the
text.
Moving Text
You can move letters, lines of text, or text blocks. Rotating Text
You can rotate letters, lines of text, or text blocks.
To move a text block: Change a text object’s pivot point to change the way
Note: To move an individual letter in a block, you the object rotates.
letter you want to move. To rotate a text block:
1. On the Toolbar, click the Arrow tool . Note: To rotate an individual letter in a block, you
2. Click anywhere on the text. letter you want to rotate.
The entire text block is selected.
3. Click and drag the text to the new location.
2. Click anywhere on the text.

The text block is highlighted with scale and rotation To edit the pivot point of a text block:
handles. 1. With the text selected, click the Pivot Point op-
3. Move the cursor to the rotation handle.
tion in the tool options.
The cursor changes to a curved arrow.

4. Drag the rotation handle.
The text rotates around its pivot point (which is, by
default, the center of the text block).
Rotation handle
Pivot point
option
A pivot point appears on the text block.
Pivot point
2. Drag the pivot point to the new location.
Working with Text Control Points

You can edit and animate the control points that
define the shape of letters. You must first convert
each letter into an outline.

Aligning Text ❚❘❘
To edit the shape of text: 4. Drag the control points to change the appear-
1. On the Toolbar, click the Arrow tool and do ance of a letter.
one of the following to select the letters that you want Control points
to edit:
• In the viewport, press the CTRL key (Windows) or
COMMAND key (Macintosh) while drawing a selec-
tion box around the letter(s) that you want to edit.
• In the viewport, press the CTRL+SHIFT keys (Win-
dows) or COMMAND+SHIFT keys (Macintosh)while
clicking on the letter(s) that you want to edit.
• In the Timeline list, expand the Timeline groups,
and click the letter that you want to edit. Shift-click
to select more than one.
Selected letters are highlighted with scale and rota-

tion handles. Aligning Text
2. Choose Object | Make Outline. Combustion offers many text alignment features.
You can justify text horizontally and vertically. As
3. Click the Control Points option in the tool op- discussed earlier in this chapter, you edit text objects
tions.
using the same operations as paint objects.
You can apply all of the alignment features equally to
individual characters, words, and groups of words.
For information about aligning objects, see
“Aligning and Distributing Objects” on page 253.
Control Points
option Kerning and Leading Text
Kerning is the amount of space between individual
Control points appear around the perimeter of the characters. Leading is the amount of space between
lines of type. You can kern or lead lines of text,
letter(s).
words, or individual characters, in the following
ways:
• Use the Distribute feature to space a selection of ob-

jects evenly between two end objects.
• Move the entire text object (or a portion of it) to

add space manually.

• For even more control, kern or lead the letters indi- 4. Select the last letter (the right-most letter), and
vidually in text objects. then choose
Object | Horizontal Alignment | Right Justify.
To use the Distribute feature to evenly space
horizontal text:
1. Type the word (or words) you want to space
evenly across the viewport.
2. In the Timeline, select the word(s), and then
choose
Object | Horizontal Alignment | Left Justify.
The text object aligns with the left edge of the
viewport.
5. In the active viewport, click the Arrow tool

and then draw a selection box around all the letters.
6. Choose
Object | Horizontal Alignment | Distribute Centers.
The letters are spaced evenly across the screen.
3. Choose Object | Ungroup.

Each letter in the text object becomes a separate
object.
7. Choose Object | Group to regroup the letters

into one object.

Example: Animating Letters Separately ❚❘❘
To move text objects using the keyboard: To adjust leading for individual characters or
lines:
1. Select the text object(s).
Note: You can only perform the following proce-
2. Press the LEFT, RIGHT, UP, and DOWN ARROW keys
dure when typing multiple line text objects.
on the keyboard to move the text object(s) left, right,
up, or down. 1. Type the word (or words) you want to lead. Do
Each press of the ARROW key moves the object(s) one not exit the text object.
pixel in the corresponding direction. To move the 2. Using the LEFT ARROW or RIGHT ARROW keys to
object(s) faster, hold down the ARROW key. move between letters.
Note: You can move individual characters in a text 3. Position the cursor to the left of the first charac-
object by expanding the object in the Timeline, ter in the line, press CTRL (Windows) or COMMAND
selecting the character object corresponding to (Macintosh) and:
the character you want to move, then pressing Left
Arrow or Right Arrow. You can also CTRL-click
• Press UP ARROW to move the line up (and all lines
(Windows) or COMMAND-click (Macintosh) the char- beneath it) one pixel at a time.
acter in the active viewport to select the individual
• Press DOWN ARROW to move the line down (and all
letters.
lines beneath it) one pixel at a time.
To adjust kerning for individual characters or 4. As soon as you exit the text object, you can no
lines:
longer adjust the leading in this manner.
Note: You can only perform the following proce-
dure when typing the text object.
Example: Animating Letters
1. Type the word (or words) you want to kern. Do
not exit the text object.
Separately
The following example illustrates a method for
2. Using the LEFT ARROW or RIGHT ARROW keys to making letters appear on screen as if they are typed
move between letters.
on a typewriter.
3. When the cursor is between the letters for which
1. Create a new Paint branch with the following
you want to adjust the kerning, press CTRL (Win-
settings, then click OK:
dows) or COMMAND (Macintosh) and:
• Format = D1 - NTSC
• Press LEFT ARROW to reduce the spacing between
characters by one pixel at a time. • Duration = 00:00:05:00.
• Press RIGHT ARROW to increase the spacing by one • Background = White
pixel at a time.
2. In the Toolbar, select the Text tool.
4. As soon as you exit the text object, you can no
3. In the Text options, select Courier Bold from the
longer adjust the kerning in this manner.
Font list (or any other font, if Courier Bold is not on
your system), and then enter 30 in the Size field.
Note: To display the Modes panel, click the Modes

button on Paint Controls panel.

4. In the Modes controls, click the foreground col- 11. Expand the “It” object.
or box and set the color to Black.
5. Click a viewport and type:
It was a dark and stormy night.
6. Click the Timeline tab.
The Timeline appears.
7. Expand the Paint object.
8. Select the “It Was A Dark And Stormy Night”
object in the Timeline.
Note: Each character in the expanded word object
is a separate object.
12. Because you can control the animation for each

character separately, you can adjust the object in
point (or the start timecode) for each character in
such a way that the characters appear in the viewport
one after another.
Note: To “type” the text over the course of the

9. Press Endto move to the last frame, then press entire five second sequence, the letters need to be
the . (period) key to extend the object out point to spaced out at five frame intervals.
the full duration of the animation.
13. Set the object in point for the “I” object to 00:05
10. Expand the “It Was A Dark...” object. and the object in point for the “T” object to 00:10.
Drag to adjust
Note: Each word in our text object is a separate object in point.
object.
14. In the Timeline, expand the other words in the
“It Was A Dark And Stormy Night” object and stag-
ger the letters’ in points by five frames.
Note: Do not forget to take spaces into account.

Example: Animating Letters Separately ❚❘❘
The following table gives object in points values for

the first few characters:
Letter: Object In-point:

I 00:00:00:05
t 00:00:00:10
w 00:00:00:20
a 00:00:00:25
s 00:00:01:00
a 00:00:01:10
d 00:00:01:20
and so on... ...
15. Set the remaining object in points.

16. When you have set all the object in points, press
Play on the playback controls.
You can also scrub through the effect by dragging
the Timeline cursor. Although this is not a real-time
preview, you can see if the letters are appearing in the
right order.
Objects appear in Wireframe

mode when scrubbing.
17. You can enhance the realism of this typewriter

effect by varying the speed at which the letters are
“typed.” For instance, try adjusting the number of
frames between letters to only three frames in some
cases and others to six. Try making the spaces short-
er, and punctuate the effect by offsetting the final pe-
riod by as much as seven or eight frames.
Note: When varying the typing speed, be careful

to not exceed the total length of the animation
sequence.


14Filters
Combustion’s filters provide
you with such a diversity of

a
looks, feels, and transitions.
They are not simple plug-
ins: they’re stackable,

et
mask-able, and
animatable, making the
number of possible final
composites almost infinite.

B

14 Filters
Summary The Filters Interface

In this chapter you learn: The filter controls vary according to the filter
selected. Most filters have the following common
• “The Filters Interface” on page 310
controls.
• “Blur/Sharpen Filters” on page 311
• “Channel Filters” on page 316

Preview
• “Cineon Filter” on page 316 Thumbnail
• “Color Correction Filters” on page 317
• “Distort Filters” on page 319
• “Noise Filters” on page 324

• “Selection Operators” on page 325
• “Stylize Filters” on page 327
Preview Thumbnail — Displays a preview of the
• “Stylize Filters” on page 327
filter. For most filters, the thumbnail provides real-
• “Transitions Filters” on page 332 time feedback as you adjust the filter parameters.
• “Using Third-Party Plugins” on page 334
About — Displays information about the filter.
Reset — Resets the filter to its default settings on

About Filters every frame.
This chapter describes the filters provided with
Combustion. They are described in the order in Remove — Deletes the filter.
which they appear in the Operators menu for
composite branches, and the Effects menu for Paint Enabled — Turns the filter on or off. This is equiv-
branches. The chapter also includes information on alent to clicking the filter icon in the Workspace
using third-party plugins. panel or the Timeline.
About Filters and Resolution Store — Saves a snapshot of the filter settings. You
You do not have to readjust filters settings when you can save up to 5 snapshots. For more information,
replace footage or use proxies — the filters are auto- see “Storing Operator Settings” on page 113.
matically scaled in order to maintain the visual effect
Pick Button — Use this control with operators that
that you created originally.
require a position in the viewport, for example to

Blur/Sharpen Filters ❚❘❘
position a lens flare. Click the Pick button and then In some cases, enabling Resize Image increases
click and drag the pick icon in the Viewport. rendering time.
This option is not available when you access filters
from a Paint operator because you cannot scale a
layer inside a Paint operator.
Pick Icon sets
center of lens flare
Blur/Sharpen Filters
Use Blur filters to create a blurring effect. Sharpen
filters do the opposite: they make the image appear
Resize Image — Some filters render information sharper.
outside the boundaries of the layer itself. Blurs, for
example, can blur outward from the edges of the Box Blur
layer to give a softness to the edge. When Resize Use Box Blur as a quick and effective method to
Image is on, the result resized and the result can create a blurring effect. The box blur changes the
extend past the edge of the layer; when Resize Image color value of each pixel based on the pixels next to
is off, the result is cut off at the edge of the layer. The it in the vertical and horizontal directions. It is fairly
following shows the different results obtained with a close to the look achieved using Gaussian Blur, but
Crumple filter. Notice how the first image uses all the renders much faster. Use it when a faster rendering
space available in the composite, while the second time is important, and the quality of the blur is less
maintains its original size. important.
Radius — Varies the strength, or reach, of the blur

filter. The radius is measured in pixels.
Resize Image — Blurs outward from the edges of

the layer giving the layer a soft edge.
Resize Image turned off Resize Image turned on
Dolly Blur Sharpen Roll Blur

14 Filters
Channel Blur Dolly Blur

Use Dolly Blur to create a radial blur that increases
Use Channel Blur to blur each channel separately. outwards from a defined center point. By
You can blur the alpha channel, or create some keyframing the blur radius, you can duplicate the
unusual effects by adjusting the blur filter
effect of a blur created from a rapid camera dolly
independently for each color channel. For example,
blur the Blue channel to reduce grain, green to blur (camera moved towards or away from the subject).
image detail, and red to reduce contrast. Red,
Green, Blue, and Alpha sliders — Set the blur Amount — Sets the strength of the blur.The
radius, in pixels, for each color channel. amount is measured as a percentage of the image.
Undefined Areas — Sets the color to use to blur Center — Determines the point from which the
pixels at the edge of the image, or where the color blur radiates. The center is not blurred. You can enter
channel is black. the X and Y values of the center, or click the Pick
button and pick a point in the active viewport.
Resize Image — Extends the blur beyond the edge
of the blurred layer. Quality — Determines whether the effect is grainy
or smooth.
Compound Blur Resize Image — Blurs outward from the edges of

Use Compound Blur to create a blur based on the the layer.
pixels of another channel, either in the same layer or
from a different layer. For example, if you apply a
compound blur based on luminance, the image is Gaussian Blur
blurred where the pixel luminance is high, and it is Gaussian Blur uses a more complex formula for
not blurred where pixels are black. calculating its blurring effect than Box Blur. The
results are more realistic and approximate more
Layer — Determines the layer whose pixels are closely the real-world effect of shooting a subject
used to set the amount of blur applied. with an out-of-focus lens.
Radius — Sets the blur strength. The Radius is Radius — Varies the amount of the blurring
measured in pixels. effect.The radius is measured in pixels.
Channel — Determines which channel, in the Resize Image — Blurs outward from the edges of
source Layer, is used to set the amount of blur the layer.
applied.
Motion Blur
Blur Type — Determines whether the blur is a Box Use Motion Blur to simulate the blur created by fast-
blur or a Gaussian blur. moving objects.
To create a motion blur, Combustion takes samples

of previous and subsequent frames and composites

them over the current frame.Combustion uses sub- you don’t need antialiasing on a blurred layer, so to
frame sampling to create a smooth effect. save processing, time you can turn it off.
You control the number of samples, the transpar- Phase — Specifies whether the motion blur is based
ency (or weight) of the samples, and the duration on the movement before or after the current frame.
over which the samples are taken. A value of -100 places the motion blur before while a
value of 100 places the motion blur after. A value of
Motion Blur Controls 0 is centered, which evenly distributes the motion
blur.
Shutter — Determines the size of the motion blur.

It is essentially the number of frames over which the
shutter is open. Increasing the Shutter value does not
increase processing time.
Samples — Determines the quality of the motion

blur. Increasing the number of samples improves the
quality of the motion blur, creating a softer effect.
Shutter = 3 Shutter = 15
Samples = 5 Samples = 20
Motion Blur Graph — Determines the weight

distribution of the samples. The vertical axis repre-
sents the weight (or opacity) of the samples, while
the horizontal axis represents the position of the
samples. Each sample is represented by a vertical
green line.The red line represents the current frame.
Note: Increasing the Sample value causes the
processing time to increase linearly. In many cases,

14 Filters
To change the weight distribution of the samples: In the following procedure, the front layer, a still
Click the curve to add a keypoint, then drag the image of a 16-ton iron weight, moves from the top to
keypoint up or down to change the weight of the the bottom of the frame. The procedure describes
samples at that point. Click and drag a green line to how to use motion blur to create the illusion that the
shift the samples along the curve. layer is falling fast.
In the following illustration, samples in the center of
the blur carry more weight than samples at either
end of the effect.
Back Layer
The front Layer is moving

downward.
To blur the movement of a layer:

1. Select the animated layer.
In the next illustration, the samples at the front of the

effect carry more weight and the object appears to be
moving faster. 2. Choose Object | Nesting, and click Selected Lay-
ers in the dialog that appears.
Blurring the Movement of a Layer

Use motion blur to add realism to animated layers in
your composite. To do so, first nest the layer, then
apply the motion blur.

3. Select the new nested composite. you should use the Motion Blur in the 3D Post filter
menu. “3D Motion Blur” on page 511.
When you apply a blur to a single layer, Combustion

does not have any sub-frame motion information,
therefor it uses the frame to frame motion to create
the blur.
As a result, the motion blur is smooth on slow-

moving objects; but for fast moving objects, the
4. Choose Effect | Motion Blur.
samples will be farther apart and visible. Also
A motion blur filter is applied to the output of the
remember, that the blur is applied to all the motion
nested composite. As a result the motion blur filter
in the layer, including any movement in the
can detect the movement (transforms) of the
background.
animated layer.
In the following example, a motion blur is applied to
the footage of a dancer shot in front of a blue screen.
5. Adjust the Motion Blur settings.

The moving layer is blurred.
Pan Blur
Pan Blur simulates a directional blur created by a
fast-moving object. Use this filter to simulate the
blur created from a fast-moving camera panning or
craning.
Amount — Varies the amount of the blurring

effect.The amount is measured as a percentage of the
image.
Applying a Motion Blur to a Single Layer
If you apply a motion blur to a single layer, the blur Angle — Sets the direction of the blur. A direction
affects any movement in the clip. This can be useful of 0 simulates camera craning (moving up and
if you want to blur a CG animation that is not in RLA down). A direction of 90 simulates camera panning
or RPF format. If the animation is a RLA or RPF file, (moving left to right).

14 Filters
Quality — Determines whether the effect is grainy Horizontal Radius — Sets the strength of the blur
or smooth. in the horizontal direction.
Resize Image — Blurs outward from the edges of Vertical Radius — Sets the strength of the blur in
the layer. the vertical direction.
The radius is measured in pixels.

Roll Blur
Use Roll Blur to simulate the blur created when a Resize Image — Blurs outward from the edges of
camera or object is spun on its own axis. the layer.
Amount — Varies the amount of the blurring

Unconstrained Gaussian Blur
effect.The amount is measured as a percentage ofthe
Unconstrained Gaussian Blur is similar to Gaussian
image.
Blur but you can set the horizontal and vertical radii
individually.
Center — Determines the point around which the
blur swirls. The center is not blurred. You can enter
Horizontal Radius — Sets the strength of the blur
the X and Y values of the center, or click the Pick
in the horizontal direction.
button and pick a point in the active viewport.
Vertical Radius — Sets the strength of the blur in
Quality — Determines whether the effect is grainy
the vertical direction.
or smooth.
The radius is measured in pixels.
Resize Image — Blurs outward from the edges of
the layer. Resize Image — Blurs outward from the edges of
the layer.
Sharpen
Use Sharpen to increase the clarity and sharpness of
a layer. The filter works with object edges and areas
Channel Filters
Use the channel filters to modify the individual color
where color differences occur.
channels of the image. For more information, see
Amount — Determines how much the image is “Using Channel Effects” on page 140.
sharpened. The amount is measured as a percentage
of the image.
Cineon Filter
The Cineon Filter category includes the Cineon
Unconstrained Box Blur Color Converter. Use this filter to convert cineon
Unconstrained Box Blur is similar to Box Blur but footage from 10-bit logarithmic format to the 8-bit
you can set the horizontal and vertical radii linear space used in Combustion. Apply this filter
individually. immediately after the footage operator.

Color Correction Filters ❚❘❘
When you import a cineon file, Combustion tempo- CC Basics

rarily stores the least significant bits of the 10 bit data This filter gives you access to the controls available in
in the layer’s alpha channel. The Cineon Converter the Basics panel or the Discreet Color Corrector. For
extracts this information from the alpha channel more information, see Chapter 16, “Color
and then generates a look-up table to translate the Correction.".
color value in 10 bit format into a color value in 8 bit
format.
CC Color Wheel
In 10-bit format, the value for each color channel This filter gives you access to the controls available in
can range from 0 to 1024. In 8-bit format the color the Color panel or the Advanced Color Corrector.
value ranges from 0 to 255. For more information, see Chapter 16, “Color
Correction.".
Use the Filter controls to determine how the color
values at the end of the range are converted.
CC Curves
Reference Black — Sets the clipping value for This filter gives you access to the controls available in
black. Color values below this point are set to black. the Curves panel or the Advanced Color Corrector.
For more information, see Chapter 16, “Color
Reference White — Sets the clipping value for Correction."
white. Color values above this value are set to white.
Film Gamma — Adjusts the slope of the LUT

CC Histogram
This filter gives you access to the controls available in
curve. A Gamma value of 1 creates a flat curve.
the Histogram panel or the Advanced Color
Increase Gamma to brighten the mid tones, reduce
Corrector. For more information, see Chapter 16,
gamma to darken mid-tones.
“Color Correction."
Soft Clip — Smooths the shoulder area of the
conversion curve.Reduce the soft clip point to Balance
restore details in highlights. Use Balance to modify the individual Red, Green,
and Blue levels in a layer.Use the sliders to adjust the
amount of each color channel by a certain
Color Correction Filters percentage.
Use the Color Correction filters to adjust to the
colors in your images.
Brightness/Contrast
Use Brightness and Contrast to modify the layer’s
Discreet Color Corrector brightness and contrast levels.
Use the Discreet color corrector when you need a
high level of control and precision to perform color
Equalize
adjustment on your clips. For information on using
Use Equalize to achieve a more uniform brightness
this operator, see Chapter 16, “Color Correction."
distribution in an image or clip.

14 Filters
Component — Determines which channels are Amount — Varies the amount by which the satura-
equalized. Select RGB to equalize the R, G and B tion increases.
values simultaneously; or choose R, G, B, or Lumi-
nance to equalize each channel separately. NTSC Colors
Use NTSC Colors to make sure your image or clip
Blend — Determines how much to blend the
colors do not exceed the NTSC limits for television.
equalized version of the image with the original.
This filter is useful if you are working on a project
that will be output to video tape or televised in a
Gamma/Pedestal/Gain country that uses the NTSC video standard.
Use Gamma/Pedestal/Gain to lighten or darken an
image.
PAL Colors
Use PAL Colors to make sure your image or clip
Gamma — Affects the slope in the color curve to
colors do not exceed the PAL limits for television.
lighten or darken the image overall, with minimal
This filter is useful if you are working on a project
effect on the bright and dark areas already present in
that will be output to video tape or televised in a
the image.
country that uses the PAL video standard.
Pedestal — Affects the low-end cutoff value of the
curve. Increasing the Pedestal value pushes pixels Tint
towards the lighter end of the curve. The Pedestal Use Tint to change the tint of an image while
value is added to the color value of each pixel. retaining its original shading and contours. The
effect is similar to looking at an image through a
Gain — Affects the high-end cutoff value of the color lens.
curve. Increasing the Gain value lightens the image
uniformly. Color — Determines the color of the tint you are
applying. To set the color:
Grey • Click the color box and select a color using the Pick
Grey converts a colored image into a grayscale Color dialog that appears
image.
• Click the color picker and sample a color in the ac-
Amount — Determines the amount of color to tive viewport. In the Toolbar, enable Area Sample in
remove. Increase the amount to remove more and the Toolbar, then click and drag your cursor over the
more color from the image. A 100% value makes area to sample the average color in that area.
your selection colorless, a true grayscale image.
Amount — Determines how much tint to apply to
the image.
Movie Color
Movie Color increases the saturation of all colors in
your image at the same time. It is useful for bumping
up the colors in a listless image to provide a more
saturated and colorful look.

Distort Filters ❚❘❘
Distort Filters Displace

Use Distort filters to distort the physical shapes and Use Displace to offset the pixels of the current layer
contours of your images. They have no effect on by an amount determined by the pixel values in the
color values. Since the Distort filters can be source layer. The source layer acts as a 2D displace-
keyframed, you can create dramatic changes in ment map. Brighter pixels in the source layer move
image shapes when animated over time. pixels in the current layer farther, while darker pixels
move pixels by a smaller amount.
Crumple
Use Crumple to make your image appear as though
it is crumpled like a piece of paper.
Use this filter to create controlled warping effects; for

example, to make a still image of a flag look like it is
Amplitude — Controls the overall strength of the flowing in the wind, apply a Displace filter to the still
filter. image, using footage of flowing satin as a source.
Time Slice — Makes modifications to the fractal Layer — Selects a layer to use as a displacement
patterns yielding random results. map.
Octaves — Controls the smoothness of the effect. Method — Specifies how the displacement map is
The lower the octaves, the smoother the effect. treated if the layer sizes do not match.
Horizontal and Vertical Scale — Controls how Select: To:

much horizontal and vertical “squashing” occurs Center Place the displacement map in the cen-
during the crumple. ter of the current layer without resizing
it.
Origin — Defines the point from which the Tile Place the displacement map in the up-
crumple effect radiates. per left corner of the current layer and
repeat(tile) the map across the layer.
Resize Image — Crumples outward from the
Fit Resize the displacement map to fit the
edges of the layer. dimensions of the current layer.

14 Filters
Channel X — Determines which channel from the Resize Image — extends the effect past the edges
source layer is used to offset the pixels along the X of the layer.
axis.
Magnifying Glass
Channel Y — Determines which channel from the
Use Magnifying Glass to make your image look as
source layer is used to offset the pixels along the Y
though it is being viewed through a glass lens.
axis.
Scale X — Sets the maximum value that pixels

move in the X direction.
Scale Y — Sets the maximum value that pixels

move in the Y direction.
Offset X — Specifies the initial movement of the

current layer’s pixels in the X direction. Increasing
the offset increases the range of the Scale X property.
Offset Y — Specifies the initial movement of the

current layer’s pixels in the Y direction. Increasing Amount — Determines how much the image is
the offset increases the range of the Scale Y property. magnified. If you move the Amount slider to the left
and choose a negative value your selection looks as
Flip though it is farther away, just like viewing an object
Use Flip to flip an image horizontally, vertically, or through the “wrong” end of a telescope. Conversely,
both. positive values cause your image to appear to be
closer to the viewer.
Mirror Scale — Controls the size of the circular area

Use Mirror to have one side of your image reflect the
around the center point affected by the amount of
other. You do this by defining the line through your
magnification you have chosen.
image.
Aspect — Controls the aspect ratio of the hori-
Angle — Places the line, rotating it either clockwise
zontal and vertical diameters of your magnifying
or counterclockwise.
glass.
Center — Determines the center of the line. Click

Center — Click the Pick button to select a point in
the Pick button to select a point in your image or
your image or type the X and Y coordinates in the
enter the X and Y coordinates in the corresponding
corresponding field.
fields.
Direction — To magnify your selection in only one
rather than two directions, choose either Horizontal

or Vertical instead of the default Both in the Direc- Scale — Controls the scale at which the pinching
tion list. This has the added effect of squaring off the occurs. If you think of a layer as a sheet of paper, the
filter’s corners. scale is like the difference between wrapping the
sheet of paper around a basketball compared to
Resize Image — Extends the effect past the edges wrapping it around a baseball. Wrapping the paper
of the layer. around a basket ball is like applying a negative pinch
with a high scale value. Wrapping it around the base-
Offset ball is like applying a negative pinch with a low scale
Use Offset to pan images or frames. value.
Center — Sets a new center point for the layer. Aspect — Modifies the ratio of horizontal to
Enter a value in the X and Y coordinates fields or vertical distortion. Positive values make the hori-
click the Pick button and pick a center point in the zontal dominate, while negative numbers favor
image. vertical distortions.
Undefined Areas — Determines what appears in Center — Determines the point around which the
the empty space created by offsetting the layer. image is distorted.
Resize Image — Extends the effect past the edge of

Pinch the layer.
Use Pinch to make your image appear squeezed
either inward or outward from the defined center
point. Polar to Rectangular
Use Polar to Rectangular to change pixel definition
(from the Polar to the Cartesian coordinate system).
The effect stretches a round object so that it appears
to straighten out.
Positive Pinch Amount Negative Pinch Amount
Amount — Controls the severity of the distortion.

Positive numbers pull the image inside the cone, Rectangular to Polar
making it appear to recede. Negative values stretch Use Rectangular to Polar to change pixel definition
the image over the cone, moving the center point (from the Cartesian to the Polar coordinate system).
closer to your point of view.

14 Filters
The filter bends an layer around its center so that it Amplitude — Controls the height of the ripples. If
appears round. you choose negative values, the ripples descend
beneath the surface.
Mode — Determines the rippling filter used:
Use: To:
Pond Rip- Create ripples that move out from
ples the center and that zigzag around
the center at the same time.
Out from Create very smooth, even ripples.
Center
Resize Around Create ripples that spiral around the

Use this filter to resize an image. You can crop, scale, Center center point.
or tile the image. Apply a Resize filter to a Branch to
crop the output before rendering. Ripple Pro
Use Ripple Pro to create a ripple-like filter of your
Corner 1 — Sets the position of the top left corner. image from a defined point outward (similar to
tossing a stone into water).
Corner 2 — Sets the position of the lower right
corner.
Method — Determines how the image is resized.
Select: To:
Crop Crop the image. This option has no ef-
fect if you enlarge the image.
Stretch Scale the image to fit in the resized ar-
ea.
Tile Tile the image to fill the resized area. Amplitude — Controls the height of the ripples. If
This option has no effect if reduce the you choose negative values, the ripples descend
size of the image. beneath the surface.
Scale — Determines how far the ripples extend

Ripple
from the center.
Use Ripple to create a ripple-like effect from a
defined point outward (similar to tossing a stone
Aspect — Controls the elliptical shape of the
into water).
ripples. A negative aspect creates horizontal ripples;
a positive aspect makes them vertical.

Wavelength — Is a measure of the size of the Spherize

ripples. If the Wavelength is100%, only one Use Spherize to make the image appear wrapped
complete ripple fits in the image. onto the outside surface of a sphere.
Max Ridges — Controls the total number of

ripples that can be generated. For example, set Max
Ridges to 5 to create 5 rings of distortion; the areas
inside and outside of the rings are unaffected.
Spread — Determines the distance between the

ripples and the center. Animate the spread to create
continuous rippling of the image.
Mode — Determines the type of rippling effect:
Use: To:
Pond Rip- Create ripples that move out from Amount — Controls the extent of the rounding
ples the center and that zigzag around effect.
the center at the same time.
Out from Create very smooth, even ripples. Direction — Defaults to Both, meaning that both
Center Horizontal and Vertical rounding occurs. Selecting
Around Create ripples that spiral around the either the Horizontal or Vertical options modifies
Center center point. the effect so that the results appear more like wrap-
ping the image onto a vertical or horizontal cylinder.
Shift
Shift is similar to the Offset filter. You can use it to Twirl
pan images or frames. Use Twirl to spin, twirl, and rotate the image.
Center — Sets a new center point for the layer.

Enter a value in the X and Y coordinates fields or
click the Pick button and pick a center point in the
image.
Invert — Shifts the image by the same amount in

the opposite direction. For example, if the center is at
X=10 and Y=10, Invert will shift the center to X=-10
and Y=-10.
Angle — Controls how far a pixel rotates from its
Undefined Areas — Determines what appears in original position.
the empty space created by shifting the layer.

14 Filters
Scale — Determines the size of the distortion. Dust and Scratches

Use Dust and Scratches to locate image imperfec-
Aspect — Controls the aspect ratio of the area tions and blend them into their surroundings.
affected. By default the aspect is 0 and the entire layer
is affected equally. Set the aspect to a positive value Radius — Controls the radius of the area to blend
to twirl a horizontal portion of the image. Set it to a with a scratch to minimize its appearance. Use the
negative value to affect a vertical portion of the smallest possible value to achieve the desired effect.
image. Values that are too large blur your entire image.
Center — Sets the center around which the image Tolerance — Specifies how much variation in
twirls. brightness levels between adjacent pixels is allowed
when defining scratches.
Resize Image — Extends the effect past the edges
of the layer.
Fractal Noise
Use Fractal Noise to generate random noise filters.
By animating this filter you can create either subtle
Noise Filters
or dramatic effects similar to flowing water or undu-
You can use Noise filters to add realism to computer
lating clouds.
generated images, or to simulate or match film grain.
Amount — Sets the intensity of the effect.

Add Noise
Use Add Noise to give your image a grittier, more Time Slice — Determines the fractal starting point.
textured look. The filter adds random pixels to your By keyframing this parameter and setting it to
image. another value later, you can create interesting
motion filters.
Amount — Varies the amount of noise to add.
Octaves — Determines the overall coarseness or
Monochrome — Creates noise in the same color as smoothness of the noise being generated.
the original image.
Horizontal and Vertical Scale — Adjust the hori-
Type — Determines how the noise is distributed. zontal and vertical undulation of the noise. Higher
Uniform distribution is based on the Amount value, values create smoother, more subtle results, while
while Gaussian distribution calculates noise based lower values create more banding in the dimension
on a bell-shaped curve, usually with more being affected.
pronounced results than the Amount option.
Animate — Generates random noise from frame to

Median
Use Median to decrease noise and detail in your
frame. If you want the noise to remain the same,
image. The filter averages the colors in an area, the
disable the Animate option.
size of which you define using the Radius slider.
Larger values create larger areas in which color aver-

Selection Operators ❚❘❘
aging occurs and produce results with less detail. The following controls are available for all selection
Smaller values create more subtle effects. operators.
Turbulence
Turbulence is like a texture generator since it gener-
Modes List
ates an effect that replaces your current selection or
image.
Amount — Sets the intensity of the effect.
Time Slice — Determines the starting point. By

keyframing this parameter and setting it to another
value later, you can create interesting motion effects. Opacity — Sets the intensity of operators added
after the selection. For example, if you create a selec-
Octaves — Determines the overall coarseness or tion with an opacity of 50%, then apply a Blur filter,
smoothness of the noise being generated. the effect of the Blur filter will be reduced by half.
Horizontal and Vertical Scale — Adjusts the Modes List — If you create several selections in the
horizontal and vertical undulation of the noise. same operator, the Selection Mode determines how
Higher values create smoother, more subtle results, the selections are combined. In addition, if you place
while lower values create more banding in the a Channel selection above another Selection oper-
dimension being affected. ator, the list determines how the two selections are
combined.
Selection Operators Feather — Softens the edge of the selection, and

Use selection operators to isolate a portion of the softens the edge of any filter applied to the selection.
image. Any operators applied after the selection
affects only the selected portion of the image. For Invert — Selects the area outside the selection.
more information see “Using Operators with Selec-
tions” on page 111. AntiAlias — Smooths any jagged edges.
You can also create selections using the Paint oper-

ator. For more information, see Chapter 12, “Paint:
Channel Selection
Creates a selection based on a color channel.
Drawing Selections."
Channel list — Determines the channel to select.
Feather — Softens the edge of the selection.
Expand — Increases the size of the selection by the

specified number of pixels.

14 Filters
Selection list — Determines how the selection is Feather

added to other selections. Use Feather to soften the selection below this oper-
ator in the Workspace panel.
Invert — Selects the portion of the image outside
the selection. Note: You can also feather a selection using the
Selection Controls: In the Workspace panel,
Note: To see the selection marquee, double-click double-click the Selection operator. In the Toolbar,
the Channel Selection operator icon in the Work- click the Arrow tool, select the Selection marquee,
space panel. then adjust the feather amount in the Selection
controls.
Draw Selection
Use this operator to access the selection drawing G-Buffer Material Selection
tools. Use this operator to select material IDs in RLA or
RPF files. For more information, see Appendix ,
To use the Draw Selection operator: “Combustion and 3D Studio MAX."
1. Select a layer.
2. Choose Operators | Selections | Draw Selection. G-Buffer Object Selection
Use this operator to select objects in RLA or RPF
The operator is added to the layer in the Workspace
files. For more information, see Appendix ,
panel.
“Combustion and 3D Studio MAX."
3. Click the Toolbar, select a drawing tool, and
draw a selection in the active viewport.
Invert
For more information on drawing selections, see
Use Invert to invert the selection below this operator
Chapter 12, “Paint: Drawing Selections.
in the Workspace panel.
Elliptical Note: You can also invert a selection using the

Selection Controls: In the Workspace panel,
Use this operator to create an elliptical selection.
double-click the Selection operator. In the Toolbar,
click the Arrow tool, select the Selection marquee,
To use the Elliptical Selection operator: then enable Invert in the Selection controls.
1. Select a layer.
2. Choose Operators | Selections | Elliptical. Rectangular
An elliptical selection appears in the active Use this operator to create a rectangular selection.
viewport.
To use the Rectangular Selection operator:
3. Click and drag the selection marquee to position
1. Select a layer.
the selection. Click and drag the marquee handles to
resize the selection. 2. Choose Operators | Selections | Rectangular.
For more information on drawing selections, see An rectangular selection appears in the active
Chapter 12, “Paint: Drawing Selections. viewport.

Stylize Filters ❚❘❘
3. Click and drag the selection marquee to position In the following illustration, the top image is used as
the selection. Click and drag the marquee handles to a source for a bump map applied to a solid white
resize the selection. layer. The bottom illustration shows the result.
For more information on drawing selections, see
Chapter 12, “Paint: Drawing Selections.
Remove
Use Remove to cancel any selections below this
operator in the Workspace panel.When you apply a
filter after the Remove operator, the filter affects the
entire image, in other words it is not limited by any
underlying selections.
Stylize Filters
Stylize filters use the colors in a layer to generate
creative effects.
Bump Map Layer — Determines the source layer for the bump
Use Bump Map to simulate the look of a raised or map. Choose from any of the layers currently in the
bumpy surface on the current layer using another composite (excluding null objects, lights, and the
layer’s pixels as a source. The result looks like the camera).
source layer is embossed or stamped onto the
Channel — Determines the channel to use as a
surface of the current layer, complete with bright
source. The default value is Luminance.
highlights on raised points.
Height — Controls the height of the bumps. Posi-

tive values create raised bumps, while negative
values create recessed bumps.
Smoothness — Specifies the smoothness of the

bumps. Increase the smoothness to blur the bump
map before applying it to the layer.
Ambient — Controls the amount of ambient light

striking the layer.
Diffuse — Specifies how light spreads over the

surface of the bumps. The higher the diffuse value,
the more evenly the light is spread.

14 Filters
Specular and Shininess — Modify the highlights Amount — Determines the height or depth of the
created when the imaginary light source hits a raised emboss filter.
point:
Radius — Controls the size of the emboss filter.
• Specular controls the brightness of the highlights.
• Shininess controls the spread of the highlights. A Light Source — Determines the light source angle
high value creates small, tightly focused highlights for the shadow.
on the edges of the bumps, while a low value creates
wide highlights. Drop Shadow
Use Drop Shadow to create a shadow on the under-
Source Latitude — Determines the X direction of lying layers and footage, based on the alpha channel
the imaginary light source. of the image or clip. You can use this to create
imagery that appears to float off the screen in 3D.
Source Longitude — Determines the Y direction
of the imaginary light source. Opacity — Specifies the transparency of the drop
shadow.
Source Color — Specifies the color of the light
source. Click the color square to choose a color from Shadow Center — Determines the location of the
the Pick Color dialog, or click the Pick button to shadow.
choose a color from the screen.
Feather — Softens the edges of the drop shadow.
Color Emboss Use this slider to create a more realistic shadow.
Use Color Emboss to produce the illusion of 3D
embossing. The look is similar to the way your name Shadow Color — Specifies the color of the drop
appears on a credit card. The filter retains the image’s shadow.
existing colors to create an embossed, colored, 3D
Resize Image — Creates a drop shadow that
effect. The high-contrast edges of images appear to
appears outside the layer boundaries.
cast shadows.
Emboss
Use Emboss to create an illusion of 3D embossing in
grayscale. The filter works by detecting areas of high
contrast, highlighting them with black and white

pixels, and filling the remaining area with a neutral Glow

gray. Use Glow to generate subtle gradations of light in
your image. The filter is reminiscent of the lumines-
cent quality many painters have used to depict
saints.
Amount — Sets the height or depth of the emboss

filter.
Radius — Controls the size of the glowing filter.
Radius — Controls the size of the emboss filter.
Minimum Luminance — Determines how bright
Light Source — Determines the light source angle
an area of the image must be before it begins to glow.
for the shadow.
Strength — Determines the strength and size of
Find Edges the glowing filter.
Use Find Edges to find and highlight edges in your
image. The filter measures contrasts between adja- Extend into Mask — Softens the edges of a mask
cent pixels and then produces a new image which filter by extending the glowing filter along the mask’s
highlights them. edges, softening the otherwise hard edges.
Resize Image — Extends the effect beyond the

edge of the layer.
Leave Color
Use Leave Color to convert your image to grayscale
except for a specified color or range of colors. This
filter was popularized a few years ago by music
videos and a few cola commercials where the entire
scene is in shades of gray except for the product (or
star of the video), which remained in color.
Invert — Reverses the image for a negative edge
filter.

14 Filters
Color — Specifies a color to remain untouched; the Color — Sets the color for the overall effect. For
other areas of your image are converted into example, make a flaring filter generated by a purple
grayscale. sun.
Tolerance — Determines the amount of variation Rotation — Spins the central flare around its flare
from your chosen color to tolerate before it converts center.
what remains into grays.
Elements — Creates a central flare, reflections
Feather Amount — Determines how smooth the only, or both.
transition is between areas which remain in your
chosen color range and the gray areas. Flare Type — Determines the type of lens flares by
selecting different camera lens types.
Method — Sets either RGB or HSV methods of
color selection. Mosaic
Use Mosaic to create a mosaic tiled filter. Since you
Lens Flare can keyframe the filter, you can vary the size of the
Use Lens Flare to create an effect similar to when a tile over time.
camera lens is hit directly by the sun or another
bright light source.
A Mosaic filter applied to a selection around

the actor’s face.
Cell Size — Determines the size of the "blocks"

created by the mosaic effect.
Strength — Controls the brightness of the lens
flare.
Flare Center — Determines the position the flare’s

hotspot on the image.
Axis — Sets the direction of the reflections and how

far from the hotspot the reflections extend.

Oil Paint
Use Oil Paint to create effects that give your image a
hand-painted style, or an impressionistic look.
Radius — Adjusts the intensity of the effect.
Solarize
Use Solarize to convert grays to white, black and
white values to black, and remap intervening color
values to shades in-between.
Threshold — Controls the exposure amount.

14 Filters
Transitions Filters Amount — D the number of transparent blocks.

Animate Transitions filters to make one layer gradu-
ally disappear over a number of frames and reveal Horizontal Size — Determines the average hori-
the underlying layers. zontal size of the transparent blocks.
To create a transition: Vertical Size — Determines the average vertical

size of the transparent blocks.
1. Click the Animate button to enable animation.
(When animation is enabled, the button is red.)
Feather Amount — Creates an opacity gradient at
2. Go to the frame where you want the transition to the edge of the transparent blocks creating a
start. smoother effect.
3. Select the layer that you want to make disappear,
(the outgoing layer).
Circular Wipe
4. Choose Effects | Transition, and select a transi- Use Circular Wipe to apply a circular transition to
tion from the list. the image.
5. In the Transition controls, adjust the filter pa-
rameters, leaving the amount setting at zero.
This is the first keyframe for the transition.
6. Go to the frame where you want the transition to
end, where the outgoing layer completely disap-
pears.
7. In the Transition controls, set the amount to
Amount — Determines the radius of the circular
100%.
transition.
This is the last keyframe for the transition.
8. Play the clip. Adjust the in-between keyframes if Feather Amount — Creates an opacity gradient at
required. the edge of the transition creating a smoother effect.
The layer to which you applied the filter gradually
disappears, revealing the underlying image. Center — Sets the center of the transition.
Block Dissolve
Use Block Dissolve to create blocks of transparency.

Transitions Filters ❚❘❘
Gradient Wipe Softness — Creates a soft edge between trans-

Use Gradient Wipe to gradually reveal or hide an parent and opaque areas creating a smoother effect.
layer based on the values of pixels in a separate
channel, in the same or different layer. Layer — Is the source layer, in other words, the layer
used to determine the transparency of the current
layer.
Channel — Determines which information in the

source layer is used for the gradient wipe.
Linear Wipe
Use Linear Wipe to apply a transition with a linear
Top: Gradient
edge.
Wipe Source
Right: Gradient Amount — Determines how much of the image is
Wipe at 50% obscured or revealed.
Direction — Determines the direction of the linear

edge of the transition. If the direction is 0°, the line is
The example above illustrates a gradient wipe based
horizontal; a direction of 90° is vertical.
on the luminance in the talent’s profile. Usually, you
create a grayscale image or gradient to use as a Feather Amount — Creates an opacity gradient at
source for this kind of wipe. If you do not select a the edge of the transition creating a smoother edge.
source, the Gradient Wipe creates a uniform dissolve
as illustrated at the bottom of this page.
Radial Wipe
Amount — Determines how much the current Use Radial Wipe to apply a transition that rotates
layer is obscured. like the hands of a clock
Gradient Wipe
Linear Wipe

14 Filters
Amount — Determines the time marked by the Direction — Adjusts the direction of the strips.
edge of the transition. Zero degrees creates horizontal strips, while 90°
creates vertical strips.
Start Angle — Determines the angle of the center
of the transition. If the start angle is 0°, then the Blinds — Determines the number of strips.
center of the transition is vertical. If the start angle is
90°, then the center of the transition is horizontal. Feather Amount — Creates an opacity gradient at
the edge of the mask creating a smoother effect.
Feather Amount — Creates an opacity gradient at
the edge of the transition creating a smoother edge.
Click the Pick button to select the position of the tip

Using Third-Party Plugins
In addition to the operators available in Combus-
of the transition. When you increase the Amount of
tion, various third-party plugins are also supported.
the filter, the edges of the transition rotate about the
These include products from MetaCreations™ and
tip.
from Adobe™. Most of the plugin effects that are
designed to work with Adobe After Effects™ also
Direction — Determines how the edges of the
work with Combustion. Plugins that are compatible
transition rotate.
with Adobe Photoshop™ also work with Combus-
Use: To: tion, but most of these are designed for single images
Clockwise Move the right edge of the transition
and, as such, are not keyframeable.
clockwise.
Counter- Move the left edge of the transition Photoshop Filter Emulation
clockwise counterclockwise. If you want the Photoshop filters to appear more
Both Rotate both edges in opposite direc- integrated in the Combustion user interface, you can
tions. enable Photoshop Filter Emulation. This converts
the Photoshop filter palettes into sliders that appear
in the Filter controls in Combustion. With some
Venetian Blinds
Photoshop filters, Combustion can also create
Use Venetian Blinds to apply a mask in the shape of
animation channels, allowing you to animate the
linear strips.
effect created in Photoshop.
To enable Photoshop Filter Emulation:

1. Choose File | Preferences.
2. Click General, and then enable Photoshop Filter
Emulation.
Amount — Adjusts the width of the strips.

Installing Adobe Plugins
To use Adobe plugins with Combustion, setup the
plugins folders as follows.

Using Third-Party Plugins ❚❘❘
To use Adobe plugins with Combustion on the

Macintosh platform:
1. Create an alias of the After Effects and/or Photo-
shop Plugins folder.
2. Drag the alias into the Plugins folder inside
Combustion.
To use Adobe plugins with Combustion on the

Windows platform:
1. Copy the AfterEffects and/or Photoshop Plugins
folder into the Combustion Plugins folder. Rename
the copied folder to avoid overwrite conflicts.
2. Copy any required .dll files into the Combustion
root folder.
The plugins appear in the Operators menu in
Combustion. They are organized by type, for
example, the AE Color key is placed in the Keying
menu.
Note: For a list of compatible plugins, see the

Discreet web site.

14 Filters

15Keying
The keyer gives you fine control
over basic keying procedures,

a
as well as the choice of several
methods of extracting a matte
and finessing it to fix edge

et
issues and spill problems. You
can work in different color
spaces, and in addition, the
Keyer setups are import-export

B
compatible with discreet’s SGI-
based systems.

15 Keying
Summary Use the color correction tools to remove color spill.

This chapter describes: For example, use color suppression to remove
unwanted color, or use color shift to change the
• “The Discreet Keyer Interface” on page 338 unwanted color to another color.
• “Basic Keying Techniques” on page 347 Use the Matte Curves to adjust the blending of the
• “Setting Up the Keyer” on page 348 front and background images.
• “Setting the Range to Key Out” on page 350 With the Discreet keyer in Combustion, you can also
use the matte to define a selection on the keyed
• “Adjusting the Matte” on page 354
image.
• “Removing Background Spill and Color Correct-
ing Your Clips” on page 357
The Discreet Keyer Interface
• “Using Curves” on page 359
The following section provides a brief description of
• “Animating Keyer Parameters” on page 360 all the tools available in the Keyer. It is intended as a
quick reference for those who are familiar with
• “Importing and Exporting Setups” on page 360
keying techniques. Learn more about how to use
• “Keying Uneven Blue Screens” on page 361. these tools further on in the chapter.
To access the Keyer:

About Precision Keying 1. Select the layer you want to key.
Keying is the process of isolating a region of an
2. Choose Operators | Keying | Discreet Keyer.
image by selecting pixels of a particular color and
making those pixels transparent.
You can pull a simple key using the Linear Keyer
described in “Creating Alpha Channels with Keyers”
on page 131.
Or use the Discreet Keyer which gives you greater
control over the various steps of the process:
Use the Key controls to associate transparency
values to a range of colors in your clip. You can use
various color models, and adjust the ranges for each
color channel individually.
Use the matte controls to work directly on the matte

to fine-tune the key. You can shrink, erode, or blur
the edge, or adjust the entire matte using gain, offset
and histogram controls.

The Discreet Keyer Interface ❚❘❘
The Keyer controls appears. the Curve controls and you click Reset All, all the
settings in the Key, Matte, Curves, Color, and Setup
Global Keyer Controls controls are reset to their default values.
The following elements are appear with all the keyer Note: Only the current Store is affected.
controls.
Store Buttons
Panel Access Buttons Use store buttons to save up to five versions of your
The buttons on the left of the keyer give you access to keyer settings, and then quickly switch between the
the different sets of controls in the Keyer. When you different stores to compare the results.
click a button, the corresponding controls appears.
Store — Enable Stores to save the current settings

Reset Buttons of all keyer controls in the current store number.
Reset — Resets the current keyer controls to their
1, 2, 3, 4, 5 — Each store contains saved settings.
default settings. For example, if you are working on
Click between store buttons to view the different
the Curve controls and you click Reset, only the
settings. A dot in the lower right corner of the store
Curve controls are reset to their default value.
button indicates that it contains saved information.
Reset All — Resets all the keyer controls to their For more information, see “Storing Operator
default settings. For example, if you are working on Settings” on page 113.
Panel Access Output Buttons Reset Buttons

Buttons

15 Keying
Output Buttons Result — Displays the result of your key. In view-

Use the output buttons to switch between different ports set to display the Keyer, you will see the front
views of your key. For example, click Matte to display keyed over black. In viewports set to display the
the keyed Matte in the current view. The Output composition, you will see the front composited over
determines what appears in the composition; so the background.
make sure you click Result when you are satisfied
with the key. Comp — Displays the front clip keyed over a solid
background. You can change the color of the back-
ground in the Keyer Setup controls.
Key Controls
Use the Key controls to set the key color, and the
tolerance and softness ranges. You can set these
values using sliders and numeric fields, or by
sampling colors in the image. When sampling
colors, remember that the cursor samples the color
in the key-in layer regardless of the output displayed
Front — Displays the image to which you applied in the Keyer viewport. This lets you adjust softness
the key. This is the layer you are keying with any and tolerance while viewing any of the Keyer
operators you applied to that layer before the keyer. outputs.
Note: If the front layer is not the one you expect, The Key controls vary depending on the mode you
you probably applied the key to the wrong layer. In select.The following section describes the Key menu
the Workspace panel, move the keyer operator in RGB, YUV, HLS, and CMYK modes. For infor-
onto the right layer. mation on the Key menu in channel mode, see
“Extracting a Single Color” on page 350. For infor-
Key In — Displays the image that is used to pull a
mation on the Key menu in Luma mode, see
key. By default, the front and key-in images are one
“Extracting a Key Based on Luminance” on page
and the same. But in some cases you pull a key on a
354.
different key-in image, and apply the resulting matte
to the front layer. You may also want to see the key-in Mode
image if you apply a key-in blur before pulling the The Keyer Mode determines the color models used
matte. for extracting a matte from the key-in image.
Back — Displays the background image that is

revealed when the front is keyed. By default, this is
the entire composition under the front layer.
Matte — Displays the alpha channel created by the

Keyer.

RGB — Defines a range of colors to be keyed out The key color appears in the key color box.
using the red, green, and blue channels of the image.
Enable Lock to use the same key color when
comparing Keyer modes. Disable Lock if you want to
YUV — Builds a key using the luminance and
sample different pixels for each Keyer mode.
chrominance channels of the image.
Tolerance Controls
HLS — Builds a key using the hue, luminance, and
Sets the range of colors to be keyed out.
saturation channels of the image.
RGB-CMYL — Builds a key using the red, green,

blue, cyan, magenta, yellow, and lightness channels
of the image. This color model offers sub-pixel
• Click Set Tolerance, and then sample a color in the
resolution.
viewer to reset the tolerance limit to that color.
Channel — Extracts pure red, green, or blue from • Click the plus picker, and then sample a color in the
the image. You can also select a custom color, which image to extend the tolerance range to include that
is useful if the front clip includes transparencies, color. CTRL-drag your cursor over a region to key out
shadows, or reflections. all the pixels inside the rectangular marquee.To per-
form detailed adjustments, you can zoom into the
Lum — Builds a key according to the clip’s lumi- image and sample colors at the pixel level.
nance values. This mode is useful for clips with high
• Click the minus picker, and then sample a color in
contrast or filmed against a black background.
the image to shrink the range so that the color is ex-
Key Color cluded.
Sets the color to be keyed out. • Adjust the Tolerance Offset to change the tolerance
by the same amount for all the channels.
Softness Controls
To set the key color, click the picker, move your Set the range of colors to make semi-transparent and
cursor over the Keyer viewport and do one of the create a softer key.
following:
• Click a point to sample a single color.
• Click and drag your cursor to use the average of the

pixels sampled. • Click Set Softness, and then sample a color in the
image to reset the softness limit to that color. Con-
• Press CTRL (Windows) or OPTION (Macintosh)
tinue sampling pixels to add them to the softness
while you click and drag your cursor. A rectangular
range.
marquee surrounds the sampled pixels. The key col-
or is set to the average of the pixels inside the mar- • Click the plus picker, and then sample a color in the
quee. image to extend the softness range to include that

15 Keying
color. CTRL-drag your cursor over a region to add all Click Lock to plot the same color if you try different
the pixels inside the rectangular marquee to the soft- Keyer modes.
ness range. To perform detailed adjustments, you
can zoom into the image and sample colors at the
pixel level.
• Click the minus picker, and then sample a color in

Plotted Color
the image to shrink the range so that the color is ex-
cluded.
• Set the Softness Offset to change the softness by the

same amount for all the channels.
Color fields and sliders

The fields and sliders give you precise control over
the softness and tolerance ranges for individual
color parameters.
Plot
Click the Plot picker, and then sample a color in the
viewer.
A red line appears in the color gradients denoting

the color value of the pixel you sampled. This lets
you see where the sampled color falls within the
ranges and adjust the ranges accordingly.
Key Controls: Fields and Sliders
Use these fields to adjust tolerance range for individual channels.

You can also drag the cyan lines in the color gradients.
Enable/disable Use these fields to adjust softness range for individual channels. You can also
keying for a channel. drag the yellow lines in the color gradients.

Matte Controls Histogram

Use the Matte controls to refine the matte created by Use the histogram to re-map the brightness of the
the keying process. matte:
• Drag the input sliders inward to remove grays from
Shrink — Removes pixels from the edge of the
the matte and increase contrast.
matte. Click Shrink and set the width — the amount
to add or remove from the edge of the matte. • Drag the output sliders inward to reduce contrast in
the matte.
Erode — Adds transparency to the edge creating a
smoother matte.
Blur — Applies a blur filter to the matte. Click Blur

and set the amount to blur in the vertical and hori-
zontal directions. By default a proportional
Gaussian blur is used. You can set the blur to Box
blur in the Setup controls.
Lift — Adds an offset to the matte value of every

pixel. Set the Lift to a negative value when you want
to darken shadow areas in your matte.
Gain — Multiplies the matte value of every pixel by

a percentage. Increase Gain to brighten the
highlights.
Invert — This option inverts the keyed matte.

Transparent regions of the front layer become
opaque, and vice versa.
Zoom — Zooms the histogram.
The Matte Menu
Input levels
Output levels

15 Keying
Curves Controls You can also use the following keyboard shortcuts:
Use the Curve controls to remap the pixel values of
Press: To:
the front and back mattes.
DELETE Delete selected keypoints.
Front — Selects the front matte curve. You can also CTRL+A Select all keypoints.
click a curve to select it.
CTRL+D Deselect all keypoints.
Back — Selects the back matte curve.
Back Matte — When viewing the Matte, enable

Back Matte to display the back matte. (To view the
matte, enable Matte in the Output buttons.)
Delete — Deletes the selected keypoint.
Reset Selected — Resets the selected curve
Plot — Plots a pixel’s matte value on the Matte

curves. To plot a pixel, click the picker and sample a
pixel in the keyer viewport. Click the picker and ctrl-
drag your cursor over an area to sample the average
matte value in the area inside a rectangular marquee.
To modify a matte curve:

Click a curve to select it. Click the selected curve to
add a key point. Drag a keypoint to remap the
brightness of the corresponding matte at that point.
Curve Controls

Color Controls Blue — Changes the value of the Blue component in

Use the Color menu to correct any color spill that a hue.
remains in the front image after the keying process.
LUM — Modify the luminosity of a hue.
An overlaid histogram displays the amount of each
hue in the image. The following controls are also available:
The following curves appear in the Color controls. Delete — Deletes a point on the curve.
Click a curve label to select it. Click the yellow box
next to the label to show or hide the curve. Click and Reset Selected — Resets the selected curve to its
drag a curve to adjust it. default.
Note: When you first open the Color menu, the Note: To reset all the curves at once, click the Reset
seven color curves are one on top of another and button under the Setup button.
appear as one.
Enable — Enable the color correction. Toggle this
Hue Shift — Shifts a hue toward the Hue Shift on and off to view or hide the effect of the color
Target. correction as you work.
Supp — Suppresses a specific color from a hue. Color Suppression Target — Determines which
Color suppression reduces the saturation of the color to suppress. To select a color, click the picker
Suppression Target color. and sample a color in the viewport. By default, the
color suppression target is the key color.
Sat — Changes the saturation of a hue.
Hue Shift Target — Determines the color to use
Red — Changes the value of the Red component in instead of the unwanted color spill. When you apply
a hue. a hue shift, the unwanted hues are replaced by the
hue shift target. To specify this target color, click the
Green — Changes the value of the Green compo-
picker and sample a color from the image. For
nent in a hue.
The Color Controls

Curve labels Color Correction Curves Color Histogram

15 Keying
example, if you are removing blue spill from hair, the Key-In blur button to enable the blur, then set the
you set the hue shift target to the hair color. blur width and height. These values determine the
number of adjacent pixels used to blur each pixel. A
Plot Gaussian blur is used by default, but you can change
Plots a color in the hue spectrum. Click the picker the type to a Box blur in the Filter Type list.
and sample a color from the image. The color you
sampled is represented by a vertical red line in the Setups
color spectrum. Use these controls to import and export setups from
discreet’s SGI-based products, as well as setups
Setup Controls created in other Combustion projects.
Use the Setup controls to adjust the setup options.
Load — Imports keyer setups. Click load, and then
Note: You can change the setting on the Setup navigate to the location of a saved setup file, select
palette at any time. For example, you do not have to the file and click Open. The loaded setup is applied
apply the key-in blur before you start keying. You to the current keyer.
can attempt to pull the key, then apply a key-in blur
only if you find that it’s needed.
Save — Exports keyer setups. Click Save, and then
Key In navigate to the location where you want to save the
setup file, enter a file name and click Save. The
Source — Determines which image to use to set the current keyer setup is saved.
key. By default, the key in source is the front image.
To use a different image, click the Source button and Colors
select an operator from the dialog that appears. This
Comp — Determines the color of the solid layer
is useful if the blue screen contains artifacts. See
used when the output is set to Comp. To change the
“Keying Uneven Blue Screens” on page 361.
color, click the color box and select a color using the
Blur — Applies a blur filter to the key-in source. Color Picker that appears.
This is useful when the blue screen is grainy. Click
The Setup Controls

Basic Keying Techniques ❚❘❘
Plot Bar — Determines the color of the bar that your final output. This section gives an overview of
appears when you plot a color in the Key, Curves, one of these techniques. You will find detailed proce-
and Color menus. dures in subsequent sections.
The first step is to place the front clip over the back
Miscellaneous
clip and apply a Keyer operator to the front clip.
Composite Operation — Use Punch Back with
computer graphics images in which the area to be
keyed out is pure black. Use Blend if the color to be
keyed out is not pure black (most digitized footage).
Filter Type — Determines the type of blur used

when you apply a matte blur (in the Matte controls)
or a key-in blur. It also affects the Shrink and Erode
operations.
• A Box blur blends each pixel with the adjacent pix-
els in the X and Y directions. Now that the front and back clips are in place, you
pick the color to be keyed out of the front clip. This
• A Gaussian blur performs sub-pixel blending based is called the key color. All pixels with that color are
on all surrounding pixels. It creates a smoother effect made transparent. In the matte, they are black.
but is more processing intensive. Depending on the keying technique you are using,
you can extract a single color, a range of colors, or a
Guess Key Color — Enable this option for the soft- luminance range.
ware to guess the key color when you first apply the
Keyer operator.
Output Matte As
Key — Outputs the matte as a key, in other words

the matte determines which parts of the keyed image
are transparent.
Now increase the range of colors that are keyed out.
Selection — Ouputs the matte as a selection.
To do so, you can sample a few more pixels in the
image and add them to the tolerance range. To create
a natural looking composite, add softness — making
Basic Keying Techniques
There are as many keying techniques as there are
compositers, and it takes some practice to find the
best approach for any given footage. The amount of
finessing required depends on where the key will fit
into the overall composition as well as the format of

15 Keying
the pixels around the edge of the matte partially your viewports to display the keyer, the matte, the
transparent so that they blend into the background. key in context, or all three.
If you are keying an uneven blue or green screen, you
can apply filters to correct the blue screen, and then
apply the keyer, or use another operator as a key-in
source. In this case, the transparency of the front clip
is based on the matte created by keying the second
key-in source.
Notice the hard edge in the left image. The right For information on loading layers, see “Importing
image shows the same edge, with added softness.
Footage” on page 63.
One way to get just the right amount of softness is to For information on working with uneven blue
add too much softness, and then remove some. You screens, see “Keying Uneven Blue Screens” on page
know that the softness range is too large when gray 361.
appears in the white part of the matte.
Note: You can also key a clip without building a
composite, for example to generate a matte for use
in another branch, or another composition. To do
so, choose File | Open, select the clip that you want
to key, and choose Discreet Keyer in the Open
footage dialog that appears.For information on
using an external matte, see Chapter 6, “Channels.
Note the gray areas in the matte. In the composite, Applying a Keyer Operator
the background will show through in these areas. You apply the keyer operator to the front layer.You
can apply the Keyer directly over the footage oper-
How you proceed from here depends on the image ator or after other operators.
you are working with. You can adjust the softness
range, increase the tolerance, adjust the matte using To apply a Keyer operator:
the histogram, or even use garbage masks to work 1. Select the front layer.
around problem areas.
2. Choose Operators | Keyer | Discreet Keyer.
The final steps involve refining the edge. You can use The active viewport displays the front image keyed
the Shrink, Erode, or Blur tools, or use the color over the background, based on the default keyer
controls to remove color spill. You can also adjust the settings.
front and back mattes using the Curves menu.
Setting Up your Viewports for Keying
You can customize your viewports according to your
Setting Up the Keyer personal preference. For example, if you want to
Before you start keying, you load the front and back preview the key on the entire clip, use two viewports,
clips, apply a keyer operator to the front clip, and
one for keying and one to playback the animation.
adjust the keyer setup options. You can also setup
Or, if you prefer to work on the matte, use several

Setting Up the Keyer ❚❘❘
viewports, one for keying, one to display the matte, viewport if you want to sample with the same tool
one to view the key in context, and one to play the from both viewports.
animation.
To set up the viewports to preview the animation:

1. Select the 2-Viewport layout button .
The composition appears in both viewports.
2. Click one viewport to make it current, and then
click the Play button .
As the clip plays in the first viewport, you can
Displaying a Solid Color Background
preview the key over the duration of the clip. Use the
While creating the key, you can view the composite
second viewport to refine the key, on a single frame.
using a solid color for the background in place of the
As you adjust the key in the still viewport, the back clip. This can help you see details in the image,
animation updates in the dynamic viewport. such as color spill or artifacts from the background
that you may otherwise miss. You can use the default
To set up the viewports to display the matte and color (white), or select a color using the color picker.
the key in context:
1. Select the 2-viewport layout button . Note: This view does not affect the final render.
The composition appears in both viewports. To use a solid color background:

2. Select a viewport, and then in the Workspace 1. In the Setup controls, click the Comp color box,
panel, select the composition, then click the Send Up and then select a color using the color picker that ap-
button. . pears.
The key appears in context in the selected viewport.
3. Select the other viewport, and then in the Work-

space panel, select the Keyer operator, then click the
Send Up button. .
The output of the keyer appears in the second 2. Click the Comp output button.
viewport.
4. Right-click the second viewport, and choose

View Mode | Alpha.
Now one viewport displays the matte, and the other
displays the key in context. You can use the keyer
sampling tools in either viewport.
Note: The active tool is tied to the active viewport

therefore if you switch tools in one viewport, then
switch to another viewport, a different tool may be
active. You must select the tool again in the second

15 Keying
In the Viewports, the front layer is displayed against The softness value determines how much of the key-
a solid background. in clip is partially transparent in the matte. Softness
is used to create a smoother transition between the
front and back clips in the composite clip.
Setting the Range to Key Out 5. Enable More to increase the softness around the
The following sections describe three common
edge of the key.
keying techniques:
To pull a key by extracting a custom color:
• Extracting a single color from the key-in clip.
1. In the Keyer controls, click Key.
• Extracting a range of colors to be keyed out in the
key-in clip. 2. Select Channel from the Mode list.
The Channel controls appears.
• Building a key according to the clip’s luminance val-
ues.
Extracting a Single Color

Use the channel mode to extract one of the three
primary colors or extract a custom color sampled
from the clip.
This option can give especially good results when

keying transparencies such as glass or smoke. 3. Click the picker, and click a point in the image to
sample that color. You can also click and drag the eye
To pull a key by extracting a primary color: dropper across a region to obtain the average color
of the pixels sampled. Try selecting different colors
1. In the Keyer controls, click Key.
within the background area to get the best result.
2. Select Channel from the Keyer Mode list.
The Channel controls appear. Hint: To keep shadows, click just outside them. To
remove shadows, click inside them.
The sampled color appears in the color box.
4. Adjust the softness.

5. Adjust the Color Spread to extend the range of
colors that is keyed out.
Extracting a Range of Colors

3. Select the color to key out (Red, Green, or Blue) The second technique used to create a key is
from the Channel color list. extracting a range of colors in the key-in image. Use
this technique for clips where the color you are
4. Adjust the softness of the key.
extracting contains impurities.

Extracting a Range of Colors ❚❘❘
When you build a key by defining a color range, you Trying Out the Different Color Models
can use one of several color models, each of which To determine which color model will give the best
interprets the key-in image differently and gives a key, try creating a sample matte for each model.
slightly different result. Each model operates independently of the others,
Once you chose a color model, you set a range of except for the key color which you can lock to one
colors to become partially transparent to soften the value for all color models. When you switch from
transition between the front and back clips in the one model to another, the values you set are
composite image. This is called the softness range. All retained, so you can easily compare the results.
pixels in the front clip within the softness range are
To try out different color models:
gray in the matte.
1. Make sure Animate is disabled.
After setting the softness range, you set a range of
2. In Key controls, select a color model from the
colors to be keyed out. This is called the tolerance
Keyer Modes list.
range. All pixels in the front image within the toler-
ance range are black in the matte. The tolerance 3. Click the Key Color picker.
range must not be too large or the edge of the
composite will be too hard and the subject in the
front image will appear to be pasted into the 4. Do one of the following:
background. • Click on the image to sample a single color
• Click and drag the cursor over the area that you
Selecting a Color Model want to key out. The key color is set to the average
Select one of the four color models from the Keyer of the pixels that the cursor samples.
Mode list.
Note: By default the pixel that you sample is used to
determine the key color in all the keyer modes. If you
RGB — Defines a range of colors to be keyed out want to sample different pixels in each keyer mode,
using the red, green, and blue channels of the image. disable Lock. When you enable Lock again, the key
color in all modes is reset to the key color in the
YUV — Builds a key using the luminance and current mode.
chrominance channels of the image.
All the pixels with the selected color value are keyed
out of the front clip.
HLS — Builds a key using the hue, lightness, and
saturation channels of the image. 5. Click the Matte output button to view the matte.
6. Repeat these steps using the other color models,
RGB-CMYL — Builds a key using the red, green, then view each of the resulting mattes to determine
blue, cyan, magenta, yellow, and lightness channels which color model gives the best result. Once you
of the image. This color model offers sub-pixel
resolution.

15 Keying
have decided on a color model, you can adjust the front clip. But remember, if the range is too large,
softness and tolerance ranges. you will key out parts of the front subject.
Setting the softness is an iterative process. You start

by adding too much softness, then reduce it a little,
increase it again, and so on until you get just the right
amount.
When you cannot increase softness without loosing

Top left: matte based edge definition or making holes in the matte, use
on RGB
other techniques such as color correction or matte
Top right: matte based
on YUV curves to finish the key. These techniques are
Lower left: matte described in subsequent sections.
based on HLS
Note: The multiple undos available in Combustion

are useful when you are experimenting with
Adding Softness different settings. Press CTRL + Z to undo a change.
The term softness refers to the semi-transparent area You can also click the Reset button to reset the Key
of the matte that creates a smooth transition between palette to its default values.
the foreground and background image. The softness
To adjust softness:
range is the range of colors that are made semi
transparent. 1. In the Keyer, click Key to access the softness con-
trols.
At the center of the range the colors are completely
transparent. As you move away from the center, Note: Enable Feedback so that you can see the
colors become less transparent. effect of the softness adjustments in the viewport
as you work.
Typically you define a softness range as large as
possible to remove all the blue or green from the 2. Do one of the following:
Softness Controls
Add Softness Remove Softness Softness Range Set Softness by channel
Softness Offset Set Softness by channel

Extracting a Range of Colors ❚❘❘
Tolerance Controls
Add Tolerance Remove Tolerance Tolerance Range

Tolerance Offset Set Tolerance by Set Tolerance by channel
• Set the Softness Offset. This changes the softness Using the Plot Tool
range by the same amount for every channel. You can plot the color value for any pixel in the Key
• Click the add softness picker. The cursor color bars. You can then adjust the tolerance or soft-
changes to an eye dropper. Drag the eye dropper in ness range so that the pixel falls within one of the
the area that needs softening. The softness range ex- ranges.
pands to include the colors that you sampled. CTRL-
To plot a pixel’s color values:
drag to sample a rectangular area.
1. Click the Plot picker.
• Click the Remove Softness picker and drag
The cursor changes to an eye dropper.
the cursor over areas that are too soft. The softness
range shrinks to exclude the values that you sampled 2. Sample a pixel in the image.
with the eye dropper. A red bar appears in each of the color bars showing
the color value of the pixel that you sampled.
• Set the Softness by channel. You can set the softness
on either side of the range by dragging the yellow Note: You can change the color of the plot bar in
line in the channel color bar. the Setup controls.
• Plot a point in the image and adjust the softness to

include or exclude the value of that pixel. Adding Tolerance
The tolerance range is the range of colors that the
Note: For a color to be transparent, all of its color Keyer makes completely transparent.
channels must fall inside the softness range. For
example, if you are using the RGB keying mode, To adjust the tolerance range:
only pixels whose red, green, and blue values are all
within the softness range will be transparent. If one 1. In the Keyer, click Key to access the tolerance
of the pixel’s channels is outside of the softness controls.
range, the pixel will be opaque.

15 Keying
• Set the Tolerance Offset. This changes the softness Increasing tolerance increases the transparency of
range by the same amount for every active channel. the whole image. Tolerance values are expressed in
percentage. A value of 100 makes the front image
• Click the Add Tolerance picker , and then
completely transparent.
pick a point in the image, or click and drag the cur-
sor over the image to sample a range of pixels. CTRL- 3. Set the softness. By default, softness is set to 100.
click and drag to sample a rectangular area. The tol- Increasing softness makes the image more transpar-
erance range extends to include the color of the pix- ent. When Softness is 0, only pixels that fall into the
els you sampled. tolerance range are keyed out. The matte is black and
white with no grays.
• Click the Remove Tolerance picker , and then
pick a point in the image, or click and drag the cur-
sor over the image to sample a range of pixels. CTRL- Adjusting the Matte
click and drag to sample a rectangular area. The tol- The keying process extracts colors from the front
erance range shrinks to exclude the pixel you picked. image and generates a matte. You can adjust that
matte using the histogram, Lift and Gain controls, or
• Set the Tolerance by channel. You can set the toler-
you can modify the edge of the matte using the
ance on either side of the range.
Shrink, Erode or Blur tools.
• Drag the blue line in the color bar.
To access the Matte menu:
In the Keyer, click the Matte button under the Key
Extracting a Key Based on button.
Luminance
You can create a key by using only the Luminance
Using the Histogram
channel. This technique is most often used for shots
The histogram, displays the distribution of lumi-
filmed against a black background, or when
nance values within the matte.
bringing in a matte (for example a black and white
logo) as a key-in source. The horizontal axis of the histogram represents the
range of alpha values in the matte and spans from 0
You can also use the Luma mode to adjust a matte
(black or transparent) to 255 (white or opaque). The
that has already been rendered. Load the matte as the
vertical axis shows the number of pixels at each
key-in clip then adjust it using the key controls in
Luma mode. value.
To create a key by setting the luminance:

1. In the Key controls, select Luma from the Keyer
Mode list.
In the front clip, black is transparent, white is
opaque.
2. Adjust the tolerance to key out more of the

blacks.

Adjusting the Matte ❚❘❘
Removing Gray from the Matte Boosting the Matte’s Brightness Using
Use the Input Level controls to remove gray from the Gain and Lift
matte. You can darken the black areas, or brighten You can remove the gray from the matte by
the white areas of the matte. increasing the gain and lowering the lift values in the
Matte controls. Increase the gain to eliminate the
light grays in the white areas, and decrease the lift to
eliminate dark grays in the black area of the matte.
Note: Adjusting these values increases the

contrast and may harden the edges of the matte.
Minimum Input Level Maximum Input Level

Using Shrink, Blur and Erode to Refine
To remove gray from the black areas:
the Edges of the Key
In many cases, adjusting softness and tolerance is
Drag the minimum input slider to the right. not enough to remove all the color spill from the
edge of the front subject.
To remove gray from the white areas:
Drag the maximum input slider to the left.
Darkening or Brightening the Matte

You can use the output levels to re-map the alpha
values for black (0) and white (255). You can
brighten the dark areas of the matte or darken the
white areas. Intermediate values are also remapped.
Talent composited on Color spill around
a white background a strand of hair
One way to remove the unwanted color from the

edge of the key, is to make those pixels more trans-
parent. To do this, use the Shrink, Erode, and Blur
controls to modify the edge of the matte.
Minimum Maximum
Output level Output level Another way to change the color of the pixels around
the edge is using color correction. For more infor-
mation, see “Removing Background Spill and Color
To brighten the matte:
Correcting Your Clips” on page 357.
Drag the Minimum Output level slider to the right.
Also use these matte controls to soften the matte and
To darken the matte: eliminate the noise that may appear in the edges
when you play the keyed clip. Since the keyer has
Drag the Maximum Output slider to the left.
sub-pixel matte controls, small amounts of blur and
erode can produce very good results.

15 Keying
Note: The Shrink, Erode, and Blur functions are Shrink tool, Erode can remove fine detail from the
based on the filter type specified in the Setup edge.
controls. By default a proportional Gaussian filter is
used. To erode the edge of the matte:
To access the Shrink, Blur and Erode controls: 1. Click the Erode button and set the Erode width.
Click Matte button under the Key button in the The edge of the matte becomes softer. In the front
Keyer controls. clip, the blue spill is more transparent.
Blur
Applies a softening blur filter to the matte.
Shrink
Removes pixels from the edge of the matte.
To blur the edge of the matte:
To shrink the edge of the matte: 1. Click the Blur button.
1. Click the Shrink button and set the Shrink 2. By default, the 1-pixel gaussian blur is applied in
width. A negative Shrink value expands the matte. the horizontal and vertical directions. If needed, ad-
Pixels are removed from the edge of the matte. This just the blur width and height using the correspond-
ing fields.
has the effect of cutting away at the color spill around
the edge of the subject. The edge is blurred.
Notice how you lose some edge detail if the

Shrink value is too high (in this case 1.8).
Inverting the Matte
You can invert the matte by clicking the Invert
Erode
button in the Matte menu.
Blends the light and dark edges of the matte. This is
like feathering the contour of the matte. Like the

Removing Background Spill and Color Correcting Your Clips ❚❘❘
Note: Any Gain and Lift Level adjustments you To suppress a color in the image:
make to the matte are not inverted when Invert is
1. In the Keyer Controls, click the Result Output
selected. You must therefore invert the matte
button so that you can see the color spill on the im-
before adjusting the Gain and Lift levels.
age in the viewport.
2. By default, the color that is suppressed is the key
Removing Background Spill and color. To suppress a different color, click the Sup-
Color Correcting Your Clips pression Target picker, then sample a color from the
image.
After you create your key, remove the background
color that may have spilled over at the edge of the
key. Use the color correction tools in the Keyer to
suppress the spill. If you need a more extensive set of 3. To plot the unwanted color on the color chart,
color controls, use the Discreet Color Corrector. For click the Plot picker, and then sample a pixel from
more information, see “Color Correction” on page the area that contains color spill in the image.
365.
To access the Keyer color correction tools:

In the Color graph, a vertical red line indicates the
Click the Color button in the Keyer controls.
hue that you picked.
The labels on the left of the hue spectrum corre-
Note: You can change the color of the plot line in
spond to the seven methods available for correcting
the Setup controls.
color in the front clip. Each label has a corre-
sponding curve. When you first open the color 4. On the left of the graph, click the Supp label to
menu, the curves are one on top of another in the select the suppression curve.
center of the chart. As soon as you adjust one curve,
you can see the other curves beneath it.The histo-
gram overlaid on the color spectrum displays the
amount of each hue in the image.
Suppressing Color Spill

Use this method to reduce the saturation of the
unwanted color.

15 Keying
5. Click the curve near the plot line and drag it from the image. For example, use hue shift to make
downward. the blue spill around a talent’s hair shift to match the
Color suppression affects these hues real hair color.
You can also use hue shift to shift colors in the image
toward a hue in the background.
To apply a hue shift:

1. On the left of the Color graph, click the Hue Shift
label to select the hue shift curve.
Drag the curve to suppress the 1. Click the Result Output button so that you can
target color in underlying hues see the color spill in your image.
2. Click Plot, and sample a pixel in the color spill.
In the image, the target color is suppressed from the
indicated hues. A vertical red line appears in the Hue Spectrum
denoting the color that you sampled.
6. To adjust the suppression curve:
3. Choose a hue to replace the color spill: click the
• Click the curve to add a control point, then drag the Hue Shift Target picker, and sample a color in your
control point to move it. image.
• When you click a control point, its tangent handles
appear. You can drag the handles to adjust the curve.
Press CTRL to break the tangent handle. To un-break The color you picked appears in the Hue Shift Target
the tangent, press CTRL and drag again. color box. If you are not satisfied with the color you
• Press the Delete button under the graph to delete picked, sample another color.
selected control points. Click Reset Selected to reset 4. Specify the range of colors that you want to shift
the curve to its default value. Click Reset to reset all by raising the Hue Shift curve to 75.00 for that range.
the curves.
The color values in the image that fall in this range (inside
You can also use the following keyboard shortcuts: the curve) are shifted to the hue shift target color.
Press: To:
DELETE Delete selected keypoints.
CTRL+A Select all keypoints.
CTRL+D Deselect all keypoints.
Hue Shift
Shift the curve up to the 75% line to shift the source
Another way to remove unwanted color from the
fully to the target hue. If you drag the curve to an
front clip is using hue shift. You can change the hue
intermediate point, the color shifts only partially
of the color spill to another target hue that you pick

Using Curves ❚❘❘
around the color wheel and may give unexpected For example, if a pixel has a value of 127.5 (1/2 the
results. value of pure white) in the front matte and in the
back matte, then the value of each color channel in
Note: Turn on Enable to apply changes made in the result pixel is equal to 1/2 of its value in the front
the Color menu.
pixel plus 1/2 of its value in the back pixel.
Using Curves Result=1/2 Front + 1/2 Back

When you create a matte for the front clip, the Keyer
automatically creates a matte for the background to
specify which part of the background is used for the
composite. By default, the back matte is the inverse
of the front matte.
You can adjust the luminance of the front matte and Use the matte curves to change these ratios.
back matte separately in the Curves menu. For If you want more of the back image to show through,
example, you can increase the luminance of the back drag the back curve up to a higher value, and drag
matte so that more of the back clip shows through at the front curve down by a similar amount.
the edges of the key. This can create a better blend at
the edges of the key.
The following calculation is applied to each pixel of Result=1/4 Front + 3/4 Back
the image to create the composite. The calculation is
applied in three passes, one each for the R, G, and B
values of the front and back images, and the pixel is
given the resulting R, G, and B values.
Note: Increasing one curve without decreasing
Result = F x FrontLUT + B x BackLUT
the other, will result in a glow around the edge of
where: the key. If you decrease both curves, you’ll get a
dark outline around the key.
F = the R, G, and B values of the front image.
To adjust the matte curves:
B = the R, G, and B values of the back image.
1. Click the Curves button.
FrontLUT is the front matte pixel value, re-mapped
2. Use the Output buttons to select the output you
according to any luminance curve change made in
want to view as you adjust the curves. To see the back
this menu. The value is expressed as a decimal,
matte, set the Output to Matte and enable Back
where, for example, in 8-bit mode, 0 = 0, 127.5 = 0.5 Matte.
and 255 = 1
3. To adjust the luminance curve for the front
• BackLUT is the back matte pixel value, re-mapped matte, click the Front button in the Curves menu. To
according to any luminance curve change made in adjust the back matte curve, click the Back button.
this menu. The value is expressed as a decimal, as for Alternatively, click on a curve to select it.
the FrontLUT. The selected curve changes to white.

15 Keying
4. Click on a point to display its tangent handle and Importing and Exporting Setups
drag the handle to adjust the curve. To break a tan- The Keyer setups you create in Combustion are
gent handle, press CTRL while dragging. Press CTRL
compatible with the keyer setups in the following
again to unbreak the handle. Click on the curve to
add a control point. discreet systems: effect* opt. 3, flint*, flame*,
inferno*, smoke*, and fire*.
You can also export Keyer setups for use in Combus-

Animating Keyer Parameters tion, for example to use the setup on another layer,
The following parameters in the key setup can be or in another workspace.
animated:
Exported setups are saved as ascii files with a.key file
• Setup parameters: key-in blur width and height extension. To use a keyer setup on a different system,
• Key parameters: the key color, and the minimum copy the Keyer setup file to the key directory on that
and maximum tolerance and softness values system. (Use FTP to move files between Windows
NT and SGI machines.)
• Matte parameters: lift, gain, shrink width, erode
width, blur width and height, histogram input and You can also import Keyer setups from other
output levels. Combustion projects, or from other discreet*
products.
To view animatable parameters, click the Timeline
tab and expand the Keyer operator. To export a Keyer setup:
To play the clip while adjusting the key, use a two- 1. Pull the key.
viewport layout. See “Setting Up your Viewports for 2. In the Setup controls, click Save.
Keying” on page 348.
The Save Keyer Setup dialog appears.
To animate the keyer parameters: 3. Specify a location and name for the Keyer setup
1. Use the Frame Controls or the Positioner to nav- file, and click Save.
igate in your clip and preview the key on different
frames. To import a Keyer Setup:
1. Apply a Keyer Operator to a clip.
2. Go to the frame where you need to adjust the key,
and adjust the parameters. 2. In the Keyer Setup menu, click Load.
A keyframe is added at that frame. Combustion The Load Keyer Setup dialog appears.
calculates the in-between frames. When you play or
3. Locate the keyer setup file you want to import,
scroll the clip, the image is updated to reflect any
and click Load.
animation of the Keyer properties.
The clip is keyed using the Keyer parameter in the
3. Preview the clip again. Add keyframes where imported setup file.
necessary. To fine-tune the progression of the key,
adjust the animation curve in Graph mode. For
more information, see Chapter 8, “Keyframing."

Keying Uneven Blue Screens ❚❘❘
Keying Uneven Blue Screens 4. Select the new layer, and apply filters to correct
If the bluescreen you are keying is grainy, you should irregularities in the blue screen.
apply a key-in blur to smooth out the blue before
keying.
If a key-in blur is not enough to correct the blue-

screen, use other filters to adjust the bluescreen, and
use the corrected blue screen as a key-in source.
To use the corrected blue screen as a key-in

source:
1. Import the blue screen footage and the back-
ground into one composite branch.
Front and back 5. Double-click the composition that contains the

image to be keyed, select the Front layer and apply a
Discreet Keyer operator.
2. Create a second composite branch. To do so,

choose File | New, and select Composite from the
Type list.
3. To add and instance of the blue screen footage to
the new branch, choose Object | New | Layer from
Operator, and choose the blue screen footage from
the Pick Operator dialog.
6. In the Keyer controls, click Setup.

15 Keying
7. In the Setup menu, click the Key In Source but- 5. Apply a Keyer Operator. Now the Keyer only af-
ton, and choose the corrected blue screen from the fects portions of the image which are outside the se-
Pick Operator dialog. lection.
Note: If you realize that you need to protect part of

the image after you have refined the key, simply
create the selection, then drag it under the Keyer
Operator in the Workspace panel so that the selec-
tion operator comes before the Keyer Operator.
Using Garbage Masks

You can use a Mask operator to remove any part of
the front image that is not keyed out. For example if
there is a prop in the blue screen, use masks to
remove it from the image.In the following example,
you key the dog against the clouds, then draw a mask
to hide the trainer’s arm.
8. Pull a key as described in this chapter. The re-
sulting matte is created based on the key-in layer but
it is applied to the front layer.
Using Selections to Isolate Part

of the Image
When part of the front subject is the same color as
To use a mask with the Keyer:
the color that you are keying out, use a selection to
protect this area from the Keyer. For example, if the 1. Key the front layer.
talent in the blue screen shot has blue eyes, draw a 2. Select the front layer.
selection around the eyes to prevent the eyes from
3. Choose Operators | Masks | Draw Mask, and
being keyed out of the image.
draw a mask to hide any unwanted elements in the
blue screen.
To use selections with the Keyer:
4. In the Mask Controls enable Invert.
1. Select the front layer.
5. Set the Mode to Add, and continue to draw
2. Choose Operators | Selections | Draw Selection,
masks to hide any unkeyed elements around the
and draw a selection around the area you want to
subject.
protect.
3. In the Selection controls, enable Invert.
4. Play the clip to make sure the selection stays over
the area you want to protect. Animate the selection if
needed.

Using Selections to Isolate Part of the Image ❚❘❘

panel to see the result in the active viewport.
7. Play the clip to make sure the mask covers the el-
ements for the entire duration of the clip. Animate
the masks if needed.You can also track the mask to
the feature that you want to hide.

15 Keying

16Color Correction
Color correct to fix
problems with footage, or

a
to alter footage for unique
custom looks. The range
and finesse of potential

et
adjustments frees you to
experiment to achieve the
best possible end result.

B

16 Color Correction
Summary: Loading Your Clips

This chapter explains: You can load an existing workspace or create a new
one and then import footage. If you are simply color
• “About the Color Corrector” on page 366
correcting one clip, use Import Footage to import
• “Before You Begin” on page 366 that clip. If you are matching a source clip to a result
• “Loading Your Clips” on page 366 clip, load both clips. Use File | Import Footage to
import clips.
• “The Color Controls” on page 370
• “The Basics Controls” on page 372
Setting Up Your Work Environment
• “The Histogram Controls” on page 373 You can obtain more uniform and reliable results if
• “The Curves Controls” on page 377 you control your working environment. Minimize
reflections on your monitor. Calibrate your monitor
• “The Ranges Controls” on page 377
by eye or with dedicated hardware devices.
Adjust the room’s brightness to the conditions under
About the Color Corrector which your work will be viewed. For example, a
Color correction has many useful applications in movie theater is far darker than a living room, so
combustion*. The following are a few examples of your working environment should be adjusted
reasons why you might use the Color Corrector: correspondingly.
• Your initial footage is unsatisfactory (it may have un-
wanted tones, or be too light or dark). Processing Order
You can use any combination of color correction
• You need to brighten one or more selected areas of an
commands to modify your clip(s). The software
image, such as a sky.
processes your adjustments through a pipeline
• You are trying to achieve a custom look, such as add- process of sub-adjustments.
ing sepia-tone to a clip to make it look archival.
Commands are processed in the following order:
• You are trying to achieve a special effect involving col-
• Equalize
or manipulation, such as changing the color of the
talent’s eyes. • Rewiring
• You need to color-match the source image to the back- • Hue Shifting
ground image for more realistic composites.
• Saturation
• Color Balance
Before You Begin
This section provides information on how to load • Gamma
your clips, set up your work environment, as well as
• Gain/Offset/Contrast/Histogram
the processing order of color corrector commands.
• RGB Curves
• HLS Curves

The User Interface ❚❘❘
• Suppression • you can access the desired set of controls without en-
tering the full Color Corrector.
Forcing Adjustments to be Made in a
Different Order Color Corrector Controls
If you want to force the adjustments to be performed Each of the five buttons on the left side of the Color
in a different order to achieve a desired effect, you Corrector gives you access to different controls.
must use the individual controls, found under Oper-
For more information on each set of controls, see:
ators | Color Correction.
• “The Color Controls” on page 370
• “The Basics Controls” on page 372
The User Interface • “The Histogram Controls” on page 373
The following sections introduce the different Color
Corrector controls, and describe the interface • “The Curves Controls” on page 377, and
elements. • “The Ranges Controls” on page 377.
To access the Color Corrector:

Once selected, each panel displays the corre-
sponding controls.
1. Choose Operators | discreet Color Correction.
2. Alternately, you can also access four of the five
controls by choosing Operators | Color Correction
and then one of the following:
• CC Basics
• CC Color Wheel
• CC Curves The black arrow indicates the selection of the Color
Corrector node. Double click on the node and you
• CC Histogram
have access to the five major Color Corrector
Four of the five main controls have been made avail- controls, as well as Setup, for loading and saving.
able from the Operators | Color Corrector pulldown
menu. The Ranges controls are not available by
themselves as the Ranges controls do not modify the
colors of an image. They specify the luminance
ranges over which the other controls will operate.
The only differences between accessing the above

four controls through the pulldown menu and not
the main Color Corrector are:
• you can force processing order to be altered from the
standard

16 Color Correction
Options Available in Most Color Highlights — Applies changes or corrections to the

Corrector Controls lightest parts of the image (i.e., by default, those
Tonal range buttons and color pickers are available areas with RGB values between 171 and 255).
in all of the Color Corrector controls.
Reset — Returns the image (and all the parameters
• Tonal ranges isolate portions of the image for correc- in that set of controls) to its original state before you
tion by defining them as Shadows, Midtones, or High- entered that particular panel. Reset is distinct from
lights. To adjust the entire image uniformly, use the Undo, which only removes the most recent
Master setting. operation(s).
• Color corrector pickers sample color values and assist
Note: You can alter the definition of what is
you in matching, sampling, and determining color considered a shadow, midtone, or highlight
balance. through the Ranges controls. You can change the
defaults of 0-85 (shadow), 86-170 (midtone), and
171-255 (highlight). See “The Ranges Controls” on
Tonal Ranges page 377.
Tonal ranges allow you to affect certain parts (or the
entirety) of the image.
Color Corrector Pickers
You can sample colors from both the source and
back clips and keep the values stored in the patches
below the pickers. The original source clip’s sampled
values always appear in the source patch. The
patchon the right is the back color or target clip.
Master — Makes adjustments uniformly across the

image.
Shadows — Applies changes or corrections to the

The result image patch in the middle shows the
darkest parts of the image (i.e., by default, those
cumulative results of all changes as they are applied.
areas with RGB values between 0 and 85).
Any adjustments you make are dynamically updated
on this patch.
Midtones — Applies changes or corrections to the
midtones of the image (i.e., by default, those areas The colors are sampled using the two color pickers.
with RGB values between 86 and 170). You can have up to four pairs of sampled colors (one
pair each for Master, Shadows, Midtones, and High-
lights) in memory at a time.

The User Interface ❚❘❘
Display Options To perform color matching:

You can display the RGB, HLS, or Y (luma) values 1. Select the tonal range you want to match in the
for a sampled color. You can also choose to display image (Master, Shadows, Midtones, or Highlights).
the RGB values in explicit values, or express them as
2. Click the left (source) color picker.
a percentage. In addition, you can choose to display
no channel information about the colors, but instead
just the colors themselves.
Color Sampling
Color Sampling can provide you with exact RGB
values for one pixel, or averaged values for an area.
To sample a source color for one pixel:

3. Drag the color picker over a portion of the im-
1. Zoom in to the image so that you can see each in-
dividual pixel. age. The RGB (or HLS) values change in the Source
patch.
2. Select the tonal range you want to sample in the
image (Master, Shadows, Midtones, or Highlights). Note: You can zoom in for more accurate single
pixel sampling.
3. Click the left (source) color picker.
4. Click the right (back) color picker.
4. Click the color picker over one pixel.The RGB
(or HLS) values change in the Source patch. 5. Drag the color picker over your second selected
color. The RGB (or HLS) values change in the back
To sample a source color for an area: patch. The second color acts as a target towards
1. You do not need to zoom in as above, but you which the source color is moved.
may choose to for precision. Use the Color Match buttons in the Basics controls to
2. Select the tonal range you want to sample in the
match the two colors, pixel values, or clips according
image (Master, Shadows, Midtones, or Highlights). to the desired effect.
3. Click the left (source) color picker. Note: Not all Color Matching options will use all
sampled values. Match All and Match SMH will use
4. Ctrl-Drag the color picker over a portion of the
all of the four pairs, but Match Gain and Match
image. This averages out the color for the area. The
Offset will only match the Master pair of colors. In
RGB (or HLS) values change in the Source patch. this second case, the gamma, gain, and offset of
the Master range will be changed to perform the
Matching Colors match.
You may want to color correct your front image to
match the back for a more seamless composite.The
following describes the procedure for matching RGB
values of a pixel or an area. See also “Color Corrector
Pickers” on page 368.

16 Color Correction
The Color Controls Select: To:

The Color controls contain some of the most funda-
Negate Create a negative version of your
mental color correction tools. This section describes clip.
items unique to the Color controls.
Reset Return the clip to its original val-
ues.
The Rewire Controls
Rewiring color channels redirects the information To custom rewire:
contained in one channel to another, and in some 1. Select Custom from the Rewire list.
cases, makes adjustments to that information. 2. Click a button under Custom and select a rewir-
ing option from the list.
To rewire color channels:
You can redirect the information from one, two, or
Select a mode from the Rewire list. all three channels to any of the other channels. You
can also direct a channel’s luma information into
another channel, or make a negative of that channel’s
information.
The Color Wheel

The color wheel acts as a reference and monitoring
guide or template. You can see how the colors 180
degrees apart are complements, and how the RGB
Select: To: and CMYK points are distributed around the wheel.
Custom Custom redirect information Because RGB is an additive color model, Magenta,
from one color channel to anoth- Cyan, and Yellow are expressed as combinations
er. here of two other colors.
Mono Create a monochrome (black and
The default display of the color wheel is the
white or grayscale) version of
following:
your clip.
Tonal Ranges Rewire Color Wheel Hue Shift, Saturate, Color Pickers, Compare, and
Controls Contrast, and Suppression Store
The Color Controls

The Color Controls ❚❘❘
• Red is at 3 o’ clock. produces no results, since there is no hue to begin

with.
• Blue is at 7 o’ clock.
• Green is at 11 o’clock. To use Hue Shift:
• Magenta (red plus blue) is at 5 o’ clock. Choose the Color Controls and do one of these three
things:
• Cyan (green plus blue) is at 9 o’ clock.
• Drag your mouse back and forth in the Hue Shift
• Yellow (green plus red) is at 1 o’ clock. field.
Color Wheel Hue Shift, Color
Saturate, and Suppression • Double-click on the Hue Shift field and enter a nu-
Contrast meric value from the keypad.
• Put your mouse on the outer ring of the Color

Wheel and drag in a circular motion.
Saturate — Saturation indicates how concentrated

the color is: a saturated color has very little gray,
while a de-saturated one is “dampened” with more
gray. For example, a pastel blue has a very low satu-
ration level, while a blue-screen is heavily saturated. A
Hue Tint and scarlet red has a high saturation, while a pale pink has a
Strength low one.
To use Saturate:
Hue Shift, Saturate, and Contrast Choose the Color Controls and do one of these two
Use the Hue Shift, Saturate, and Contrast controls things:
for fine control over the color you are adjusting. The
• Drag your mouse back and forth in the Saturation
defaults for these parameters are 0, 100, and 100
field.
respectively.
• Double-click on the Saturation field and enter a nu-
Hue Shift — Hue Shift changes the colors in the meric value from the keypad.
image. Since you are working with a circle, a hue
shift value of 360 returns to the original color or Contrast — Contrast indicates the difference
image. A hue shift of 180 is equivalent to a negative, between the light and dark colors in an image. A
as the colors are at their complements. high-contrast image is mostly black and white, with
very little gray. A low-contrast image is very flat,
You can use hue shift to compensate for material that
foggy, and composed mostly of midtones.
is too hot or cool, or simply to correct undesired
tones present in the images. Note that in a mono- To use Contrast:
chrome or very low saturation image, a hue shift Choose the Color Controls and do one of these two
things:

16 Color Correction
• Drag your mouse back and forth in the Contrast To use color balancing:
field. 1. Start increasing the value in the Strength display
• Double-click on the Contrast field and enter a nu- until a black marker becomes visible on the color
wheel.
meric value from the keypad.
2. Click and grab this marker and relocate it any-
where on the wheel.The Tint and Strength values
Color Balancing With Hue Tint and will update accordingly.
Strength
The two parameters used with color balancing are
Color Suppression
Tint and Strength. The value of Tint determines the
Color Suppression suppresses or "dampens" the
color to add and the value of Strength specifies the
channel information for one or more channels. It is
amount of color to use.
available for all channels.
To adjust Tint and Strength, you can either set the
values in the Tint and Strength fields or use the color To suppress a color or channel:
wheel. Disable the color or channel’s box by clicking on it.
Pure red is the 0-degree point for hue on the color Note: Suppressing blue may result in a subtle
wheel. When you increase the Tint value, you move overall pale yellow cast, since yellow is the spectral
counterclockwise on the color wheel. When you use complement of blue. The effect of suppressing any
a negative value for Tint, you move clockwise on the color will appear to “unsuppress” its complement.
color wheel.
The center of the color wheel represents 0 Strength. The Basics Controls
As you increase the value of Strength, you move This section describes features which are unique to
towards the edge of the color wheel and add more of the Basics controls. Along with the Color controls,
the selected color to the image. the Basics controls make universal, yet as fine as
required, changes.
Gamma, Gain, Offset, and Color Match
The Basics Controls

The Histogram Controls ❚❘❘
Adjusting Gamma, Offset, and Gain 2. Select a Match option.The result patch updates
You can adjust the gamma, gain, and offset for the to reflect the changes combustion* has made to
entire image (RGB), or alter them for one or more match the color.
channels. Select: To:
Gamma — Lightens or darkens midtones. This Match All Match RGB values, match gam-
ma, gain,
does not affect pure black and white.
and offset, and match shadows,
mid-tones,
Gain — Maintains the shadows at their current
and highlights from source to
levels, but progresses much faster towards highlights
back.
(positive gain), or much faster towards the shadows
(negative gain), reducing the number of colors in the Match Match shadows, midtones, and
SMH highlights
image.
from the source to the back.
Offset — Uniformly lightens or darkens images. Match Gamma Apply Gamma to the source to
Shadows are raised and highlights are raised. When match it to
the mapped location of any value is off the chart, the back.
either too dark or too light, it is “clipped”.
Match Gain Apply Gain to the source to
If you are changing both the Gamma and Offset in
match it to
the same image (for one, two, or all three curves),
the back.
combustion* performs the Gamma change first.
Match Apply Offset to the source to
Offset match it
Color Matching to the back.
You have four options to transfer the color value
settings from one clip to another. One Match option
will almost certainly work better than all others for The Histogram Controls
each particular shot, but it may take trial and error to Use the Histogram controls to help you visualize
determine which option works best. how the individual pixel RGB values are distributed
To match a source clip to a back clip:

1. Select the color picker from the left and pick val-
ues for one or all four tonal ranges.
You may want to match the Master, or you may want
to match just the Shadows, the Midtones, the High-
lights, or any combination thereof.
Note: Color matching overrides all other adjust-

ments made.

16 Color Correction
across the image. This section describes items that • The white triangle on the right sets the maximum val-
are unique to the Histogram controls. ue for the range.
• The black triangle on the left sets the minimum value
The Histogram for the range.
The histogram is a visual representation of all the
• The gray triangle in the middle (gamma) will
color values contained in the image as they are
change gamma in the same way as gamma is
distributed over the range of pixel values (0-255).
changed in the Basics Controls
You can view histograms for the red, green, or blue
channels, or you can view the histogram for the You can use the Input Levels controls to increase the
entire image (RGB). contrast in the image. For example, if you set the
minimum value to 50, pixels with color values less
than 50 are remapped to 0(black). Pixels with color
values greater than 50 are remapped to the appro-
priate color.
If you set the maximum value for the range to 150,

pixels with color values greater than 150 are
remapped to 255 (white). This brightens the image
and increases the contrast in the highlight areas.
You can also set the maximum and minimum limits
Note: Note: If the vertical lines on the histogram for the color range by entering the values directly in
are too small to be viewed, use the Zoom button to
the Maximum and Minimum numeric displays on
increase the size of the entire chart.
either side of the histogram.
Using the Input Sliders Note: Input levels increase contrast (remap more
The slider directly below the histogram contains the grays to blacks and whites), while output levels
Input Levels controls. Use these controls to set the decrease contrast (remap more blacks and whites
to grays). If you have a clip that requires some soft-
range of color values in the image.
Tonal Histogram, Input and Output Sliders, Equalize and Match All
Ranges Gamma Slider
The Histogram Controls

The Histogram Controls ❚❘❘
ening of color of tone, the output levels may be Using the Output Sliders
able to re-introduce some midtones to your clip. The slider controls on the gradient bar below the
The slider on the right can be moved towards the histogram are the Output Level controls. Use these
left, bringing down or ‘choking’ the highlights. controls to set the range of colors in the image.
Again, this redefines where the highlights stop, and • The white triangle on the right sets the maximum val-
shifts them down in RGB values. ue for the range.
When you move the right or left sliders, the middle • The black triangle on the left sets the minimum value
gray slider always maintains an equal distance from for the range.
both of the others. However, you can also move the
gray slider independently, right or left, giving more You can use the Output Level controls to decrease
weight to the distribution of shadows or highlights the contrast in the image. For example, suppose that
respectively. you set the minimum value to 100. A pixel with a
color value of 0 is remapped to 100. Pixels with color
To increase the contrast in an image: values greater than 0 are remapped to the appro-
priate values. This has the effect of lightening the
1. Click the Histogram button in the Color Correc-
tor to display the histogram. image and decreasing the contrast in the shadow
areas.
2. Click the Master, Shadows, Midtones, or High-
lights button to select the areas of the image that you Now suppose that you set the maximum value for
want to modify. the range to 200. A pixel with a color value of 255 is
3. Click the RGB, Red, Green, or Blue button to se- remapped to 200. Pixels with color values less than
lect the channel that you want to work with. 255 are remapped to the corresponding values. This
has the effect of darkening the image and decreasing
the contrast in the highlight areas.
• Position the cursor on the black triangle below the
You can also set the maximum and minimum limits
histogram. Adjust the level until the value that you
for the color range by setting the values directly in
want to use as the lower limit for the color range ap-
the Maximum and Minimum numeric displays.
pears in the Minimum display. This darkens the
shadow areas.
To reduce the contrast in an image:
• Position the cursor on the white triangle below the 1. Click the Histogram button in the Color Correc-
histogram. Adjust the level until the value that you tor controls to display the histogram.
want to use as the upper limit for the color range ap-
2. Click the Master, Shadows, Midtones, or High-
pears in the Maximum display. This increases the lights button to select the areas of the image that you
brightness in the highlight areas. want to modify.
Note: Note: You can invert the image by reversing 3. Click the Lum, Red, Green, or Blue button to se-
the position of the black and white triangles. lect the channel that you want to work with.
The changes to the clip. To cancel the changes, click 4. Do one of the following:
the Reset button.

16 Color Correction
• Position the cursor on the black triangle below the Plot Lines on Gradient
output Levels bar. Adjust the level until the value that The plot lines appear on the gradient under the
you want to use as the lower limit appears in the histogram. After you sample a front and/or back
Minimum display. This has the effect of lightening color, blue and yellow plot lines appear. The yellow
the shadow areas. line is for the Source color, and the blue line is for the
• Position the cursor on the white triangle below the Back color.
Output bar. Adjust the level until the value that you Note: The colors of these plot lines are changeable
want to use as the upper limit appears in the Maxi- under the Setup controls.
mum display. This has the effect of decreasing the
brightness in the highlight areas. These lines show the pixel value(s) of the sampled
color(s) in terms of the distribution of pixels sharing
that pixel value.
Match All
Use the "Match All" button to adjust the gamma, For example, if you sample a red (for the front) that
gain, and offset for the R,G, and B components of the is very prevalent in the image, the blue line appears
Master layer. under a high peak on the gradient. If you then
sample a blue (for the back) that is very scarce in the
To use the "Match All" button, you should first
image, the yellow line appears under a "trough" or
sample and store 4 color pairs, one pair for each of
"valley" on the gradient.
the tonal ranges: Shadows, Midtones, Highlights,
and Master. Equalize
Also, see “Color Sampling” on page 369. If you have Equalize “smooths” the histogram values to produce
not specified all the color pairs, combustion* will more even color distribution. You can choose to use
use the following default color samples: Equalize for any given channel or for the entire
image. You can use it to even out the distribution of
• Black for the shadows.
values across one or more channels for aesthetic
• 50% gray for the midtones. considerations.
• White for the highlights
• White for the master.
combustion* operates on each of the R,G, and B
channels individually. For each channel there are
four source and destination values corresponding to
the four colors you sampled. combustion* then
adjusts the gamma, gain, and offset so that when the
color correction is applied to the source colors, they
match the destination colors as closely as possible.

The Curves Controls ❚❘❘
The Curves Controls The Ranges Controls

Use the Curves controls to make non-linear changes Use this panel to redefine what constitutes a shadow,
to the color curves. midtone, or highlight. Although normally a shadow
would cover the RGB pixel values from 0-85, you can
This section describes items that are unique to the
redefine this with the Ranges controls.
Curves controls.
The diagonal line traveling from lower left to upper

right represents the linear RGB progression from
black (0, 0, 0, expressed in pixel values) to white
(255, 255, 255) in your image.
You can grab any point on the line and a “handle”
will appear. Note that if you lower the upper handle
and the curve drops below the diagonal line, you
have done a gamma adjustment. In the same way, if Note: There is no handle to redefine midtones
you grab the lower handle and pull up, the curve because, as you manipulate the shadow and high-
appears above the diagonal line: you have made a light handles, you will note that the midtones are
positive gamma adjustment. adjusted correspondingly.
To add a point to the curve: Defining Tonal Ranges

Click on the line and a point appears. To display the curves for the three tonal ranges, click
the Ranges button in the Color Corrector controls.
You can adjust curves for the entire image (R, G, and
B), or for any of the individual channels. To redefine highlights:
The Reset Selected button will reset whichever Drag the right tangent handle next to the H.
channel (or all three channels) that you are working To redefine shadows:
on at the time.
Drag the left tangent handle next to the S.
The Curves, Color Space Display, Match All
The Curves Controls

16 Color Correction
The Ranges Controls
To see the effect of adjusting these curves: The Load and Save Setup functions are found under
1. Go to the Color controls. the Setup controls.
2. Using Hue Tint and Strength, adjust the color

balance for each of the Shadow, Midtone, and High-
light ranges. Note the effect that these adjustments
have on the image.
3. Go to the Ranges controls. Adjust the curves us-
ing the edit handles.
4. Go back to the Color controls. Without chang-
ing the color balance setup, note that the resulting
image is different from that in step 1. The difference
is the result of the changes that you made to the
curves for the shadows, midtones, and highlights.
Note: For clarity, in this example, flame* is used

Loading Color Corrector Setups From
throughout.
Discreet’s SGI-Based Products
Color Corrector setups that you have tweaked in To load Color Corrector setups from discreet’s SGI-
combustion* are supported across discreet’s SGI- based products:
based products. This allows combustion* to be used 1. Once you have tweaked your color correction in
in tandem or as a satellite station with effect* option flame* and are saving the setup, make sure you take
3, flint*, flame*, inferno*, fire*, and smoke*. note of its location in the UNIX hierarchy. It should
be in a directory like:
/usr/discreet/flame_version/correct
and its name should be something like:
flame_cc_setup.correct
2. In the UNIX operating system, you must have

the correct permissions to be able to move, copy, or

Saving Color Corrector Setups to discreet’s SGI-Based Products ❚❘❘
otherwise alter a file. By default, the “owner” of the characters such as the asterisk (*), which is a meta-
setup will probably be /usr/flame_version. You may character in UNIX. For that reason, use only alpha-
need to change read, write, and execute privileges, or numeric (letters, numbers, and underscoring
to change ownership on the setup before transfer- instead of spacing) characters in files destined for a
ring it. UNIX computer.
3. Type: 3. You can then use any FTP utility to transfer the
setup from your NT to your SGI machine. On the
man chown
SGI machine, put the setup in the
or:
/usr/discreet/flame_version/correct
man chmod folder, or another folder that you have designed for
on your UNIX system for more information. this purpose. You can then start flame*, enter the
4. You can then use any FTP utility to transfer the Color Corrector, import the setup, and the setup is
setup from your SGI to your NT machine through applied.
your network.
5. On the NT machine, put the setup somewhere
obvious, like the folder containing the project, or the Storing Operator Settings
desktop. You can then start combustion* and enter Use the storage buttons to store up to five versions of
the Color Corrector. your operator settings, and then quickly switch
6. Go to Setup, then Load, and the setup is applied between the different stored settings to compare the
to the image. results.
Keyframes are also stored. This means that you can

use storage buttons to compare different versions of
Saving Color Corrector Setups to an animation.
discreet’s SGI-Based Products
Color Corrector settings are transferable from When you cut and paste, or copy and paste an oper-
combustion* to any of discreet’s SGI-based soft- ator, all its stored settings are also copied.
wares (effect* option 3, flint*, flame*, inferno*,
To store operator settings:
fire*, and smoke*).
1. In the operator controls, enable Store.
To save Color Corrector Setups to discreet’s SGI-
based Products:
1. Once you have tweaked your settings in combus-
tion*, select the Setup Controls, then Save.See
“Loading Color Corrector Setups From Discreet’s
SGI-Based Products” on page 378. Note: Store is enabled by default.
2. Save the combustion* setup to somewhere obvi- 2. Click Store number 1 and adjust the operator’s
ous, like a folder on your desktop called parameters.
“oxy_to_flame”, for example.
▲ The UNIX operating system does not support

spaces in filenames, and may refuse to recognize

16 Color Correction
As you make adjustments the filter settings are empty, but if you have saved settings in all five stor-
stored in storage 1. ages, you may need to empty a few.
3. When you are satisfied with the settings in stor-

To empty a storage:
age 1, move to storage 2.
1. Select the storage and click Reset.
2. The dot disappears from the lower right corner
of the storage button to indicate that it is empty.
3. Disable Store before moving to another storage.
Storage 1 is stored and copied to storage 2. Any
further adjustments you make are stored in storage
2. Using the Compare Feature
Compare your color corrected clip with one of five
Note: If storage 2 is not empty, select an empty stored settings, an Operator, or None (by choosing
storage. (A dot in the lower right corner of the Reset). This is very useful as a means for comparison
storage button indicates that it is full.) of the original (if saved in a store) and modified
4. When you are satisfied with storage 2, move to images.
storage 3 (or an empty snapshot) and continue to
fine-tune the settings. To start adjusting storage 3
from scratch, click Reset.
By switching between storage 1, 2, and 3, you can
compare the settings that you stored in each one.
The Compare feature includes an AB button, the
compare list, and three viewing tool options.
Moving between Stored Settings
If Store is enabled, when you click an empty storage, To use the Compare feature:
the current settings are copied to the empty storage. 1. Click the Compare (AB) button to display the
In other words, when you go from storage 1 to an tool options.
empty storage, the empty storage is "filled" with the
2. Pick a comparison source from the Compare list.
settings of storage 1.
When you move between filled storage buttons, the Note: You need to have previously taken store
shots in order to have comparison sources. You can
system displays the stored settings for each one. But
tell if the store shot is there by the presence or
remember, if you adjust any settings while Store is absence of the dot in the lower right corner of the
enabled, the storage is automatically updated. numbered box.
3. Do one of the following to draw a comparison

Emptying Storage region. The comparison region compares the color
If you want to copy the settings from one storage to corrected areas of any store shot to the original, or to
another so that you can fine-tune the settings in the another store shot:
second storage, the second storage must be empty. • Choose Split Horizontal/Vertical to have the region
When you create a new filter, all the store buttons are limits run horizontally or vertically, depending on
how it is drawn. If you click in the viewport, the line

Storing Operator Settings ❚❘❘
will be horizontal. If you alt-click in the viewport,

the line will be vertical.
• Choose Draw Region Limits to draw a custom area of

your choice.
Note: Activating either of these features toggles

the other one off.
• Choose Invert Region to toggle the comparison region

between the inside/outside of the drawn area.
• To reset the Compare feature, choose None from the
Compare list.

16 Color Correction

17The Tracker
The flexibility of the Tracker
makes it more of a medium

a
than simply a tool. As you
gain experience you begin
to see the implications of

et
what the Tracker can do,
and you find new ways to
achieve the kind of effects
you want to accomplish.

B

17 The Tracker
Overview • In multiple-point tracking, you track as many fea-

This chapter explains: tures as you want.
• “About Tracking” on page 384. You can apply the stored motion to various elements:
• “The Tracker Interface” on page 385 • You can apply the motion to an object. For exam-
ple, you could track a halo over the head of a person
• “Using the Tracker” on page 390 in a clip. Assume that in the clip the person tilts their
• “Tracking Position” on page 392 head and advances toward the camera. You would
want the halo to reflect the position, scaling, and ro-
• “Tracking Scaling” on page 394
tational changes of the tracked features on the per-
• “Tracking Combinations of Position, Scaling, and son’s head.
Rotation” on page 395
Note: When you track scaling with Combustion,
• “Tracking Multiple Points” on page 395 you are not performing “3D tracking” in true Z-
space. You are simply measuring the amount of
• “Tracking the Center Point of an Effect” on page change over time in the size of the tracked object.
397
• You can apply the motion to each of the control
• “Stabilizing” on page 399 points of an object. The shape of the object changes
• “Stabilizing Options” on page 400 to reflect the motion of the reference feature its con-
trol points are locked to. For example, if you want to
• “Advanced Tracking Techniques” on page 406
replace the label on an actor’s clothing. Each corner
• “Importing and Exporting Tracker Data” on page on the new label tracks a corner on the old label in
413 the clip. The shape of the new label changes to corre-
spond to those movements.
• You can apply the motion to the center point of a fil-

About Tracking ter. For example, you may want the center point of a
The Tracker is a tool for following and capturing the
lens flare filter to track the motion of a street lamp.
motion of an on-screen feature, and then applying
that stored motion to a second element, so that the • You can apply the motion to a Stabilize filter which
two appear to be "locked" together. removes the motion from the clip. In this case you
would track unwanted motion in the clip.
You can track any number of features in a clip:
Note that the Tracker is not limited to composites, as
• In 1-point tracking, you track a single feature for
there are many useful applications for it in Paint as
position.
well. For example, a nested composite that is
• In 2-point tracking, you track two features, using complete except for wire removal can have a blurred,
the relationship between the two to track scale and/ cloned paintstroke tracked to the wire in Paint.
or rotation.
• In 4-point tracking (more commonly referred to as

corner pinning), you track four features.

The Tracker Interface ❚❘❘
The Tracker Interface Reference and Analyze Magnification and Preview Box
Snap Settings Controls Tracker Selection
Track, Axis, and Tolerance and Show/Hide and Import and Export Data
Mode Settings Auto Snap Box Color
The Tracker Interface Source

Use the Tracker panel to set up Trackers, control the Use this slider to indicate which layer contains the
analysis, and manage the data generated by the reference feature(s).
Tracker. By default, the Tracker panel appears in the
interface with every new composite or Paint branch. Tracker Buttons
These buttons appear when you select footage in the
If it does not appear, choose Windows | Palettes |
active viewport. Use them to add Trackers and to
Show Tracker.
turn off the tracking process.
Tracker Status Bar Position — Adds a Tracker to track position.

This bar (Track 1 Object in the figure below) indi-
cates the number and kind of elements currently Scale — Adds two Trackers to track scale
selected in the viewport.
Rotation — Adds two Trackers to track rotation.
Source Track Off, Position, Reference Fixed/
Scale, Rotation Roaming and Snap
Off — Turns the tracking process off. When you do
this, the tracker folders in the Timeline are removed
and their data is lost.
This does not matter however, as the information

has already been applied to the object(s) and is
stored in the respective channels.
Mode
Use the Mode options to indicate whether or not to
Axis, Mode, and Tolerance and
Parent to Source Auto Snap
keep any offset that exists between the center of the
reference box and the pivot point of the object.

17 The Tracker
Absolute — Eliminates any offset. For example, in Y Only — Track only the vertical motion of the
the illustration below, the oval is tracking the motion reference feature.
of the asterisk. When the analysis started, the pivot
For example, say you have a feather you want to track
point of the oval was positioned to coincide with the
to the vertical (Y) motion of a leaf falling. Assume
center of the reference box on the asterisk.
you do not want the feather to follow the side-to-side
(X) motions of the leaf as it falls. You would restrict
the Tracker to following the Y motion.
Parent to Source — This button is equivalent to

the user manually parenting the “tracked-to” (child)
clip to the “tracked” (parent) clip after tracking.
Before using the Tracker, examine the relationship
between the objects tracked to and being tracked. If
Relative — Maintains any offset that currently
there are no existing parent-child hierarchies, and
exists. This is the default setting. Here the pivot point
you want the tracked layer to later respect any posi-
of the oval remains offset from the center of the
tioning, rotating, scaling, shearing, or pivoting
reference box on the asterisk.
adjustments that you make to the tracked object,
click Parent to Source.
For example, say you need to track a small burning

red coal onto the tip of a cigarette in an actor’s
mouth. You know that the clip will later need to be
scaled and positioned, so you click Parent to Source
before the Tracker begins to analyze. This ensures
that any later changes made to the “actor smoking”
clip will also be copied down to the child (glowing
Axis
coal clip) layer.
Use the Axis list to determine whether only hori-
zontal (X), only vertical (Y), or both horizontal and
Reference
vertical (X and Y) motion is tracked.
Use the Type options to indicate whether or not to
update the reference at each frame.
X&Y — Tracks both the horizontal and vertical
motion of the reference feature.
Fixed — Leaves the contents of the reference box
unchanged during tracking. This is faster than
X Only — For example, when stabilizing a clip, you
Roaming. It is also less flexible since it assumes little
could track only the horizontal (X) motion to
or no change to the reference feature. With scale
remove horizontal camera jitter, while keeping the
changes, an object changes size sometimes radically
vertical (Y) motion, which is intended to be present
throughout a clip. Therefore, Fixed would be a poor
in the clip.
choice to track scaling.

Roaming — Updates the contents of the reference keyframe, it updates the contents of the reference
box at each frame. Use this option when the refer- box with the last good match, and then searches for
ence feature undergoes significant changes in luma a match on the updated contents.
or shape cues during the clip. For example, if the
reference feature undergoes lighting changes, Analysis Controls
choosing Roaming increases the chances of finding a Use the Analysis controls to start, pause, and restart
match at each frame. the analysis, as well as to advance the analysis by a
Roaming is slower than Fixed since the reference box single frame.
must be updated at each frame.
Note: Results are often not as accurate with

Roaming because very small errors in the analysis
are compounded.
Play — Starts the analysis forward.
Reference Group:
Snap — Use this button to update the contents of Play Backward — Starts the analysis backward.
the reference box at the current frame. See “Snap- See “Analyzing Backward” on page 412 for a discus-
ping to Update the Reference Box” on page 411 for a sion of when this would be useful.
discussion of when you might use this.
One Frame Forward — Advances the analysis
Tolerance — Use Tolerance to set how much toler- forward by a single frame. See “Editing the Tracker’s
ance for error there is in locating a match for the Path” on page 412 for a discussion of when this
reference box. A keyframe is only set for the frame if would be useful.
a match is found.
One Frame Backward — Advances the analysis
If Tolerance is set to 100%, a match is always found,
backward by a single frame. See “Editing the
regardless of how wrong it may be. If Tolerance is set
Tracker’s Path” on page 412 for a discussion of when
to 0%, a keyframe is only set for the frame if an exact
this would be useful.
match for the reference box is found.
A good rule of thumb is to leave Tolerance set to Preview and Enable Preview
100% and then lower it if necessary. It can also save The Preview displays the most recent match found
time to play your clip through several times. Note for the Tracker selected. Use it to see what match was
where 100% Tolerance might cause the Tracker to
lose the reference feature. You can then lower the
setting for these portions of the clip.
See “Adjusting Tolerance” on page 409 for a discus-

sion of when you might use this option.
Auto Snap — If you enable Auto Snap when the

Tracker does not have enough confidence to set a

17 The Tracker
found for the current frame. If you cannot see the Tracker Display Options
match, enable the Preview checkbox. Use the Tracker display options to control what
tracking information appears in the viewport while
tracking is in progress.
Tracker Box and Tracker Box Number
If you have a well-chosen and constant reference

feature, the contents of the Preview should remain
stable and centered during the tracking process. If
the contents start to shift and move around a lot,
pause and adjust the Tracker settings, or choose a
different reference feature to track.
When you pause the tracking and scrub through the

Timeline, the Preview scrubs with it. You can also
play the Preview by clicking on it directly. These two Keyframes and Crosshairs
features help you evaluate the accuracy of the
tracking as it progresses, and give you the chance to These options are also useful when tracking or
correct any errors as they occur. selecting manually. A hidden element cannot be
selected. For example, enable Show Paths and Hide
Note: Keep in mind that with a four-corner Boxes to see only the motion paths generated by the
pinning, even the slightest drift in a Tracker may
tracking and manipulate the keyframes of these
cause the label (for example) to “crawl” or shake,
rendering the effect non-useable. With practice paths.
and good reference features, this is not a problem.

Show Paths — Shows the paths that the tracker Reset and Select Options
boxes make from frame to frame. By default the Use the reset options to reset one of the values alone
paths are shown. or to reset both the Trackers and the shift values.
Show Boxes — Shows the tracker and reference

boxes in the viewport. By default, the tracker and
reference boxes appear in the viewport.
Show Crosshairs — Shows the Crosshairs which Select All Trackers — Selects all Trackers so that
intersect at the reference feature. any changes made are simultaneously made to all
trackers.
Deselect Trackers — Deselects all Trackers so that

individual ones can be manipulated.
Reset Shift Only — Resets all keyframes associ-

ated with the selected Tracker(s) without changing
the reference box contents. The associated
keyframes in the element folder get reset to 0.
Reset Tracker(s) — Resets the reference and

Keyframes (Motion Path Current and first tracker boxes to their default sizes and default posi-
of reference feature) Tracker locations
tions in the frame. This also resets the shift values.
The associated keyframes in the element folder get
Hide Objects — Hides the object or objects reset to 0.
selected in the viewport.
Note: You can hide individual Trackers by clicking Trackers

the yellow button next to the Tracker in the Time- Once you choose a reference frame, you set up one
line. This is useful when working with many or more Trackers. You place the Tracker(s) over the
Trackers. For example, when Trackers are close
reference features you want to track.
together it may be easier to select, position, and
size them if you show them individually in the One Tracker consists of two boxes: a reference box
viewport.
and a tracker box. Since you may be working with
Box Color — Changes the color of the tracker and several Trackers at one time, each Tracker is assigned
reference boxes. a number.
Tracker number
Reference box
Tracker box

17 The Tracker
• The Reference Box holds the reference feature. For 9. Click one of the Analyze buttons to start the
example, if you want a lens flare to follow the head- Tracker analysis from the current frame.
light of a truck as it moves across the screen, position 10. Pause the analysis if the tracker box loses the ref-
the reference box over the headlight of the truck in erence feature(s).
the reference frame.
Press the BACKSPACE key to delete one keyframe at a
• The Tracker Box shows the boundaries of where the time until you are positioned at the frame where the
Tracker searches for the reference feature. The size of Tracker loses the reference feature.
this box needs to be at least as large as the reference
Make the necessary adjustments to the Tracker. See
box, and by default is slightly larger.
“Advanced Tracking Techniques” on page 406 for
Note: The larger the tracker box, the slower the ideas on how to handle various tracking situations.
tracking. This is because it takes more time for the
11. Repeat steps 3 and 4 until you have completed
Tracker to search a larger area.
the track.
12. Click the Off button on the Tracker panel to turn
Using the Tracker off the tracking process.
No matter what sort of tracking you are doing, your
work flow takes the following general form. The element follows the motion of the reference
feature.Finding a Good Reference
To use the Tracker: Feature
1. Load the clip. Your choice of reference feature directly affects the
2. Find the reference feature that has the motion accuracy of the Tracker. As you work with the
you want to track. Depending on what kind of track- Tracker you will develop an eye for evaluating what
ing you are doing, you may need to use more than makes good reference features.
one reference feature.
Play a clip several times before you choose a refer-
3. Determine a good reference frame and position ence feature. Ideally, you want a reference feature
the clip at that frame. This is usually the first frame. that:
4. Select the source of the reference features (the
• Appears in every frame of the sequence being
Background Clip, or the Background Clip and Ob-
jects). tracked
5. Select the element or layer you want to have track • Cannot be confused with any other similar feature
the motion. in the frame, for instance, a button on a shirt would
The Trackers are added. be a poor choice if there are identical buttons above
and below it
6. Reposition and resize the Trackers if necessary.
• Moves exactly as you want your element to move
7. Adjust the options on the Tracker panel as neces-
sary. • Has shape and luma cues that allow for perfect reg-
istration (“locking”) of a match both vertically and
8. Make sure all the Trackers are selected.
horizontally.

Using the Tracker ❚❘❘
The Tracker uses the luma (or light vs. dark) and By default, when you move the reference box, the
shape information of the reference feature to locate tracker box automatically moves with it. If you move
matches in subsequent frames. Finding perfect or resize the tracker box, however, the reference box
reference features all the time is rare. For example, does not follow. Once you move or resize the tracker
finding a feature that is present in every frame is not box, the size and position of each box remain inde-
always possible. You may have to track two different pendent of the other. You can re-establish the
features, track a feature that disappears behind relationship using the Reset Tracker option.
another one, or track a feature that moves out of the
frame. Advanced Tracking Techniques, on page 406, To position the reference box using the mouse or
stylus:
offers suggestions on how to work with these kinds
of situations. Click inside the reference box and drag it over the
feature that you want to track.
In the best possible situation, you have planned the
reference features during pre-production and delib- The reference box changes to a magnifying glass to
erately marked them (with Xs, say) on the set and/or help you find a good reference point. You can adjust
talent during production. In the worst situation, the the magnifying glass by changing the magnification.
reference feature is so poorly defined that the only
way to track it is manually (see “Snapping to Update To adjust the magnifying glass:
the Reference Box” on page 411 for an explanation 1. Click the right arrow in the upper-right corner of
of how to do this). the Tracker panel.
2. Choose Magnification, and then select a magni-
Note: You may want to add an effect to the clip to
fication from the list.
make the reference feature better, such as contrast
adjustments or emboss, then track the altered clip. 3. From the Tracker panel menu, choose Magnifier
Finally, you would remove the effect. Mode.
None — See the reference box area as it appears in

Determining a Good Reference Frame
the viewport.
The reference frame should be the frame where the
reference feature is most representative in terms of
Normal — Magnify the reference box area by the
shape, size, and rotation. It is usually the first frame,
amount selected in step 2.
but it can be any frame that contains part of the
motion you want to track since the analysis can
Contrast — See a high-contrast version of the
proceed either forward or backward.
reference box area.
Positioning the Reference and Tracker Edge — See high-contrast edges in the reference
Boxes box area.
You can position the reference and tracker boxes
using the mouse, the stylus, or the numeric controls To position either the reference box or the tracker
box using the numeric controls:
in the Timeline.
1. In the Timeline, expand the layer that contains
the reference feature to display the Tracker(s), then

17 The Tracker
expand the Tracker with the box(es) you want to re- Modifying Several Trackers at Once
position. You can change the parameters for several Trackers
2. Expand the folder corresponding to the box you by multiple-selecting the Trackers (using SHIFT-
want to reposition. CLICK) and then modifying the setting. You can
3. Double-click x or y, and enter the desired X or Y change the Mode for all Trackers from Fixed to
value(s). Or click and drag the cursor over the prop- Roaming. Or, you can change the tolerance for all
erty’s value in parenthesis to change the X or Y value. Trackers.
Resizing Reference and Tracker Boxes Selecting the Trackers

You can resize the reference and tracker boxes using Make sure all the Trackers are selected before you
the mouse, the stylus, or the numeric controls in the start the analysis. You can select individual Trackers
Timeline. using SHIFT-CLICK, or you can select all Trackers
using the Select All Trackers option on the Tracker
You should make the tracker box large enough to
panel.
accommodate the largest single frame-to-frame
motion of the reference feature in the clip. However, Only selected Trackers perform analysis. In most
consider the following: cases you want all Trackers selected; however, some
times you may want only some of the Trackers active.
• Creating a large tracker box increases the amount
For example, if some of the reference features
of processing time required to locate a match for the
present difficulties, you might first analyze all the
reference box.
non-problematic reference features, and then track
• Creating a very small tracker box means that it can- each problem reference feature individually.
not accommodate a large motion of the reference
feature between two frames.
Tracking Position
To resize the reference or tracker box using the In this probably most common case, you want the
mouse or stylus:
object to track only the changes in position of the
1. Click the center of a box to select it. reference feature. The object follows the X and Y
2. Drag the handles to resize the box. To maintain motion without undergoing changes in scale or
the proportions of the box, press SHIFT and drag a rotation.
handle.
For example, a woman is wearing a pair of jeans with
To resize the reference or tracker box using a label. You need to track a logo to one point on the
numeric controls: label. Note in this example there are no scale or rota-
1. In the Timeline, expand the layer that contains tion changes to the label.
the reference feature to display the Tracker(s), then
expand the Tracker, then the Reference folder to dis- To track position:
play the reference box width and height. 1. Determine a good reference frame and position
2. Double-click Width or Height, and enter the the layer or object to be tracked at that frame. In this
width or height in the Numeric Input dialog. Or
click and drag the cursor over the property’s value.

Tracking Position ❚❘❘
example, you track a simple logo to the label on the 6. On the Tracker panel, click Position. Make sure
back pocket of a pair of jeans. the object is selected, and then click the Position but-
ton to add a Tracker.
Note: In this clip you are tracking position only and
not doing a four-corner pinning, as you would do
to completely replace the label.
2. Select the layer or object to which you want to

apply the motion.
3. Load the clip and play it a few times to evaluate
what reference feature you want to use and if there
are any foreseeable problems for the tracking.
4. Position the clip at the reference frame. In this
case it is the first frame of the clip. Create the logo by
creating an ‘A’ object in Paint, rotating it, and then
positioning it over the label. A Tracker appears. If several objects are selected,
several Trackers appear.
In the Timeline, a tracker folder appears under the

layer object containing the reference feature.
7. Resize and/or reposition the reference and

tracker boxes. Reposition the reference box over the
lower left corner of the label. Each corner is a good
reference feature but this corner moves a little less
than the others and it represents better the motion
you want the logo to follow.
8. Make sure the Tracker is selected, and then ad-
5. On the Tracker panel, set Source to Background just the settings on the Tracker panel. Set the Mode
Clip. to Relative since you want the logo to stay where it is
and not snap to the center of the reference box when
tracking starts.
9. You want the logo to follow both the horizontal
and vertical motion of the label, so set Position to X
and Y.
10. Set Type to Fixed since the reference feature does
not undergo any significant changes that would pre-
vent a match from being found.
11. Leave the Tolerance at its default value given that
the reference feature should be easily locked onto
throughout the clip.
12. Make sure all Trackers are selected.

17 The Tracker
13. Click the button on the Tracker panel to 4. Two Trackers appear. The first Tracker appears
start the analysis. When the analysis is complete, over the pivot point of the object and the second ap-
click the Off button on the Tracker panel. This de- pears to its lower right. Resize and reposition each
letes the tracker folders in the Timeline. Tracker so that they track the scaling change.
14. If one or more of the Trackers gets “lost”, pause 5. Adjust the settings for each Tracker as necessary.
the analysis, make adjustments, and restart the anal- On the Tracker panel, click one of the Analyze con-
ysis. trols to start the analysis.
15. Save the tracker data if necessary. Remember it 6. If you encounter difficulties, pause the analysis,
has already been applied to the front object. make adjustments, and restart the analysis as neces-
sary.
16. Click the Off button in the Tracker panel when
tracking is complete. 7. Save the tracker data if necessary.
Note: With approaching/receding objects, the clip

is sometimes tracked better backward.
Tracking Scaling
In this case, you want the object to remain stationary 8. Click the Off button in the Tracker panel when
and track only changes in scale. For example, tracking is complete.
assume that a camera is looking down a straight road
at a car approaching. You need to track the license Tracking Rotation
plate as the car approaches. Note that in this example In this case, you want the object to track only a rota-
there are no rotation or position changes. tional change.
The Tracker requires two Trackers to measure The Tracker requires two Trackers to track rotation.
scaling. The changing distance between the centers You place the first Tracker over the pivot point of the
of the two tracker reference boxes determines the rotation you want to track. You place the second over
scale. an area that describes the arc of the rotation you
In the license plate example above, you want to want to apply to the object.
“lock” a new license plate to the old one. You would For example, assume you have an aerial shot and you
position one reference box over one corner of the need to track a logo onto the roof of a race-car
license plate and the other reference box over the driving around a circular track. The first Tracker
diagonally opposite corner. would go over the center of the track, and the second
Tracker would go on the car’s roof.
To track changes in scale only:
1. Determine a good reference frame and position To track changes in rotation only:
the clip at that frame. 1. Determine a good reference frame and position
2. Select the target object (the object you want to the clip at that frame.
have follow the scale changes). 2. Select the object to which you want to apply the
3. On the Tracker panel, select the Source of the rotational changes.
reference feature. Click Scale. 3. Make sure the pivot point for the object is where
you want it to be.

Tracking Combinations of Position, Scaling, and Rotation ❚❘❘
4. On the Tracker panel, select the Source of the Tracking Multiple Points
reference feature. Click Rotate. When you track multiple control points, you apply
Two Trackers appear. The first Tracker appears over the motion of each reference feature to control
the pivot point of the object and the second appears points on the foreground object.
to its lower right.
The shape and content of the object changes to
5. Position the reference box of the first Tracker reflect the motions of the reference features it is
over the pivot point of the rotation you want to track. tracking. For this reason, a precision track is
Position the reference box of the second Tracker over required, as even small drifts will cause any lettering
the area which describes the arc of the rotation you or graphics on the front clip to "swim" or "crawl".
want to apply to the object.
For example, you can put a new label on a ketchup
6. Adjust the settings for each Tracker as necessary.
On the Tracker panel, click one of the Analyze con- bottle in a clip. You would create a new label, then
trols to start the analysis. have each control point on the new label track one of
the reference features of the old label. The shape of
The object rotates at its pivot point at each frame to
the new label changes along with the shape changes
reflect the rotation defined by the motion of the two
of the original.
reference features.
7. Pause the analysis, make adjustments, and re- To track multiple control points:
start the analysis as necessary until the analysis is Determine a good reference frame and position the
complete. clip at that frame. In this example, we have a trian-
gular purple logo following three corners on a jeans
8. Save the tracker data if necessary.
label.
tracking is complete. Load the clip and play it a few times to evaluate what
reference feature you want to use and if there are any
foreseeable problems for the tracking.
Tracking Combinations of 1. Position the clip at the reference frame. In this
Position, Scaling, and Rotation case it is the first frame of the clip.
It is also possible to track any combination of posi-
tion, scaling, and rotation. To do so, you always work
with two Trackers. As you combine tracking opera-
tions, you add to what each Tracker is tracking.
If you want to track position, rotation, and scaling
simultaneously, the first reference box will track
position. The second reference box will track rota-
tion. The distance between the centers of the two
reference boxes will be used to track scaling.
2. Select the object to which you want to apply the

motion of the reference features.

17 The Tracker
In the Tools options, select the Control Points tool. If 9. Set Type to Fixed since the reference feature does
necessary, add control points to the object. Create not undergo any significant changes that would pre-
the logo using the Polygon tool in Paint. vent the Tracker from finding a match.
10. Leave the Tolerance at its default value given that
each reference feature should be easily matched
throughout the clip.
Click the button on the Tracker panel to start the
analysis. The tracking proceeds to the end of the clip
without any need for intervention.
3. Make sure the polygon is selected, and then se-

lect the Control Points tool in the Tools options. You
do not need to add control points to the polygon.
However, you may need to make some minor adjust-
ments to the control points to fit the logo neatly on
the label.
4. In the viewport, multiple-select (SHIFT-CLICK)
When the analysis is complete, click the Off button
the control points of the object.
on the Tracker panel. This deletes the tracker folders
5. On the Tracker panel, click Position. This is the in the Timeline.
only available choice when you are tracking control
points. Reposition each reference box over one of the The logo now follows the label as the label moves
corners of the label. The luma and shape cues of each toward the upper edge of the screen. Notice the
corner make them good reference features.
6. SHIFT-CLICK all the Trackers to select them, or
click the right arrow in the upper right corner of the
Tracker panel and choose Select All from the menu.
All the tracker and reference boxes are selected. On
the Tracker panel, set Source to Background.
7. On the Tracker panel, adjust the settings for all
Trackers at once. Set the Mode to Relative since mi-
nor adjustments need to be made to the positions of
the reference boxes. You do not want the vertices of
the polygon to change their current position when
tracking starts.
8. You want each control point to follow both the
horizontal and vertical motion of the reference fea-
ture to which it is locked, so set Position to X and Y.

Tracking the Center Point of an Effect ❚❘❘
difference in the shape of the polygon between the For example, a panning shot of a mini-van requires
first frame and the last frame. you to track a lens flare to the headlight of the mini-
van.
To track the center point of an effect:

1. Determine a good reference frame and position
the clip at that frame. In this clip you track a lens flare
onto the headlight of the van. As the van moves left
to right across the screen it passes behind a tree.
Note: We will cover the Effect Tracking portion of

the shot here, and the “behind the tree” portion of
the shot later in the chapter. See “Advanced
First frame Tracking Techniques” on page 406.
2. Since the headlight is not a good enough refer-

ence feature as is, apply a color correction before
tracking to make it usable as a reference feature.
3. First load the clip and play it several times to
watch the motion of the headlight and evaluate
whether or not it is usable as a reference feature. Its
luma and shape cues could be improved with some
color correction.
Last frame
11. Save the tracker data if necessary. Note that it has

already been applied to the triangle (front Paint ob-
ject), so resave the data only if you have another use
for it or for safe-keeping.
tracking is complete.
4. Position the clip at the first frame and choose Ef-

Tracking the Center Point of an fects | Color Correction | Brightness/Contrast. Ad-
Effect just the brightness and contrast, advance to the end
In effect tracking you apply the stored motion to the
center point of an effect. Only effects that require
you to pick a center point for the effect can be
tracked.

17 The Tracker
of the clip, and verify that the same brightness and 9. On the Tracker panel, set the Source of the refer-
contrast is applied up to the last frame. ence feature to Background.
5. The color correction makes the headlight usable The contents of the reference box look good so you
as a reference feature, so return to the first frame and do not need to reposition it.
prepare to track the lens flare onto the headlight.
6. Choose Operators | Stylize | Lens Flare. The lens
flare palette appears and a Lens Flare folder appears
in the Timeline. The palette for that effect appears.
7. Adjust the lens flare settings. Set Strength at
15%, and choose Central Flare Only from the Ele- 10. The tracker box is probably large enough to ac-
ments menu. commodate the largest frame-to-frame motion of
the headlight so leave it as is.
Click the Pick button on the effect palette.
Crosshairs appear over the center of the lens flare in 11. On the Tracker panel, leave the Mode set to Rel-
the viewport. ative. You want the lens flare to follow both the X and
Y motion of the headlight, so set the Position option
8. Position the crosshairs (the lens flare follows) to X&Y.
over the headlight of the van.
12. Leave the Type set to Fixed since this can im-
prove the accuracy of the Tracker and the headlight
does not seem to change during the clip. Set Toler-
ance to 80% since you will be playing with this value
when the van passes behind the tree.
13. On the Tracker panel, click the button to
start the analysis. The center point of the effect is re-
positioned at each frame, corresponding to the ref-
erence feature.
Note: For how to work with the reference feature

disappearing behind the tree, see “Example of
Adjusting Tolerance” on page 410.

Stabilizing ❚❘❘
When the analysis is complete, click the Off button The Tracker moves the image so that the reference
on the Tracker panel. This deletes the tracker folders feature occupies the same position it did in the
in the Timeline. preceding frame. In other words, the reference
feature stays still because the frame is being moved.
Note: You need to hide the lens flare when the
headlight is hidden by the tree. Do this by setting The repositioning of the image also introduces a
keyframes at zero Strength (for the lens flare) for border along one or more edges of the frame, and
the duration of time the van is behind the tree. may involve the temporary loss of some of the
14. Finally, remove the color correction by deleting image’s edge information.
the Brightness/Contrast folder in the Timeline. Now
when you play the clip, the lens flare follows the mo-
▲ Select Wrap as Mode to wrap pixels around
while stabilizing. You can then Invert afterwards
tion of the headlight, disappearing with it behind the
and have zero information loss.
tree and reappearing with it on the other side.
15. Save the tracker data if necessary.
tracking is complete.
Now when you replay the clip, the effect follows the
motion of the reference feature.
Stabilizing
Stabilizing is a powerful process that represents one
of the most common uses of the Tracker.
In most tracking the Tracker applies the reference

motion to the desired element so that the two are
locked. In stabilizing, the Tracker inverts the
analyzed motion to correct unwanted camera or
subject motion.
• Use 1-point stabilizing when the positional (loca-
tion in X and Y) motion you want to eliminate is ver-
tical, horizontal, or both vertical and horizontal.
• Use 2-point stabilizing when the motion you want

to remove involves scaling and/or rotation. It may
also involve vertical and/or horizontal shifts.
With stabilizing the shift values are inverted (for

example (3, -2) would become (-3, 2)) before they
are applied to the center point of the effect. This
inversion results in an elimination of the motion.

17 The Tracker
The illustrations below demonstrate this: The Stabilize Operators

There are pull-downs for 1- and 2-point stabilizing.
Stabilize 1 and 2 Point(s) to

be found under Operators |
Stabilize
frame 5
The only major difference between the two panels is

that the Stabilize 1 Point panel has the Invert option,
and the Stabilize 2 Points panel has Position, Scale,
and Rotation options.
frame 6
The image is offset in the direction
of the inverse Shift values. Stabilizing Options
By default, this A border appears You must make some choices about how you want to
part of the image in this part of the treat your shot to be stabilized. Some options result
is cropped out. image. in re-scaling or the addition of black borders. The
options you use will depend on the final result you
want.
Note: For the actual stabilizing procedure, see “1-

and 2-Point Stabilizing” on page 401.
Mode
The Mode option determines how the image is
frame 6
treated once the shift values are applied. Experiment
These are the Mode choices for 2-

Point Stabilizing; with 1-Point, you
have the additional Wrap option
with a copy of your footage to note the differences

between each mode.
Select: To:
Shift Leave a border.

Stabilizing Options ❚❘❘
Select: To: 1- and 2-Point Stabilizing

Use 1-point stabilizing when the motion you want to
Fit Scale the image to fit the screen, without
changing its aspect ratio (width to
remove is horizontal (X, or side-to-side) and/or
height). This can introduce some addi- vertical (Y, or up/down).
tional cropping.
For example, hand-held steadicam and helicopter
Wrap Only available in 1-point stabilizing. shots nearly always have undesired horizontal or
Prevents loss of image information. vertical motion jitter.
Wraps the pixels around the opposite
side to fill the border. No pixels (and con- Stabilizing is accessed through the Operators | Stabi-
sequently no image information) are lize 1 or 2 Point(s) pull-down. The 1-Point
lost. Stabilizing panel looks as follows:
Note: You usually use this with the
Invert option so that the wrapped pixels
return to their original location after the
inversion.
Note: If you are concerned about the temporary

“loss” of image information, select Wrap.
Borders
This option is only of use to you when you choose
To perform 1-point stabilizing:
Shift mode. It determines how the borders are
1. Determine a good reference frame and position
the clip at that frame. In this example, use 1-point
stabilizing to remove unwanted camera jitter from a
clip.
treated. With Fit and Wrap there are no borders and Note: Make sure that Animate is on for the entire
stabilizing process. Stabilizing will not work with
Select: To: Animate off, as the Position channels will be locked
in the Timeline and Combustion will be unable to
Use Color Fill the border with color. Once you write the stabilize information to them.
have selected this option, click the
color square at the bottom of the 2. Choose Operators | Stabilize | Stabilize 1 Point.
palette and select a color from the
Color Picker.
Transparent Create transparent borders.
consequently this option would have no use.

17 The Tracker
Crosshairs appear in the viewport.
5. You want to stabilize the entire clip, so use the

first frame as the reference frame and position the
clip at that frame.
6. On the Stabilize 1 Point panel, set the Mode to
Wrap so that no pixel information is lost; you can
use Invert later.
7. Click the Position button on the Tracker panel to
add the Tracker.
A Tracker appears over the crosshairs in the
viewport.
First load the clip and play it through once or twice
to verify that you have a good reference feature.
Since a tracking marker (the plus sign in the left half
of the crescent window) was included during
production you know you should have at least one
good reference feature for stabilizing.
3. Click the Stabilize Point Pick button on the Sta-

bilize 1 Point panel, or use the explicit value X and Y
fields to position the crosshairs over a point which
describes the motion you want to eliminate.
There are a number of good reference features in this 8. On the Tracker panel, click the Position button.
clip in addition to the tracking marker. For example, A Tracker appears in the viewport, centered over the
the corner of the elevator door, the up/down lights crosshairs of the point you picked.
above the elevator closest to the camera, and the
elevator call panel. All of these remain visible 9. Adjust the position of the reference and tracker
boxes if necessary.
throughout the clip, and the motion of each repre-
sents the jitter you want to eliminate. 10. On the Tracker panel, set the Position menu to
X&Y since you want to eliminate both horizontal
Note: If you want to eliminate X and Y jitter, it is and vertical jitter. Leave Type set to Fixed since the
best to choose a reference feature that is close to reference feature does not change appearance
the center of the frame. throughout the clip.
4. Choose the upper area of the elevator call panel 11. On the Tracker panel, click the > Analyze button
as your reference feature. It has good shape cues and to start the analysis. Note from the motion path that
has even better luma cues (higher contrast) than the the reference feature moved along both the X and Y
tracking marker.

axes. The clip is stabilized “live”, and the inverted Stabilize 1 Point panel in place throughout the stabi-
lizing.
Note: Make sure that Animate is on for the entire

stabilizing process. Stabilizing will not work with
Animate off, as the Position channels will be locked
in the Timeline and Combustion will be unable to
write the stabilize information to them.
2. Perform the desired stabilizing.

3. Select Invert on the Stabilize 1 Point panel.
2-Point Stabilizing
Use 2-point stabilizing when the motion you want to
shift values are written to the Stabilize channel in the
Timeline. remove involves changes in scale (zoom) and/or
rotation (roll). For example, your camera may be
12. If necessary, pause the analysis, make adjust-
zooming out from someone in a rocking chair.
ments, and restart the analysis.
The 2-Point Stabilizing panel is as follows:
Note: If you move the Stabilize effect crosshairs
during or after the analysis, you introduce unex-
pected motion (and therefore error) into the
stabilizing process.
Invert — Use Invert to reverse the element data.

You may want to replace the pixels in their original
locations after using Wrap.
Or you may have a very special scenario, such as the

following: say you have a clip of a boat rocking on a The role of each of the points in 2-point stabilizing is
rough sea. You want to track several different the same as in 2-point tracking:
elements onto the boat (a life raft, some driftwood, a
life saver, a buoy, a bird on top of the buoy, etc.). But • In rotation, the first point indicates the pivot point
in the current shot there is too much movement to of the rotation and the second indicates the arc of the
get a good track. To accomplish this, you need to rotation.
stabilize the clip, track the elements to the stabilized • In scaling, the changing distance between the two
scene, then invert the stabilize data so that the orig- center points of the two reference boxes is used to
inal motion of the clip is untouched. calculate the scaling.
To stabilize, track, then re-establish the original As in tracking, when you choose to stabilize combi-
motion of the shot: nations of position, scale, and rotation
1. Perform 1-point stabilizing (see “To perform 1- simultaneously, the roles of each of the points are
point stabilizing:” on page 401). Be sure to leave the additive:

17 The Tracker
• If you track both scale and rotation, the first point 3. Click the Stabilize Point 1 Pick button, or use the
indicates the pivot point of the rotation, the second explicit X and Y value boxes to place the crosshairs.
indicates the arc of the rotation, and the distance be- 4. Click in the viewport over a point which repre-
tween the two indicates the scaling changes. sents the motion(s) you want to eliminate. This
point is also at the center of your reference feature.
• If you track position at the same time, the first point
also indicates the vertical and/or horizontal motion 5. On the Stabilize 2 Points panel, set the Mode,
you want to eliminate. Borders, and Border Color options.
On the Stabilize 2 Points panel, select the type of
When you track scale, choose two reference features
motion that you want to remove from the clip: Posi-
that are at the same Z-depth throughout the shot.
tion, Scale, and/or Rotation. You must choose the
For example, if you have two rows of trees lining a
same combination for both points.
driveway, choose two trees at about the same Z-
depth (distance away from camera). 6. On the Tracker panel, click the Position button.
In the viewport, a tracker box appears, centered over
When you track rotation, choose two reference
the Stabilize 1 Point crosshairs.
features that are as far as possible from each other.
This gives the Tracker the maximum amount of 7. Reposition the reference box of the Tracker if
"roll" to analyze and correct. necessary.
• When you do 2-point stabilizing, each of the two 8. On the Tracker panel, set the options for Mode,
reference features stays fixed throughout the stabi- Position, Type, and Tolerance.
lized clip. That is, if you are stabilizing scaling, the 9. Click one of the Analyze buttons on the Tracker
scaling change is eliminated. If you are stabilizing ro- panel to start the analysis.
tation, the rotation is eliminated. The first reference feature is tracked and the clip is
stabilized “live”, and the inverted shift values are
Note: Two-point stabilizing is done one point at a
written to the Stabilize channel in the Timeline.
time. This procedure is written so that you do not
need to repeat steps 3-9 twice. Perform the entire 10. Click the Stabilize Point 2 Pick button to activate
procedure once. the second crosshairs. The button turns yellow.
To stabilize position, scale, and/or rotation: Point 2 crosshairs appear in the viewport.
1. Determine a good reference frame and position 11. Click in the viewport over the area you want to
the clip at that frame. stabilize. This point is roughly where you want the
center of your reference feature.
▲ Make sure that Animate is on for the entire
stabilizing process. Stabilizing will not work with 12. Reposition the crosshairs in the viewport if nec-
Animate off, as the Position channels will be locked essary.
in the Timeline and Combustion will be unable to 13. On the Tracker panel, click the Position button.
write the stabilize information to them.
In the viewport, a tracker box appears, centered over
2. Choose Operators | Stabilize | Stabilize 2 Points. the Stabilize Point 2 effect crosshairs.
The Stabilize 2 Points panel appears. Do not close
14. Reposition the reference box of the Tracker if
this panel until you have completed all of the steps necessary.
outlined in this procedure.

15. Click one of the Analyze buttons on the Tracker

panel to start the analysis.
The second reference feature is tracked and the data
applied to the Stabilize 2 Points object in the
Timeline.
Point 2 is tracked
and stabilized after
point 1. Each of the
2 points is stabilized
individually
16. Replay the clip. The unwanted motion is now

eliminated.
Erasing Bad Keyframes

You can erase bad keyframes in one of two ways:
• Press the BACKSPACE key to back up through the
analysis.
• Use the Frame controls or the time slider to scrub

backward or forward through the analysis.

17 The Tracker
Advanced Tracking Techniques tions the tracker box. It extrapolates the likely posi-
The tracker box sometimes loses its reference feature tion of the reference feature based on the amount
during the analysis. This is because in most clips it is and direction of the motion that occurred between
rare to have reference features that move predictably, the last two frames. The Tracker makes an “educated
remain visible, and do not change their appearance guess” of where the feature may be, based on having
during the clip. noted past matches.
By understanding how the Tracker analyzes the Note: This strategy means the Tracker works best
information in your clip you can predict the when the motion of the reference feature is regular
Tracker’s behavior and obtain the results that you and does not suddenly or erratically change direc-
tion or speed.
want. You can also observe the Tracker data in the
Timeline to troubleshoot a difficult track. Finally, Once the Tracker has analyzed the motion of the
there are a number of simple strategies you can use reference feature, and stored it as Shift values for
when the Tracker “loses” its reference feature. each frame:
• The Tracker copies the motion of the reference fea-

How the Tracker Works ture to the element that you are tracking, so that the
The Tracker first tracks motion of the reference two appear locked together.
feature(s), then applies or inverts that motion,
depending on if you are tracking or stabilizing. In all tracking except for stabilizing, the Tracker
applies the shift values without modification.
Once you have set up your Trackers, the analysis can
begin. This is how the Tracker analyzes and “remem- With stabilizing, the Tracker inverts the shift values,
bers” the motion of the reference feature: resulting in a negation (and therefore elimination)
of the motion. See “Stabilizing” on page 399 for a full
• The Tracker stores the position of the Reference discussion of this.
box on frame 1.
• The Tracker advances to the next frame and posi- Tracker Data
tions the tracker box in the same place as in the pre- Tracker data contains information about the
vious frame. Trackers and their frame-to-frame movements
• It searches the tracker box for an area that matches during the analysis. This data appears in the Time-
the contents of the reference box. The Tracker uses line Tracker category when you add a Tracker.
luma cues (white versus black) and shape cues to de- This data is used to apply motion to the element that
termine what is a match. you are tracking. When you turn off the Tracker, the
• Once it finds a match, the Tracker uses the location data is no longer needed and the Tracker category is
of the match to move the center of the tracker box removed from the Timeline.
over the center of the match. This change in position The tracker folder contains a Reference folder, a
is stored as an X and Y shift value. Track folder, a Shift folder, and a Tolerance channel
• On the next frame, and on all future frames, the The Reference folder contains channels for the posi-
Tracker gets a little "smarter" about where it position of the reference box, its width, its height, and its

Advanced Tracking Techniques ❚❘❘
Footage with Tracker data applied Tracker keyframes in Timeline
type (see “Reference” on page 386 for an explana- Tracking Strategies

tion of type). It also contains delta x and delta y In most of these strategies, you pause the analysis
channels. and then return to a previous frame, erasing bad
The Track folder contains channels for the position keyframes as you go.
of the center of the tracker box, its width, and its Use this When:
height. strategy:
The Shift folder contains channels for the X and Y Change the The Tracker loses its reference fea-
shift values, and a channel for confidence. Confi- reference feature early on in the analysis.
dence is a measure of how much confidence the ture For example, the chosen reference
Tracker has in the match it finds. feature moves too unpredictably
and abruptly. See “Changing the
Shift values are a value, in pixels, of how much the Reference Feature” on page 409.
reference feature has moved. The shift values are an Adjust the The reference feature moves out-
(x,y) pair, expressing the motion of the reference size of the side of the tracker box from frame
feature between two frames. tracker box to frame, but the motion of the ref-
erence feature is predictable.
You can watch the shift values update dynamically as For example, a child on a see-saw.
the track progresses to help you gauge how steady See “Adjusting the Size of the
the track is. Tracker Box” on page 409.
Adjust toler- The reference feature is hidden by
To watch the shift values dynamically update: ance another object for several frames
1. In the Timeline, open the folder(s) for the Track- and it does not change direction
er(s) you want to monitor. while it is hidden.
For example, a car passing behind
2. Start tracking and note how the shift values up- a tree. See “Adjusting Tolerance”
date as you track. on page 409.

17 The Tracker
Use this When: Use this When:

strategy: strategy:
Use a roam- The appearance of the reference Continue the The reference feature moves off
ing reference feature gradually changes as the analysis with the frame before the end of the
box clip advances. a different clip.
For example, a dramatic lighten- reference fea- The reference feature changes to
ing or darkening of the reference ture such a degree it is no longer us-
feature takes place. See “Using a able.
Roaming Reference Box” on page For example, an extreme zoom
411. where the first and last frames
Snap to up- The appearance of the reference have almost nothing (except per-
date the ref- feature changes suddenly one or haps a central point) in common.
erence box more times in the clip. See “Continuing the Analysis with
a Different Reference Feature” on
For example, a bird flaps its wings,
page 412.
then folds them. See “Snapping to
Update the Reference Box” on Analyze back- The feature you want to track
page 411. ward grows larger or is off screen at the
beginning of the clip.
Apply an ef- The quality of the reference fea-
fect before ture is too poor for the Tracker to For example, all of your required
tracking track it. reference features may not be visi-
ble on the first frame. Tracking
For example, you can produce a
backwards helps in many cases.
high-contrast version of the clip
See “Analyzing Backward” on
using the Color Corrector, track
page 412.
the reference feature in this ver-
sion, and then apply the motion to Edit the A portion of the clip cannot be
the original clip. See “Using a Tracker’s path tracked, or an adequate track can-
“Dummy” Clip to Ease Tracking” manually not be "locked down".
on page 411. For example, one or two bad key-
Delete bad The Tracker is setting incorrect frames are throwing off your track.
keyframes keyframes and the motion of the Edit or remove these keyframes
and let the reference feature is sufficiently manually. See “Editing the Track-
Tracker inter- predictable for the Tracker to in- er’s Path” on page 412.
polate terpolate between two good key- Analyze one The Tracker should be checked on
frames. frame at a each frame.
For example, find the last good time For example, very intricate tracks
keyframe and the next good key- where extreme precision is re-
frame, removing all bad keyframes quired, such as tracking blue eyes
in between them, and letting the onto a brown-eyed actor. See “An-
Tracker interpolate between the alyzing one Frame at a Time or
two good keyframes. See “Delet- Tracking Manually” on page 413.
ing Bad Keyframes and Letting the
Tracker Interpolate” on page 411.

Note: Processing time increases as the size of the

Use this When:
tracker box increases.
strategy:
Track manu- The reference feature is hidden by To adjust the size of the tracker box:
ally another object for several frames,
1. Pause the analysis.
and its motion is not predictable.
The reference feature moves out- 2. Return to the first frame before the Tracker lost
side the range of the tracker box its reference feature.
and its motion is not predictable.
See “Analyzing one Frame at a 3. Increase the size of the tracker box to prevent the
Time or Tracking Manually” on Tracker from losing its reference feature. See “Posi-
page 413. tioning the Reference and Tracker Boxes” on page
391.
Changing the Reference Feature 4. Restart the analysis.

Change the reference feature and reset the Tracker
when the Tracker loses its reference feature early in Adjusting Tolerance
the analysis and there is a better reference feature Reduce the tolerance value if the reference feature
you can use. becomes hidden by another object for several frames
and does not change direction during that time. This
To change the reference feature: prevents the Tracker from setting incorrect
1. Pause the analysis. keyframes while the reference feature is hidden.
2. Return to the reference frame. Adjusting the tolerance value can prevent or reduce
3. Click the Reset Tracker button on the Tracker the need to track manually.
panel. See “Reset Tracker(s)” on page 389 for more This strategy works best when the frame-to-frame
information.
motion of the reference feature (while it is hidden)
4. Position the Tracker over the new reference fea- has the same direction and speed as the frame-to-
ture. frame motion it had just before it became hidden.
5. Restart the analysis. The Tracker can extrapolate likely future locations of
the reference feature while it is out of view. The posi-
Adjusting the Size of the Tracker Box tion of the tracker box may then coincide with the
Adjust the size of the tracker box if the reference position of the reference feature when it reappears.
feature moves outside the tracker box, causing the While the Tracker is a "smart" tool, it can only do
Tracker to lose the reference feature and set incorrect this for short periods of time and with good refer-
keyframes. ence features.
Although you can manually correct these For example, say in your clip a truck enters from the
keyframes, it is easier to make the tracker box large left. After several frames it enters a tunnel, stays in
enough to accommodate the motion of the reference the tunnel for several frames and then exits the
feature and restart the analysis. tunnel on the right. You use the headlight on the
truck as a reference feature. You pause the analysis as

17 The Tracker
the headlight enters the tunnel, adjust the tolerance frame in which the headlight is visible. Use the BACK-
until the Tracker cannot find a match, and then SPACE key to back up if you advance too far.
restart the analysis. When the headlight reappears,
the tracker box is positioned over it, the Tracker
finds a match, sets a keyframe, and continues
tracking.
Note: Tolerance is "animatable". That is, you can

change the tolerance value at different points
during the analysis.
To adjust tolerance:
1. Analyze the clip with the default tolerance value.
2. Pause the analysis when the Tracker loses its ref- Lower the tolerance value until the diagonals disap-
erence feature. pear from the tracker box or the display in the
3. Return to the frame where the reference feature Preview is blank, indicating there is no match found
is first hidden by another object. in the current frame. This adjustment prevents the
4. On the Tracker panel, reduce the tolerance value
Tracker from finding a match and setting keyframes
until the two diagonals in the tracker box disappear. as the van passes behind the tree.
The two diagonals indicate that a keyframe was set. The Tracker uses the motion of the headlight up to
5. Restart the analysis. this point to predict where to place the tracker box in
The analysis resumes. No keyframes are set while the the next frames.
reference feature is hidden. The Tracker extrapolates Use the button to advance the clip one frame at
the estimated position of the reference feature until a time until the headlight emerges on the other side
it reappears. of the tree. No keyframes are set as you advance now.
When the headlight emerges on the other side of the

Example of Adjusting Tolerance frame, the tracker box is where it should be on the
In this case, just as the van approaches the tree, stop reference feature.
the analysis. Advance the analysis one frame at a
time using the button until you reach the last

Using a Roaming Reference Box The reference box moves inside the tracker box and
Use a roaming reference box when the reference its contents are updated with the match found inside
feature changes gradually from the first frame to the the tracker box.
last frame in the clip, for example, if the reference 4. Restart the analysis.
feature is gradually rotating or changing size or
The analysis resumes, using the updated contents of
shape.
the reference box.
To use a roaming reference box:
1. In the viewport, select the reference box(es) that Using a “Dummy” Clip to Ease
you want to set to roaming. Tracking
Use a “dummy” clip to make the reference feature(s)
2. On the Tracker panel, select Roaming from the
Type list. easier to track. Once the tracking is complete with
your “good” tracking data, you remove the effect by
The reference box(es) will be updated at each frame
deleting it from the composite in the Timeline.
with the contents of the match found in the frame. In
other words, the Tracker will always look for a match For example, if the reference feature does not have
of the reference feature from the previous frame. enough contrast, you might use the Color Corrector
to increase the contrast. Or you might apply an
Note: If you later switch from Roaming back to emboss effect.
Fixed, the Tracker updates the "Fixed" contents
with the last Roaming reference feature. For more information on applying effects, see
“Applying Operators” on page 107.
Snapping to Update the Reference
Box To apply an effect to create the “dummy” clip:
Use the Snap button when the appearance of the 1. Choose an effect from the Effects menu.
reference feature changes suddenly at one or more 2. Apply the effect to the clip.
points in the clip. The Snap button updates the refer-
3. Set up the Tracker and start the analysis on the
ence feature with the match found in the current
altered version of the clip.
frame.
4. When the tracking is complete, remove the effect
For example, you might use the Snap button in a clip from the clip.
where a bouncing popcorn kernel pops, resulting in
a completely different shape.
Deleting Bad Keyframes and Letting
To snap to update the reference box: the Tracker Interpolate
When the motion is regular between keyframes, you
1. Pause the analysis when the Tracker loses its ref-
can delete bad keyframes and let the Tracker inter-
erence feature.
polate the motion between two good keyframes.
2. Return to the last good keyframe.
3. On the Tracker panel, click the Snap button.

17 The Tracker
To delete bad keyframes and let the Tracker To continue the analysis with a different reference
interpolate: feature:
1. Pause the analysis when the Tracker loses its ref- 1. Pause the analysis when the Tracker loses its ref-
erence feature. erence feature.
2. Use the BACKSPACE key to return to the last good 2. Return to the last good keyframe. This frame
frame. This deletes the bad keyframes. must contain both the current reference feature and
the intended new one.
3. Use either the Frame controls or the time slider
in the Timeline to go to the next frame where the ref- 3. Select the reference box and drag it to the new
erence feature is clearly visible. Restart the analysis reference feature.
on this frame (or a later one) until you get a good
4. Restart the analysis.
keyframe.
The Tracker interpolates the motion (indicated by a
Analyzing Backward
simple straight line, meaning no keyframes)
Analyze the clip backward when the reference
between the last and next good keyframes. This
feature grows larger or smaller (change Type to
works best with a few frames, and would not be
Roaming) or when it is off screen at the beginning of
appropriate for long sequences, as the interpolation
the clip.
is linear.
Note: You cannot analyze backward if you need to
change or snap the reference box.
Continuing the Analysis with a
Different Reference Feature To analyze backward:
You can continue the analysis with a different refer-
1. Use the Frame controls or the time slider in the
ence feature if the one you are tracking moves out of
Timeline to go to the last frame of the clip.
the frame or changes to such a degree it is no longer
usable as a reference feature. 2. Position the reference and tracker boxes.
The Tracker uses the offset between the old and new 3. On the Tracker panel, click the button to
start the analysis backward.
reference features to calculate the shift values of the
old reference feature.
Editing the Tracker’s Path
That is, it locates the new reference feature and, from Edit the path of a Tracker when you need to adjust
its location, determines where the old reference box the motion applied to the object.
would be located. It then calculates the shift values
for the old reference box and uses these to complete To edit the path of a Tracker:
the track.
1. Make sure Show Paths is enabled.
2. In the viewport, click and drag on one of the
keyframes on the Tracker’s motion path.
The motion path is updated accordingly.

Importing and Exporting Tracker Data ❚❘❘
Note: You may have to zoom in or hide boxes to be The Tracker uses the positions you set manually for
able to select only the element or elements you the tracker box when the analysis progresses
want to manipulate. through these frames.
Analyzing one Frame at a Time or

Tracking Manually Importing and Exporting
Track manually when the reference feature is hidden Tracker Data
by another object for several frames and its motion You can reuse tracker data:
is not predictable, or when the reference feature
• within a Combustion project,
moves outside the range of the tracker box and its
motion is not predictable. • across Combustion projects,
If possible, set Type to Fixed when you track manu- • across other Discreet Advanced Systems (effect*
ally. The small errors you introduce when you option 3, flint*, flame*, inferno*, smoke*, and fire*)
position the tracker box manually are compounded projects.
when Type is set to Roaming.
See also, “Moving Tracker Data Between Work-
To analyze one frame at a time: spaces or Channels” on page 414, and “Reading
Tracker Data as an ASCII File” on page 415.
On the Tracker panel, click the button or the
button to analyze a single frame and advance to the Within the same Combustion project, you can reuse
next frame. tracker data to apply the same motion to a second
array of objects. For example, you have data from
To track manually: tracking a school of fish that you want to apply to a
1. Pause the analysis when the Tracker loses its ref- flock of birds.
erence feature.
Across Combustion projects, you can reuse tracker
2. Press the BACKSPACE key to delete bad key- data when you have a static shot to which you want
frames, until you return to the last good keyframe. to add organic motion from another project. For
3. Position the tracker box manually over the refer- example, if you wanted to give a “shakycam” feel to a
ence feature. Make sure the tolerance value is set so a “locked-off” shot, you could apply random organic
keyframe is set for the frame. motion to the static shot.
4. Use the Frame controls or the time slider in the
Note: It is frequently helpful to have a “stock
Timeline to go to the next frame where the reference library” of organic tracking data saved, as many
feature is visible. computer-generated or assisted shots can have a
5. Repeat steps 3 and 4 until the motion of the ref- “sterile” feel, and therefore benefit from having
erence feature becomes predictable enough for the organic motion added.
Tracker to track without manual intervention.
You can also export Tracker data for use in Discreet’s
6. Restart the analysis. advanced systems products. For example, say you
need to track a new label onto an object for several
minutes of a clip. You have limited access to fire*.

17 The Tracker
You generate the tracking data in Combustion. You object or property. If there are a different number of
then load the background clip and the new label, and Trackers active than are contained in the setup file,
use control point tracking to have the new label the software will warn you of this before you import,
follow the corners of the object in the clip. Then you and attempt to use the first available Trackers.
export the tracking data from Combustion. You load
the clip, the logo, and import the tracking data into Shift Data — Import only the saved Shift channel
fire*. You can then re-apply the tracking data in data from another combustion* project. (This
fire*. option is not available if no Tracker data is present.)
Use this option to use the tracked keyframes relative
to the new object(s) and tracker boxes - the tracker
Moving Tracker Data Between
keyframes will appear relative to the currently active
Workspaces or Channels
tracker box. If multiple Trackers are selected, the
You can use the Import Data and Export Data
save dialog will ask you to save the shift data of each
options on the Tracker panel to move Tracker data
Tracker separately. When importing shift channels,
from another project to the current one within
the data is applied to the currently selected tracker
combustion*.
box.
To apply the data from another object:
Track — Save only the generated Track channel data
1. On the Tracker panel click Import. The follow- (this option will not be available if no Tracker data is
ing dialog box appears.
present). Use this option if you wish to use the track
keyframes in their original (absolute) positions. If
multiple Trackers are selected, the save dialog will
ask you to save the track data of each Tracker sepa-
2. Have the appropriate objects or channels select- rately. When importing track channels, the data is
ed.
applied to the currently selected tracker box.
3. You have the following choices:
Copying Shift Channels
You can copy a Shift channel and paste it onto any
other channel in the Timeline. For example, you can
paste a Shift channel to a position channel, or to the
XY coordinates of a ripple effect. This can create
some fun effects where the effect mimics the move-
ment over time of your original reference feature.
To copy a Shift channel:

IFF Setup — Import all Tracker information (from 1. Select the channel.
one of Discreet’s SGI-based products) currently
2. Press CTRL+C to copy the channel.
available into one file, including the position, width
and height of Trackers, shift data, and Tracker data. 3. Select the channel to which you want to copy the
Use this option to recreate a track exactly on another shift data.

Importing and Exporting Tracker Data ❚❘❘
4. Click in the keyframe area of the Timeline and these are relative coordinate values. Both the
then press CTRL+V to paste the Shift channel onto the tracking values and the shift values are formatted as
selected channel. For more information, on using follows: frame #: X position, Y position.
the Timeline, see Chapter 8, “Keyframing.
The shift channel is copied to the selected channel.
Reading Tracker Data as an ASCII File

If you require your Tracker data in plain ASCII
format (plain text lines and numbers that may be
compatible with other 2D/3D packages) for use with
another application, the procedure is very simple.
To re-use Tracker data from as ASCII file:

1. Export the Tracker information to an obvious
place, like the desktop. The file will have a .track ex-
tension.
2. Open it, using Wordpad or another word pro-
cessing software that reads and saves .txt files, and
re-save it as .txt.
Choosing What to Export

Import or export shift or track channels to save data
that can be used with any tracker system that
imports keyframe data as text files.
Depending on how much information you require,
you can export any or all of the following data types.
Tracking Data — The tracking data specifies the X

and Y position of the tracker box in relation to the
origin point of the image; these are absolute coordi-
nate values. The origin point has coordinates (0,0),
and is located at the bottom left corner of the image.
Note that if the position of the reference box is
changed during the analysis, the offset is compen-
sated for and the exported tracking data still shows a
continuous Tracker path.
Shift Data — The shift data specifies the difference

between the position of the reference box (0,0) and
the position of the tracker box in the current frame;

17 The Tracker

18Camera Controls
With Combustion’s camera
as the “eye in the sky”, you

a
can animate fly-throughs,
pans, dollies, rolls, and
craneshots. Matchmoving
et
and the ability to work with
3D Studio MAX and RLA
files make this a robust and
indispensable tool.
B

18 Camera Controls
Summary To access the Camera controls:

This chapter explains: 1. Select a composite in the Workspace panel.
• “About Cameras” on page 418 2. Do one of the following:
• “The Camera Interface” on page 418 • On the Object panel, select the camera from the
Current list.
• “Changing to Camera View” on page 419
• “Using Cameras” on page 421
• “Locking Layers to the Background” on page 424

• “Using Camera Animation in 3D Studio MAX RLA
Files” on page 425
• Click the camera icon in a viewport, if you are in
Perspective view.
About Cameras
You use cameras to define and “record” your view-
point for rendering. To look “through” the camera,
set the viewport to Camera view.
The camera behaves like any other object in a 3D

composite. You can move and rotate the camera to
view your composite from a different angle without
disturbing the elements within. For example, to see
the composite from the top, move the camera above Note: If you cannot see the camera icon in the
the objects, and rotate it to point down. You can current viewport, choose Window | Zoom Out (or
keyframe the camera to animate the viewpoint of a press CRTL + -) until the camera icon is visible. For
more information, see “Changing the Zoom
composite or to produce cinematic effects such as
dollies and truck shots.
• Select the camera in the Timeline.
Note: Render the composite in Camera view to
render the Camera’s viewpoint. For information,
see Chapter 21, “Rendering.”
The Camera Interface

This section briefly describes all the Camera
controls available in Combustion. It is intended as a
quick reference for those who are familiar with using
cameras in their workspaces. Learn more about how
to use these controls further on in the chapter.

Changing to Camera View ❚❘❘
3. Click the Camera button in the Operator Con- from 3D Studio MAX, you can also control how to
trols panel. use the file’s camera animation information.
The Camera controls appear.
Field of View — Controls the amount of space
You can turn the camera off to hide the icon in the
visible through the camera. The greater the field of
composite. Turning a camera off does not delete it or
view, the farther away the scene appears.
change its properties.
Focal Length — Sets the distance of the focal
To turn the camera off:
point. As the focal length increases, the field of view
Click the camera icon next to the name of the decreases. and vice versa.
camera in the Timeline.
Stock Lenses — Provides several standard focal
The icon is yellow when the camera is on, and gray
lengths. Click a button to set the focal length and
when it is off.
field of view.
RLA Transform Layer — Selects the layer whose

camera animation you want to use. For more infor-
mation, see “Using Camera Animation in 3D Studio
MAX RLA Files” on page 425.
Camera is off Changing to Camera View

When setting up your camera shots, you can switch
between Camera view, Perspective view, and the
Camera Controls orthographic views as needed. Use Camera view to
These controls determine the properties of the
camera “lens”. If you imported an RPF or RLA file
The Camera Controls

18 Camera Controls
view the composite through the camera lens. In this When the camera is selected, the icon changes to
view, you cannot see the camera itself. display the camera’s field of view, focal length, and
pivot point.
Camera
unselected
Camera
selected
Use Perspective view to see the position and orienta-

tion of the camera in the composite, but not the
camera’s point of view.
Focal Length Pivot Point
Note: If you cannot see the camera icon in the

current viewport, choose Window | Zoom Out (or
press CRTL + -) until the camera icon is visible.
The current view is saved with the workspace and

restored the next time you open the file.
For more information about the other views avail-

able, see “Changing Views” on page 30.

Using Cameras ❚❘❘
To change to Camera view: To select a camera:

Right-click (Windows) or CTRL+right-click (Macin- 1. Select a composite.
tosh) in a viewport and choose Camera from the 2. Do one of the following:
context menu that appears.
• On the Object panel, select Camera from the Cur-
rent list.
• Click the camera icon in a viewport, if you are in

Perspective view.
Note: If you cannot see the camera icon in the

current viewport, choose Window | Zoom Out (or
press CRTL + -) until the camera icon is visible. For
more information, see “Changing the Zoom
• Select Camera in the Timeline.

The selected camera is the current object. You can
now move and rotate it.
Moving and Rotating Cameras

You move and rotate cameras to set up your view-
point. Click Animate, go to a different frame, and
then move the camera to set a keyframe. By
changing the camera position on several frames, you
can animate the viewpoint of your composite. For
more information on keyframing, see “Creating
Animations” on page 171.
The selected viewport displays the Camera view.
To move the camera:
1. Select the camera.
Using Cameras
When you create a new composite, a camera is 2. To use the Transform controls to set explicit val-
created automatically. You can move the camera ues for the Camera position, click the Transform
anywhere in your scene, animate it, change its lens button and adjust the required values.
properties, and even lock it to a specific target. 3. To drag the camera to the required position in a
viewport, click the Arrow tool on the Toolbar.
Selecting Cameras 4. To constrain the movement to one or more axes,
Before you can move or rotate a camera or change it’s enable the required X, Y, and Z icons on the Toolbar.
properties, you must first select it. Selecting a
camera makes it the current object.

18 Camera Controls
If you are in Perspective view, the camera icon moves To target the camera:
to the new position. In Camera view, the active view- 1. Select the camera. For more information, see
port displays the new viewpoint. “Selecting Cameras” on page 421.
To rotate the camera:

ues for the Camera rotation, click the Transform
button and adjust the required values.
3. To drag the camera to the required rotation in a 2. In the Object panel, select the object that you
viewport, click the Rotate tool on the Toolbar. want to set as the target from the Target list, or click
the Pick button and select the object in a viewport.
enable the required X, Y, and Z icons on the Toolbar.
If you are in Perspective view, the camera icon moves
to the new position. In Camera view, the active view-
port displays the new viewpoint.
Targeting the Camera

You can target the camera to an object or a layer to
make the camera point at that object no matter
where it is in 3D space. Once you have set a target,
the camera rotates to point at the target if it, or the
target, moves. This can be very useful for creating
walkthroughs and other animations. The camera is targeted to the selected object. When
you move the target, the camera rotates to point at it.
You can also create a null object which you can use as
the camera target. Null objects are not rendered in
the final composite. For more information, see Modifying the Camera Lens
“Targeting to a Null Object” on page 424. Use the Camera controls to simulate physical camera
controls such as aperture width, lens type, focal
length, and field of view. Use the sliders to adjust the
different camera settings, or click a Stock Lens
button to use standard camera settings. As you
adjust the camera settings, the camera icon is
updated in the viewport.

Using Cameras ❚❘❘
Animating Cameras 2. Move and rotate Layer 2 so that it is at a right an-

As with any object in Combustion, you can adjust gle to Layer 1. The left edge of Layer 2 should be
and animate the camera position, rotation, scale, aligned with the right edge of Layer 1.
shear, and pivot point.
Use the tools on the Toolbar to modify these proper-

ties, or set explicit values using the Transform
controls. To access the Transform controls, select the
camera and then click Transform on the Operator
Controls panel. Click and drag a field to increase or
decrease its value. Click once to type a value, or
double-click to use the calculator.
For example, you can animate a camera’s position
and rotation to change its focus from one layer to
another. 3. Right-click in a viewport and choose Camera to
switch to Camera view.
For detailed information on keyframing, see
“Creating Animations” on page 171. 4. Select the camera.
5. In the first frame of the composite, position and
To animate a transition using the camera: rotate the camera so that Layer 1 completely fills the
1. In an empty composite, import two layers. In view.
this example, the following layers are used. This sets a keyframe at the first frame.
6. Go to the last frame in the composite.
7. Position and rotate the camera so that Layer 2
fills the view.
This sets another keyframe at the last frame. The
position and rotation of the camera for each of the
frames in-between is calculated automatically using
interpolation.
Note: Make sure your composite has a duration of

at least 30 frames.

18 Camera Controls
The view that you have recorded with the camera A null object is added at coordinates 0, 0, 0.
now transitions from Layer 1 to Layer 2.

4. In the Object panel, choose the null object from
the Target list.
Targeting to a Null Object

A null object is an invisible object; it has no pixel
information or dimensions, and is not rendered in
the final output. You can create a null object to use as You can now move the null object. If necessary, the
the camera target. The camera will then focus on the camera changes rotation to point at it.
null object wherever you may move it in 3D space.
If you create multiple null objects, Combustion Locking Layers to the

appends an increasing number (in parenthesis) to
Background
the name of each. For example, if you create three Lock a layer to the camera to prevent it from
new null objects, they are named Null Object (1), changing perspective when you move the camera.
Null Object(2), and Null Object(3), by default. You This is useful when you have footage with real
can rename them at any time in the Objects panel. camera motion and you want to composite elements
into the footage and “matchmove” the virtual
To target to a null object:
camera to the real one. In this case, lock the original
1. Select the composite. footage to the background and the camera so that it
2. Choose Object | New | Null Object. does not change perspective. Any other footage you

Using Camera Animation in 3D Studio MAX RLA Files ❚❘❘
import into the composite changes perspective and field of view is stored in the RPF or RLA file
normally when you move or rotate the camera. format. When you import the RLA or RPF file into
Combustion, you can use this camera data to control
To lock a layer to the camera and background: the camera in your workspace. For more informa-
1. Select the layer. tion, see “Using 3D Studio MAX Camera Data in
Combustion” on page 506.
2. In the Layer controls, select Background Depth
Order.
The layer always appears behind other objects

(unless they are also locked to the background).
3. Enable Lock Orientation.
The layer always appears perpendicular to the

current viewpoint.
Using Camera Animation in 3D

Studio MAX RLA Files
When you render a scene in 3D Studio MAX,
camera data such as (X, Y, Z) position, direction,

18 Camera Controls

19Adding Lighting Effects
Use Combustion’s lights to
add mood, color,

a
dimension, and
authenticity to your
composites. You have the

et
lighting tools to re-create
realistic effects or build a
fantasy world.
B

19 Adding Lighting Effects
Summary Ambient Light and Source Light

This chapter explains: There are two possible kinds of light in a composi-
tion: ambient and source. Ambient light is a constant
• “About Lighting” on page 428
amount of light that is added to every surface and
• “The Lighting Interface” on page 429 has no defined origin. For example, the overhead
lighting in an office generally contributes to the level
• “Displaying Light in a Composition” on page 431
of ambient light.
• “Using Ambient Light” on page 431
Source light is the light that comes from a controlled
• “Using Source Lights” on page 434 light source. For example, camera flashes and spot-
lights are source lights.
You can modify the properties of lights and animate

About Lighting
them over time. You can move, rotate, copy, and
You can use lighting to add realistic effects and
paste source lights, target them to layers, and parent
texture to your compositions. The Combustion
them to create groups of lights.
lighting controls are versatile and completely
keyframeable. There are three types of source lights: Distant, Point,
and Spot.
When Combustion light strikes an layer it is
reflected and refracted, and it casts shadows in the
Distant Light
scene. The effect that light has on a layer depends on
Distant source lights project light onto objects as if
the surface characteristics of the layer as much as it
from an infinite distance. For example, use distant
depends on the type, color, and intensity of the light.
light to simulate sunlight or moonlight. Because the
For example, the behavior of light depends on the distant light strikes all objects simultaneously, the
opacity, luminosity, and specular level of the layer it composition appears evenly lit.
strikes—just as real-world light striking a shiny
The icon for a distant light is a star with rays radi-
metal surface has a different effect from that striking
ating from it.
a rough wooden surface.
You can keyframe all the properties of a light, as well

as the surface characteristics of layers, to create
dramatic lighting effects. For example, you can
animate highlights across the surface of an object by
Distant light icon
animating the position of the light and the specular
level of the object. You can also control how a nearby
Point Light
light spreads across the surface of an object by
Point source lights project light onto objects as if
adjusting the diffuse level of the object.
from a lamp that projects in all directions. Point
Note: For more information on changing the lights shade the surfaces of objects and the intensity
surface properties of layers, see Chapter 5, “Surface decreases with distance. Use a point light to simulate
Properties.”

The Lighting Interface ❚❘❘
a candle or light bulb. For example, the illustration The icon for a spotlight is a cone. The cone repre-
below shows the effect of point lights on an image. sents the width and direction of the beam of light
projected by the spotlight.
Spot light icon
The Lighting Interface

The icon for a point light is the same as that of a This section briefly describes all the Light controls
distant light: a star with rays radiating from it. available in Combustion. It is intended as a quick
reference for those who are familiar with lighting
Spot Lights their compositions. Learn more about how to use
Spot source lights project light with a defined beam these controls further on in the chapter.
that is aimed in a particular direction. Spot lights
also shade the surfaces of layers in the composition, To access the Light controls:
but must be pointed at or near a layer in order for its 1. Select a composite.
effect to be visible. You can use spotlights to simulate
theater spotlights. For example, the illustration
below shows the effect of spotlights on an image. • Select a light from the Current list.
• Click a light icon in a viewport.
Note: If you cannot see the light icon in the current

viewport, choose Window | Zoom Out (or press
CRTL + -) until the camera icon is visible. For more
information, see “Changing the Zoom Factor” on
page 31.

• Select a light in the Timeline. Spot — Creates a spot light, which projects light
with a defined beam that is aimed in a specific
direction.
Intensity — Sets the amount of light emitted by a

source light.
Cone Angle — For spot lights, controls the size of

the beam of light.
Note: This option does not apply to the other light

types.
3. Click the Light button in the Composite Con-
trols panel. Soft Edge — For spotlights, controls the diffuse-
The Light controls appear. ness, or softness, of the beam edge.
Note: This option does not apply to the other light

Source Light Controls types.
These controls determine the way in which a source
light projects light, as well as the light color and Color — Sets the color of the projected light. The
intensity. color of a light is white (RGB 100%, 100%, 100%) by
default.
Distant — Creates a distant light, which projects
light onto objects as if from an infinite distance. Ambient Light Controls
These controls determine the color and intensity of
Point — Creates a point light, which projects light
the ambient light. Ambient light is a constant
in all directions from a single point.
amount of diffuse light in your composition.
The Light Controls

Source Light controls Ambient Light controls

Displaying Light in a Composition ❚❘❘
Ambient Intensity The Settings controls appear.

Sets the amount of ambient light in a composition.
Ambient Color
Sets the color of the ambient lighting in a composi-
tion. The ambient color is white (RGB 100%, 100%,
100%) by default.
Displaying Light in a
Composition
To view the lighting, you enable the Render Effects
options. They control the rendering of the lighting
Render Effects options
and surface effects in your composition. When you
move a light or change its properties of a light, 3. Enable the required Render Effects options.
Combustion renders the image and displays the
result in the viewports. When you create a new Enable: To:
composite, these options are disabled by default. Shading Turn on lights in the composition.
When you are not working on lighting effects, you Shadows View shadows cast by objects onto
should disable these features to improve display other objects in the composition.
performance. Reflections View reflections and highlights on
surfaces created by light bouncing
When you render a composition, these settings also
from one object to another.
determine which lighting and surface effects will be
rendered. For information, see Chapter 21, The lighting and surface effects appear in the
“Rendering.” viewports.
Note: For information on working with surface

effects, see Chapter 5, “Surface Properties.”
Using Ambient Light
To display the light in your composite: You can use ambient light to “wash out” or
completely darken the composition. Before adding
1. Select the composite whose lighting you want to
view. source lights to a composition, you should adjust the
color and intensity of the ambient light. However,
2. Click Settings.
you can change these settings at any time.
You can also keyframe the ambient light properties
to create realistic lighting effects. For information,
see “Creating Animations” on page 171.

Note: If you cannot see the lighting in your To change the ambient light color using exact
composition, make sure the Shading option in the values:
Settings controls is enabled. 1. Select the composite in the Workspace panel.
2. In the Timeline, expand the Global Settings and
Changing the Ambient Light Color Ambient Light Color folders.
When you create a new composition, the ambient
The Red, Green, and Blue channels are visible.
light color is set to white (RGB = 100%, 100%,
100%) by default. Change the color of ambient light
to give an overall “tint” to the composition.
You can change the ambient light color using the

Pick Color dialog in the Light Controls panel, or by
Ambient
setting exact values for the RGB channels in the Light color
Timeline. channels
To change the ambient light color using the Pick

Color dialog:
1. Select the composition and then select a light.
For information, see “Selecting Lights” on page 434. Note: You can also access these channels in the
2. Click the Composite Controls tab and click Workspace panel by choosing Show Operators
Light. And Properties from the menu.
The Light controls appear.
• Click the Ambient Color box, select a color from
the Pick Color dialog that appears, and then click
OK.
• Click the Ambient color picker and click in a view-

port to choose a color from your composite.
Ambient color picker
Ambient Color box
The ambient light color changes and the viewports

refresh to reflect the new color.

Using Ambient Light ❚❘❘
3. Click and drag the Red, Green, and Blue chan- 3. Drag the cursor in the Ambient Intensity field to
nels to change their values. increase or decrease the value, or click to type the re-
quired value.
Ambient
Intensity field
The viewports refresh automatically to reflect your

changes.
To change the ambient light intensity in the

Timeline:
1. Select the composite in the Workspace panel.
The ambient light color changes and the viewports 2. In the Timeline, expand the Global Settings
folder to view the Ambient Light Intensity channel.
refresh automatically to reflect the new color.
Setting Ambient Light Intensity

Intensity affects the overall illumination of the
composition. A high intensity causes the objects to
appear washed out. An intensity of 0% means that
no ambient light is added to the composition, and
unless other light sources are added, the composi-
tion is nearly black.
You can change the intensity of ambient light using
the Light controls or the Timeline.
Note: You can also access this channel in the Work-
space panel by choosing Show Operators And
To change the ambient light intensity in the
Operator Controls: Properties from the menu.
1. Select the composite and then select a light. For

information, see “Selecting Lights” on page 434.
2. Click the Composite Controls tab and click
Light.

3. Click and drag the Ambient Light Intensity Renaming Lights

channel to change its value. When you create a light, it is named “Light” by
The viewports refresh automatically to reflect your default. If you create multiple lights, Combustion
changes. appends an increasing number (in parenthesis) to
the name of each. For example, if you create three
new lights, they are named Light(1), Light(2), and
Using Source Lights Light(3), by default. You can rename your lights at
Source light is the light that comes from a controlled any time.
light source. You can add an unlimited number of
source lights to a composite, as well as change their To rename a light:
position and control their characteristics. All of the 1. Select a light from the Current list.
light properties are completely keyframeable.
2. Type a new name in the Name field.
There are three types of source lights: Distant, Point,
and Spot. To view the effect of lighting in your
composition, you must first make sure the Render
Effects options in the Settings controls are enabled.
For more information, see “Displaying Light in a
Composition” on page 431. 3. Press ENTER.
The name of the light is changed.
Creating and Deleting Lights
A new point light is automatically created when you Selecting Lights
create a composite. You can add as many lights to Before you can move or rotate a light, or change its
your composite as needed. type, you must first select it to make it the current
object.
To create a new light:
1. Select a composite. To select a light:
2. Choose Object | New | Light. 1. Select a composite.
A new light is added at the center of the composite 2. Do one of the following:
(coordinates 0, 0, 0). It is a white point light set to
• Select the light from the Current list.
100% intensity, by default.
3. Adjust the Light controls, as required.
To delete a light:
1. Select the composite.
2. Select the light.
3. Press the DELETE key (or choose Edit | Delete).
The light is removed from the composite.

Using Source Lights ❚❘❘
• Click the light icon in a viewport. You can position lights either by setting exact X, Y,
and Z coordinate values or by dragging the light in
Light icon
the viewports.
To move a light:
1. Select the light. See “Selecting Lights” on page
434.
ues for the position of the light, click the Transform
button and adjust the required values.
3. To drag the light to the required position in a
viewport, click the Arrow tool on the Toolbar.
• Select the light in the Timeline.

enable the required X, Y, and Z icons on the Toolbar.
The selected light is the current object. You can now If you are in Perspective view, the light icon moves to
move and rotate it, or change its properties in the the new position.
Light controls.
▲ Moving a spotlight does not change the rota-
tion of the spotlight cone. To point it at different
Moving Lights objects, you must rotate the spotlight.
Just like a layer or camera in a 3D composite, you can
move lights anywhere in your composite. You can To rotate a spotlight:
also rotate spotlights to point the beam at different 1. Select the light. See “Selecting Lights” on page
objects. 434.
When animating the composite, you can also target 2. To use the Transform controls to set explicit val-
lights to other objects. Targeting lights to objects is ues for the light’s rotation, click the Transform but-
ton and adjust the required values.
particularly effective when used with spotlights. For
information on targeting, see “Targeting a Light” on 3. To drag the light to the required rotation in a
page 436. viewport, click the Rotate tool on the Toolbar

and then drag the light in a viewport to point the To target a light:
cone in the required direction. 1. Select the light. For more information, see “Se-
4. To constrain the movement to one or more axes, lecting Lights” on page 434.
enable the required X, Y, and Z icons on the Toolbar. 2. Select the layer that you want to set as the target
from the Target list, or click the Pick button and se-
lect it in a viewport.
Targeting a Light
You can target a light to a layer to make the light
point at that layer no matter where it is in 3D space.
Once you have set a target, the light rotates to point
at the target if it, or the target, moves. This is partic-
ularly useful with spot lights and when creating
The light is targeted to the selected layer. When you
animations.
move the target, the light rotates to point at it.
You can also create a null object which you can use as
the light target. A null object is an invisible object; it To target to a null object:
has no pixel information or dimensions, and is not 1. Select the composite.
rendered in the final output. 2. Choose Object | New | Null Object.
A null object is added at coordinates 0, 0, 0.
Note: If you create multiple null objects, Combus-

tion appends an increasing number (in
parenthesis) to the name of each. For example, if
you create three new null objects, they are named

Using Source Lights ❚❘❘
Null Object (1), Null Object(2), and Null Object(3), To modify a light:
by default. You can rename them at any time.
1. Select the light. See “Selecting Lights” on page
3. Select the light. 434.
4. Choose the null object from the Target list. 2. Click Light in the Composite Controls panel.
3. To change the type of light, enable the Distant,
Point, or Spot button in the Light Type menu.
Note: If you choose Spot, you can also customize

the cone angle and edge softness of the light. For
more information, see “Modifying Spotlights” on
You can now move the null object. If necessary, the page 438.
light changes rotation to point at it.
4. To change the intensity of the light, drag the cur-
sor in the Intensity field to increase or decrease the
Modifying Lights value, or click to type the required value.
A newly-created light is, by default, a white point
light set to 100% intensity. You can customize the
type of light, as well as its color and intensity.
You can animate these properties to create lighting
effects in your composite. When you change a prop-
erty at different frames in the clip, Combustion sets
keyframes at each point and interpolates the prop-
erty change between them. For example, if you make
the light blue at frame 0 and red at the last frame, the 5. To change the light color, do one of the follow-
light gradually changes from red to blue when you ing:
play the clip. You can animate the intensity of a light
• Click the Color box, choose a color from the Pick
to make lights “flicker,” or change intensity slowly
over time. For more information on animating,
“Creating Animations” on page 171.

• Click the color picker and then click in a viewport 5. To create a spotlight with more diffuse, blurred
to choose a color from your composite. edges, increase the Soft Edge value by dragging the
cursor in the Soft Edge field (or click to type the re-
quired value).
The selected light is changed and the viewports

refresh automatically to reflect your changes.
Modifying Spotlights
Spotlights differ slightly from point and distant
lights in that they emit a beam of light in a specific
direction (rather than projecting light in all Note: These controls are disabled if the current
directions). light is not a spotlight.
You can customize the size of the beam using the The selected light is changed and the viewports
Cone Angle control and the diffuseness, or softness, refresh automatically to reflect your changes.
of the edge using the Soft Edge control.
Turning Lights On or Off
To modify a spotlight:
You can turn a light on to make it visible in the
1. Select the light. See “Selecting Lights” on page composite or turn it off to remove its effect from the
434.
composite. Turning a light off does not delete it or
2. Click Light in the Composite Controls panel. change its properties.
To turn a light on or off:
3. To adjust the angle of the cone of light, drag the
In the Timeline, click the light icon next to the name
cursor in the Cone Angle field, or click to type the
required value. of the light.
The icon is yellow when the light is on, and gray

when it is off.
Light is off
4. To create a spotlight with very hard, defined edg-
es, decrease the Soft Edge value by dragging the cur-
sor in the Soft Edge field (or click to type the
required value).

20Audio
The ability to import, slip,
synch, and render a scratch

a
track audio file, mono or
stereo, allows you more
flexibility and accuracy in

et
visualizing your scene. You
can synch character speech
or animate to the beat of
your audio.
B

20 Audio
Summary Supported Sampling Rates

This chapter explains: Combustion supports most audio sampling rates
and bit depths, with the exception of 24-bit. You can
• “About Combustion and Audio” on page 440
use 8- or 16-bit audio, and sampling rates from 1
• “Supported Sampling Rates” on page 440 Khz up to 48 Khz.
• “Audio and RAM” on page 440 Note: 44.1 Khz is considered standard, as this rate
• “The Audio Panel” on page 441 corresponds to CD sampling rates. 48 Khz is
frequently used with editing systems, such as
• “Loading Audio” on page 443 Discreet edit*, and is also the standard for DAT
recording.
• “Slipping Audio” on page 443
• “Linking Audio to Clips” on page 444

Audio and RAM
• “Audio Rendering and Options” on page 444 No modifications to your system’s configuration are
required to use audio with Combustion. Any system
that can handle video playback in Combustion
About Combustion and Audio should easily be able to handle a single mono or
With the scratch-track audio capabilities of stereo track of audio at the same time playing from
Combustion, you can import audio, link audio to RAM.
clips, slip audio to synch to your composition, and
save audio in workspaces for reference and Note: If the full length of the composite (with
organization. audio linked) does not fit in the available RAM, i.e.,
if your project requirements exceed the amount of
Note: If you have Discreet edit* running on the RAM caching your machine can perform, you will
same machine, you cannot use Combustion audio. need to switch your video to a lower screen resolu-
You will need to stop edit* before you start tion, or the audio will not play.
Combustion if you intend to use audio.
Combustion does not grab any initial RAM for
audio on startup. Combustion does this when you
Supported Audio File Types actually load an audio file into your composite.
The two standard formats for audio are WAV (for It is not necessary to disable audio to save system
uncompressed Windows NT audio) and AIFF (for resources, as the RAM is only occupied once the
uncompressed Macintosh audio). Combustion can audio file is imported.
work with either type.
The Formula for RAM Required for an Audio
As well, Combustion supports audio files that are
File
embedded in Video for Windows (AVI) or Quick-
An uncompressed audio file, either mono or stereo,
Time movies (MOV). When the audio file is loaded,
is stored in RAM. The formula for RAM space
the audio is copied to the workspace and cached to
required for a mono (one-channel) audio file is:
RAM.
Sample Rate x 2 x number of seconds

The Audio Panel ❚❘❘
For example, one minute of mono 16-bit, 44.1 Khz Navigational and Slip Controls
audio would require 5.2 MB. Simply double that On the left side of the audio panel, you find the
number if you use stereo files. settings related to interacting with audio clips.
You can have a stereo file on one track, since the only Volume of Audio
difference between mono and stereo is that stereo
Rewind to Start, Stop, Play
has two channels on one track.
Select region for Scrub
Loop
The Audio Panel

Audio Start Timecode and
The Audio panel consists of three main elements: Audio Length
• The navigational and linking settings on the left of
the Audio panel
• The audio details and level meters on the right side. Browse — Opens the Open Audio dialog, which
• a waveform representing the clip’s duration, peaks, allows you to locate and import your audio clips.
and troughs.
Rew — Returns the audio file to its
To access the audio panel beginning.
1. Double click the composite you want to work in.
Stop — Stops audio playback.
On a Macintosh, OPTION-click.
2. Click the Audio tab. The Audio panel appears. Play — Plays the audio file forward through
the Timeline.
Volume — Raises or lowers the volume of the audio

track.
Volume, Transport, Waveform display, Browse, Unload, Link To Audio Details,

and Slip Controls Level Meters
The Audio Controls

20 Audio
Link To — This button opens the Operator Picker Unload — Removes the audio clip from the
dialog. composite. It does not erase the audio clip itself, but
completely frees the RAM that the audio was using.
The audio clip can exist in the workspace in two
states:
Loop and Mute
• It can be imported and resident in the workspace These buttons are not unique to the Audio panel, but
without being linked to any video or composite. This have the same function there as elsewhere.
might be appropriate if you want to import the au-
dio, but are not yet ready to use it.
• It can be linked to an operator. The Audio details

box will then reflect what it is linked to.
Loop — Makes the audio clip play repeatedly. If you
Play Region — See “Using a Scrub Loop” on page toggle this button, you can also play the audio clip
443. once. The ping-pong (forwards then backwards)
button does not work with audio.
Start — The Start slider and timecode indicator are
used to slip the audio clip to its intended starting Mute — When Mute is activated, existing audio is
point in the clip. not played.
For example, if you have a 30-frame fade-up from

black and only want the audio to start on frame 31, Audio Details Box
you would slide the Start field to 00;00;00;31. The Audio Details contains the following
information:
Duration — Indicates the length of the clip in
hours, minutes, seconds, and frames. Rate — Displays the clip’s sampling rate, bit depth,
and whether you have one audio channel or two
(mono or stereo).
Audio Details and Meters
The right side of the Audio panel contains the Encoding — Lists the bit depth of the audio file,
following information and functions. and whether it is mono or stereo.
Audio Details File Format — Displays the format of the audio file.
File Size — Displays the audio clip’s file size in

megabytes.
Duration — Displays the duration of the audio clip,

Level Meters where the format corresponds to H:MM:SS:frames.
H is hours, MM is minutes, SS is seconds, and frames
the number of frames.

Loading Audio ❚❘❘
Memory — Displays the amount of RAM the clip 4. If you press Play a second time, you should hear
occupies. the audio play since the caching has now been com-
pleted. Switching viewports while one view is play-
Linked To — Shows the operator or composite that ing will switch off the audio.
the audio file is linked to.
In addition, the right side contains Level meters: Slipping Audio

Use the Start field to slip the audio to the frame or
Level Meters — The left and right level meters timecode where you wish the audio to start.
show the sound levels for a mono or stereo clip.
For example if you have a 30-frame fade up from
black and the audio should start on frame 31, change
Loading Audio the value in the Start field to 00;00;00;31.
Audio clips are loaded in a straightforward way.
To slip audio:
Click on the Start field and adjust the timecode value
To load audio:
to correspond with where you want the audio to
1. Click the Browse button in the Audio panel to start.
import an audio file.
Browse and Audio Waveform, Unload, Link To
Path
Using a Scrub Loop
A scrub loop is simply a given time period of audio,
in seconds or frames, that you can scrub back and
forth through repeatedly to use for synching.
For example, if you need to animate an on-screen
feature to synch with some audio, you would grab
the portion of audio you require as a scrub loop so
that you can work solely with this synching portion,
2. Using the Open Audio dialog that opens, locate before going back to the entire file.
and click your audio clip.The clip is imported and
the message “Generating Waveform...” appears. The The yellow highlight on the waveform gives a visual
path and name of the audio file appear in the Audio clue as to how much of the sample is being looped as
field, and a waveform is generated in the Timeline to you scrub.
reflect the audio clip.
To make a scrub loop and set its size:
Note: Supported file formats are Wav, AIFF, Quick-
Time embedded audio, and AVI embedded audio. 1. In the Audio panel, hold CTRL and scrub through
Only one audio file per workspace is supported, the audio until you hear where you’d like to start the
mono or stereo. loop.
2. Hold down CTRL and ALT while dragging on the
3. Click the Play button to play the imported audio.
waveform, and release the two keys when you hear
You need to play the clip once to generate a RAM-
the place where you want your loop to end.
cached preview copy.

20 Audio
Linking Audio to Clips Removing Audio from Clips

You can link the audio to a composite or any other You can clear an audio track from memory if you
operator. The audio can also be resident in the work- decide that you no longer need it, and want to recoup
space without being linked, just in case it is needed. the RAM it occupies.
When you link audio, you are linking it in name to To remove audio from a clip:
the operator, but not locking it to any specific point
Go to the Audio panel, and click the Unload button.
in time. The audio’s start time is determined either
by you (you set it), or by default (audio starts at This button flushes the audio clip from the composi-
beginning of composition). tion and RAM, but is non-destructive of the audio
clip itself. It simply frees up the RAM that the audio
To link the audio file to an operator: was using.
1. Import the audio file with the Browse button. A
note appears on-screen telling you Combustion is
“Generating Waveform”. Audio Rendering and Options
2. Check that the waveform is present in the Time- Combustion allows you the flexibility to choose how
line. Go back to the Audio panel. to render the final audio scratch track. For more
about rendering, see Chapter 21, “Rendering.”.
3. Click Link To. The Operator Picker dialog ap-
pears.
Select an or operator to which the audio will be The Audio Render Output Dialog
linked. Click OK. The audio is now linked. Before audio is rendered there are several decisions
you must make. They are based on the options avail-
able for you to render your audio.
The Audio Output dialog has the following buttons,

corresponding to the numerals in the figure below:
Audio Render
Dialog
Audio Format Sampling Rate and Bit Mono/Stereo Toggle

Audio On/Off Depth
Toggle
Separate/ Audio Filename Render Options Add to Bin

Embedded
Toggle

Audio Rendering and Options ❚❘❘
Audio Render On/Off Toggle — When there is a Sampling Rate — Combustion allows you to
check mark, audio is rendered; when there is no render your audio at several sampling rates.
check mark, audio is not rendered.
The lower the Khz digit, the smaller the audio file,
the coarser the quality. Conversely, the higher the
Separate/Embedded Toggle — When there is a
Khz digit, the larger the audio file, the better the
check mark, audio is rendered separately to AIFF or
quality.
Wav files; when there is no check mark, audio is
rendered embedded to the format that appears in • Use the lower available sampling rates such as 5
field 4. Khz, 11.025 Khz, 22.050 Khz, and 32 Khz for draft
copies of your work not requiring great quality, or
Browse — Use this button to navigate through the for streaming web video, where bandwidth is an is-
directory hierarchy to select a folder to store your sue.
rendered audio.
• Use 44.1 Khz if you are outputting with burn-to-
Format to Render Audio — You can choose CD compatibility, as this is the CD sampling rate.
between: • Use 48 Khz if the file is destined for Discreet edit*,
• embedded in QuickTime file (AIFF in MOV) or for professional DAT applications.
• embedded in Video for Windows file (Wav in AVI) • Use 96 Khz if the file is destined for DVD use.
• separate track as Wav Bit Depth — Combustion allows you to choose

• separate track as AIFF between three bit depths at which your audio file can
be exported: 8, 16, and 24.
Note that for the Separate options, Separate must be
checked. • Use 8 to create small files and draft copies.
• Use 16 for normal quality and average file weight

Render Options — QuickTime and Video for
Windows both have default and alternate • Use 24 for high quality and consequently larger
compressor-decompressors (codecs) you can use to files.
select the way your audio is rendered and
Mono/Stereo Toggle — Select Mono if your
compressed.
scratch track has only one channel; select Stereo if
4. For more information on compression-decom- your track has left and right channels.
pression (codec) settings, see Chapter 21, “Render-
ing." Add to Bin — This option renders your audio track
Selecting a codec or using the default codec for that in preparation for Discreet edit* software, and
format is a matter of trading audio file quality for deposits it in the edit* bin.
rendering time. You can experiment with several
codecs to see which maintains the best quality in the
Troubleshooting Audio
shortest time.
Q: I am unable to achieve real-time playback of
synched audio and video. Why?

20 Audio
A: It may be that your machine cannot cache enough

in RAM for playback. Consult the “RAM required
for audio clips” formula at the start of this chapter. If
your clip exceeds your machine’s resources, you will
need to either add more RAM to your system, or use
a smaller video size for the project.
Q: I am getting momentary “drifts” where audio
synch is lost or off. Why?
A: This may be a playback (RAM-caching) problem

or a synch problem. To determine which it is, stop
the clip, go to the Audio panel, and scrub to see if the
audio synchs correctly. If so, it is a caching problem
and the clip itself is fine. If it is a caching problem, see
answer above.

21Rendering
Create multiple flavors of
broadcast video, streaming

a
web visuals, still frames,
and more with
Combustion. Farm out

et
rendering across a network
of machines for blazing
productivity.
B

21 Rendering
Summary About Nodes and Outputs

This chapter describes: If you think of a workspace as a series of operations,
a node is the result at any of those operations. For
• “About Rendering” on page 448
example, the following illustration represents a
• “The Rendering Interface” on page 449 simple two-layer composite.
• “Rendering Your Projects” on page 456 Branch
• “Using Quick Setup” on page 473
Composite
• “The Quick Setup options are applied to the out- (Front layer keyed on color-
puts. Using Presets” on page 474 corrected background.)
• “Rendering a Single Image” on page 475
• “Monitoring your Rendering Jobs” on page 476 Layer 1 Layer 2
• “Network and Batch Rendering” on page 478
• “Rendering to RAM” on page 482 Color

Keyer
Corrector
About Rendering
Once you finish your animation project, you must Footage Footage
render it to create a movie or sequence of images.
When your render, the layers and all other compo-
nents of the project are “flattened”. You can open You could render the top node to output the result of
your rendered files in Combustion but you can no your composite, for example, or you can render the
longer modify the paint strokes, effects, and other color-corrected footage, or render any of the five
objects that were used to create it. Therefore, you nodes separately.
should save your projects before rendering them.
Therefore, a node can be any element in your work-
In Combustion you can choose to render a set of space. When you launch the Render Queue, a node
frames, the entire project, or just save a single image. is added to the queue for each branch in the work-
In addition, you can render in multiple sizes and in space. However, you can choose to add a node for
several output formats that make use of codecs any operator, at any point in the processing pipeline.
(compressor-decompressors) for various web appli-
While a node represents what comes “in” to the
cations. These include the QuickTime® (.mov, or
Render Queue, an output determines what is sent out
Macintosh video) and Video for Windows® (.avi)
of the queue. Outputs consist of the render settings
formats. There are enough output options that your
for a node; including the output file format and
criteria, whether it be fast playback at draft quality
which frames to render.
for pre-visualization, or full RGB render for final
output to video, can be met. You can create as many outputs as required for each
node, using any combination of render settings.

The Rendering Interface ❚❘❘
Note: In the Render Queue, the nodes appear in To access the Render Queue:
the same order as they do in your workspace. They
Choose FILE | RENDER or press CTRL+R.
are rendered from the top of the list to the bottom.
The Rendering Interface The Render Queue consists of five main sections: the
This section provides a brief description of all the Render Settings panel, the Queue, the Status Bars,
options available in the Render Queue. It is intended the Statistics panel, and the Log.
as a quick reference for those who are already
familiar with rendering. You will find out more Render Settings Panel
about how to use these options further on in the Use the Render Settings panel to choose which
chapter. elements in your Workspace to render, and to set
your rendering options.
The queue Render Settings Statistics Log

21 Rendering
Preferences — Click to set the Render Queue pref- next to a node or output name to disable it. Disabled
erences. For more information, see “Setting nodes or outputs will not be rendered.
Preferences” on page 457.
Quick Setup — Click to use the Quick Setup dialog

to set your Rendering options. The options you set Outputs of
in this dialog are applied to all nodes and outputs. Composite
node
For more information, see“Using Quick Setup” on Nodes
page 473. Outputs of
Paint node
Output of
Keyer node
Quality Column — Displays the Quality settings

for each output. For information on setting this
option, see “Specifying Video Output Settings” on
page 462.
Status Column — Displays the status of each

The other sections on the Render Settings panel are: output. Status can be Queued, Rendering, or
• “The Queue” on page 450 Rendered. When an output is rendered, it remains in
the queue unless you remove it.
• “Preset Options” on page 451
• “Video Output Options” on page 451 Render Queue Menu — Use the Render Queue
menu to manage the outputs in the queue.
• “Audio Output Options” on page 453.
The Queue
Use the queue to add, remove, and reorder nodes
and operators in the queue. Ouputs are rendered
from first (top) to last (bottom).
Name Column — Displays all the nodes and

outputs waiting to be rendered. Click the yellow box
Use the Render Queue menu to use the following

options: Add Output, Duplicate Output, Remove

Output, Move Output Up, Move Output Down, Add Preset Options
Operator, and Remove Operator. Use these options to save your commonly-used
render settings as presets. For more information, see
Add Output — Add an output to the selected node “The Quick Setup options are applied to the outputs.
in the queue. Using Presets” on page 474.
Duplicate Output — Duplicates the selected Preset List — Use to apply a preset to the selected
output in the queue. output. Use presets to save a combination of your
render settings for quick application.
Remove Output — Removes the selected output
from the queue.
Move Up — Moves the selected output or node to a

higher position in the queue. Items at the top of the
Preset list
list are rendered first.
Move Down — Moves the selected output or node Make Default — Makes the preset selected in the
to a lower position in the queue. Items at the bottom Preset list the default. It will be automatically
of list are rendered last. selected each time you launch the Render Queue.
Add Operator — Adds an operator to the queue. New — Creates a new preset that stores the current
Use the Operator Picker dialog that appears to add Render Queue settings under the specified name.
any element in your workspace to the queue.
Rename — Changes the name of the selected

preset.
Delete — Removes the selected preset.
Video Output Options

Use these options to select the format and image
quality of your rendered files.
Remove Operator — Deletes the selected oper-

ator from the queue.

21 Rendering
Video Output — Enable to set the options for your composites will be used for rendering. Disable
rendering video. Use Current to change the settings during rendering.
Enable to output
video
Format — Specifies which format to use for the

selected output.
For information on the Anti-Aliasing and Super-

sampling options, see “Changing Display Quality”
on page 33. For information on the Render Effects
options, see “Displaying Lighting and Surface
Effects” on page 33. For information on the available
views, see “Changing View Modes” on page 32.
Format Options Button — Click to set the
Frame Size — Controls the pixel resolution at
options related to the selected format. The options
which an image is rendered. You can choose: Full,
available vary depending on the format you select.
Half, Third, Quarter, or Eighth. Or choose Custom
Note: If you do not set the options before and enter a custom width and height in the boxes.
processing, you are prompted to set them when Click the lock button to constrain the aspect ratio
you click the Process button. when setting a custom size.
Quality — Sets the level of image quality. You can

choose Preview, Best, Medium, or Draft. Quality
Settings — Sets anti-aliasing, supersampling, and
render effects options, as well as selecting which
Filename — Specifies the path and name for the
view to render from. The Use Current box is enabled
rendered file(s). Click the Filename button to use the
by default—the options in the Settings controls of

filebrowser to select a directory and filename, or Note: Once the output is imported into your
type the information directly, project, you can turn off the layers or operators
initially used to create that output, effectively flat-
tening those layers. If you want to modify that
portion of your project, you can turn the layers
back on, edit them, then re-render the output.
The file name can contain spaces and you can use
any alpha numeric character in the name, except the Attach Output to Email — Automatically send
following: email containing your completed outputs. To use
this feature, you must first set the related prefer-
/\!*?”<>| ences. For information, see “Render Completion
If you do not enter a file extension, Combustion uses Preferences” on page 459.
the file extension corresponding to the Video
Format. The file extension and selected Video Audio Output Options
Format must always correspond. If you enter an Use these options to control the rendering of your
extension that does not match the selected video audio tracks, including the audio file format and
output format, the format is updated. Conversely, if sampling rate. Enable the Audio Output box to
you change the output format in the Video, the file render the audio track, then set the appropriate
extension is updated in the Filename field. Audio Output options. For detailed information, see
“Audio Rendering and Options” on page 444.
Force Starting Frame Number — Controls the
output file names used for sequences. Enter the
required number for the first frame in the box.
For example, if you render a JPEG sequence, the
following files are created: myfile0001.jpg,
myfile0002.jpg, myfile0003.jpg, and so on. If you Render Range Options
enable Force Starting Frame and type 55 in the field, Use these options to choose the frames of your
the output files will be: myfile0055, myfile0056, project that you want to render.
myfile0057, and so on.
Note: To specify the number of frames to render,
you can enter a value in Start and End, or Start and
Skip Existing Files — Prevent re-rendering of
Duration, or End and Duration. The system calcu-
existing frames. This option is useful when you want
lates the third value (Start, End, or Duration) based
to use several computers to render one sequence on the Frame Step setting.
(network rendering). Channels — Controls which
channels are rendered. For information,
see“Choosing which Channels to Render” on page
471.
Import to Desktop When Finished — Creates a

new Branch in the workspace and imports the
rendered footage into it.

21 Rendering
Start — Sets the first frame to be rendered. You can Duration — Displays the total number of frames to
also drag the Render Range slider to set this value. be rendered. The duration is the number of frames
from the Start frame to the End frame, divided by
the Frame Step.
Drag the bar to

set Start and End
Drag to set Drag to set

Start frame End frame
Markers — Sets the Start and End frames using the
In Point and Out Point markers in the Playback
End — Sets the last frame to be rendered. You can controls. For more information, see “Using the Play-
also drag the Render Range slider to set this value. back Controls” on page 38.
Frame Step — Specifies the number of frames to Max — Sets the number of frames to the full dura-
skip when rendering. For example, if you render tion of the node.
frames 0-29 with Frame Step set to 2, every second
frame is rendered. The duration of the output is Process — Click to begin rendering your job(s).
therefore 15 frames, rather than 30. Once you begin rendering, click Stop to interrupt
rendering.
Note: Image sequences are numbered continu-
ously, regardless of the Frame Step setting. In the
previous example, you render frames 0, 2, 4, and so Status Bars
on up to frame 29. However, the rendered Use the status bars to view information on the
sequence will be numbered myfile0001.tga, progress of your rendering jobs. A yellow line indi-
myfile0002.tga, myfile0003.tga, and so on up to cates rendering progress.
myfile00015.tga
The first status bar displays information on the node
currently being rendered.
The Status bars
Current
node
All nodes

Current Frame — Displays the number of the If there is no rendering in progress, the statistics
frame currently being rendered, as well as the total panel displays information about the last frame
number of frames in that node. rendered.
Estimated Time Remaining — Displays the

amount of time that it will take to complete
rendering the current node.
The second status bar displays information on all

nodes in the queue.
Total Frames — Displays the total number of

frames rendered for all nodes in the queue.
Estimated Total Time Remaining — Displays

the amount of time that it will take to complete
rendering all nodes in the queue.
The Statistics Panel

The Statistics panel displays information about the
current rendering process. To view the panel, click
the Statistics tab while rendering is in progress. The
top panel contains information concerning the job
currently being rendered, and the bottom panel Statistics concerning the following topics appear in
contains summary information about all submitted the panel.
rendering jobs.
Progress — Displays information on the current
frame being rendered. This information updates as
frames are rendered.
Frame Times — Displays information on the time

required to render each frame.
Use: To:
Last View the number of seconds it took
to render the last frame
Difference View the difference, in seconds, be-
tween the time it took to render the
last frame, and the time it took to
render the frame before it.

21 Rendering
Use: To:
By default, Combustion creates a node, with one
output, for each branch in your workspace. Add,
Average View the average time it took to ren-
delete, and reorder nodes and outputs as required.
der one frame in the current output.
You can also use Quick Setup and Presets to recall
Output — Displays the file name, frame size, and commonly-used rendering options for fast setup.
format of the output file created. Set the rendering preferences to customize the
behavior of the Render Queue, including how time-
All Renders — Displays information on the code is displayed. For more information, see
current render process, including all the nodes “Setting Preferences” on page 457.
which were submitted in the queue.
To render your project:
The Log Panel 1. Choose File | Render.
Use the Log panel to view information about the last The Render Queue appears.
queue that you processed. Once rendering is
2. If required, set the rendering preferences. For in-
complete, click on the Log tab to view the log. The
formation, see “Setting Preferences” on page 457.
log is also saved to a file in the Renders folder of your
Combustion home directory (usually C:\Program 3. Enable the nodes and outputs that you want to
Files\discreet\Combustion\). You can view this file render in the queue. For information, see “Creating
at any time. Nodes and Outputs” on page 460.
4. To render the video portions of your nodes en-

able Video Options.
Rendering Your Projects 5. To render the audio portions of your nodes, en-
able Audio Options. For more information, see “Au-
Rendering creates a movie (QuickTime or AVI),
dio Rendering and Options” on page 444.
sequence of images, or single still image from your
composites or Paint projects. You can also render the 6. Enter the path and name for the rendered file(s)
output of any operator at any point the processing in the Filename field. Or click the Filename button to
use the file browser.
pipeline.

Rendering Your Projects ❚❘❘
7. Set the Render settings, as required. OK. For information, see “Choosing an Image For-
mat” on page 462.
8. To automatically import the rendered footage
into your workspace, enable Import to Workspace.
9. To automatically send e-mail containing the ren-

dered footage, enable Attach Output to Email.
▲ You must also set the related preferences to

use this feature. For information, see “Render
Completion Preferences” on page 459.
13. Click Process.
10. Enter the first frame to render in the Start field.
Enter the last frame to render in the End field. By de- Combustion begins rendering your project. The
fault, the entire project is rendered. status of your rendering is displayed on the Status
bars and in the Statistics panel.
Note: You should not use your computer for other

tasks while rendering, as this can have a significant
impact on the time it takes to render your project.
To stop rendering:
Drag the bar to
set Start and End Click the Stop button.
Drag to set Drag to set The rendering stops at the current frame, and the
Start frame End frame movie file or sequence is incomplete.
11. Click Process.

Setting Preferences
12. If the Select Compressor dialog appears, set the This section describes how to use the Render Queue
required options for your video format and click preference settings to control various aspects of the
rendering process. Combustion saves your prefer-
ence settings from session to session.

21 Rendering
To set the Preferences: General Preferences

1. In the Render Queue, click Preferences. Use the General preferences to control the behavior
of the Render Queue on startup, the time display,
The Render Queue Preferences dialog appears.
and the proxy image.
At Startup — Controls the default behavior when

launching the stand alone Render Queue. You can
choose to launch the Open Workspace browser, or
do nothing.
Time Display — Display time in either SMPTE

timecode, frame numbers starting at 0, or frame
numbers starting at 1. This affects time display in the
Render Queue only. To change time display in
Combustion, see “Setting General Preferences” on
page 43.
Update Thumbnail Proxy — Displays the current

frame in the thumbnail proxy when rendering or
setting the render range. Disable to turn off updates.
Batch Render Preferences

Use these preference settings to create a watched
2. Set the options as required, then click OK.
folder when batch rendering. For more information,
The following sections describe the available
see “Network and Batch Rendering” on page 478.
options.
Watch Folder — Specifies the name and location
of the watched folder. The Render Queue checks this
folder periodically for new files to render.
Watch Folder Every — Sets the interval at which

the Render Queue checks the watched folder.

Automatic Quick Setup — Applies the options Display Dialog — Provides visual notification
set in the Quick Setup dialog to all outputs when rendering is complete. You should disable this
automatically. option when batch rendering, as it requires you to
manually close the dialog after each job.
Render Scheduling Settings
Use these preference settings to schedule a time at Send Email — Enable to set up email delivery
which batch rendering will begin automatically. The options when using the Attach Output to Email
stand alone Render Queue must be running to use option in the Render Queue.
this feature. For more information, see “Network
and Batch Rendering” on page 478. To set up email delivery:
1. Enable Send E-mail.
Use Timer — Enable to begin processing automat-
ically during off-peak hours on your network. You
must leave the Render Queue application running to
use this feature.
Start Render Time — Specifies the hour and

minute at which rendering will begin.
Start Render Date — Specifies the day on which

rendering will begin.
Render Completion Preferences

Use these preferences to customize how Combus- 2. Enter the e-mail address of the recipient in the To
tion notifies you that rendering has been competed, field. To send mail to multiple recipients, use a com-
ma to separate each e-mail address.
and to setup email delivery options.
3. Enter your e-mail address in the From field.
4. Enter your mail server in the Server field. You
must use a valid SMTP server.
5. To send the log file, in addition to the rendered
files, enable Attach Log.
6. To send a still preview image, in addition to the
rendered files, enable Attach Preview.
7. To set a limit to the size of the files that can be
emailed, enable Limit Attachment Size To and enter
a value (in kilobytes) in the field.
Note: If you enable the Limit Attachment Size

Play Sound — Beeps when rendering is complete.
option, the maximum file size is 4096 KB.

21 Rendering
Creating Nodes and Outputs To turn off a node or output:

A node is any element from a workspace that is to be Click the on/off box (yellow box) next to the node or
rendered. An output is the set of rendering options output.
for a node. Both nodes and outputs determine what
your final rendering will be. For more information,
see “About Nodes and Outputs” on page 448.
Output is
By default, Combustion creates a node, with one off.
output, for each branch in your workspace. Use the
queue to add and remove nodes and outputs. Move
outputs in the queue to set the rendering order.
Outputs are rendered from first (top) to last
(bottom). Yellow box indicates output is on.
You configure the render settings for each output.

Use different outputs to render each node with When you click Process, nodes and outputs that are
different settings. You can also create a node from off are not rendered.
any layer or operator in your workspace.
To define an output:
1. Select the output.
2. Set the required options in the Render Settings
panel. For information, see “Specifying Video Out-
put Settings” on page 462.
The settings for each output are saved with the work-
space file.
Note: For information on setting the Audio Output

Settings, see “Audio Rendering and Options” on
page 444.

To create a new node: To create a new output:

1. Choose Add Operator from the Render Queue 1. Select a node in the queue.
menu.
2. Choose Add Output from the Render Queue
menu.
An output is added after the last output for the node
and the default render settings are applied
automatically.
3. To delete an output, select it and choose Remove

Output from the Render Settings menu, or press DE-
LETE or BACKSPACE on the keyboard.
To re-order outputs:
1. To move an output up in the list, select it and
choose Move Output Up from the Render Queue
The Operator Picker dialog appears. menu, or press the UP ARROW on your keyboard.
2. To move an output down, select it and then
choose Move Output Down from the Render Queue
menu, or press the DOWN ARROW on your keyboard.
To duplicate an output:
1. Select the output.
2. Choose Duplicate Output from the Render
Queue menu.
2. Select the operator that you want to render, and

then click OK.
The selected operator is added as a node in the
queue. A new output, with the same render settings as the
original, is added to the list of outputs for that node.
3. To delete a node, select it and choose Remove You can rename the output at any time.
Operator from the Render Queue menu, or press DE-
LETE or BACKSPACE on the keyboard.

21 Rendering
To rename an output: 3. Set the rendering quality from the Quality list.
1. Double-click the output in the queue. For information, see “Setting Rendering Quality” on
page 469.
The Enter New Output Name dialog appears.
4. Choose the size of the rendered image from the
Frame Size list. For information, see “Choosing a
Frame Size” on page 471.
5. Choose a channel(s) to render. For information,
see “Choosing which Channels to Render” on page
471.
6. Set field dominance, if required. For informa-
tion, see “Setting Field Dominance” on page 472.
2. Type a new name and click OK. 7. If your selected format creates an image se-
quence (rather than a single movie file), set the im-
Specifying Video Output Settings age sequence options. For information, see “Setting
Use the Video Output settings to render the video Image Sequence Options” on page 472.
the video portions of your composites or paint
projects. You can create movies with the same Choosing an Image Format
professional options and properties as the footage The Format options determine the type of file
that you used to create the project. You can also created when you render your project. Several of the
create Video for Windows projects, or Quicktime format options provide a choice of codecs (compres-
movies, which can later be watched as a “stream” of sors/decompressors) that you can use. These require
data over the internet. Several other industry you to specify the codec and other related compres-
formats are supported as well. sion settings.
Note: For information on rendering the audio You can use the QuickTime or the AVI format
portions of your projects, see “Audio Rendering (Windows) to create a single compressed movie file
and Options” on page 444. that you can then play back with your choice of video
card. Or you can choose any of the sequence formats
To specify Video Output settings:
to create a series of sequentially numbered images,
1. In the Render Queue, enable Video Output. instead of a single compressed movie file.
Enable Video Output
The Video Output options are available.

2. Choose a format for your rendered file from the
Format list. For information on the available op-
tions, see “Choosing an Image Format” on page 462.

To choose a format: format. It has its own compression algorithm built-

1. Choose FILE | RENDER, or press CTRL+R (Win- in.
dows) or COMMAND+R (Macintosh).
ElectricImage
2. Choose an option from the Format list.
You cannot customize compression settings when
using the ElectricImage format. ElectricImage is a
proprietary format. It has its own compression algo-
rithm built in.
Quantel VPB Sequence

using Quantel VPB Sequence format. Quantel VPB
is a proprietary format. It has its own compression
algorithm built in.
BMP Sequence
If you chose a format that requires additional Bitmap is an image format from Microsoft that is
settings, the Format Options button is enabled. generally used for stills. It has its own compression
algorithm built in.
3. Click the Format Options button.
The dialog related to your format option appears. Cineon Sequence
4. Set these options as required, and then click OK Use the Compression Settings dialog to choose the
(or Close). related settings for your Cineon image sequence.
Please see the following section for more informa-
Note: If you begin rendering before setting these
tion on these options. options, Combustion will prompt you to do so
before continuing.
For: See:
Video for “Compression Settings: Video Cineon is intended for use with film material, but
Windows for Windows” on page 465 can be used elsewhere. When you render, you are
QuickTime “Compression Settings: Quick- asked if you want to use a pre-made LUT (Look-Up
Time” on page 467 Table). If you do, navigate to the pre-made LUT on
your machine and import it.
Compression Settings Lookup tables remap color values from the loga-
The following sections describe the format options rithmic (analog) world of film to the linear (digital)
and available compression settings (if any). world of digital TV and effects. You would typically
use a “12-bit logarithmic to 8-bit linear” look-up
Filmstrip table when importing film material. This would re-
You cannot customize compression settings when map all the color values to the specifications within
using the Filmstrip format. Filmstrip is a proprietary

21 Rendering
your LUT. When exporting, you would typically use JPEG generally has good image quality, and works
an “8-bit linear to 12-bit logarithmic” LUT. well for “slide show” type movies with very low
Linear Vs. Logarithmic Color Value Distributions frame rates.
Photoshop Sequence
Use the Compression Settings dialog to choose the
related settings for your Photoshop image sequence.

options, Combustion will prompt you to do so
Progression from Progression from shadows
shadows to highlights is to highlights is logarithmic, before continuing.
linear, like digital video. like film and the human
eye’s vision. This is a proprietary format, and has its own
compression algorithm. You are asked if you want to
You also have the option of using a Custom LUT. If render None or Pack Bits. Pack Bits will drop the
you select this setting, you are asked to select a Refer- least significant bits to save space. Depending on the
ence White, Reference Black, Film Gamma, and Soft type of file you are rendering, do a test render of a
Clip value. few frames of None and Pack Bits as some footage is
poorly suited for the latter.
Use: To:
PNG Sequence
Reference Specify at which point all the pixels
White lighter than the chosen value are Use the Compression Settings dialog to choose the
converted to white. Remaps every- related settings for your PNG image sequence.
thing lighter than the selected value
to white. Note: If you begin rendering before setting these
Reference Specify at which point all the pixels before continuing.
Black darker than the chosen value are
converted to black. Remaps every- The Portable Network Graphic format was intended
thing lighter than selected value to as a replacement to JPEG and GIF for Web graphics
white. It compresses frames as a series of PNG images
Film Gamma Lighten or darken the image with embedded into a QuickTime movie.
logarithmic (non-linear) curves.
RLA Sequence
Soft Clip Corrects highlights.
using the RLA Sequence format.
JPEG Sequence
Use the Compression Settings dialog to choose the SGI Sequence
Quality setting of the JPEG image sequence. Use the Compression Settings dialog to choose the
related settings for your SGI image sequence.
before continuing.

Note: If you begin rendering before setting these You can choose to render None or RLE-encoding.
options, Combustion will prompt you to do so You can also choose whether to order the data bits
before continuing. for Macintosh or PC playback.
SGI is the proprietary name that SGI has chosen for RLE is a compression method that converts consec-
their RGB output, and shares the same compression utive identical characters into a code consisting of
that RGB video does. If you choose SGI, you are the character and the number marking the length of
asked whether you want to render None for the run. The longer the run, the greater the compres-
compression or RLE-encoding. sion. It works best with black-and-white or cartoon-
RLE is a compression method that converts consec- style graphics, and is used to compress Windows
utive identical characters into a code consisting of start-up logos.
the character and the number marking the length of
the run. The longer the run, the greater the compres- options, Combustion will prompt you to do so
sion. It works best with black-and-white or cartoon- before continuing.
style graphics, and is used to compress Windows
start-up logos. Compression Settings: Video for
Discreet’s Advanced Systems products such as Windows
inferno* and fire* run on SGI machines, and accept Use the Select Compressor dialog to choose a codec
SGI (among others) as an input format. (compression-decompression) and related settings
for your AVI movie. The default codec is Microsoft
Targa Sequence Video 1.
related settings for your Targa image sequence. Note: If you begin rendering before setting these
Note: If you begin rendering before setting these before continuing.
before continuing. To set the Video for Windows compression
settings:
You can choose to render None (no encoding), or 1. On the Render Settings panel, select Video for
RLE-encoding. Windows from the Format list.
RLE is a compression method that converts consec- 2. Click the Format Options button.
utive identical characters into a code consisting of
the character and the number marking the length of
the run. The longer the run, the greater the compres-
sion. It works best with black-and-white or cartoon-
start-up logos.
TIFF Sequence
related settings for your TIFF image sequence.

21 Rendering
The Select Compressor dialog appears. tages. AVI movies have much the same playback
speed and compression issues as QuickTime
movies. Unfortunately, none of the built-in codecs
for Video for Windows support alpha channels
embedded in the movie. Therefore, if you need to
output 32-bit files, you should probably use a
sequence of images (such as Targa) instead. The
following options are typically available when stan-
dard Video for Windows software is present.
Cinepak — Uses a special compression algorithm

that allows for fast decompression at the expense of
3. Choose a codec from the Compressor list. For relatively slow compression. As such, it is well suited
information on the options available, see “Choosing for playback on the computer via a CD-ROM or
a Video for Windows Compressor” on page 466. other media. Cinepak is a lossy method regardless of
4. Adjust the following options, if required. the quality setting; however, you can usually get real-
time playback with a wide variety of processor
Use: To: speeds with this codec.
Compression Increase or decrease the quality of
Quality the compression. IIntel Video 5.4 — Indeo Video Interactive (IVI) is
Key Frame Add a complete frame at the spec- a high-quality, wavelet-based codec. It provides
Every ified interval. Most codecs add good image quality. IVI is an entirely different tech-
keyframes when necessary, usual- nology from Indeo 3.
ly when the difference between
frames is greater than 90%. IVI provides a range of interactive features which go
beyond the traditional services provided by codecs.
Data Rate Create a movie that “maxes out” at
the specified data rate per frame. These include chromakeyed transparency, and hot
Use this option (if the selected co- spot support.
dec supports it) to create movies
optimized for CD-ROM or Web Microsoft® Video 1 — Uses a compression algo-
playback. rithm optimized for fast decompression. However,
Configure Set any additional parameters for this codec only supports up to 16-bit color depth, so
the selected codec. For example, it may not be suitable for most projects created with
click Configure for the Microsoft Combustion.
Video 1 codec to adjust the tem-
poral quality setting using a slider.
Full Frames (Uncompressed) — Uses no
5. Click OK. compression on the AVI movie. This codec is typi-
cally used for storage of a movie that needs to be
Choosing a Video for Windows Compressor identical (i.e. lossless compression) to the original.
As with QuickTime, several compressors are built in Using this codec can generate very large files and
to AVI, and each has its advantages and disadvan-

take up quite a bit of hard drive space because of the The Compression Settings dialog appears.
total lack of compression.
Note: These are not the only codecs you might

encounter. If you have installed a Video for
Windows-compatible video card, or additional
Video for Windows software, there may be addi-
tional codecs available to you. For more
information about these, consult the manual of
your particular video card or software.
Compression Settings: QuickTime

Use the Compression Settings dialog to choose a
codec (compression-decompression) and related
settings for your QuickTime movie. The default
codec is Animation.

before continuing. 3. Choose a codec from the Compressor list. For
information on the options available, see “Choosing
Several compressors are built into QuickTime, and a QuickTime Compressor” on page 468.
each has its advantages and disadvantages. 4. Select a bit depth (the number of colors to be
used in the file) from the Compressor color list. The
To set the QuickTime compression settings: available color resolutions depend on the codec se-
1. On the Render Settings panel, select QuickTime lected.
from the Format list.
5. One of your choices is Best Depth. Best Depth
2. Click the Format Options button. reads the highest bit depth from your system and
uses that for the codec. It shows up in all QuickTime
codecs.
Note: Larger bit depths provide richer results, but

takes more space to store. Smaller bit depths take
less storage but may not reproduce the images
adequately, or may cause “stepping” or “banding”.
6. Adjust the following options, if required.
Use: To:
Quality Set the Spatial Quality (compression
of each frame’s pixel data).

21 Rendering
Use: To:
supports all color depth resolutions, including alpha
channels.
Frames Per Enter the frame rate of the final
Second QuickTime move. This setting will RLE is a compression method that converts consec-
override the frame rate setting of utive identical characters into a code consisting of
your composite. the character and the number marking the length of
Key Frame Add a complete frame at the speci- the run. The longer the run, the greater the compres-
Every fied interval. Most codecs add key- sion. It works best with black-and-white or cartoon-
frames when necessary, usually
when the difference between
frames is greater than 90%. start-up logos.
Limit Data Create a movie that “maxes out” at

Cinepak — Uses a compression algorithm that
Rate the specified data rate per frame.
Use this option (if the selected co- allows for fast decompression at the expense of rela-
dec supports it) to create movies tively slow compression. As such, it is well suited for
optimized for CD-ROM or Web play- playback on the computer via a CD-ROM or other
back. media. Cinepak is a lossy method regardless of the
quality setting. However, you can usually get real-
Note: When choosing a frame rate, you should
note that the human eye requires at least 12 frames time playback with a wide variety of processor
per second to be “tricked” into seeing motion. With speeds using this codec. Alpha channels are not
anything below this, the motion may not be supported.
smooth.
Component Video — Uses a compression algo-
7. Click OK.
rithm optimized for YUV color space. This method
Choosing a QuickTime Compressor can be slow in both compressing and decompressing
The following options are typically available when a movie, and as such, is usually used for archiving or
standard Apple QuickTime software is present. You storing video footage only. Alpha channels are not
must select both the compressor type and the supported.
number of colors present in the QuickTime file.
DV NTSC and DV PAL — These two resolutions
To output a file containing an alpha channel along are self-defined, so the compression settings cannot
with color information, choose either Animation or be changed.
None from the Compressor list and Millions of
Colors + from the Compressor color list. Graphics — Uses a similar compression algorithm
to Animation, but only supports up to 8-bit color or
Note: Not all compressors can handle all color
grayscale (256 shades of color/gray). This codec
resolutions.
typically compresses better than Animation
Animation — Uses run-length encoding to (smaller file size), but takes more time to decom-
compress frames of your movie. This compressor press the data than QuickTime. Alpha channels are
uses a lossless method when the Quality slider is set not supported.
to 100%, and a lossy method otherwise. This codec

H.261 — H.261 is a standard video-conferencing works well with digitized imagery, but not as well for
codec. As such, it is designed for low data rates and computer-generated imagery. Decompression for
relatively low motion. H.261 was used as a starting playback can be very slow, so this codec is also best
point for the development of MPEG (which is opti- used for storage purposes. Alpha channels are not
mized for higher data rates.) supported.
H.263 — H.263 is a standard video-conferencing Sorenson™ — Uses new vector quantization tech-
codec. As such, it is optimized for low data rates and niques, advanced motion compensation, and
relatively low motion. H.263 is an advancement of precise adaptive rate control features. It provides
the H.261 and MPEG-1 standards, designed with highly compressed, high-quality video stream for
the goal of producing substantially better quality use in multimedia applications, the world-wide-
below 64 kbit/sec. There are a very wide range of web, or any other application where a high-quality,
architectures which support H.263. low-bandwidth video stream is required. The
compression technology is scalable from 2 to
Motion JPEG A and Motion JPEG B — Are 200KBytes/s, providing great results whether
designed to simplify the process of digitizing video publishing to a 28.8kbps modem or to a CD-ROM.
on one QuickTime-compatible video card and It allows for a video data transmission rate of up to
playing it back on another. These codecs are essen- 30 frames per second.
tially “generic” versions of the Motion JPEG codecs
that many manufacturers use in a proprietary way. Video — Uses a compression algorithm optimized
At the time of this writing, only a few manufacturers for fast decompression. However, this codec only
support the new Motion JPEG codecs, but that supports up to 16-bit color depth, so it may not be
should change shortly, which means you could use suitable for most projects created with Combustion.
these to generate QuickTime movies that are Alpha channels are not supported.
intended to be played back or moved to a particular
video card or system that uses Motion JPEG (Avid, Note: These are not the only codecs you might
encounter; if you have installed a QuickTime-
Media 100, Targa, and so on.). These codecs do not compatible video card or additional QuickTime
support alpha channels. software, there may be additional codecs available
to you. For more information about these, consult
None — Uses no compression on the QuickTime the manual of your particular video card or
movie. This codec would typically be used for software.
storage of a movie that needs to be identical (that is,
lossless compression) to the original. However, you Setting Rendering Quality
can use the Animation compressor at 100% quality Use the Quality options to control the amount of
to save hard drive space, since None can generate detail and image quality in your render. The higher
very large files. This codec supports all color depth the image quality setting, the more rendering time
resolutions, including alpha channels. required. You can use Draft, for example, to quickly
obtain a preview of your final clip. Since this creates
Photo - JPEG — Uses the Joint Photographic a low-quality image, it requires much less rendering
Experts Group compression algorithm. This codec time.

21 Rendering
The anti-aliasing, supersampling, render effects, 3. Disable Use Current. Use Current uses the op-
and current view also control the final image result. tions in the Settings controls of each composite for
The configuration of these options in the Settings rendering.
controls of your composites is used for rendering by
default. However, you can choose to override these
settings at any time.
To set the rendering quality:

1. On the Render Settings panel, select an option
from the Quality list.
Select: To:
Preview Render at Best quality, without anti-
aliasing.
Best Render the highest quality, anti- 4. Set the following options, as required.
aliased version of your projects.
Medium Render your clips at half resolution. Enable: To:
You cannot use Anti-Aliasing or Su- Anti-Aliasing Smooth the edges of diagonal
persampling with this option. lines, reducing the jaggies. You can
Draft Render your clips at a quarter resolu- use this with the Best option only.
tion. You cannot use Anti-Aliasing or Supersam- Enable anti-aliasing for shadows
Supersampling with this option. pling and reflections. You can use this
with the Best option only.
2. To customize the quality options for an output,
click the Settings button. Shading Turn on lights in the composite.
Shadows View shadows cast by objects onto
Note: You can do this only for 3D operators other objects in the composite.
(composites).
Reflections View reflections and highlights on
surfaces created by light bouncing
from one object to another.
Note: Turning these options on can increase

rendering time.

5. To change the view that you want to render,

Select: To:
choose an option from the View list.
Quarter Render the clip at one fourth the res-
olution at which it was created.
Eighth Render the clip at one eighth the full
resolution at which it was created.
6. Click OK. Custom Select a custom resolution at which
to render the clip.
Choosing a Frame Size 2. To create a custom size, choose Custom from the
You can choose to render at a variety of pixel resolu- Frame Size list, and then enter the required size (in
tions, depending on your requirements. For pixels) in the width and height fields.
instance, if you were creating an animated sequence 3. Click the lock button to constrain the aspect ra-
for the web, you would probably render it as small as tio when defining a custom size.
possible to avoid creating a “heavy” file. Conversely,
if you are delivering a QuickTime proposal of a Choosing which Channels to Render
advertisement for a potential client, you could You can choose which channels to render into your
render it at full resolution for maximum image movie or sequence of images. For detailed informa-
quality. tion on using channels, see Chapter 6, “Channels.”
When choosing the size (pixel width x pixel height)
To choose a channel:
at which to render, you have the following options:
1. On the Render Settings panel, set the Channels
Note: Lower the frame size to quickly render a options, as required.
preview of your clip.
To set the frame size:

from the Frame Size list.
Use: To:
The following options are available. Color Render only the RGB color channels.
This creates a 24-bit image.
Select: To: Alpha Render only the alpha channel. This
Full Render the clip at the full resolution creates a 24-bit image.
at which it was created. Color+ Render both the RGB color channels
Half Render the clip at half the resolution Alpha and the alpha channel. This creates a
at which it was created. 32-bit image.
Third Render the clip at a third the resolu-

tion at which it was v.

21 Rendering
To set field dominance:

Use: To:
Premultiply Combine the color information with
Color the alpha channel information using
from the Fields list.
black as a base. This option is avail-
able if either Color or Color+ Alpha is
selected. For movies or images
saved with the Color option (that is, The following options are available.
no alpha channel), enable this op-
tion for best results.
Use: To:
Invert Invert the alpha channel. When this
Frames Specify that every frame in the ren-
Alpha option is enabled, pixels that were
dered movie consists of a complete
opaque become transparent, and
frame, with no field interpolation at all.
vice versa. This option is available if
Alpha or Color+Alpha is selected. Upper Generate the upper field (even) first.
First
Setting Field Dominance Lower Generate the lower field (odd) first.
First
You can control the field dominance used in your
final render. Creating a movie with fields means that
2. To apply 3:2 pulldown, choose and option from
every frame in the rendered movie is made up of two the 3:2 Pulldown list.
quickly-alternating lines of picture information that
update a twice the frame rate of the clip. For
example, NTSC video plays at 30fps, or 60 fields per
second. These settings are usually determined by the
type of video card you are using to play back
compressed movies.
The field that is drawn to the monitor first is known A “W” indicates the placement of whole frames in
as the even, or upper field. The field that is drawn on the sequence, and an “S” indicates the placement of
the monitor second is known as the odd, or lower the split frames in the sequence.
field. If you choose to use field dominance, you can
also apply 3:2 pulldown to the rendered movie. 3:2 For more information, see “Removing 3:2 Pull-
pulldown refers to the process used to transfer down” on page 75.
footage shot from 24fps film to 30fps NTSC video.
Setting Image Sequence Options
You can also choose to disregard field dominance
If you render a sequence of still images, rather than a
completely and render in frames; creating whole
single movie clip, you can control the numbering of
pictures as opposed to video information.
the sequence and avoid re-rendering pre-existing
files in the sequence.
The following format options create image
sequences: Quantel VPB Sequence, BMP Sequence,
Cineon Sequence, JPEG Sequence, Photoshop

Using Quick Setup ❚❘❘
Sequence, PNG Sequence, RLA Sequence, SGI ically apply a set of rendering options to outputs in
Sequence, Targa Sequence, and TIFF Sequence. the queue.
To set image sequence options: To use quick setup:

1. On the Render Settings panel, select an option 1. In the Render Queue, select an output.
from the Format list.
2. Click the Quick Setup button.
The Quick Setup Dialog appears.
The image sequence options are available.

3. To apply a preset, enable Use Preset and select a
preset from the list.
▲ You must first define a preset before using this

2. Set the image sequence options as required. option. For information, see “The Quick Setup
options are applied to the outputs. Using Presets”
Enable: To: on page 474.
Force Starting Customize the output file names 4. To specify a default path and filename for the
Frame # used for sequences. Enter the rendered files, set the following options as required.
number for the first frame in the
box. The numbering of the se-
Use: To:
quence will begin at this number.
Render Folder Set the default location for ren-
Skip Existing Prevent re-rendering of existing
dered files on your network. Enter
Frames frames. This option is useful when
a path in the field, or click Render
you want to use several comput-
Folder and browse to the appro-
ers to render one sequence (net-
priate location in the dialog that
work rendering).
appears.
Using Quick Setup

Combustion offers you several features to simplify
the setup of your rendering jobs. Use Quick Setup to
pre-define the path and name for the rendered files.
And, in conjunction with presets, you can automat-

21 Rendering
Use: To:
The Render Settings panel updates to reflect the
preset options.
Automatic Automatically generate output
Output Names names based on the node name
and plus “+” signs to indicate out- Creating and Deleting Presets
put names. For example, if you You can create as many presets as you require. You
have a node named “Sky” and
can also create a preset and make it the default. The
three outputs, it will create the
following files: “Sky”, “Sky+” and default preset settings will be used each time you
“Sky++”. launch the Render Queue.
Create New Create a folder with the same
To create a preset:
Folder Per name as the workspace. Your out-
Workspace puts will be saved to this folder. 1. In the Render Settings palette, set the Video
Output options as required.
5. Click OK.
2. Click New.
The Quick Setup options are applied to the outputs.

Using Presets
You can save your render settings as presets. Once
they are saved, you can quickly apply them to an
3. Type a name in the Enter New Preset Name dia-
output without having to select each setting
log that appears, then click OK.
individually.
The current render settings are saved to the new
You can store the following Video Output options in preset name.
a preset: Format and Format Options, Quality and
Quality Settings, Frame Size, Channels, Fields, Force To delete a preset:
Starting Frame #, Skip Existing Frames, and Import 1. Select the preset from the Presets list.
into Workspace.
2. Click Delete.
You can also use presets in conjunction with the The selected Preset is deleted. The default preset is
Quick Setup options to automate setting up paths enabled.
and filenames for your rendered files. For more
information, see “Using Quick Setup” on page 473. Note: If you delete the default preset, the render
settings are set to the next preset available in the
To recall a preset: list.
Select a preset from the Presets list. To make a preset the default:
1. Select the preset.
2. Click Make Default.
The current preset becomes the default. The default
render settings are used to process all outputs, unless
you specify other settings.

Rendering a Single Image ❚❘❘
Editing and Renaming Presets To render a single image:

Once you have created a preset, you can change its 1. Choose FILE | SAVE IMAGE.
settings or name at any time. The Image Output Options dialog appears.
To edit a preset:
1. Select the preset.
2. Change the Video Output options as required.
3. Click Save.
The preset is saved with the changed options.
To rename a preset:
1. Select the preset from the list.
2. Click Rename
3. Enter a new name in the dialog that appears, and
click OK.
The name of the selected preset is changed.
Rendering a Single Image

In addition to using the Render Queue to render, you
can quickly render the current frame in your project.
2. Select the required image format from the For-
The current frame is the frame displayed in the mat list and use the Options button to set additional
current (active) viewport. options for the selected format.
3. Select a Frame Size from the list, or choose Cus-
tom and enter the size in the width and height fields.
For more information, see “Choosing a Frame Size”
on page 471.
4. Select a Channels option.
Use: To:
Color Render only the RGB color channels.
This creates a 24-bit image.
Alpha Render only the alpha channel. This
creates a 24-bit image.
Color+ Render both the RGB color channels
Alpha and the alpha channel. This creates a
32-bit image.

21 Rendering
The Status bars
Current
node
All nodes
Use: To: Status Bars

Use the status bars to view information on the
Premultiply Combine the color information with
Color the alpha channel information using
progress of your rendering jobs. There are two status
black as a base. This option is avail- bars: the first status bar displays information on the
able if either Color or Color+ Alpha is node currently being rendered, and the second
selected. For movies or images displays information on all nodes in the queue. A
saved with the Color option (that is, yellow line indicates rendering progress.
no alpha channel), enable this op-
tion for best results. The following information is available.
Invert Invert the alpha channel. When this
Alpha option is enabled, pixels that were Use: To:
opaque become transparent, and Current View the number of the frame cur-
vice versa. This option is available if Frame rently being rendered, and the total
Alpha or Color+Alpha is selected. number of frames in that node.
5. Click OK. Estimated View the amount of time that it will

Time Re- take to complete rendering the cur-
A Save Image dialog appears.
maining rent node.
6. Use the browser to navigate to the appropriate Total View the total number of frames ren-
directory, or enter a path and filename in the File Frames dered for all nodes in the queue.
field, and then click OK.
Estimated View the amount of time that it will
A single image is rendered and saved to the selected Total Time take to complete rendering all
directory. Remaining nodes in the queue.
Monitoring your Rendering Jobs The Statistics Panel

The Statistics panel displays information about the
Combustion provides several tools that you can use
current rendering process. Click the Statistics tab
to obtain information on your rendering progress.
while rendering is in progress to view the panel. The
These are: the Status bars, the Statistics panel, and
top section of the panel contains information
the Log panel.
concerning the job currently being rendered, and

Monitoring your Rendering Jobs ❚❘❘
the bottom section contains summary information Frame Times — Displays information on the
about all submitted rendering jobs. required to render each frame.
If there is no rendering in progress, the statistics Use: To:

panel displays information about the last frame
Last View the number of seconds it took
rendered. to render the last frame
Difference View the difference, in seconds, be-
tween the time it took to render the
last frame, and the time it took to
render the frame before it.
Average View the average time it took to ren-
der one frame in the current output.
Output — Displays the file name, frame size, and

format of the output file created.
All Renders — Displays information on the

current render process, including all the nodes
which were submitted in the queue.
The Log Panel

Use the Log panel to view information about the last
queue that you processed. Once rendering is
complete, click on the Log tab to view the log. The
log is also saved to a file in the Renders folder of your
Statistics concerning the following topics appear in Combustion home directory (usually C:\Program
the panel.
Composition — Displays the name of the project

that contains the output that is currently rendering.
Output — Displays the name of the output that is

currently rendering.
Progress — Displays information on the current

frame being rendered. This information updates as
frames are rendered.

21 Rendering
Files\discreet\Combustion\). You can view this file ▲ You should disable the Display Dialog option
at any time. in the Render Queue Preferences before batch
rendering, as it requires you to manually close the
dialog after each job.
You can manually load the nodes and outputs that

you want to render on each render node, or you can
set up watched folders to have the Render Queue
periodically check for rendering jobs. All your
render nodes can watch the same folder, or set up as
many as required to organize your rendering
production. For more information, see “Using a
Watched Folder” on page 481.
To use the stand alone Render Queue:

1. Install the stand alone Render Queue on any ma-
chine on your network that you want to use as a ren-
der node.
Network and Batch Rendering
2. Double-click the application icon to start the
A stand-alone version of the Render Queue is pack-
Render Queue.
aged with this version of Combustion. You can use
multiple machines on your network to render work- 3. Set your required preferences. For information,
spaces, or to set up batch processing. see “Setting Rendering Preferences” on page 479.
4. To open a workspace, choose Open Workspace
You create nodes and outputs in exactly the same
from the Render Queue menu.
way as you do when rendering in Combustion. For
The nodes and outputs for that workspace appear in
information, see “Rendering Your Projects” on page
the queue. You can add, remove, and reorder them as
456.
required.
The stand-alone Render Queue can be installed on
5. To add the contents of another workspace for
any machine on your network that you want to use
rendering, choose Import Workspace from the
for rendering, and does not require that Combus- menu.
tion be installed to run.
6. Set the rendering options as required. For infor-
To start the Render Queue, double-click the applica- mation, see “Rendering Your Projects” on page 456.
tion icon. By default, this is located in the
7. Click Process.
Combustion program folder.
Note: You can also use presets and Quick Setup to
streamline rendering setup. For information, see
“The Quick Setup options are applied to the
outputs. Using Presets” on page 474 and “Using
Quick Setup” on page 473.

Network and Batch Rendering ❚❘❘
Setting Rendering Preferences 4. Set the Batch Render and Render Scheduling
This section describes how to use the Render Queue preferences, as required. For information on these
preference settings to control various aspects of the options, see “Using a Watched Folder” on page 481
and “Scheduling Rendering Jobs” on page 481.
batch renderer. The application saves your prefer-
ence settings from session to session.
Rendering across Multiple Machines
To set rendering preferences: You can install the stand-alone Render Queue on
1. In the Render Queue, click Preferences. each machine on your network that you want to use
for processing. Then use multiple render nodes to
The Render Queue Preferences dialog appears.
process the same output when you are creating
image sequences.
To render across multiple machines:

1. On the first machine, choose Open Workspace
from the menu, select a workspace from the Open
Workspace dialog, and then click OK.
The workspace is opened into the Render Queue.
The nodes and outputs for the workspace appear in
the queue.
Note: You can also use watched folders to submit

jobs for rendering. For information, see “Using a
Watched Folder” on page 481.
2. If required, change the Rendering options for the

output that you want to render. For information, see
“Rendering Your Projects” on page 456.
3. Enable Skip Existing Files.
▲ You must enable this option to prevent differ-

ence machines from re-rendering the same frames.
4. Choose Save Workspace from the Render Queue

menu.
The new output settings are saved with the work-
space file. When you then open the workspace on
the other render nodes, you will not have to set the
2. To automatically display the Open Workspace options again.
dialog when you start the Render Queue, choose
Open Workspace from the At Startup menu. 5. Click Process.
3. Disable Display Dialog if you plan to batch ren- The first render node begins processing the output.
der, as it requires you to manually close a dialog be-
tween jobs.

21 Rendering
6. Follow steps 1 and 5 for each machine that you To batch render multiple workspaces:
want to use for rendering. 1. Launch the Render Queue application.
7. Make sure Enable Skip Existing Frames is en- 2. Choose Open Workspace from the menu.
abled, and the output path and filename are the same
as the previous one.
8. Click Process.
The second render node starts processing the
output. If it detects that a file in the sequence already
exists, it renders the next one in the sequence.
For example, if the first machine rendered

myfile0001.jpg and myfile0002.jpg, the second
machine renders myfile0003.jpg. The first computer
will detect that file0003.jpg already exists, and will
render myfile0004.jpg.
Batch Rendering
You can load many workspaces into the queue for
3. Select a workspace from the Open Workspace
unsupervised processing. You can batch render on
dialog, then click OK.
any machine on your network on which you have
The workspace is opened into the Render Queue.
installed the Render Queue.
The nodes and outputs for the workspace appear in
Note: Outputs are saved with your workspace files. the queue.
To save time, you can create them for each work-
space before beginning the batch rendering Note: This is the same as opening a workspace in
process. Combustion. If you choose Save Workspace, any
changes to your outputs are saved with the work-
space file.
4. To add a second workspace to the queue, choose

Import Workspace from the menu, select a file from
the Import Workspace dialog that appears, and then
click OK.
The contents of the second workspace are imported
into the first.
▲ If you choose Save Workspace, remember that

it is the original workspace file that will be saved. If
you have imported any other workspaces, they will
be added to it.
5. To add additional workspaces to the queue, re-

peat step 4 for each.

Network and Batch Rendering ❚❘❘
6. If required, set the options for each output. For can also click Watch Folder button, and browse to
information, see “Rendering Your Projects” on page the folder in the dialog that appears.
456. Use Quick Setup to automate this process. For
information, see “Using Quick Setup” on page 473.
7. Click Process.
Combustion begins rendering the contents of the
queue. The status of your rendering is displayed on
the Status bars and in the Statistics panel.
5. Enable Watch Folder Every and enter the inter-

Using a Watched Folder val (in minutes) at which the Render Queue checks
When using the stand-alone Render Queue, you can for new files.
create a watched folder. The Render Queue will auto-
6. Click Process.
matically process any workspace files that are saved
or copied to this folder. The Render Queue is now set to check the watched
folder for new workspace files at the specified
Because processing happens automatically, you interval.
must make sure that you have set up your output
settings for each workspace before using this feature. You can save or copy workspace files to this folder,
Otherwise, the Render Queue will use the default and they will be rendered automatically. The Render
settings. For information, see “Rendering Your Queue continues to check the watched folder until
Projects” on page 456. you close the application.
To use a watched folder: Scheduling Rendering Jobs

1. Create a folder on your network. This will be the You can use the scheduler to start rendering on a
watched folder. specified day and time. For example, you can
2. Launch the Render Queue application. schedule jobs to run during off-peak hours on your
network.
▲ Do not open or import a workspace into the
queue. The queue should be empty. To schedule rendering:
3. Click Preferences. 1. Click Preferences in the Render Queue.
4. Enter the path and filename of the folder that 2. Enable Use Timer.
you created in step 1 in the Watch Folder field. You The Scheduling options appear.

21 Rendering
▲ You must leave the Render Queue application Note: Rendering to RAM does not automatically
running to use this feature. save the results to a file on your harddrive.
However, you can choose to do so.
3. Enter the hour and minute at which rendering
will begin in the Start Render Time field. To render to RAM:
4. Enter the day on which rendering will begin in 1. In the Workspace panel, select the operator that
the Start Render Date field. you want to render.
5. Set up the required nodes and outputs in the 2. Choose FILE | RENDER TO RAM, or press CTRL+R
queue, or set up a watched folder. For information, (Windows) or COMMAND+SHIFT+R (Macintosh).
see “Creating Nodes and Outputs” on page 460 and
“Using a Watched Folder” on page 481.
Rendering begins at the scheduled day and time.
Rendering to RAM
Combustion provides two ways to render your work
using your system RAM. You can simply use the
Playback controls to preview your work in a view-
port. Once Combustion has buffered every frame in
its memory once, the clip will play at near real-time
playback speed. You can continue to work on your
projects, and the results of your changes will dynam-
ically update as it plays in the viewport.
You can use the Render to RAM dialog to customize

the output options, such as frame size and quality,
for real-time playback of your clip. You can also
choose to render two different operators to compare
the results or you can save the results to disk.
The timebar in the Render to RAM dialog indicates

whether your system has enough RAM to play back
the entire clip. If the timebar extends for the full
duration of the clip, then your system can sustain
real-time playback for the entire clip. If you cannot
play your entire clip, then you do not have enough
RAM. For information on increasing available
RAM, see“Allocating More RAM to Combustion”
on page 485

Rendering to RAM ❚❘❘
Render to RAM dialog
The Render to RAM dialog appears. 8. Enter the first frame to render in the Start field.
Enter the last frame to render in the End field. By de-
3. To compare it with another element in your fault, the entire project is rendered.
workspace, click the Compare With button and
choose an operator from the Operator Picker that
appears. For more information, see “Comparing
Rendered Clips” on page 484.
4. Set the rendering quality from the Quality list.
For information, see “Setting Rendering Quality” on
page 469.
5. Choose the size of the rendered image from the Note: If you want to customize other options, such
Frame Size list. For information, see “Choosing a as the frame rate or object detail, you can do this in
Frame Size” on page 471. the Settings controls of the composite before
rendering. You should save your workspace before
6. Choose a channel(s) to render. For information, doing so, as these changes affect the composite,
see “Choosing which Channels to Render” on page not just the rendered clip.
471.
9. Click Process.
7. Set field dominance using the Fields list, if re-
quired. For information, see “Setting Field Domi-
nance” on page 472.

21 Rendering
The RAM Player appears in your active viewport. To Comparing Rendered Clips
play the clip, press SPACEBAR or use the Playback When you use Render to RAM, you can choose to
controls. create two buffers to render two different clips. You
10. To change the frame rate of your clip, right-click then use the Compare tool in the toolbar to create a
the RAM Player and choose an option from the split screen in the viewport.
Frame Rate menu.
To compare rendered clips:
1. In the Workspace panel, select the first element
that you want to render.
2. Choose FILE | RENDER TO RAM.
The Render to RAM dialog appears.
3. Click the Compare With button.
The Operator Picker appears.
The frame rate is displayed in the upper-right corner

of the RAM Player.
To save your rendered clip:

1. Right-click the RAM Player.
2. Select Save As from the context menu.
The Save As dialog appears.
3. To save the video portion of your clip, enable
Video Options and set the options as required. For
information, see “Specifying Video Output Set-
tings” on page 462.
4. Select the second operator, and then click OK.

4. To save the audio portion of your clip, enable
5. Set the other options on the Render to RAM di-
Audio Options and set the options as required. For
alog, as required, and then click Process. For infor-
more information, see “Audio Rendering and Op-
mation, see “Rendering to RAM” on page 482
tions” on page 444.
The RAM Player appears in your active viewport.
5. Enter the path and name for the file(s) in the
The first operator is the front clip, and the second is
Filename field. Or click the Filename button to use
the back clip.
the file browser.
6. Click Process. 6. Select the Compare tool in the toolbar.

Rendering to RAM ❚❘❘
The Compare options appear. Allocating More RAM to Combustion

Your ability to play back clips in real time is
controlled by the amount of memory on your
system, the amount that is available to Combustion,
and the amount that is allocated for caching. The
number of frames that you can render to RAM,
depends on the resolution, color depth, size of the
images, and so on.
You can increase the maximum amount of memory

7. Choose an option and drag the cursor in the Combustion can use for caching, and (for Macin-
viewport while playing to control how the two clips tosh) increase the application memory size.
are displayed.
To increase the cache usage:
Use: To:
1. Choose File | Preferences, or press CTRL+P
Split Horizontal/ Split the screen. Drag to split (Windows) or COMMAND+P (Macintosh).
Vertical vertically. Alt+drag to split hori-
zontally. The Preferences dialog appears.
Draw Region Drag to create a window over 2. Click Host | Caching.

Limits the first clip, through which you The Caching preferences appear.
can see the second clip.
3. Enter a value in the Maximum Cache Usage
Invert Regions Switch the placement of the
field. Choose an option from the list to determine
clips.
whether the value is a percentage of the total memo-
The following image illustrates the Compare tool ry available, or a fixed number of megabytes.
options.
Split Horizontal Split Vertical
4. Click OK.
To change the application memory size

(Macintosh):
1. Close Combustion and all other applications.
2. In the Finder, choose About This Computer
from the Apple menu.
The Largest Unused Block value shows how much
Draw Region Draw Region with memory is currently available to your system.
Invert Regions

21 Rendering
3. Subtract 2 MB from this number (which the sys-

tem requires) and take note of the new value.
4. Close the About This Computer dialog.
5. Select the Combustion icon and in the Finder,
choose File | Get Info |Memory.
6. In the Preferred Size field, enter the number that
you noted in step 2.
7. Close the Get Info dialog.

A Combustion and 3D Studio MAX
How to create material
maps that use Combustion.

a
And how to use 3D
compositing and post
effects with rich pixel

et
renderings of 3D scenes.
B

This appendix explains: opacity. Maps add images, patterns, color adjust-
ments, and other effects to the visual properties of
• “3D Studio Materials and the Combustion Map”
the material.
on page 488
(In the 3DS MAX Material Editor, you assign a map
• “Using Rich Pixel Renderings” on page 500
by clicking the map button for a component color or
• “3D Post Filters” on page 507 other component. This displays the Material/Map
Browser dialog, which lets you choose the map
type.)
Overview
3DS MAX provides several types of maps. The most
You can use Combustion as a material map in 3D
basic is a 2D map, a two-dimensional image that is
Studio MAX. With a Combustion map, you can
typically mapped onto the surface of geometric
include a composition or paint project in a material,
objects.
and in turn apply that material to objects in a scene.
The Combustion map can include Combustion Other uses of 2D maps are as environments to create
effects, and it can be animated. a background for the scene, as projections from
lights, and as displacements to “emboss” geometry.
In addition, with Combustion you can import 3DS
MAX scenes that have been rendered to a rich pixel For more information about maps and materials, see
file (RPF or RLA file). The imported rich pixel the 3D Studio MAX User’s Guide or the 3D Studio
rendering becomes an element of your composition. MAX online reference.
You can adjust its 3D position relative to video
A Combustion map is a 2D map. It is a Combustion
elements of the composition, and you can apply
project used by the 3DS MAX Material Editor, so like
Combustion’s 3D Post effects to objects within it.
any Combustion project, it is vector-based, animat-
Note: 3DS MAX also has an environmental atmo- able, and fully editable. From within the Material
spheric effect named “Combustion.” This has no Editor, you can have Combustion create a new
relation to the Combustion program or Combus- project from scratch, or use an existing composition
tion map. or paint project. You can synchronize the Combus-
tion timeline with the 3DS MAX time slider so
animated materials synchronize with your 3D scene.
3D Studio Materials and the
Combustion Map With a Combustion map, you can paint in either
In 3D Studio MAX, a material is data that you assign program: that is, you can paint either in the
to the surface or faces of an object so that it appears Combustion window or on 3DS MAX objects. Both
a certain way when rendered. Materials affect the programs update the paint display. You also have the
color of objects, their shininess, their opacity, and so option of using Combustion to paint on an
on. “unwrapped” projection of 3DS MAX object
geometry.
The Material Editor is the portion of 3DS MAX that
creates and manages materials. In the Material In addition, with Combustion effects that require
Editor, you can assign maps to a material’s color you to pick a point, such as Lens Flare or Ripple, you
components and to its numeric components such as

3D Studio Materials and the Combustion Map ❚❘❘
can use either program, Combustion or 3DS MAX, • The offset, tiling, mirror, and angle controls are
to pick the point. useful especially when the size of the projected
Combustion map is smaller than the geometry.
2D Mapping Coordinates • You can choose between UV, VW, and WU projec-
Like any 2D map in 3DS MAX, mapping coordinates tions. (You can also do this from within the Com-
control how a Combustion map is positioned on bustion Parameters rollout, as described in the
objects. following section.) UV projects onto the surface of
For geometric primitives, mapping coordinates are geometry like a slide projector. VW and WU project
usually provided automatically. For some kinds of the map at right angles to the geometry. With a
geometry, such as meshes, patches, and NURBS Combustion map, UV is almost always the most
surfaces, you must apply a UVW Map modifier to useful choice.
provide mapping coordinates. See “Tips for
Working with a Combustion Map in 3D Studio Combustion Map Parameters
MAX” on page 492. This section describes the Combustion Parameters
rollout in the 3D Studio MAX Material Editor.
Controls in a 2D map’s Coordinates rollout affect
Subsequent sections have more detailed instructions
how the map is positioned.
on how to use these features.
The Combustion Parameters rollout appears when
you assign a Combustion map to a material.
NEEDS TO BE UPDATED WHEN THE SW IS
These controls are described in detail in the 3D

Studio MAX User’s Guide and the 3D Studio MAX
online reference. When you work with a Combus-
tion map, these are the important points to
remember:
• When you apply a Combustion map to an object,

leave mapping set to the default values of Texture
and Explicit Map Channel.
• When you use a Combustion map as an environ- These are the Combustion Parameters rollout
ment map, set mapping to Environ and then choose controls:
the mapping shape from the Mapping drop-down
list.

Project UV — Specifies which mapping channel to unwrap

Loads the file to use in Combustion. You can load and paint. Range = 1 to 99.
only file types supported by Discreet Combustion,
such as Combustion workspace files (.cws), or Track Time — Links the timeline in Combustion to
footage and image file formats supported by the time slider in 3D Studio MAX. When Track Time
Combustion. is enabled, you can use the time slider in 3DS MAX
to navigate between frames in Combustion. This
See “Supported Footage Formats” on page 68.
control is not bidirectional; changing the frame in
Combustion does not change the frame in 3D Studio
Edit
MAX.
Launches Combustion from the 3D Studio MAX
Material Editor. If a project is loaded, it is opened in
Paint — When enabled, displays a paint cursor in
Combustion. If no project is loaded, Combustion
3D Studio MAX viewports. You can then paint
displays the New Workspace dialog. This dialog lets
directly on the 3D geometry. Dragging the cursor in
you specify a project type, name, video format,
the viewport over the geometry creates paint strokes
duration, and background color. For more informa-
inside Combustion.
tion, see “Setting New Project Format Options” on
page 493.
Constrain to UV — When enabled, constrains
paint strokes to remain within the edges of the UV
Live Edit Group
mapping coordinates. When paint strokes are
These controls affect how you use Combustion and
unconstrained on an object such as a box, they can
paint with 3DS MAX.
jump to the other side of the map when you cross a
Unwrap Selected — Takes the current UVW map’s edge. This can give erratic results. To prevent
mapping coordinates of the currently selected 3D this, enable Constrain to UV.
object (or the current Face sub-object selection), In general, use the Constrain to UV option when
and displays them in Combustion. This can help you you paint on boxes and other objects with planar
coordinate the map and the mesh as you paint. The maps. Disable this option when you want to paint on
Unwrap display is only an overlay. It is displayed in spherical maps or anywhere else the mapping has a
Combustion but is not a part of the composition or singularity (where the edges of the map converge to
the map. a single point).
UV list — Changes the mapping coordinate system Selected Faces — Constrains the Combustion
(the direction in which the map is projected) from image to only the faces selected. This gives addi-
UV to VW or UW. UV projects onto the surface of tional control or masking based on faces rather than
geometry like a slide projector. VW and WU project UV mapping.
the map at right angles to the geometry. With a
Combustion map, UV is almost always the most Project Info Group
useful choice. These readouts display the resolution of the loaded
project bitmap sequence and the size of the

Combustion window. They are active when a project Pyramidal — The default antialiasing method.
file is loaded or Edit mode is active. This method is faster than Summed Area filtering.
Width — Horizontal resolution of the frame in Summed Area — A better method of antialiasing.
pixels. Summed Area filtering uses more memory than
Pyramidal. If it has to use virtual memory, it can
Height — Vertical resolution of the frame in pixels. dramatically increase rendering time.
Frames — Number of frames in the Combustion None — Performs no antialiasing. This option
workspace. takes the least time to render, but yields the lowest
quality results.
Rate — Playback speed in frames per second.
End Condition Group
Custom Resolution Group These controls define what the 3DS MAX renderer
With these controls, you can customize the resolu- should do when the duration of the Combustion
tion of the Combustion workspace. project (or the range of frames used in the Combus-
tion map) is shorter than the rendering sequence in
Enable — Enables the Width and Height controls. 3DS MAX.
Width changes the horizontal resolution of the
project file. Height changes the vertical resolution of Loop — Plays the Combustion project animation
the project file. repeatedly until the rendering sequence ends.
Time Group Ping Pong — Plays the animation forward, then

These controls relate frames in the Combustion backward, and repeatedly plays forward and back-
workspace to frames in the Combustion map. (See ward until the rendering sequence is completed.
the controls in the “End Condition Group” for how
to handle the map when it contains fewer frames Hold — Plays the animation once, then repeatedly
than the 3DS MAX scene.) displays the last frame of the project until the
rendering sequence is completed.
Start Frame — Determines which frame of the
Combustion sequence is used as the first frame of
the Combustion map in 3DS MAX.
Creating New Maps
To create maps on 3D Studio MAX objects that have
Duration — Sets how many frames of the Combus- no assigned material, you create a new Combustion
tion file sequence are used by the Combustion map map.
in 3D Studio MAX.
To create a new Combustion map:
Filtering group 1. Open the Material Editor.
These controls determine the method for calculating 2. Drag an unused sample slot from the Material
antialiasing: Editor to the object you want to paint.

3. In the Material Editor, click the map button for This launches Combustion, which displays the New
the Diffuse Color component. This button is on the Workspace dialog.
material’s Basic Parameters rollout.
7. Set up the new project. See “Setting New Project
Format Options” on page 493.
Now the composition or paint project that you create
in Combustion appears on the object in 3DS MAX
viewports, as well as in the sample slot for the mate-
(All standard materials have a Basic Parameters
rial with the Combustion map. The workspace name
rollout, whose controls vary depending on the
and path are assigned to the material, and appear on
chosen shader. The Strauss shader has only one color
the Project button in the material’s Combustion
component, labeled “Color.”)
Parameters rollout.
The Material/Map Browser appears.
For example, you can use the paint operator in
4. In the Material/Map Browser, select Combus- Combustion. When you release the mouse, the
tion and click OK. stroke appears on the 3DS MAX object.
A Combustion map is assigned to the Diffuse Color,
and a black material map appears in the active
sample slot.
5. Turn on Show Map in Viewport.

In the scene, the object turns black in shaded
viewports. Paint project Painted object in
in 3D Studio MAX
6. In the Combustion Parameters rollout, click Ed-
it.
NEEDS TO BE UPDATED WHEN THE SW IS For more information, see Chapter 10, “Paint:
Drawing Basics” in the Combustion User’s Guide.
8. When you are finished setting up the composi-

tion or paint project, save it in Combustion. By de-
fault, the project is saved as a Combustion
workspace file (.cws).
Tips for Working with a Combustion

Map in 3D Studio MAX
• If you have a dual-screen configuration, you can set
it up so you can see both the 3DS MAX and the
Combustion windows at the same time. Otherwise,
you need to use ALT+TAB to switch between the two
windows.

• To work with Combustion, the 3DS MAX object To set new project format options:
must have mapping coordinates. Primitive objects 1. In the New dialog in Combustion, select Custom
have a Generate Mapping Coordinates toggle, which from the Format Options list.
is automatically enabled when you assign a mapped Additional options appear in the Format Options
material to the object. Some objects, such as editable group.
meshes, don’t have a Generate Mapping Coordinates
toggle. For these kinds of objects, go to the Modify
panel and apply a UVW Map modifier.
2. To set the size of the bitmap that you want to cre-

ate, enter a width and height in the corresponding
boxes.
3. Set the pixel aspect ratio to 1 to match the square
pixel aspect ratio used in 3D Studio MAX.
4. Set the frame rate to 30 frames per second (fps)
for video or 24 fps for film. If you use the default
frame rate of 29.97, also called drop frame,
3D Studio MAX might drop frames and your ani-
• Sometimes it can be hard to see how the Combus- mation will show glitches.
tion project is oriented to the 3DS MAX object’s
mapping coordinates. It can help to paint some tem- Displaying an Unwrapped Mesh of the
porary strokes in Combustion to see how they are
3D Object
aligned in 3DS MAX viewports. Displaying the
In the 3D Studio MAX material editor, use the
mapping coordinates in Combustion can help. See
Unwrap Mesh feature to display your 3D object as a
“Displaying an Unwrapped Mesh of the 3D Object”
2D mesh in Combustion. You can adjust the color
on page 493. It can also help to paint directly on the
and size of the mesh.
object in a 3DS MAX viewport. See “Painting Di-
rectly on the 3D Object” on page 494. The mesh display is only an overlay to help you
orient paint strokes and other Combustion effects. It
Setting New Project Format Options is displayed in Combustion but is not a part of the
If you use Combustion to create a material that will composition or the map.
be rendered as part of your 3D Studio MAX scene,
you should set your Combustion project format to
match its corresponding setting in 3DS MAX.
You set the project format options in the New dialog

that appears when you create a new Combustion
project.

To display an unwrapped mesh: To paint directly on the 3D object:

1. Create a Combustion map. See “Creating New 1. Create a Combustion map. See “Creating New
Maps” on page 491. Maps” on page 491.
2. In the 3D Studio MAX Material Editor, enable 2. In Combustion, select one of the following
Unwrap Selected in the Live Edit group. drawing tools:
• Freehand
• Line
• Rectangle
In Combustion, a mesh appears. This is an • Ellipse

“unwrapped” projection of the 3D object. 3. In the 3DS MAX Material Editor, enable Paint in
the Live Edit group of the Combustion Parameters
rollout.
3D object in 3D Studio MAX Corresponding

mesh in In the 3D Studio MAX viewport, a pen cursor
appears. Drag the cursor over the object to paint on
Note: You can use Unwrap Selected on the entire it.
object, or on a selection set of face sub-objects.
To set the mesh parameters:

1. In Combustion, choose File | Preferences | Mesh.
Use: To:
Anti-Alias Mesh Remove jaggies from the mesh.
Display Mesh Display the mesh when you
During Playback play back the animation.
Color Click the color box to set the
color of the mesh using a color
picker.
When you release the cursor, the paint object also
appears in Combustion.
Painting Directly on the 3D Object
If you are drawing freehand strokes, lines, rectan-
gles, or ellipses, you can paint directly on the 3D Animating Paint Strokes in a
object in 3D Studio MAX. Combustion Map
You can animate paint strokes in a Combustion map.

To animate Combustion paint strokes: Using Existing Workspaces as Material

1. Create a Combustion map. See “Creating New Maps
Maps” on page 491. If you already created logos or textures in Combus-
2. In Combustion, set the timescale to start at tion, you can use these projects as material maps in
frame number 0. Choose File | Preferences. In the 3D Studio MAX.
Preferences dialog select General, set Display Time
As to Frames (From 0), and then click OK. To use an existing Combustion project as a
material map in 3D Studio MAX:
3. In the 3DS MAX Material Editor, enable Track
Time in the Live Edit group of the Combustion Pa- 1. Open the Material Editor and select an unused
rameters rollout. sample slot.
Now the time slider in 3DS MAX controls the Time- 2. In the Material Editor, expand the Maps rollout,
line positioner in Combustion. and click the Map button next to the Diffuse Color
component.
4. In 3DS MAX, move the time slider to a frame
and create a paint object.
The paint object appears on that frame in both
Combustion and 3DS MAX.
5. Move to another frame and use Combustion to
modify the paint object. Combustion uses interpola-
tion to determine the appearance of the paint object
between keyframes. If you add a new paint object,
that object simply appears, starting on the frame
where you created it. Continue advancing in the clip,
adding and modifying paint strokes and effects to
create your animated material. For more informa-
tion on animating objects in Combustion, refer to The Material/Map Browser appears.
Chapter 8, “Keyframing” in the Combustion User’s
3. In the Material/Map Browser, select Combus-
Guide.
tion and click OK.
You can add paint strokes in either program, but to
A Combustion map is assigned to the Diffuse Color,
modify them you must use Combustion.
and a black material map appears in the active
Note: Remember, Combustion tracks the time sample slot.
slider in 3D Studio MAX, but 3DS MAX does not
track the timeline positioner in Combustion. If the
3DS MAX viewport does not appear to be updating
as you paint in Combustion, you might be painting
on a different frame than the one displayed in 3DS
MAX. To find your paint objects, move to the
correct frame in 3D Studio MAX.

4. In the Combustion Parameters rollout, click To paint geometry with a bitmapped material
Project. already assigned to it:
NEEDS TO BE UPDATED WHEN THE SW IS 1. In 3D Studio MAX, select the object that you
want to paint.
2. In the Material Editor, select an unused sample
slot.
3. Click the Pick Material from Object button then
click the object in the viewport to put the object’s
material in the selected sample slot.
4. Open the Maps rollout and note the name of the

The Open Project dialog appears. bitmap file. Click Map to go to the bitmap level of the
material.
5. Browse for the workspace file (.cws) that you
want to use as a map, and click the Open button. 5. Click the map’s Type button.
The Combustion workspace name and path appear The Material/Map Browser appears.
in the Project button.
6. In the Material/Map Browser, select Combus-
To apply the map to an object, drag the sample slot tion to change the type from Bitmap to Combustion.
from the Material Editor to the object in a 3DS MAX 7. On the Paint Parameters rollout, click the blank
viewport. Project button, and then choose the same bitmap.
NEEDS TO BE UPDATED WHEN THE SW IS
To edit the map, click the Edit button in the Parame-
ters rollout. In Combustion, the workspace
corresponding to the selected map opens, and you
can edit the image.
Painting Geometry with a Bitmapped

Material Already Assigned to It
You can use Combustion to paint on a bitmapped
material that is already assigned to an object.
8. Click Edit.
Combustion is launched and the Import Footage
dialog appears. Import the same bitmap.

To paint on the bitmap, select Paint. You can also key 3. Enable Sub-Object | Face as the selection level.
or color correct the bitmap, or use it to build a Select the faces on which you want to paint.
composite. For more information, see Chapter 3,
“Building Workspaces” in the Combustion User’s
Guide.
9. In the 3DS MAX Material editor, enable

Show Map In Viewport.
In the scene, the object is mapped in shaded
viewports.
4. Drag a material from a sample slot in the Materi-

al Editor onto the selected faces.
5. In the Modifier Stack rollout, disable Sub-Ob-
ject.
Object with original Object with painted 6. In the Material Editor, use Pick Material from
bitmap bitmap Object to grab the material from the geometry.
Painting Selected Faces
Use a multi/sub-object material to control the

location of your painting. Any sub-material can have
a Combustion map, so you can use Combustion to You now have a new multi/sub-object material. The
affect only the selected faces. To paint selected original material appears as a sub-material applied
faces:
to the selected faces.
1. In 3D Studio MAX, select the object you want to
paint. 7. In the multi/sub-object material, go to the mate-
rial assigned to the faces you want to paint.
2. In the Modify panel, apply an Edit Mesh modifi-
er to the object. (In the Modifiers rollout click More, A multi/sub-object material is simply a container for
choose Edit Mesh from the list in the dialog, and multiple submaterials assigned to different faces of
then click OK.)
Note: If you are working with an editable mesh

object, or a patch or NURBS surface, skip step 2. For
geometry primitives, an option is to convert the
object to a mesh, patch, or NURBS surface before
step 3. However, you then lose the ability to adjust
object parameters (for example, the radius of a
sphere, the height of a box).

the same object. Click a material’s name to go to a 3. In Combustion, save the project before you dis-
sub-material. able the Edit button in 3D Studio MAX.
For more information, see “Creating New Maps” on
page 491.
Creating Displacement Maps

In 3D Studio MAX, the Displace modifier acts as a
force field to push and reshape an object's geometry.
You can apply its variable force directly from the
modifier gizmo, from a bitmap image, or from a
Combustion project.
The grayscale component of the image is used to

generate the displacement. Lighter colors in the
image push outward more strongly than darker
colors, resulting in a 3D displacement of the
geometry.
To create a displacement map:

8. Assign a Combustion map to the Diffuse com- 1. In 3D Studio MAX, select the object to which
ponent of the sub-material applied to the selected you want to apply the displacement map.
faces.
In this example, the displacement is applied to a box
9. Click Edit to launch Combustion. primitive.
10. Use the paint and effect tools in Combustion to
modify the material. See “Creating New Maps” on
page 491.
Modifying Existing Combustion Maps

Material maps created in Combustion are vector- 2. In the object's Parameters rollout, increase the
based and fully modifiable. number of Length and Width Segments. The closer
the number of segments approaches the resolution
To modify a Combustion map: of the displacement map, the more accurate is the re-
sult.
1. In the Material Editor, select the material you
want to modify. In the example, 150 by 150 gives good results.
2. In the Combustion Parameters rollout, click the 3. Apply a Displace modifier.

Edit button. (Click the Modifier tab, click the More button, then
The project corresponding to the Combustion map in the Modifiers dialog, select Displace and click
opens in Combustion. As you modify the project in OK.)
Combustion, the map is updated in 3D Studio MAX.

4. In the Parameters rollout, Image group, click the displacement map. For more information, see
Map button. Chapter 10, “Paint: Drawing Basics."
10. In 3D Studio MAX, increase the Displacement

strength in the modifier Parameters rollout.
As you increase the strength, you can see the result of
the displacement map on the selected object.
5. The Material/Map Browser appears. Select

Combustion and click OK.
6. The Map button now reads Map #1 (Combus-
tion).
7. Open the Material Editor, and then click and
drag the Map #1 (Combustion) button to an unused
sample slot in the Material Editor.
An Instance (Copy) Map dialog is displayed.
11. In Combustion, save your project, then in 3D
8. Select Instance and click OK. Studio MAX, disable Edit in the Combustion Pa-
rameters rollout to exit Edit mode.
9. In the Material Editor, Combustion Parameters

rollout, click Edit.
This launches Combustion. Set the Project Type to
Paint, and create a gray-scale image to use as a

Using Rich Pixel Renderings Rich Pixel File Formats

This section and the ones that follow describe how 3D Studio MAX supports two kinds of rich pixel
you can use rich pixel renderings in compositions. renderings.
Rich pixel renderings contain additional data that
• RPF (rich pixel format) files have the fullest set of
enable Combustion to add special effects. In
G-buffer channels.
Combustion, you can:
• RLA files use an earlier format that does not sup-
• Adjust the depth of the 3D scene. See “Z-Depth
port all channels.
Transforms” on page 505.
See “Creating RPF and RLA Files” on page 501.
• Cast shadows with Combustion lights. See “Casting
Shadows on 3D Objects” on page 506. In addition, RPF files save object and material
names, so when you import an RPF file into a
• Match the Combustion camera to 3D Studio MAX.
composition, layer names match object names in
See “Using 3D Studio MAX Camera Data in Com-
your 3DS MAX scene. See “Selecting Objects in a
bustion” on page 506.
Rich Pixel Rendering” on page 504.
• Apply 3D Post filters for a variety of effects. See “3D
These are the channels supported by the 3D Studio
Post Filters” on page 507.
MAX rich pixel formats:
You create a rich pixel rendering in 3DS MAX. In
addition to the color and alpha channels that are Z Depth — Saves the 3D depth of objects in the
common to most rendered files, a rich pixel scene.
rendering contains additional “G-buffer” (for
“graphics buffer”) channels. Material Effects ID — Saves the material effects
channel ID of materials assigned to objects in the
For example, a rich pixel rendering can include a Z- scene. This is called the “material ID” in the sections
depth channel. This shows the 3D depth of objects that follow.
(the Z-axis is perpendicular to the screen). With Z-
depth data, Combustion can display the 3D objects Object ID — Saves the ID value assigned to an
in a single layer as if they were at varying depths in object.
the composition. Objects in the rich pixel layer can
appear to be either in front of or behind a video layer. UV Coordinates — Saves the UV mapping coordi-
Compositing with Z-depth data is sometimes nates used in the scene.
described as “pseudo-3D.” See “Z-Depth Trans-
forms” on page 505. Normal — Saves the orientation of face normals in
the scene.
Channels such as the Z-depth channel help you work
in a composition without having to re-render a Non-Clamped Color — Saves areas in the
complex 3D scene. Using rich pixel format can help rendering where colors exceed the valid color range.
save time when you combine a 3D rendering with a
2D composition. Coverage — Saves anti-aliasing data at the edges of
objects in the scene.

Using Rich Pixel Renderings ❚❘❘
Node Render ID — (RPF format only.) Saves the To create an RPF file for compositing in
node ID used when each object is rendered. This is a Combustion:
value unique to each object. 1. In 3D Studio MAX, choose Rendering | Render.
In the Render Scene dialog, click the Files button.
(In the Combustion interface, this value is called the
“Render Node.”)
Color — (RPF format only.) Saves the color that the

material shader returns. The color is always solid,
never transparent.
2. In the Save File As dialog, select RPF from the

Transparency — (RPF format only.) Saves the
Save as Type list.
transparency that the material shader returns.
Velocity — (RPF format only.) Saves a vector that

indicates the velocity of objects.
Sub-Pixel Weight — (RPF format only.) Saves the

weighting value used to adjust this pixel’s color.
Creating RPF and RLA Files

You create a rich pixel (RPF or RLA) file by 3. Navigate to the location where you want to save
rendering a view in 3D Studio MAX. the file, enter a file name, and then click OK.
4. In the Render Scene dialog, click Render.
Note: The steps to create an RLA file are the same
as in the following procedure. In the Save As dialog, The RPF Image File Format dialog appears.
select the RLA file format instead of RPF.
5. Select the channels to store in the rendered file,

then click OK. See “Render Channels Used in 3D
Post Filters” on page 507.
6. In the Render Scene dialog, click Render to ren-
der the scene and save the file.

To modify the Render Channels settings: To assign an object ID to an object in a scene:

1. In the Render Scene dialog, click the Files but- 1. In 3D Studio MAX, select and right-click the ob-
ton. ject, then choose Properties from the menu that ap-
The Save File As dialog appears. pears.
2. In the Object Properties dialog, set the G-Buffer
2. Click the Setup button.
Object Channel number.
The RPF Image File Format dialog appears.

3. Select the channels to store in the rendered file
and click OK. See “Render Channels Used in 3D Post
Filters” on page 507.
4. Render the scene again to update the rich pixel
file with the modified channel settings.
Assigning Object and Material IDs

In Combustion, you can select objects in a rich pixel
file based on their object ID or material ID. Some 3D
Post filters, such as 3D Glow, G-Buffer Extract, and
Texture Map, require you to select objects or mate-
rials in the rich pixel layer. To use these filters, you
Once the scene is rendered and imported into
must assign object or material IDs in 3D Studio
Combustion, you will be able to select this object
MAX before you render the scene and import it into
based on its object ID channel.
Combustion.
Note: You can assign an object ID to a group as To assign a material ID:

well as to individual objects. 1. Do one of the following to select the material to
which you want to assign an ID:
• In the Material Editor, select the material’s sample
slot.

Importing Rich Pixel Renderings into Combustion ❚❘❘
• Select an unused sample slot, then click the Pick To import a rich pixel file:
Material from Object button and click an object in 1. In Combustion, select the composition into
the scene. which you want to import the RPF or RLA file and
make it the active composition.
3. In the Import Footage dialog, browse to the ap-
propriate directory, select the file you want to im-
2. Click the Material Effects Channel flyout under port, and then click OK.
the sample slots, and select a channel ID number. The following dialog appears.
Once the scene is rendered and imported into

Combustion, you can select this object based on its
material ID. For more information, see “Selecting
Objects in a Rich Pixel Rendering” on page 504.
Select one of the following options:
Setting Render Options for Camera Select: To:
Matching
Flat Image Import the scene as a single layer. (Al-
When you render your animation in 3D Studio
though the image is called “flat,” it
MAX, enable the following options in the Render still contains Z-depth information
Setup dialog for the RPF or RLA file: you can use for 3D compositing and
3D Post effects.)
• Store Alpha Channel
Grouped Import the scene as separate objects.
• Z (Z Depth) Each object ID in the scene becomes
a separate layer, and these layers are
• Coverage grouped.
See “Using 3D Studio MAX Camera Data in Nested Import the scene as a separate com-
Combustion” on page 506. position. Each object ID in the scene
becomes a separate layer in the new
composition.
Importing Rich Pixel Renderings
Note: When you import an RPF file, layer names
into Combustion match the object names in your 3DS MAX scene.
You can import a rich pixel rendering as a single flat
image layer, or as separate objects.

Selecting Objects in a Rich Pixel The following controls appear for GBuffer
Rendering Selections:
If you imported the rich pixel rendering as grouped
or nested objects, each object appears as a separate
layer in the Workspace panel, with the name it had in
the 3D Studio MAX scene. To select an object, you
simply select the corresponding layer.
If you imported the rich pixel rendering as a flat
Material Selection Controls
image, you can select objects based on their object
IDs or material IDs. Use G-buffer selections to select
individual objects in the rendering, and then apply
effects to them across the entire duration of the clip.
This is particularly useful for color-correcting an
object or material in your image.
Some 3D Post effects also require you to select an
object or a material.
Note: This feature requires that you render the

Material Effects or Object channel as part of the Object Selection Controls
RPF or RLA file in 3D Studio MAX.
To select objects in a rich pixel rendering:

Material or Object — Specifies the material ID or
1. In the Combustion Workspace panel, select the
rendered layer. object ID to select from the 3D scene. You can enter
the ID number in the box, use the spinner to select a
2. Choose Operators | Selections. To select an ob- number, or click the Pick button and pick an object
ject based on its object ID, choose GBuffer Object
in the viewport.
Selection. To select an object based on its material
ID, choose GBuffer Material Selection.
Feather — Adds softness to the edge of the
In the G-Buffer Selection controls, use the Material
selection.
or Object field to enter the ID that you want to select,
or click the Pick button and pick an object in the Expand — Makes the selection larger or smaller
viewport. than the selected object.

Compositing Rich Pixel Renderings ❚❘❘
Selection List — Determines how the selection is sure you save these channels when you render the
combined with the current selection on the active rich pixel file.
layer.
Z-Depth Shadows Camera
Use: To: Transforms Matching
Replace Replace the previous selection with

Z ✔ ✔
the current selection. Material Effects
Add Add the current selection to the previ- Object
ous selection.
UV Coordinates
Subtract Subtract the current selection from the
previous selection. Normal ✔ ✔
Non-clamped Color
Intersect Create a new selection by taking only
the intersecting portion of the current Coverage ✔
selection and the previous selection.
Node Render ID
Invert — Selects everything except the object ID or Color
material ID you picked. Transparency
Velocity
Use Coverage — Incorporates anti-aliasing infor-
Sub-pixel Weight
mation into the selection. The coverage channel is
another G-buffer that contains only edge informa-
tion. This option is available for GBuffer Object Z-Depth Transforms
Selections. Use transforms to make flat video layers appear to
Now you can apply effects to the selected object in move within the 3D space of a rich pixel image.
your 3D scene.
Note: This feature requires that you render the Z (Z
Depth) channel as part of the RPF or RLA file in 3D
Studio MAX.
Compositing Rich Pixel
Renderings To move layers in Z-depth:
Once you have created a rich pixel rendering and 1. In the Combustion Workspace panel, double-
imported it into Combustion, you can use it in click the rendered layer to select it and display its
compositions. These sections describe Z-depth Operator controls.
transforms, shadows, and camera matching. These 2. Click the Layer button.
are the effects you can create without using 3D Post
filters. 3D Post filters are described in “3D Post
Filters” on page 507.
The following table lists the G-buffer channels used

for Z-depth compositing, shadows, and camera
matching. To use these compositing effects, make

3. In the Layer controls, enable 3D Depth. Operator controls. Click the Layer button to display
the Layer controls.
2. In the Layer controls, enable 3D Shading.
Note: While 3D Depth is enabled, you can’t rotate

the rich pixel layer in X or Y.
Shading, shadows, and reflections are correctly
4. Use the Z Offset slider to adjust the offset be-
tween the Z scale in the RPF or RLA file and the Z rendered on the 3D surfaces in the rendering.
scale in Combustion.
5. Use the Z Scale slider to adjust RPF or RLA files Using 3D Studio MAX Camera Data in
where the Z range is very large. Combustion
When you move or rotate any layers in the composi- When you render a scene in the rich pixel file format,
tion they appear to move within the 3D scene. camera data such as (X,Y,Z) direction and field of
view are stored in the rendered file. When you
import the file into Combustion, you can use the
Casting Shadows on 3D Objects
stored camera data to control the camera in your
You can shade the surfaces of objects in a rich pixel
workspace.
rendering. Shadows correctly show the effects of
lights in Combustion. Shadows and reflections are Instead of animating the camera in your Combus-
also correctly rendered onto 3D surfaces. tion workspace, you can use the camera animation
that is stored in your rich pixel scene.
Note: This feature requires that you render the Z (Z
Depth) and Normal channels as part of the RPF or Note: This feature requires you to render the
RLA file in 3D Studio MAX. following channels as part of the RPF or RLA file:
Store Alpha Channel, Z (Z Depth), and Coverage.
To apply shading, shadows, and reflections to 3D
objects in a rich pixel rendering: To use rich pixel camera data:
1. In the Combustion Workspace panel, double- 1. In the Combustion Workspace panel, select a
click the rendered layer to select it and display the composition or a layer.
2. In the Composition Controls, click the Camera
button to display the Camera controls.

3D Post Filters ❚❘❘
3. In the RLA Transform Layer list, select the layer 3D Post Filters
whose camera animation you want to use. Use 3D Post filters to modify and add effects to 3D
images in rich pixel renderings.
Render Channels Used in 3D Post

Filters
When you render a scene from 3D Studio MAX,
The camera’s position, direction, and field of view make sure you include the channels required by the
are now taken from the selected RPF or RLA file. 3D Post filters that you plan to use in Combustion.
Notice the Camera controls are disabled to indicate
that you no longer control the camera from For example, if you plan to use the 3D Post Motion
Combustion; instead the camera animation is based Blur filter, you must include the velocity channel in
the rendered RPF file.
on information stored in the RLA or RPF file.
4. Set a viewport to Camera view and preview the

If you enable all the channels in the Render Setup
animation. dialog, you can use any of the filters available in
Combustion. But keep in mind that the more chan-
Because the camera data has changed, you may have
nels you render, the larger the rendered file. See
to move or rotate some layers in order to see them.
“Creating RPF and RLA Files” on page 501.
The following table illustrates which channels are
used by each 3D Post filter.
3D Depth 3D Fog 3D Glow 3D Lens 3DMotion G-Buffer Texture

of Field Flare Blur Extract Map
Z Depth ✔ ✔ ✔ ✔
Material Effects ✔ ✔
Object ✔ ✔
UV Coordinates ✔
Normal ✔
Non-clamped Color ✔ ✔ ✔
Coverage ✔ ✔ ✔ ✔ ✔
Node Render ID ✔ ✔ ✔ ✔
Color ✔ ✔ ✔
Transparency ✔ ✔ ✔ ✔
Velocity ✔
Sub-pixel Weight ✔ ✔ ✔ ✔

Note: The 3D Post effects that use the RPF chan- gradually becomes blurry towards the part of the
nels Color, Transparency, and Sub-pixel weight scene that is farthest from your point of view.
don’t require these channels to be present (they
aren’t available for RLA files), but if present, the
channels are used to improve the quality of the
effect.
Applying 3D Post Filters

In your composition, you can apply 3D Post filters to
Focused Plane
any layer of a rich pixel rendering. Unlike other
The focused plane is the Z-depth at which objects
kinds of filters, you cannot apply 3D Post filters to
appear in focus. Objects in front of or beyond this
grouped layers or to entire compositions. Each filter
plane are blurred. The farther an object from the
modifies only one layer.
Focused Plane, the more it appears blurred.
To apply a 3D Post Filter to a rich pixel rendering:
To set the focused plane, do one of the following:
1. Import an RPF or RLA file into a composite.
• Click the Pick button, then, in the viewport, click a
2. Select the layer you want to filter. point in the image that should be in focus. The Fo-
3. Choose Operators | 3D Post, then select a filter cused Plane box updates to reflect the Z-depth of the
from the menu that appears. pixel that you sampled. In the viewport, all objects at
that same Z-depth appear in focus.
Note: Only RPF files support the 3D Motion Blur
and Texture Map filters. • Enter a value in the Focused Plane box. It must be
an integer smaller than –1.
3D Depth of Field • Use the spinners to move the focused plane back-
The 3D Depth of Field filter changes the focus of the ward or forward by increments of one unit of Z-
image, depending on the Z-depth information in a depth.
rich pixel rendering.
Maximum Radius
Note: The 3D Depth of Field effect uses the Z (Z
Depth) channel. It doesn’t require the channels
The maximum radius determines the amount of
Non-clamped Color, Coverage, Color, Transpar- blur applied to objects which are farthest from the
ency, or Sub-pixel Weight to be present (the latter focus plane. As objects get closer to the focus plane,
three aren’t available for RLA files), but if present, a smaller blur is applied.
the channels are used to improve the quality of the
effect. Blur Type
For example, you can create an effect where an This is the type of blur used to create the “out of
object in the foreground is in focus, but the scene focus” effect. Select either Box or Gaussian blur. The
Gaussian blur creates a smoother blur, but requires
more processing time.

3D Glow The Render Node ID is a unique number that 3D

Use 3D Glow to add a glow to an object or a material Studio MAX assigns to each object when it is
in a rich pixel rendering. This makes the object or rendered.
material appear self-illuminating.
To specify what should glow:
1. Select a Glow Source.
2. Do one of the following to select the specific ma-
terial ID, object ID, or Render Node ID:
• Click the Pick button, and click on the item in the
viewport. The selected item glows. If you select a
Note: The 3D Glow effect uses the Material Effects material, all objects with that material glow.
or Object ID channels. It doesn’t require the chan- • Enter a value in the ID box, or use the spinners to
nels Non-clamped Color, Coverage, Color,
select a value. The ID must be an integer greater than
Transparency, or Sub-pixel Weight to be present
(the latter three aren’t available for RLA files), but if 0.
present, the channels are used to improve the
quality of the effect. With an RPF file, you can use Minimum Luminance
the Node Render ID to choose an object. This Creates a cutoff value for the glow effect. The glow is
channel isn’t available for RLA files. applied only to pixels whose luminance is greater
than the minimum luminance value. If you set
Radius
Minimum Luminance to 0, all the pixels on the
Controls the size of the glow.
selected object or material will glow. If you set a high
Minimum Luminance, only brighter pixels will glow.
Intensity Boost
Controls the brightness of the glow. This has the effect of creating “bloom” around
bright areas of the image.
Extend into Mask
Extends the glow filter beyond the edge of the object Falloff
to which it is applied, softening the otherwise hard Controls the softness of the glow effect. More specif-
edge. ically, it determines how much glow is applied to
pixels whose luminance is close to the Minimum
Glow Source Luminance. With falloff at 0%, for each pixel, glow is
The Glow Source determines what will glow. You can either on or off. With a higher falloff value, glow is
set it to a material ID, or to an object that can be applied to pixels in varying degrees depending on
identified by its object ID or Render Node ID. how close they are to the Minimum Luminance.
Material ID is the ID you assigned to a material while Resize Image

creating it in 3D Studio MAX.
Object ID is the G-Buffer channel ID you set in the 3D Lens Flare

Object Properties dialog in 3D Studio MAX. Use 3D Lens Flare to create the impression of a
bright light shining directly into a camera lens. You

can apply Lens Flare to objects or materials in a rich Z Value

pixel rendering. Positions the lens flare in 3D space. An object that is
in front of the lens flare blocks the effect (partially or
completely), while an object behind it is covered by
the flare.
Edge Feather
Softens the mask edge for the selected object or
material so that a lens flare that is behind another
Note: The 3D Lens Flare effect uses the Z (Z Depth) object can be partially visible. Increase the Edge
channel. It doesn’t require the channels Coverage, Feather value for more lens flare visibility.
Transparency, or Sub-pixel Weight to be present
(the latter two aren’t available for RLA files), but if Elements
present, the channels are used to improve the
Specifies whether the lens flare contains a central
quality of the effect.
flare.
Strength
Controls the brightness of the lens flare. Flare Type
Determines the camera lens that the lens flare
Flare Center simulates.
Determines the flare X,Y position on the image.
Enter an X,Y value, or click the Pick button, then Scale with Depth
click a point in the viewport to position the flare on When this option is enabled, the lens flare changes
that point. size according to its Z value. If a flare is farther away
(high Z-value), it appears smaller.
Axis
Specifies the direction of the reflections and how far Depth Scale
from the hot spot the reflections extend. Enter an Determines how much the lens flare size varies
X,Y value, or click the Pick button, then click a point depending on its Z-depth. Depth Scale works in
in the viewport to set the axis. The Flare shines from conjunction with Scale with Depth. If Scale with
the Flare Center toward the Axis point. Depth is disabled, Depth Scale has no effect.
Color 3D Fog
Determines the color of the lens flare. Click the color 3D Fog applies a mist to the entire image in a rich
box and use the color picker to specify a color, or pixel rendering.
click the Pick button and sample a color from your
image in the viewport.
Rotation
Spins the central flare around the flare center.

Note: The 3D Fog effect uses the Z (Z Depth) Affect Mask

channel. It doesn’t require the channels Non- Applies fog to areas normally made transparent by
clamped Color, Coverage, Color, Transparency, or the alpha channel.
Sub-pixel Weight to be present (the latter three
aren’t available for RLA files), but if present, the
channels are used to improve the quality of the
Correct Edges
effect. Uses the Coverage G-Buffer channel to apply fog
correctly around the edges of objects.
Falloff Distance
Specifies a gradual onset of the fog so that objects in Fog Source
the foreground are less obscured than objects in the Specifies another layer in the composition to use as
background. A falloff value of zero creates a solid the fog source, added to the gradient colors. This
wall of fog that begins abruptly. allows you to use real footage or animated textures
for fog, like fractal noise or turbulence.
Near Plane
Determines where the fog begins in 3D space.
3D Motion Blur
Use this filter to add motion blur to moving objects
Fog Thickness
in a rich pixel rendering. The faster an object moves,
Controls the thickness of the fog.
the more it is blurred. The filter uses velocity infor-
Color 1 and Color 2 mation stored in the rich pixel file to determine how
The color of the fog can vary from the bottom to the much motion blur to add to moving objects.
top of the image. For example, the fog could be green Note: The 3D Motion Blur effect uses the Z (Z
close to the ground and go to white toward the top of Depth) and Velocity channels. Only RPF files
the image. To create this effect, you assign two colors support the 3D Motion Blur filter. RLA files do not
to the fog, and specify the opacity and position of have a Velocity channel. This effect doesn’t require
each color. the Coverage channel, but if present, it is used to
improve the quality of the effect.
To specify a color, click the color box and use the
color picker to set the color, or click the color picker
and then sample a color from the image in the
viewport.
Amount
Color Opacity Determines the amount of blur to add to the object
Sets the opacity of color 1 or color 2. that is moving at an average speed. Slower moving
objects are blurred less; faster objects are blurred
Color Position more.
Determines the portion of the image which is
covered by that color. When the Position of Color 1
and Color 2 overlap, a gradient is created.

G-Buffer Extract Texture Map

Use this filter to remove objects in a rich pixel With the Texture Map filter, you can use a layer as a
rendering from your composition, or to leave in the texture for an object in your rich pixel renderings.
composition while removing the others.
Note: Only RPF files support the Texture Map filter.
The Texture Map filter uses the UV Coordinates and
Normal channels.
Note: The G-Buffer Extract filter uses the Material

Effects Channel, the Object ID channel, or the Node
Render ID channel. At least one of these must be
present. G-Buffer Type
The type of G-buffer used to identify the object to
G-Buffer Type which you want to apply a texture map.
This is the type of object that you want to remove or
leave. You can select the object to remove or leave Select: To:
based on the object ID, material ID, or render node Object ID Select an object based on its
ID. G-buffer object ID.
Material ID Select objects based on their
Note: Only RPF files support the render node ID
material ID.
option.
Render Select an object based on its render
Mode Node ID node ID.
Determines what is removed from your scene. Select
Remove to remove the selected object. Select Leave Layer
to remove all objects except for the selected object.
Method
Show G-Buffer
Animating 3D Post Filters
Like most parameters in Combustion, you can
animate the parameters in 3D post filters.
To animate a 3D Post Filter:

1. Apply the filter to a layer. A keyframe is set at the
start of the filter. Adjust the filter parameters on this
frame.
2. Go to another frame and adjust the parameters
again.

A new keyframe is set.
3. Play the clip from the start of the filter.

As you preview the clip, notice how the filter is
animated.
4. To modify the animation, use the Frame Con-
trols to navigate between keyframes and adjust the
parameters, or use the Timeline. For more informa-
tion, Chapter 8, “Keyframing” in the Combustion
User’s Guide.


B
Using Combustion with Edit
Launch Combustion from
an Edit Bin or Timeline to

a
retouch your footage or
build multilayer composites
with animated effects.

et
Render your work in
Combustion to create or
update a source in an Edit
Bin or DVE track.

B

B Using Combustion with Edit
Summary Combustion and Edit

This chapter describes: Integration Interface
This section briefly describes the dialogs used when
• “About Integrating Combustion and Edit” on page 516
working with Combustion and Edit together. It is
• “Combustion and Edit Integration Interface” on page intended as a quick reference for those who are
516 familiar with using Combustion and Edit together.
• “Launching Combustion from Edit” on page 519 Learn more about how to use these dialogs further
on in the chapter.
• “Using Combustion and Edit in a Workgroup Envi-
ronment” on page 524
Project Integration Dialog
• “Accessing Edit Bins from Combustion” on page 525
This dialog appears when you launch Combustion
• “Current Limitations to the Combustion / Edit Inte- from Edit.
gration” on page 526
To display the Project Integration dialog:
• Select one or several Bin clips and then click the
About Integrating Combustion Combustion icon in the Bin toolbar, or right-click the
and Edit Bin and choose Combustion from the context menu.
You can launch Combustion from Edit to perform
• Select an event or a portion of the Timeline and
rotoscoping, motion tracking, and multilayer
then click the Combustion icon in the Timeline tool-
compositing on your Edit clips. The combustion
bar or right-click the Timeline and choose Combus-
workspace is then linked to the Edit Job so you can
tion from the context menu.
easily access the workspace directly from Edit.
Conversely, when you render the workspace from
Combustion, the linked sources in Edit are automat-
ically updated.
There are two folders in the Edit Job directory that

ensure the link between your Edit Jobs and Combus-
tion workspaces: Scripts and Projects.
The Scripts Folder — Contains a script file for

each Combustion workspace used in a Job. The
script file transfers instructions to Combustion. It
contains information such as what kind of work-
space to create, Paint or composite; what material to
load; what names and locations to use when saving
and/or rendering the workspace file.
The Projects Folder — Contains the Combustion

workspace files that are linked to the Edit Job.

Combustion and Edit Integration Interface ❚❘❘
Target Bin In some cases, you may not want the Combustion
The Target Bin is the Bin that was active when you project to be rendered to your FX path— for
launched Combustion from Edit. The target Bin example, when you create a deferred project for
contains the preregistered Bin clips that are updated another user to build on a remote system, you do not
when you render your work from Combustion. want the other user rendering to your system while
you are working. To prevent this, you set an Interme-
Source Name diate Render Path that is not on your system.
The Source Name is assigned to several components
in the integration. For instance, it is used to name the The project is first rendered to the Intermediate
workspace, the source, and the rendered file. Render Path, and then it is automatically moved to
the default FX path.
You can use the default source name or enter a name
that is more meaningful to you as long as it is unique PreRegister as DVE
within the current Job and is not longer than 31 Enable this option to create a DVE track effect above
characters. the selected material. The DVE event acts as a place-
holder for the source that you are about to create in
Edit assigns a default source name according to what
Combustion. When you render the Combustion
you selected when you launched Combustion
workspace, the DVE event is linked to the rendered
according to the following rules:
result. This option is available only when the project
• If you select a single event in the Timeline, the de- is launched from a Timeline, provided there is a DVE
fault source name is the event source name+001. (If track in the Timeline.
you select the same event again, and launch Com-
bustion again, the default source name is the event PreRegister Bin Clip
name+002, and so on.) Enable this option to create a picon for the new
source you are about to create in Combustion. The
• If you select multiple events, the default source
preregistered Bin clip is added to the Target Bin,
name is the Program name+001.
which is also the active Bin. When you render the
• If you select a single Bin clip, the default source Combustion workspace, the picon is linked to the
name is the picon’s source name+001. rendered result. Anytime you modify the rendered
source from Combustion, the picon is relinked to
• If you select multiple Bin clips, the default source
the updated source.
name is the Bin name+001.
This option is available whether you launch
Scene, Take, and Description Combustion from the Bin or the Timeline, provided
These are optional fields. They appear in the log area there is an active Bin.
of the source when the source is added to the Edit
Bin. Deferred
Enable this option to specify the project without
Intermediate Render Directory actually launching Combustion. Use this option
When you render your work from Combustion, the when you want to set up a project to be launched at a
rendered file is placed in the Intermediate Render later time or from another workstation.
Directory. By default, this is your default FX path.

Project Activation Dialog Load Latest State

This dialog appears in Edit when you run a deferred This option is enabled by default. It opens the last
Combustion workspace or reopen an existing saved project, if one exists. If you have not yet saved
workspace. the project from Combustion, it launches the project
for the first time. Disable Load Latest State only if
To display the Project Activation dialog: you want to restart a project from scratch.
In Edit, choose Window | Combustion.
Current Task Profile
This portion of the dialog displays information
about the selected task.
Name: Displays:
Scripted The date when the task was first cre-
ated by launching Combustion
from Edit.
Last Render The last time the project was ren-
dered from Combustion.
Last Project The last time the project was saved
Save from Combustion.
DVE Spec. The Program that contains the DVE
track effect associated with the
Combustion task, as well as the In
Point of that DVE track effect. N/A
indicates that you did not preregis-
ter a DVE.
Clip Spec. The Bin that contains the preregis-
tered Bin clip for the selected task,
as well as the optional source infor-
mation associated with that clip.
N/A indicates that you did not pre-
register a Bin clip.
List Sources
Click List Sources to open a text file that lists the
Tasks
sources used in each workspace in the current Job.
This is a list of the Combustion workspaces linked to
the current Job. A task is added to the list when you
set up a project in the Project Integration dialog
whether you launch Combustion immediately or
defer the project.

Launching Combustion from Edit ❚❘❘
Launching Combustion from 6. Click the Combustion icon in the Timeline tool-
bar.
Edit
You can launch Combustion from Edit to composite The Project Integration dialog appears.
events, add effect to clips in the Bin or events in your 7. Enter a source name that is meaningful to you.
Programs. This is the name of the source that you are about to
create in Combustion. The scene, take, and descrip-
tion information is optional.
Making Combustion Visible in Edit
When both Combustion and Edit are running, you 8. Enable PreRegister Bin Clip, and PreRegister
can customize the interface so that Combustion is DVE track.
always on top of Edit. This prevents Combustion 9. Click OK.
from disappearing behind Edit every time you Combustion is launched. The workspace contains a
switch between the two programs. composite branch with the video layers that you
selected in Edit.
To make Combustion visible:
10. In Combustion, create alpha channels, apply ef-
In Combustion, choose Window | Always On Top.
fects, animate the layers in 3D space, add titles and
Note: To make this setting the default, in Combus- paint animations, and so on.
tion, choose File | Preferences. Select General, and 11. To save your work, choose File | Save Workspace.
select Always On Top from the Remember list.
The workspace is saved to the Project folder in your
Edit Job directory.
Compositing Events
To build a multilayer composite, arrange the video 12. When you are satisfied with the results, render
events on different Video tracks and then launch your work using the default file name and location.
Combustion from the edit Timeline. The composite The composite is rendered and added to the Edit Bin
can also include graphic events on the Graphics and Timeline DVE track.
track and on Video tracks.
Applying Effects to an Entire Clip
To composite events in the Edit Timeline:
When you want to color correct, retouch, or paint
1. Create a new Program with a DVE track and a your material, you should apply these effects to the
Video track for each layer that you want to compos- entire clip before recording it to the Timeline. The
ite. easiest way to apply effects or paint to an entire clip
2. Tab on the Video tracks that you want to include. is to launch Combustion from the Edit Bin.
Events on V1 are highest in the stacking order.
To apply effects or paint to an entire clip:
3. Arrange the events to composite in the Timeline.
1. In the Edit Bin, select a picon. Make sure the In
4. Select the portion of the Timeline that you want
and Out Points are at the start and end of the clip.
to composite.
5. Position the Timeline cursor at the In Point. Note: The In and Out Points determine what
portion of the clip is opened in Combustion.

2. Click the Combustion icon on the Bin toolbar, or launch Combustion from the new Timeline. After
right-click the Bin and choose Combustion from the you render your work in Combustion to create a new
Bin menu. source, you can swap edit the new source back into
The Project Integration dialog appears. the original Timeline.
3. Enter a source name that is meaningful to you.
To use Combustion on an event in a Program:
This is the name of the source that you are about to
create in Combustion. The scene, take, and descrip- 1. Tab on the Video track with the event. Tab off the
tion information is optional. others.
4. Enable PreRegister Bin Clip. 2. Copy the event with its transition handles into a
new Program. Note the duration of the handles.
5. Click OK.
In the following example, there are two 1-second
A new Combustion workspace is launched.
transitions. The event is copied with 15 frame
6. Use Combustion to add paint or effects to the handles at the head and tail of the event.
material.
7. To save your work, choose File | Save Workspace.
The Workspace is saved to the Project folder in your
Edit Job directory.
8. When you are satisfied with the results, render You can do this as follows: Move to the In Point and
your work using the default file name and location. press G. Enter -15 in the Go To Timecode dialog.
The source is rendered and the preregistered Bin Mark an In Point. Go to the end of the event. Press G,
picon is updated. and enter +15 in the Go To Timecode dialog. Mark
an Out Point. Press CTRL+C to copy the event. Chose
Using Combustion in Existing File | New Program. In the new Program, tab on
Programs Video track 1, and press CTRL+V.
When using Combustion after you edit a Program, The event including its transition handles is pasted
remember that transitions, motion effects, and color into the new Program.
effects are not transferred to Combustion. In addi-
tion, clip margins are not transferred to 3. In the new Program, set the Program to over-
record and trim off the incoming and outgoing
Combustion.
frames.
In most cases, you should use Combustion in your In the preceding example, the In and Out Points are
Programs before adding transitions or motion extended by 15 frames.
effects or use the Export Media command to build
4. In the new Program, double-click the event to
the source to include the effects and then replace it in
select it, and then click the Combustion icon on the
the Timeline.
Timeline toolbar.
To use Combustion on an event that is part of a The Project Integration dialog appears.
finished Program, you can copy the event (including
5. Enter a source name that is meaningful to you.
its transition handles) into a new Program and then
This is the name of the source that you are about to

create in Combustion. The scene, take, and descrip- link between the Edit Job and the Combustion
tion information is optional. workspace.
6. Enable PreRegister Bin Clip.
To save a linked workspace:
7. Click OK.
In Combustion, choose File | Save Workspace.
A new Combustion workspace is launched.
The workspace is saved using the name and location
8. Use Combustion to add paint animations and ef- in the Edit script file. This allows you to re-launch
fects to the material.
the workspace from Edit at any time.
9. To save your work, choose File | Save Workspace.
The workspace is saved to the Project folder in your Rendering a Linked Workspace
Edit Job directory. You assign a name and location for the rendered file
10. When you are satisfied with the results, render when you first launch Combustion from Edit. The
your work using the default file name and location. file name is derived from the Source name that you
The source is rendered and the preregistered Bin enter in the Project Integration dialog. The file loca-
picon is updated. tion is the Intermediate Render Path, also specified
in the Project Integration dialog.
11. In Edit, set the In Point to obtain the event han-
dles noted in step 1. To do so, load the picon into the The rendered file is linked to Edit Bin clips or DVE
Source Viewer. Press HOME to go to the first frame. events. You should not change the name or location
Press G, and enter +15 in the Go To Timecode dia- or you will break the link between the Edit Job and
log. Mark the In Point. the Combustion workspace.
12. Swap edit the new source back into the Timeline.
You should not change the workspace duration
To do so, in Overrecord mode, place the Timeline
either or you will lose synchronization with your
cursor over the event to replace and press SHIFT+R.
Edit Program.
To render a linked workspace:

2. In the Render dialog, enable Video Output.
3. Select the Video for Windows format.
Saving a Linked Workspace
You assign a name and location for the workspace 4. Click Options.
when you first launch Combustion from Edit. The The Select Compressor dialog appears.
workspace name is derived from the Source name
5. On Matrox -based Edit systems set the following
that you enter in the Project Integration dialog. options:
Edit uses this name and location when you want to • Select the Digisuite M-JPEG codec.
re-open a workspace from Edit. You should not
change the name or location or you will break the • Disable Data Rate.

• Adjust the Quality slider in the Render Quality 3. Enable Load Latest State unless you want to re-
window. The default setting is 100% which renders start the workspace from scratch.
lossless quality. The selected workspace is launched.
Note: Only render as lossless if the Job to which 4. Create and animate paint strokes, titles, and ef-
the clip is linked is also lossless, because lossless fects. Save and render the workspace using the de-
sources are recognized only if the Job is opened as fault file names and locations.
lossless. The system automatically relinks the updated video
6. On TARGA-based systems set the following op-
source material to any Bin clips or DVE effects that
tions: reference it.
• Select the Truevision DVR AVI MJPG (LSI) codec.

Deferring Projects
7. Click OK. From edit, you can launch Combustion, but defer
8. In the Render dialog, click Process. the project so that you can work on the effects and
The Save dialog appears. compositing at a later date or from another
workstation.
9. Click OK.
The composite is rendered and added to the Edit Bin To defer a project:
and Timeline DVE track. 1. In edit, select the Bin clips or Timeline events
When you return to Edit, there is a delay while Edit that you want to modify, and launch Combustion.
regains control of the video codec. 2. In the Project Integration dialog, enable De-
ferred.
Modifying Workspaces Launched 3. If you plan to launch the project from a remote
from Edit workstation and you do not want Combustion to
After you composite or paint your clips using render the workspace to the FX path on your Edit
workstation, change the Intermediate Render Path.
Combustion, you can modify the Combustion
workspace at any time, either from your Edit station The workspace is first rendered to the specified path,
or from a remote station where Combustion is and then it is automatically moved to the default FX
installed. path. This prevents the remote workstation from
tying up processing resources on your Edit machine.
For more information, see “Using Combustion and
Edit in a Workgroup Environment” on page 524. 4. Click OK.
Combustion is not launched, but a script file is
To modify a workspace from an Edit workstation: created in the Scripts folder in the current Job folder.
1. In Edit, choose Window | Combustion. This script file contains the information required to
The Project Activation dialog appears. set up a workspace in Combustion when you launch
the workspace later on.
2. Select the workspace that you want to open from
the Tasks list and click OK.

Running a Deferred Project resolution. The Combustion scripts and projects use
You can run a deferred project to work on the the exact frame location for reference, so the original
compositing and graphics at any time. You can file or a rebuilt source of the original file must always
be used.
launch the project from your Edit workstation or
from a remote workstation that has a network
To use Combustion after material has been
connection to your Edit system. recaptured:
For more information, see “Using Combustion and 1. Do one of the following:
Edit in a Workgroup Environment” on page 524.
• Rebuild all sources that are in the Edit Program.
To run a deferred project from Edit:
Reopen the Combustion projects or scripts and rer-
ender the workspace.
1. In Edit, choose Window | Combustion.
The Project Activation dialog appears. Projects that • AutoMASTER from Program. If an AutoMASTER
you previously launched from the current Job are from Program is done, only the material that is
displayed in the Tasks list. needed in the Timeline and the associated handles
are included in the new Timeline. This means that
the frame references for the sources in the Combus-
tion projects will no longer be valid in the current
Timeline. Any Combustion source or DVE in the
Timeline can be rerendered at the higher resolution
by rebuilding only the original sources associated
with the given project.
To AutoMASTER from Program:

1. In Edit, choose Window | Combustion.
2. Choose the project that you want to open from
the Tasks list and click OK. The Project Activation dialog appears.
Combustion is launched. 2. Click List Sources.
3. When you are satisfied with the composite or A text file appears listing the sources used in every
paint work in Combustion, save and render the Combustion workspace in the current Job.
workspace using the default file names and loca-
3. Find the workspaces that you want to render at a
tions.
higher resolution and note the sources that are in-
In Edit, preregistered Bin clips or DVE effects are cluded in that workspace.
updated to display the rendered result.
4. Choose AutoMASTER | Rebuild Sources, select
the sources that are included in the Combustion
Off-line/On-line Operations with workspaces, and recapture them at a higher resolu-
Combustion tion.
You may want to perform operations in Combustion 5. Choose Window | Combustion.
through Edit in an off-line mode and later rerender The Project Activation dialog appears.
after recapturing your material at a higher

6. From the Task list, select the workspace that you 1. Launch Combustion on the Edit workstation,
want to render at a higher resolution, and click OK. but defer the project. For more information, see
The workspace opens in Combustion using the “Deferring Projects” on page 522.
rebuilt sources. 2. Open the deferred workspace from a remote
workstation.
7. Render the workspace. See “Rendering a Linked
Workspace” on page 521. In a workgroup environment, you must be aware of
the following hardware constraints:
The Combustion sources are updated in Edit. Now
you can AutoMASTER the rest of the Program. • To open the MJPEG avi files captured in Matrox-
based Edit systems, the Matrox software codec must
8. AutoMASTER either the entire Program or the
portions of the Program you desire. be installed on the remote station.
When you choose Tools | AutoMASTER | Capture • To open the MJPEG avi files captured in TARGA-
from Program, you can specify a filter and only based Edit systems, the remote workstation must
recapture the material that is at a lower data rate than have a compatible TARGA 2000 card installed.
the rate at which you rebuilt the Combustion
• To ensure proper communication between remote
sources. For example, if you rebuilt the Combustion
workstation and Edit, the network must be set up as
sources at 200 KB/frame, you could AutoMASTER
described in the Combustion Installation Guide.
the Program and only select to capture material that
is less than 200 KB/frame.
Accessing Linked Workspaces from a
AutoMASTER builds all the sources except the ones
Remote Workstation
you previously rerendered from Combustion.
You can access workspaces from a remote system to
modify a workspace or run a deferred workspace.
Using Combustion and Edit in a Note: During the process of creating and
Workgroup Environment rendering Combustion workspaces, both systems
The integration of Combustion and edit is designed must be powered on and active on the network.
for a workgroup environment where editors,
To run a deferred workspace or modify a
compositors, and Paint artists all work on the same workspace from a remote workstation:
projects. While the editor is working at the Edit
1. Start Combustion on the remote workstation.
workstation, the compositor or Paint artist can
create effects and graphics on a remote workstation 2. Choose File | Open Workspace.
and render the result back to the Edit Timeline and The Open Workspace dialog appears.
Bin.
3. Navigate to the drive that contains the Edit sys-
The following is a typical workflow in a workgroup tem, then navigate to:
environment: ..\program files\discreet logic\Edit
4. Open the folder corresponding to the Job from
which you created the Combustion workspace.

Accessing Edit Bins from Combustion ❚❘❘
5. To run a deferred project (one that was specified 5. On Matrox-based systems, select the DigiSuite
but never launched), open the Scripts folder. M-JPEG codec and click Configure.
6. To modify a workspace that was previously The Render Video Quality dialog appears.
launched and saved, open the Projects folder.
6. Select the following parameters.
7. Select the workspace that you want to modify
• Select the Quality range: DigiSUITE to render files
and click OK.
as lossless files or DigiSUITE LE if you intend to not
8. When you are satisfied with the composite, ef- use lossless files.
fects and/or graphics, save and render the work-
space using the default file names and locations. Note: If you have a DigiSUITE LE board you still can
Any linked Bin clips and DVE events are updated in render lossless files for use on a DigiSUITE system
by using the DigiSUITE quality range.
Edit.
• Select the Frame size using the slider. You can set
lossless quality by moving the slider all the way to the
Accessing Edit Bins from right.
Combustion
• Click OK to return to the Render dialog.
If Combustion is installed on your Edit system, you
can access Edit Bins from the Combustion file 7. On TARGA-based systems, select the Truevision
browser. In other words, you can use Edit sources in DVR AVI MJPEG codec. Set the Compression qual-
Combustion, and/or render your work from ity and data rate.
Combustion into Edit Bins. 8. Click OK to return to the Render dialog.
You can access Edit Bins even if Edit is not running. 9. Enable Add to Edit Bin.
10. If you made changes to Edit Bins since you
To use Edit sources in a Combustion workspace:
launched Combustion, click Refresh to update the
• Choose File | Open or File | Import Footage. The Job and Bin lists.
Edit Bins appear at the top of the file browser. Ex-
11. Select a Job from the Job list.
pand the Edit Bin and navigate to the source that you
want to open. 12. Select a Bin from the Bin list, or click New to cre-
ate a new Bin in which to store the rendered file.
For more information on opening or importing
13. Enter a source name, description, scene, and
material, see the Combustion User’s Guide.
take information in the appropriate fields.
To render material from Combustion into an Edit This information appears in the log area when you
Bin: open the Bin in Edit.
1. In Combustion, choose File | Render. 14. Enter a file name and adjust the remaining set-
2. In the Render dialog, enable Video Output. ting in the Render dialog, and then click Process.
A Bin clip is created. The file is rendered and stored
3. Select Video for Windows from the Format list.
as video source material on your Edit system.
4. Click the Format Options button.
The Select Compressor dialog appears.

Current Limitations to the codec while running Edit in the foreground (this
Combustion / Edit Integration will, of course, slow down rendering). Once render-
When you launch Combustion from the Edit Time- ing is complete, you can import the media files into
line, the following real-time effects are not a Bin provided that the format is supported by Edit.
transferred: • You cannot play back a project in Combustion and
• Motion effects play a Program in Edit at the same time because, in
Playback mode, both applications need to access the
• Color effects codec continuously.
• Transitions • When Edit is running, you cannot enable the “Use
Only the DigiSUITE format rendered in Lossless RAM player” option with the framebuffer in Com-
Quality can be accepted in a lossless Edit Job. bustion. With Edit running in the background, this
option slows the RAM playback significantly and
There is a 2 GB file limit in Combustion. The can cause other conflicts with the codec.
complete file size of a source must be less than 2 GB
in order to be brought into Combustion. This is • You cannot play back audio in Combustion when
because the complete file is opened in Combustion Edit is running.
regardless of the size of the selected region in Edit.
Combustion does not support Edit files captured in

Draft mode.
Combustion supports only the Matrox Digisuite
frame buffer. This means that you can display a
Combustion viewport in the Broadcast monitor on a
Matrox-based Edit system, but not on a TARGA-
based configuration.
Operations that Cannot Run

Simultaneously
When Edit and Combustion are running simulta-
neously, the hardware codec is shared by both
programs. As a result, you cannot perform opera-
tions that require the hardware codec in both
programs at the same time. The following examples
illustrate this constraint:
• You cannot work in Edit while Combustion is ren-
dering to a Bin in the background because both pro-
grams try to access the hardware at the same time,
which is not possible. You can, however, render an
image sequence or anything else that does not use

Index ❚❘❘
Numerics Aiff audio files 440

10-bit Cineon files, importing 67 airbrush 227
16 by 9 aspect ratio 59 aligning
3-2 pulldown objects in Paint 253
removing 75 text 303
3D compositing 500 to a motion path 195
3d depth of field 508 alignment buttons 290, 298, 299
3D depth option 506 Alpha
3D fog 510 in stencils 139
3D glow filter 509 view mode 130
3D lens flare 509 Alpha Arithmetic 141
3D motion blur 511 alpha channel 128
3D Post filters 507–511 changing settings 74
3D post filters concepts 128
animating 512 creating in Paint 135
applying 508 creating with keyers 131
3D post filtes creating with masks 130
render channels 507 drawing on 135
3D scenes, importing RPF or RLA files 503 embedded in footage 136
3D shading option 506 from another layer 139
3D Studio MAX, painting objects in 491 importing 136
interpreting 136
A inverting 137
accessing outputting 153
refining matte edges 134
composite display settings 71
rendering 471
footage Output settings 77
footage Source settings 73 Set Matte effect 146
Alpha Overlay, view mode 130
mask tool 156
ambient light
activating
objects 245 color 432
defined 428
objects in Timeline 182
intensity 433
Add Key 179
Add Noise filter 324 using 431
amount in 3D motion blur 511
adding
analyzing, see tracking
control points 251
grain 152 Anamorphic 60
Animate button 171
keyframes 183
animating
lights 434
noise 324 3D post filters 512
Animate button 171
operators 107
gradients 267
Additive draw mode 218
Adobe Illustrator files 55, 68 keyer settings 360
operators 112
Adobe Photoshop 210
paint maps in 3D Studio MAX 491, 495
Adobe, using plugins 334
advanced drawing tools 262 see also keyframing
stencils 139
advancing the clip 180
animation, see keyframing
affect mask in 3D fog 511
527
ix Index
anti-alias mesh, in unwrap mesh preferences 494 Best quality 78

anti-aliasing Bezier
brush 227 adding object control points 251
freehand stroke 241 deleting object control points 251
in tool options 216 drawing curve 243
text 298 editing tangent 251
aperture width 422 see tangent handles
Arrow button 159 selection 288, 289
arrow tool 215 BG Color 243
artifacts Bins
in bluescreens 361 preregistering clips from Combustion 517
aspect ratio Bit depth, audio 440
16 by 9 59 bitmaps, painting materials in 3D Studio MAX 496
changing brush aspect ratio 226 Blend 141
audio Block Dissolve 332
importing 69 Blue view mode 130
limitations with edit* 526 bluescreen masking areas 362
audio and edit* 18, 440 Blur
Audio codecs 445 draw mode 219
Audio controls 441 blur
Audio file types supported 440 key-in blur in Keyer 361
Audio files, formula for RAM required 440 blur type in 3D depth of field 508
Audio panel 441 Blur/Sharpen filters 311–316
Audio render formats 445 Channel Blur 152
Audio render output options 444 BMP files 210
audio standards for bit depth 445 boom removal 271
Audio standards for sampling rates 445 Box Blur filter 311
Audio, linking to clips 444 branch
Audio, linking to Operator 444 applying operator to 110
Audio, loading 442 operators in 11, 107
Audio, removing 444 breaking tangent handles 174
Audio, rendering 444 Brightness
Auto Duration 202, 246 draw mode 218
Auto Scale 179 Brightness/Contrast filter 317
autoexpanding, timeline 179 broadcast safe colors for NTSC 318
AutoScale 179 broadcast safe colors for PAL 318
Average 190 Browse, audio 441
AVI files 210 brush sets
axis in 3D lens flare 510 creating 229
brushes
B airbrush 227
back matte, adjusting 359 anti-aliasing 227
BackLUT 359 aspect ratio 226
Balance filter 317 brush sets 229
balancing colors 372 contact angle 227
Basics Controls, Color Corrector 372 deleting 229
Behind draw mode 222 handle 228
528
Index ❚❘❘
new brush 228 creating 140

opacity profile 228 HSV Arithmetic 144
shape 226 Invert 144
size 226 Minimax 144
spacing 227 RGB Arithmetic 145
Brushes controls 225 Set Matte 146
Bump 327 channel keyer, using 350
Bump Map filter 327 Channel list 223
burning tools 221 channel selection 152
Channel Selection operator 325
C channels
cache color channels 128
flushing 236 copying shift channel (tracking) 414
Cache Meter 236 in footage settings 74
camera using alpha channel 128
concepts 20, 418 channels, setting RPF or RLA render channels 502
moving 421 Character Direction 290, 298, 299
rotating 421 CHK files 210
targeting 422 chroma key 7, 8, 132
camera interface Cineon 210
described 418 Cineon color converter 316
camera matching 425, 506 Cineon files, importing 67
Camera palette 422 Cineon Full 60
cameras Cineon Half 60
selecting 421 circle, see ellipse
turning on or off 48 Circular Wipe 332
CC branches Cleanup 131
opening footage in 58 Clear Proxy 83
CD-ROMs, outputting to 54 clearing
changing Mixer palette 234
alpha channel settings 74 clips
ambient light color 432 importing 3, 64
ambient light intensity 433 opening in Paint 209, 210
frame rate 74 supported format 59
layer resolution 79 Clone button 222
Output settings 77 clone tool 275
resoltuion 78 cloning
Source settings 73 accessing controls
start and end points 83 accessing
channel blur 152 clone controls 224
Channel Blur filter 312 from one frame to another 276
channel effects interface 224
Alpha Arithmetic 141 locking source 278
Blend 141 on current frame 275
Compound Alpha Arithmetic 142 selecting source 277
Compound HSV Arithmetic 142 specifying starting point 277
Compound RGB Arithmetic 143 starting point 277
529
ix Index
Collapse button 64, 68 Composite Operation, in Keyer 347

color composites
applying with fill tool 215 changing display settings 71
background 217 creating 55
foreground 217 creating multiple 61
gradient 263 file formats 59
mixing 234 masking 156
selection tool (magic wand) 214 nested 207
setting ambient light 432 opening footage in 64
setting for Paint objects 239 Compound Alpha Arithmetic 142
color balancing 372 Compound Blur filter 312
color channels 128 Compound HSV Arithmetic 142
splitting 148 Compound RGB Arithmetic 143
color correction filters 317–318 Cone Angle option 438
Color Emboss filter 328 constrain to UV button 490
color gradients 263 Constrained
color in 3D fog 511 object drawing setting 242
color in 3d lens flare 510 contact angle of brush 227
color matching 369, 374 Context 179, 183
color model, selecting for keying 351 Contract menu command 212
color of Plot bar in Keyer 347 contract selection 293
color of unwrapped mesh 494 contrast
Color Only view mode 130 in color corrector 371
Color palette 232 contrast decreasing from histogram 375
color picker 234 contrast increasing from histogram 375
in Color Corrector 367 Contrast, draw mode 219
Color Plot 236 control points
color position in 3D fog 511 adding 251
color spill, removing from key 357 adding to masks 164
color suppression 372 and masking 164
color suppression in Keyer 357 deleting 251
Color Values 236 deleting in masks 164
color wheel 370 editing tangents 251
color, selecting in text 302
from Mixer palette 234 moving 164
from Picker palette 234 Convert 191
from Slider palette 235 copying
from Swatches palette 233 keyframes 191
with eyedropper tool 215 selections 294
Colorize draw mode 219 copying objects 257
colorspace, selecting for keying 351 correct edges in 3D fog 511
Combine Frame 81 creating
combining CC branches 58
masks 165 channel effects 140
Combustion composites 55
using edit* sources in 525 custom file formats 60
compare feature, in Color Corrector 380 gradients 262
530
Index ❚❘❘
Keyer branches 58 objects 257

lights 434 operators 112
masks 160 depth of field, 3D post filter 508
multiple branches 61 depth order 100
new brush 228 depth scale in 3D lens flare 510
Paint branches 56 depth, using in RLA files 505
paint object 238 Desaturate draw mode 221
proxy footage 81 Difference draw mode 221
see also drawing difference keyer 134
selection objects 285 Back Source 134
text 299 controls 133
workspaces 55 Gain 133
cropping Lift 133
footage 81 Output 133
layers 160 Reset All 134
using Resize filter 322 RGB 133
cross-platform considerations 54 softness 134
current time marker 178 Tolerance 133
Curves Controls, Color Corrector 377 using 132
curves, in Keyer 359 YUV 133
custom brush sets 229 difference mattes 132
Custom Resolution group in Paint Parameters diffuse level 118
rollout 491 discreet edit* NTSC 59
custom settings discreet edit* PAL 59
in file formats 60 Displace filter 319
customizing display mesh during playback, in unwrap mesh
brush sets 229 preferences 494
cut and paste 257 display options
cutting Timeline 177
keyframes 191 Tracker 388
selections 294 display options, Color Corrector 369
display quality 78
D Display settings
D-1 NTSC 59 accessing 71
D-1 PAL 59 displaying
darkening an image layers 90
using Darken draw mode 221 light in composite 431
with burning tools 221 distant lights
deferred, combustion workspace for edit* 517 defined 428
degraining 152 using 434
deleting distortion effects 319–324
brushes 229 distributing objects and text 255
filters 112 dodging draw modes 220–221
keyframes 192 Dolly Blur filter 312
masks 164 draft mode, limitations of draft mode files captured in
mixing area 235 edit* 526
object control points 251 Draft quality 78
531
ix Index
Draw Mask 160 polygon 242, 243

draw mode rectangle 242
applying 258 rectangles 242
changing intensity 259 straight line 241
using Modes controls 258 drawing tools
draw modes Dropper 245
Additive 218 Eraser 243
Behind 222 Fill 244
Blur 219 Grabber 245
Brightness 218 Magnifying Glass 245
Burn Highlights 221 Drop Shadow filter 328
Burn Midtones 221 drop shadows 232
Burn Shadows 221 drop-frame timecode 54
Color Emboss 220 Dropper tool 245
Colorize 219 duplicating objects 257
Contrast 219 duration
Darken 221 audio 442
Desaturate 221 Auto Duration feature 202, 246
Difference 221 extending footage 80
Dodge Highlights 221 in paint maps 491
Dodge Midtones 221 source footage 83
Dodge Shadows 220 duration of objects 178
Emboss 220 Dust and Scratches effect 324
Erase 222 Dust and Scratches filter 324
gray 220 DVE track effects
Hardlight 222 creating in Combustion 517
Lighten 221
Mosaic 220 E
Multiply 220 edge feather in 3D lens flare 510
Negative 219 Edit button in paint parameters rollout 490
Overlay 222 edit* and Combustion
Paint 218 audio limitations 526
Posterize 219 edit* clips
Revert 222 modifying in combustion 517
Saturate 221 edit* integration
Screen 220 hardware limitations 526
Sharpen 219 edit* sources 211
Smooth 219 editing
Softlight 221 brush attributes 226
Subtractive 218 gradient direction 266
Tint 219 gradients 264
Draw Selection operator 326 masks 163
drawing effect* compostions 62
creating paint object 238 effects
drawing tools 213–214 applying with draw modes 258
ellipses 242 available in Combustion 310–334
freehand stroke 241 improving tracking 411
532
Index ❚❘❘
See also operators Feather selection operator 326

EI files 210 feather, in G-buffer selections 504
ElectricImage 210 feathering
elements in 3D lens flare 510 masks 165
ellipse feathering masks 159
drawing tool 214 field artifacts, keying 361
selection object 288 field depth, 3D post filter 508
selection tool 214, 215 field dominance
ellipses 242 in footage settings 74
Elliptical Mask 160, 161 field of view 422
Elliptical selection operator 326 file formats 59
Emboss filter 328 CC branches 59
embossing an image custom 60
Color Emboss draw mode 220 supported 68
Emboss draw mode 220 file formats, supported 210
Enabled, in filter controls 310 files
Encoding, audio 442 importing clips 64
end behavior 79 importing image sequences 64
end condition group in paint parameters rollout 491 importing multi-layer 66
Equalize filter 317 opening effect* 2.x 62
equalize, Color Corrector 376 opening Paint* 2.x 62
Erase draw mode 222 opening workspaces 62
Eraser tool 243 replacing 69
erasing Fill menu command 212
eraser tool 215 fill tool 215, 244
using Erase draw mode 222 anti-alias 244
using Revert draw mode 222 film
Erode importing Cineon files 67
in Matte Controls filter 135 outputting to 53
example Film Strip 210
text effect 305 Filmstrip 37–??
Expand menu command 212 Filter Type, in Keyer 347
expand selection 293 filtering, paint maps in 3D Studio MAX 491
expand, in G-buffer selections 504 filters
exporting applying 3d post filters 508
setups 378 available in Combustion 310–334
extending using Adobe filters 334
footage duration 80 See also operators
extracting 3D objects from RPF files 512 Find Edges filter 329
eyedropper tool 215 Fixed, object drawing setting 242
flare center in 3D lens flare 510
F flare type in 3D lens flare 510
falloff distance in 3D fog 511 flat image
falloff in 3D glow filter 509 in multi-layer files 67
fast-forward 180 flat image, importing RPF or RLA file as 503
Feather menu command 212 Flip filter 320
feather selection 292 FLM files 210
533
ix Index
focal length 422 selection object 286

focused plane, in 3D depth of field filter 508 selection tool 214
fog source 511 Freehand Mask button 157
fog thickness in 3D fog 511 FrontLUT 359
fog, applying to RPF or RLA files 510 function curve, see Timeline
Font list 299
fonts G
installing 298 gain 373
footage adjusting luminance of key with 355
basics 54 gamma 373
cropping 81 gamma, gain, and offset 373
extending duration 80 garbage masks 362
frame rate 54 Gaussian Blur 312
identifying frames 54 G-buffer
importing 63 extract filter 512
importing into composites 64 using for 3D compositing 500
importing into Paint 69 using with shading and shadows 505
media settings 53 g-buffer selections 504
opening in a composite 55 g-buffer type in G-buffer extract filter 512
opening in CC branch 58 g-buffer type in texture map filter 512
opening in Paint branch 56 Generating waveform, audio 443
opening in the Keyer branch 58 GIF files 210
replacing 69 global apply mode 159
replacing missing 63 global image quality 78
resolution, changing 79 Glow filter 329
reversing 80 glow source in 3D glow filter 509
settings, changing 73 glow, 3D glow filter 509
start and end points 83 going to a frame 180
supported formats 68 grab tool 215
working with low-rez 81 Grabber button 158
footage library Grabber tool 245
importing footage 68 Gradient 222
footage operators 73 gradient handles 264
force re-order adjustments, Color Corrector 367 compressing 265
format options gradient plot lines, Color Corrector 376
paint maps 493 Gradient Wipe 333
Fractal Noise filter 324 gradients
Frame All button 179 animating 267
frame blending 80 changing types 266
Frame Controls 180 color 263
frame hold duration 80 creating 262
frame rate 54 direction 266
specifying for a layer 74 editing 264
frame-forward 180 on alpha channel 268
freehand opacity 264
drawing tool 213 grain
mask tool 161 adding 152
534
Index ❚❘❘
removing 152 audio 69

Graph 179 Cineon files 67
Graph mode 177 clips 3, 64
gray footage 63
draw mode 220 footage into composites 64
removing from matte 354 footage into Paint 69
Green view mode 130 image sequence 64
Grey filter 318 into footage library 68
Grouped multi-layer files 66
in multi-layer files 67 multiple clips 3, 64
grouped,footage import option 503 replacing footage 69
grouping replacing missing footage 63
objects 255 RPF files 66
text 300 setups 378
stills 66
H workspaces 63
handle, brush 228 importing RPF or RLA files 503
Hardlight draw mode 222 in points 181
HDTV 1080/24p 60 Individual Frame 81
HDTV 720/30p 59 in-point, moving 178
Hide Marquee 285 input and output levels, Color Corrector 374
hiding Inscriber Chunk 210
camera icon 419 installing fonts 298
layers 90 intensity
objects 182 setting ambient light 433
highlights redefining 377 interface
hinging objects 194 clone tool 224
histogram 374 Intermediate Render Directory, Combustion with
in Keyer 354 edit* 517
Histogram Controls, Color Corrector 373 interpolation
Hold Last 79 mixing in an animation 186
hold option in paint parameters 491 interpolation method (keyframing) 186
HSV Arithmetic 144 Invert menu command 212
hue shift 371 invert operator 144
in Keyer 358 Invert selection operator 326
hue tint 372 Inverted Alpha view mode 130
inverting
alpha channel 137
I
masks 137, 159, 165
icons, operators 109
selection 292
ID, assigning object or material IDs in 3D Studio
stencils 139
MAX 502
Image Sequence Options dialog 65
image sequences, importing 64 J
images, opening in Paint 209 JPG files 210
Import Options dialog 66 justifying objects and text 254
importing
Adobe Photoshop files 66
535
ix Index
K selecting a keyer mode 351

kerning, text 303 using Blur 135, 343
Key Color 132 using Erode 135
key color 352 using Gain 343
key controls 352 using Lift 343
Keyer using Shrink 134, 343
animatable parameters 360 using to create selections 347
Comp button 349
histogram function 343 L
interface described 338 lasso 214, 286
plotting a color value 353 layers
remapping blacks and whites 343 applying operators to 11, 109
viewing key with a solid colour background 349 applying stencils 138
Keyer branches 59 cropping 160
opening footage in 58 locking to background 100
keyframes masking 160
cutting, copying, and pasting 191 moving 92
deleting 192 multiple, painting over 207
displaying 178 rotating 92
editing 185 selecting 90
going to next 180 single, painting on 206
going to previous 180 turning on or off 90
math operations 190 using one layer as alpha for another 139
keyframing leading, text 303
Animate button 171 Leave Color filter 329
concepts 11, 170 Lens Flare filter 330
creating keyframes 183 lens flare, applying to RPF or RLA file 509
crop values 81 lift, adjusting luminance of key with 355
editing keyframes 184 Light Type options 437
enabling or disabling 183 Lighten draw mode 221
previewing with onion skinning 196 lighting interface
setting interpolation method 186 described 429
key-in blur 361 lights
key-in clip 340 ambient 431
key-in clip, using to correct artifacts 361 changing color 437
keying changing intensity 437
changing background (compositing) color 346 changing type 437
color suppression target 345 concepts 19, 428
difference keyer 134 creating and deleting 434
extracting a Luminance key 354 displaying effects of 431
garbage masks 362 moving and rotating 435
hue shift target 345 renaming 434
Linear Keyer 7, 8, 132 selecting 434
luma key 132 targeting 436
matte controls 134 turning on or off 438
overview 347 using 434
plotting color values 353 limitations
536
Index ❚❘❘
file size for edit* integration 526 show/hide 285

Line Directions 290, 298, 299 mask objects 130, 156
Linear Keyer Mask Toolbar 157
chroma key 7, 8, 132 masking
Cleanup 131 adding to combination 166
Key Color 132 combining 165
luma key 132 concepts 128
Spill Removal 132 creating ellipse masks 162
Tolerance 131 creating rectangle masks 162
Linear Wipe 333 drawing freehand masks 161
Link To..., audio 442 intersecting combination 166
Linked To, audio 442 parts of a bluescreen 362
Live Edit group in paint parameters rollout 490 subtracting from combination 166
loading clips in Color Corrector 366 masks 160
locating a frame 180 Add 159
locking adding control points 164
clone source 278 adding, subtracting, and intersecting 165
reveal source 275 adjusting control points 164
locking to background 100 breaking tangent handles 164
log file,converting 10-bit log to 8-bit linear 316 creating masks 160
Loop option in paint parameters 491 deleting 164
Loop, audio 442 deleting control points 164
Loop, end behavior 79 editing 163
looping playback 180 feathering 165
lower field dominance 74 global apply 159
luma keying 132, 354 Intersect 159
Luma, in stencils 139 inverting 165
luminance curves Replace 159
adjusting 359 Subtract 159
luminance, keying with 341 tool options 158
transparency 165
M matching colors 369
magic wand 287 material ID
magic wand selection tool 214 assigning 502
Magnify Glass filter 320 G-buffer selections 504
magnify tool 163, 245 in G-buffer selections 504
in Paint 215 Math Operations 190
Magnifying Glass button 158 matte controls 134
Make Curve using 135
Filled Freehand Tool option 241 Matte Filter 135
Object menu command 250 mattes
Make Outline 250, 303 creating in Paint 135
Make Proxy dialog 81 creating with keyers 131
Manual Crop 81 creating with masks 130
maps difference 132
Paint Parameters 489 improving 134
marquee inverting 137
537
ix Index
inverting in Keyer 343 motion path, editing (tracking) 412

removing gray 354 Motion Picture 2K 60
Set Matte effect 146 MOV files 210
specifying a layer as a matte 139 Movie Color filter 318
using existing 140 moving
maximum radius, in 3D depth of field filter 508 camera 421
media keyframes 184
acquiring 54 layers 92
CD-ROMs 54 lights 435
film 53 object to back or front 204, 256
settings 53 objects 247
streaming web video 53 multi-layer files
video tape 53 flat image 67
video-on-demand 53 grouped 67
Median filter 324 nested 67
Medium quality 78 Multiply draw mode 220
midtones redefining 377 Mute, audio 442
Minimax 144
minimum luminance in 3D glow filter 509 N
mirror, see reflections naming, objects 206
missing footage navigating between frames 180
replacing 63 near plane in 3D fog 511
Mixer palette 234 Negate 190
clearing 234 Negative draw mode 219
deleting 235 nested
new mixing area 235 composites 207
selecting a color 234 footage import option 503
using presets 235 layers, applying operators to 109
mixing colors 234 option in multi-layer files 67
mode new project format options for paint maps 493
Keyer mode described 340 Noise filters 324–325
mode in G-buffer extract filter 512 noise in blue screen footage, keying 346
Modes controls 258 NTSC 59
masks 159 NTSC Colors filters 318
Modes palette 217 NTSC Full 59
monitor calibratio in Color Corrector 366 NTSC-DV 59
Mosaic
draw mode 220
O
filter 330
object ID
motion blur
assigning 502
applying to a layer 314
G-buffer
filter 312
softness 313 selections 504
motion blur, 3D post filter 511 Object mode list 223
motion path Object Type list 223
aligning to 195 object, duration 178
creating 171 object, editing
538
Index ❚❘❘
opacity 217 paint* 2.x projects 62

objects workspaces 62
activating 245 Operator list options 146
activating multiple 246 Add 146
aligning 253 And 147
copying 257 Difference 147
creating motion path 171 Max 147
cutting and pasting 257 Min 147
deleting 257 Multiply 147
distributing horizontally and vertically 255 None 146
duplicating 257 Or 147
duration 202, 246 Screen 147
editing properties 177 Set 146
ellipses 242 Subtract 147
filled and unfilled 239 Threshold 147
grouping 255 XOR 147
justifying 254 operators
linking 193 animating 112
naming 206 applying 107
position 247 applying to layers 11, 109
properties 176 applying to output 110
rectangles 242 copying 112
reflections 118 deleting 112
reordering 182, 204, 256 footage 73
rotation 248 modifying 111
scale 249 overview 11, 107
shadows 232 reordering 112
shape 250 stacking order 11, 107
shearing 249 storing settings 113, 379
showing or hiding 182 turning on or off 113
straight line 241 using with selections 111
ungrouping 255 order of objects 182, 204, 256
offset 373 out points 181
Oil Paint filter 331 out-point, moving 178
onion-skinning 196 Output
opacity 118 Linear Keyer 131
adjusting object’s opacity 217 output levels, Color Corrector 375
creating gradient 264 Output settings 77
masks 165 accessing 77
profile in brush 228 outputting, alpha channel 153
using with draw modes 259 Overlay draw mode 222
opacity gradients 264 Overview 179
opacity in 3D fog 511 Overview mode (Timeline) 178
Open Footage dialog 55
opening P
effect* compositions 62 Paint
Paint projects 209, 210 and mutiple layers 207
539
ix Index
and single layers 206 in text 302

creating branches 56 pixel aspect ratio
starting 209 setting 75
supported file formats 210 pixels
Paint branches square projection 61
creating multiple 61 planning 52
file format 59 Play Region, audio 441
file formats 59 playback
importing footage 69 in and out points 181
Paint button 490, 494 real-time (Ram Player) 21, 482
Paint draw mode 218 reversing footage 80
paint maps playback limitations with edit* 526
animating 495 playing the clip 180
new project format options 493 plotting color values in Keyer 353
parameters rollout 489 plugins
using existing projects as 495 using third-party 334
Paint Parameters Rollout 489 PNG 210
paint* 2.x projects 62 point lights
painting bitmapped materials 496 defined 428
painting objects in 3D Studio MAX 491, 494 using 434
PAL 59 Polar to Rectangular filter 321
PAL Colors filters 318 polygon
PAL-DV 59 drawing 242, 243
palette editing 250
Mixer palette 234 selection object 288, 289
Modes palette 217 selection tool 214, 215
showing or hiding 36 Polygon Mask button 158
Tool Options palette 216 Position 236
Tools palette 213 position
Pan Blur 315 editing 247
parenting objects 193 positioning
pasting reveal source 274
keyframes 191 Posterize draw mode 219
selections 294 preferences
performance unwrap mesh 494
and display quality 78 Premultiplied color 137
proxy footage 81 PreRegister as DVE 517
Photoshop 210 PreRegister Bin Clip, Combustion clips in edit* 517
Photoshop files presets
importing 66 Mixer palette 235
selecting source layers 76 Pressure slider
Photoshop Filter Emulation 334 draw modes 259
Picker palette 234 Preview quality 78
Pinch filter 321 previewing, real-time using Ram Player 21, 482
pingpong in paint parameters 491 processing order of operators 11, 107
Pingpong, end behavior 79 processing order, Color Corrector 366
pivot point Progress Indicator 236
540
Index ❚❘❘
project Reference features, Tracker 390

rendering 20, 448 Reference type, Tracker 386
Project Activation dialog 518 reflection modes, see transfer modes
project button in paint parameters rollout 490, 495 reflections
Project Info group in paint parameters rollout 490 creating 118
properties displaying 431
categories in Timeline 176 regraining 152
editing 184 Remove Jitter 190
proxies Remove Selection 212
using filters with 310 Remove selection operator 327
proxy footage removing
clearing 83 3-2 pulldown 75
creating 81 render
switching to full-rez 82 alpha channel 153
Pyramidal option in paint map filtering 491 image 475
project 20, 448
Q to RAM 21, 482
quality render channels used in 3D Post filters 507
setting for a layer 78 render channels, setting in 3D Studio MAX 502
setting for all layers 78 Render Effects options 431
Quantel VPB 210 rendering
Quicktime 210 alpha channel 471
Quicktime (mov) embedded audio 440 for CD-ROMs 54
for film 53
for streaming video 53
R
for video tape 53
Radial Wipe 333
for video-on-demand 53
RAM and audio 440
location of files rendered for edit*
RAM player
integration 517
limitations with edit* 526
Rendering audio 444
Ram Player
rendering RPF or RLA files 501
real-time playback 21, 482
reordering operators 112
RAM, allocating more 485
replacing
Randomize 191
footage 69
Ranges Controls, Color Corrector 377
missing footage 63
Rate, Audio 442
reset
reat-time roto 193
tangents in Timeline 179
rectangle
Reset All
drawing tool 213
difference keyer 134
selection object 288
Reset All in Keyer 339
selection tool 214
Reset button in Keyer 339
Rectangle Mask button 157
Reset Tangents 180
Rectangle to Polar filter 321
resetting filters 310
rectangles 242
Resize Image, described 311
Rectangular Mask 160, 162
resizing
Rectangular selection operator 326
brushes 226
Red view mode 130
the Timeline 175
Reference box, Tracker 389
541
ix Index
resizing tracker and reference boxes 392 boom and wire removal 271
resolution, paint map 491 cloning 275
resolutions example 278
choosing 59 gradients, creating 262
setting 79 introduction 278
Reveal 222 making selections 282
reveal source Painting 238
locking 275 real-time 193
opacity 271 with Paint objects 14, 200
positioning 274 RPF files
selecting 274 extracting objects from the scene 512
showing 271 importing 66
revealing 271 selecting source layers 76
a frame in a clip 272 RPF or RLA files
accessing controls 223 applying post filters to 508
from a source clip to a target clip 273 camera matching 506
interface 223 compositing 500
to current frame 271 creating 501
Reverse 190 importing 503
reversing moving in z space 505
footage 80 selecting objects or material IDs 504
revert shadows and shading 506
draw mode 222
eraser option 243 S
revert workspace 84 safe zones
rewiring colors 370 displaying 45
RGB Arithmetic 145 sample area’s RGB values 369
rig removal 271 sampling rates for rendered audio 445
Ripple 322 Sampling rates, audio 440
Ripple Pro 322 saturate 371
RLA and RPF files Saturate draw mode 221
applying 3D post filters 507–?? saturation 371
RLA files 211 Save As 84
using camera data 425 saving
RLA transform layer 422 brush sets 229
RLA.bmi 425 color swatches 233
RLA/RPF Options 506 image 475
RLA/RPF Transform Layer option 506 swatches 233
Roll Blur 316 workspaces 84
rotating Scale 190
camera 421 scale with depth in 3D lens flare 510
layers 92 Scale, tracking 394
spot lights 435 scaling objects 249
rotating objects 248 Screen
rotation in 3D lens flare 510 in channel effects 147
Rotation, tracking 394 Screen draw mode 220
rotoscoping scrolling
542
Index ❚❘❘
Project window 215 ambient light color 432

Timeline 179 ambient light intensity 433
Scrub loop 443 gradient direction 266
Scrub loop, setting size 443 in and out points 181
scrubbing 180 reveal source opacity 271
Select Entire Image 212 settings 78
Selected Faces button 490 3-2 pulldown 75
selecting channel & alpha 74
cameras 421 cropping footage 81
clone source 277 customized 60
layers 90 end behavior 79
lights 434 field dominance 74
reveal source 274 frame blending 80
selection frame hold duration 80
selection tools ??–214 frame rate 74
selection list, in G-buffer selections 505 pixel aspect ratio 75
selection modifier objects 291 resolution 79
selection objects reverse footage 80
Bezier curve 289 source layers 76
elliptical or rectangular 288 Setup controls in Keyer 346
freehand 286 setups
magic wand 287 importing and exporting 378
polygon 289 Setups, importing and exporting Keyer Setups 346
simple polygon 288 SGI files 211
text 290 shading
Selection operators 325–327 displaying 431
channel selection 152 in RPF or RLA files 506
selections shadows 232
adding, subtracting, and intersecting 290 casting on 3D objects in RLA or RPF files 506
creating 285 displaying 431
creating using the Discreet Keyer 347 shadows redefining 377
customizing marquee 284 shadows, midtones, and highlights definition 367
cut, copy, paste 294 shape
editing 290 editing brush 226
expanding and contracting 293 editing object 250
feathering 292 Sharpen
g-buffer 504 draw mode 219
in RPF or RLA files 504 shearing objects 249
inverting 292 Shift filter 323
show/hide marquee 285 Show Marquee 285
tools 214 showing
using operators with 111 camera icon 48, 419
selections, using with keyer 362 effects 113
sequences layers 90
importing 64 lights 438
Set Matte 146 objects 182
setting Shrink
543
ix Index
in Matte Controls filter 134 Stabilize, bad keyframes, erasing 405

shutter,motion blur 313 Stabilizing 399
Simplify 190 stacking order 204, 256
Size box 299 stacking order, of operators 11, 107
size limitations for edit* integration 526 Start Frame, paint map 491
slider starting
opacity 217 Paint projects 209
pressure 217 status bar 235
Slider palette 235 stencils 138
Slip audio 442 Alpha option 139
Slipping, audio 443 animating 139
Smooth draw mode 219 applying 138
Soft Edge option 438 applying to a layer 138
Softlight draw mode 221 Invert option 139
Softness Luma option 139
difference keyer 134 still images, importing 66
softness stock lenses 422
adding in keyer 352 Stop, end behavior 79
softness offset, in Discreet keyer 353 Store buttons 113, 379
Solarize filter 331 Store buttons in keyer 339
Solid 222 straight line objects
source layers 76 241
source lights streaming video
changing color 437 outputting to 53
changing intensity 437 strength in 3D lens flare 510
changing type 437 strength, Color Corrector 372
creating and deleting 434 Stylize filters 327–331
defined 428 stylus
moving and rotating 435 pressure slider 217
renaming 434 using pressure to control stroke 241
selecting 434 using pressure with draw modes 259
types 428 Subtractive draw mode 218
using 434 Summed Area, paint map filtering 491
Source Name support for Color Corrector in Discreet’s System
Combustion generated source in edit* 517 Products 378
Source settings 73 supported image formats 68
accessing 73 suppressing color in Keyer 357
spacing, brush 227 swatches
specular highlights 119 adding a color 233
Spherize filter 323 creating a color spread 233
Spill Removal 132 creating new sets 233
spot lights deleting 233
changing angle 438 deleting sets 234
defined 429 picking a color 233
softening 438 replacing 233
using 434 Swatches palette 233
square projection 61
544
Index ❚❘❘
T Timeline
tangent handles adjusting shape of graph 186
breaking 174 autoexpand 179
breaking in masks 164 controls 179
editing 251 cropping footage 81
in masks 163 description 175
in Timeline graph 186 expanding or collapsing 176
on motion path 174 Graph mode 177
Targa files 211 key icon 183
see also alpha channel level of detail 175
Target Bin, Combustion and edit* integration 517 object duration 203, 246
targeting object properties in 176
camera 422 Overview mode 178
lights 436 resizing 175
objects 195 viewing channels 176
text Tint
aligning 253, 303 draw mode 219
automatic grouping 300 Tint filter 318
control points 302 Toggle Visibility 90, 182
distributing 255 Tolerance 244
drawing tool 214 difference keyer 133
editing pivot point 302 Linear Keyer 131
example, typewriter effect 305 tolerance
installing fonts 298 keyer 352
kerning and leading 303 Tolerance Offset, keying with 341
moving 301 tonal ranges 367
outlined, creating 300 Tool Feedback 236
rotating 301 tool options
scaling 301 Tool Options palette 216
selection object 290 tools
selection tool 214 drawing tools 213–214
shadows 232 miscellaneous tools 215
solid, creating 299 selection tools ??–214
specifying color 239 Tools palette 213
text alignment buttons 290 Track Time button 490
text justification buttons 298, 299 Tracker box, tracker 389
text selections 290 Tracker data, Discreet’s advanced systems
Text tool 299 products 413
texture map, 3D post filter 512 Tracker data, importing and exporting 413
TGA files 211 Tracker interface 385
the Color Controls 370 Tracker modes 385
Threshold Tracker overview 384
in channel effects 147 Tracker preview 387
TIFF files 211 Tracker status bar 385
time group in paint paramters rollout 491 Tracker, adjusting magnifying glass 391
timecode 54 Tracker, adjusting tolerance 409
going to 180 Tracker, amassed data 406
545
ix Index
Tracker, bad keyframes, erasing 405 Unconstrained Gaussian Blur 316

Tracker, changing reference feature 409 undo 257
Tracker, how it works 406 ungrouping 255
Tracker, positioning reference box 391 UNIX permission for transferring setups 379
Tracker, resetting 389 Unload, audio 442
Tracker, resizing reference or tracker boxes 392 Unwrap Selected button 490
Tracker, roaming reference box 411 unwrapped mesh
Tracker, selecting 389 painting on 493
Tracker, shift values 407 preferences 494
Tracker, showing and hiding elements 388 upper field dominance 74
Tracker, troubleshooting 407 user interface 36–??
Tracker, using a dummy clip 411 UV channel box 490
tracking UV list 490
setting Tracker display options 388
Tracking effects to clips 397 V
Tracking four points 384 Venetian Blinds 334
Tracking multiple factors 395 video
Tracking multiple points 384 outputting to 53
Tracking one point 384 Video for Windows 210
Tracking position 392 Video for Windows (avi) embedded audio 440
Tracking rotation 394 video formats 59
Tracking scaling 394 video safe zones, displaying 45
tracking tricks 406–411 video-on-demand
applying effect to improve 411 outputting to 53
changing reference point 412 view modes 130
resizing tracker and reference boxes 392 view, changing to see camera 419
tracking backward 412 visibility of layers 90
Tracking two points 384 VPB files 210
Tracking, advanced 406
Tracking, basic 390
W
Tracking, troubleshooting 406
Wav audio files 440
transfer modes 118–??
Waveform 179
Transform controls 160
Windows Bitmap 210
transforms
wire removal 271
in z-space of RPF or RLA files 505
workflow
Transition filters 332–334
keying 347
transparency
workspaces
masks 165
before you start 52
Transparent
creating 55
eraser option 243
importing 63
Transparent view mode 130
opening 62
Turbulence filter 325
reverting to saved 84
turning on
saving 84
lighting in composite 431
U X
XOR
Unconstrained Box Blur 316
546
Index ❚❘❘
in channel effects 147
Z
Z offset option 506
Z scale option 506
z value in 3D lens flare 510
z-depth, transforms using 505
Zoom Factor 245
zooming
Timeline 179
viewport 215
547

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IN NO EVENT SHALL AUTODESK, INC. BE LIABLE TO ANYONE FOR SPECIAL, COLLATERAL,

THIRD PARTY TRADEMARKS

About Combustion Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

5 Surface Properties 115

7 Using Masks 155

Creating Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

9 Introduction to Paint 199

10 Paint: Drawing Basics 237

Grouping and Ungrouping Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

11 Paint: Advanced Drawing Tools 261

12 Paint: Drawing Selections 281

13 Paint: Working with Text 297

16 Color Correction 365

The Histogram Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

17 The Tracker 383

18 Camera Controls 417

19 Adding Lighting Effects 427

A Combustion and 3D Studio MAX 487

B Using Combustion with Edit 515

Launching Combustion from Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

This Walk through takes

you through some basic

functions and orients you

Combustion beta documentation 1

A Quick Tour of Combustion The New dialog appears.

Keep in mind that the chapter usually presents only

2 Combustion beta documentation

For more information about importing footage, see

Managing Layers and Operators

Combustion beta documentation 3

Toggling Layer Visibility

Expand a layer to see that layer’s footage (and opera-

Note: You can also toggle the visibility for compos-

4 Combustion beta documentation

Positioning, Scaling, Rotating, and To orient layers in a composite:

In the following example, you orient copies of one

The layer is highlighted in the active viewport.

One layer selected in the viewport.

After scaling, rotating, and positioning copies of the

Combustion beta documentation 5

Keying and Masking

the layer to layers behind it.

Keying Out a Color

6 Combustion beta documentation

The green is keyed out of foreground layer.

Note: When using the Linear keyer, it is easiest to

Combustion beta documentation 7

4. Click the Toolbar tab, and then click the Arrow

To create a rectangular mask:

3. Choose Operators | Mask | Rectangular Mask.

8 Combustion beta documentation

Note: Layer 1 in the composite is a copy of Layer 3

Layer 1 Layer 2 Layer 3 Composite

Combustion beta documentation 9

Creating Nested Composites (including composites, footage, filters, and so on)

4. Repeat steps 2 and 3 to import the other com-

Note: This is the composite into which you will

10 Combustion beta documentation

An Introduction to Operators You can place an operator anywhere in the branch —

At any point in your project, you can move an oper-

If, however, you drag the color corrector operator

Combustion beta documentation 11

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