{"id":11862,"date":"2012-08-22T11:55:50","date_gmt":"2012-08-22T15:55:50","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=11862"},"modified":"2012-08-22T13:29:34","modified_gmt":"2012-08-22T17:29:34","slug":"smoke-nodes-blend-comp-blur","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/smoke-nodes-blend-comp-blur\/","title":{"rendered":"ConnectFX Nodes in Smoke: Blend & Comp and Blur"},"content":{"rendered":"

Our series on breaking down the effects nodes in Autodesk Smoke continues with Blend & Comp and Blur in ConnectFX.<\/h2>\n

\"Smoke<\/a><\/p>\n

There are over 50 nodes in the Smoke ConnectFX<\/strong> arsenal. As we begin the B’s, our first 2 nodes are very useful in setting up some quick composites of a few sources, and in creating some very organic stylizing of your clips.<\/p>\n

Smoke’s Blend & Comp Node<\/h2>\n

\"SMOKE<\/a><\/h2>\n

Smoke’s\u00a0Blend & Comp<\/strong> is a simple yet very\u00a0versatile\u00a0node. \u00a0You can use Blend & Comp to combine up to 2 sources with their mattes over a background<\/strong>. Now, that\u00a0doesn’t\u00a0\u00a0sound like much, but there is more to this node once you start to breakdown the controls. \u00a0By default Input 1 is composited over input 2,<\/strong> and the result of those 2 is composited over the Background input. \u00a0This is very useful when you have elements, like graphics, that are already in position and all you need to do is just key them over a back clip. \u00a0This node would be well suited if you have CG elements<\/strong> rendered out with alpha channels. Blend & Comp is a much lighter node than Action, and faster to use if all you need to do is comp.<\/p>\n

[Click for larger view]<\/em>
\n\"Smoke<\/a><\/p>\n

Blend and Comp has both the Photoshop blend modes<\/strong> and the classic Autodesk Flame blend modes<\/strong>. There are even GIMP blend modes<\/strong>, although I have never had the pleasure of using GIMP. \u00a0Several of these blend modes are similar or identical, like Add, Screen, and Multiply<\/strong>.\u00a0\u00a0 There are a also few blend modes that are exclusive to the selections. \u00a0Flame modes have Spotlight and Simple Add<\/strong>, where Photoshop has Hard, Soft, and Vivid Light<\/strong>. \u00a0Needless to say, you have lots of options to blend Input 1 over Input 2. \u00a0You can also Swap Sources<\/strong>\u00a0with\u00a0a toggle button so you don’t have to rewire the inputs in the ConnectFX schematic<\/strong>.
\n<\/em><\/p>\n

[Click for larger\u00a0view]
\n<\/em>\"Smoke<\/a><\/p>\n

You can Activate or Deactivate<\/strong> either of the inputs, as well as, turn the matte on or off. \u00a0There is also an option to set the clip as premultiplied or divided<\/strong> from it’s alpha(matte). \u00a0Transparency can also be modified.\u00a0\u00a0One of the great features that Autodesk puts into many of their nodes is the ability to make color and level adjustments on the input source. \u00a0You have the ability to make simple color tweaks with a color trackball, and individual gain controls for the RGB channels. \u00a0These color adjustments only affect the Front of the input and not it’s matte input. \u00a0All of these controls are also\u00a0available\u00a0on the 2nd Input for the node.<\/p>\n

\"Smoke<\/a><\/p>\n

When it comes to the Matte or Alpha channels<\/strong> for the clips you have multiple choices in how those mattes interact with each other. \u00a0This can be used to create some very interesting\u00a0matte intersections which can be used for many effects further down in your ConnectFX schematic like making custom transitions.<\/p>\n

[Click for larger view]<\/em>
\n\"\"<\/a><\/p>\n

You can blend the mattes as 1 over 2, 2 intersect 1, 1 inside 2, 2 inside 1, Excluded, 1 minus 2, and 2 minus 1<\/strong><\/p>\n

<\/strong>[Click for larger view]
\n<\/em>\"Smoke<\/a><\/p>\n

You would set the mattes correlation setting to\u00a0Correlated<\/strong> if you had\u00a0separate mattes but we all part of the same object. This will keep the intersection clean.<\/p>\n

\"\"<\/p>\n

Now that you have these 2 inputs blended together, that result gets blended over the background. \u00a0You can choose to blend the composite over the background, input 2, or a color. \u00a0Again, you have the blend mode option of Photoshop or Flame, and all of the same blend modes as before.<\/p>\n

\"Smoke<\/a><\/p>\n

This\u00a0flexibility, can create some very interesting looks and effects to the final result. If you are\u00a0familiar\u00a0with how blend modes work with layer in Photoshop or After Effects all<\/strong>\u00a0of those same looks can be achieved inside Blend & Comp. \u00a0You then have additional color and level controls that affect the final composite, not just the background clip.\u00a0The result of the 2 inputs and background can seen on the output of the node as well as the result of the matte blend if needed.<\/p>\n

Smoke’s Blur Node<\/h2>\n

\"Smoke<\/a><\/h2>\n

The Blur node<\/strong> is pretty self-explanatory, but as with most of the tools inside Smoke it has lots of options and\u00a0customizations. The Blur node accepts both a Front and Matte input<\/strong> and will output the same. \u00a0However, you have the option of having different blur values for the front and matte on output. \u00a0If you are working in 16bit float<\/strong>, you have a clamping option for the input color and luminance levels.<\/p>\n

[Click for larger view]<\/em>
\n\"Smoke<\/a><\/p>\n

The Blur options of the node are Box,\u00a0Gaussian, Directional, Radial, Defocus, and Radial Stamp<\/strong>. \u00a0Depending on which blur look you choose, specific sub-options will become\u00a0available. For the Radial option you have Twist and Spin<\/strong> adjustments. \u00a0With the Defocus setting you have additional controls for the Bokeh look<\/strong>. Choosing Directional will allow you to set the bias, and Radial Stamp will give you \u00a0samples setting. \u00a0The Radial Stamp blur creates a very fast rendering blur depending on the amount of samples.\u00a0With Radial Blur, you also have the option to set the center point of the blur as well as the ability to track the center to a point in your clip with the stabilizer.<\/strong><\/p>\n

[Click for larger view]
\n\"Smoke<\/a><\/em><\/p>\n

Once the type of blur is chosen, it’s time to set the amount of blur. \u00a0By adjusting the front settings, you can have the matte locked to these settings or have its own values. \u00a0Again depending on the type of blur chosen the front settings will give more options. Ex: Length & Angle values for Directional, and Amount & Rotation Values for Radial & Radial Stamp.<\/p>\n

You would use Defocus<\/strong> as your blur type if you want to simulate a realistic camera lens defocus<\/strong> with added bokeh. \u00a0Blooming settings can be seen in the front controls to adjust the amount of blooming that will occur on the highlights of the image as well as setting for the minimum and maximum threshold for the blooming effect.<\/p>\n

A Kernel<\/strong> setting also appears when you can set the look of the bokeh effect<\/strong>. You can set the sides, rotation, curvature and roundness of the bokeh shape<\/strong>, and adjust a custom curve for the look that can shape the softness and blending of the shape.<\/p>\n

\"Smoke<\/a><\/p>\n

When it comes to the matte settings, as I stated they can be locked to the values of the front image or you can have them independent. \u00a0You can also invert the matte<\/strong> if needed. \u00a0The reason for that is that you can use the matte to blend the blur over the original image. You can use this to create a vey stylized look to your image with the blur. \u00a0The same blend modes that exist in Blend & Comp<\/strong> are also in the Blur node. \u00a0You can add more transparency to the blur effect as well.<\/p>\n

[Click for larger view]<\/em>
\n\"Smoke<\/a><\/p>\n

To further stylize the blur, you can offset the RGB or YUV channels<\/strong> of the blur. You can adjust the X and Y positon<\/strong> of the offset for each channel as well as alter the weight, which will give more\u00a0emphasis to one channel over another. \u00a0This is great for adding a little chromatic\u00a0aberration to the blur. \u00a0By animating these values you can create a very unique blurred distortion effect.<\/p>\n

[Click for larger view]<\/em>
\n\"Smoke<\/a><\/p>\n

As you can see the tools in Smoke<\/strong> are very deep and there are a lot of options and setting to create and customize the look you want. What sounds like a basic node, like Smoke’s Blur and Blend & Comp, is a very complex tool, but once you get\u00a0comfortable\u00a0with the nodes you can easily and quickly get the results you want.<\/p>\n

With Autodesk Smoke<\/strong>, you have both depth and simplicity in how the tools are designed and how the interface is\u00a0laid out. \u00a0Take the time to experiment and remember that once you get look you like you can save that setup for use later on. \u00a0Just hit the Node Prefs<\/strong> button and you will then have Save and Load options<\/strong> for that node\u00a0available.<\/p>\n

Check back as we continue our ongoing coverage of Autodesk Smoke<\/strong>. \u00a0In the next post we will finish up the B’s in the ConnectFX Node<\/strong> Bin.<\/p>\n","protected":false},"excerpt":{"rendered":"

In our ongoing coverage of Autodesk Smoke, we explore two powerful ConnectFX nodes: Blend & Comp and Blur. Learn how to apply and customize these nodes to \u2026<\/p>\n","protected":false},"author":14,"featured_media":12369,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[963,39,583],"tags":[675,678,1162,481,985,55,1090,480,679,5376,59,472,473],"class_list":["post-class-post-11862","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-smoke-2","post-class-category-video-editing","post-class-category-video-production-2","post-class-tag-autodesk","post-class-tag-autodesk-smoke","post-class-tag-blur","post-class-tag-compositing","post-class-tag-connectfx","post-class-tag-effects","post-class-tag-nodes","post-class-tag-smoke","post-class-tag-smoke-2013","post-class-tag-video-editing","post-class-tag-video-editor","post-class-tag-video-production","post-class-tag-visual-effects"],"acf":[],"yoast_head":"\nConnectFX Nodes in Smoke: Blend & Comp and Blur - The Beat: A Blog by PremiumBeat<\/title>\n<meta name=\"description\" content=\"In our ongoing coverage of Autodesk Smoke, we explore two powerful ConnectFX nodes: Blend & Comp and Blur. 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