Nuke gizmos

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sb PositionTracker

This gizmo allows you to sample color values from a World Position pass and convert the values to 2d tracking data. The following output options are available:

  • CornerPin (match-move & stabilize)
  • Tracker
  • RotoPaint
  • GridWarp
  • SplineWarp
Note that all outputs (with the exception of the Tracker) will handle perspective distortion as well as translation/rotation/scale.

Primarily this gizmo was designed to be used when compositing 3d renders, but it has other uses as well. For example, if you're using a 3d projection setup to do roto or paint, you will gain a lot of speed and control by outputting a World Position pass from the ScanlineRender and create a tracked RotoPaint node instead.

Suggested workflow:

  • Sample values from the Position pass. Make sure that the samples are co-planar.
  • Generate keyframes.
  • Output node.
The code to convert a CornerPin to a transform matrix was posted by Pete O'Connell on the Nuke Mailing List.


sb CardFromAOV

This gizmo creates a card in 3d space based on sampled color values from a World Position and a World Normals render pass.

As in most cases when using a Position pass, the camera can be free, but the objects must remain static in order for the card to line up.

The expression used for converting rotation values was posted by Ivan Busquets on the Nuke Mailing List.




sb Glow   

This script creates a glow with an exponential falloff, resulting in both a more visually pleasing image, and a more realistic looking result.

Let's be honest, the built-in glow in most compositing applications isn't very sexy. The reason for this is that the build-in glows are made up of a single blur that is added back over the top. To get a glow with a hard edge and a soft falloff, you'll want to combine several glows with different blur sizes.

You have options to tweak the individual blur/intensity controls, and you also have the option to create a new glow with a selected number of blurs.

Click here for a great article regarding glows.


sb LightWrap   

This gizmo creates a light wrap effect, improving the blending between foreground and background layers.

Light wrap's have gained a bad reputation after being overused over the years. But still, if used gently, the effect can help sell your shot.

A custom light wrap is applied twice, giving you the option to create somewhat of a exponential falloff with a hard edge and a soft falloff, which will give a more realistic looking result.

sb Grain     

This gizmo adds grain to the footage, either via generated noise or via a grain/noise-plate.

Most of the standard Grain controls are available, as well as additional control over luminance response, color space, composite method etc.



sb LensReflections     

This gizmo adds lens reflections to the footage, either via generated noise or via a dirt-plate.

Lens reflections can be used to add an extra bit of realism to CG renders (for example), but it's very easy to overdo it. Make sure you dial back the effect until it's hardly noticeable.




sb EdgeBlend   

This gizmo will add an edge blend effect between the foreground and background layers.

Edge blend is different from an edge blur, as it will blur both the foreground and the background pixels by a given matte.

The edge blend effect, much like a light wrap, has been overused and gained a bad reputation. That being said, keeping the blend at a very low amount will often help your edges.



 sb MatteEdge

This gizmo creates an edge matte with control of both the outer and inner radius



sb CompoundBlur    

This gizmo blurs your footage based on a matte, much like a Compound Blur effect.

When compositing for example haze or fire, you can get a more realistic looking result by using this, as it will create a distortion behind your element based on the luminance of the matte layer.

sb ExposureDifference

This gizmo will calculate the exposure difference (in f-stops) between two areas of your footage.

It's often useful to know the contrast ratio between the main light source and the fill light/shadow area of your footage. You could for example use this information when trying to match cg lighting to a plate, but also when shooting VFX elements on a stage.

The expression to calculate the f-stop difference was written by Fredrik Pihl.


sb Haze       

This gizmo adds haze/fog to your shot with the help of a Z-Depth pass.

Controls are available to tweak the scattering and atmosphere density/color. Set the near and far plane of the fog in the depth mask controls.

Using a Z-Depth pass as a mask can often bring trouble to edges due to the lack of anti-aliasing. If you have the option, try with a filtered Z-Depth pass as well, as it might give you a better result in some cases.


 sb LumaKey

This gizmo will perform a luminance key of your footage, based on a chosen color space.


sb NanInf     

This gizmo will convert NaN and Inf values to a set number (integer).

When dealing with 3d renders, you often get renders that contain NaN and Inf pixels, which will create problems in your comp. You don't want to clamp those at a given number, as you might have pixels with a higher value in other parts of your scene.

The max value is an overall clamp of high values, which can be useful when dealing with depth passes and gigantic scenes.


sb AlphaFromMax    

This gizmo creates an alpha channel based on the max color value of each pixel in any of the RGB channels.

This is useful when you need to composite elements shot against a black background, such as fire or smoke. It will (often) keep more detail than an normal luminance key.

The result is identical to the popular Knoll Unmult plug-in for After Effects.


sb SkySetup

This gizmo maps a sky image to a sphere and position the sphere at the center of the camera.

The scaling of the sphere is arbitrary and should correspond to the scale of the scene. Default values is what I normally use in a scene that is setup in centimeters.

You also have a simple control to add subtle animation to the sky.

sb ChangeFocal

This gizmo gives you controls to reframe your footage and output a new camera that matches to the reframed footage.

Compositors are often asked to reframe shots to match changes that was made in editorial. However, reframing your shot prior to comp will cause problems when doing for example camera tracking. This gizmo is designed with the following workflow in mind:

  • Camera track full frame footage.
  • Connect the tracked camera and the source footage (using as high resolution as available) to the gizmo.
  • Reframe footage in gizmo and output the reframed footage at a given resolution.
  • Export a new camera that match the reframe.


sb Erode   

This gizmo wraps several erode types into a single gizmo, giving you simple control of which method that works best for your shot.

Available methods:
  • Blur/Gamma
  • Filter Erode
  • Erode (blur)

You also have separate control over the overall blur of your matte.

sb FindPosition

This gizmo adds a method to manually find the position and size of an object in 3d space.

Sometimes you don't have the luxury of a dense point cloud, and you manually need to find the position of an object in 3d space. You could have a go with the PointsTo3D/Modeler nodes, but in my experience the precision isn't great.

To use this gizmo, slide the checkerboard on the ground-plane till you find the intersection point of your object. Scale the checkerboard until the width/height match. Rotation can be found by matching the perspective lines. If you can't see the intersection point but know the size of the object, you can set size first and then slide until the checkerboard lines up.

This can also be used when trying to figure out the size an element at a given distance.