Silhouette 4 User Guide

Silhouette 4 User Guide

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ABOUT THIS GUIDE
This User Guide is a reference for Silhouette and is available as an Acrobat
PDF file. You can read from start to finish or jump around as you please.

Copyright
No part of this document may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying and recording,
for any purpose without the express written consent of SilhouetteFX, LLC.

Copyright © SilhouetteFX, LLC 2011. All Rights Reserved

February 11, 2011

About Us
SilhouetteFX brings together the unbeatable combination of superior software
designers and visual effects veterans. Add an Academy Award for Scientific
and Technical Achievement, 3 Emmy Awards and experience in creating visual
effects for hundreds of feature films, commercials and television shows and you
have a recipe for success.

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Silhouette Features • 3
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SILHOUETTE FEATURES
Roto
Silhouette allows you to quickly create sophisticated animated mattes using B-
Spline, Bézier or X-Spline shapes. Intelligent design and easy-to-use tools,
such as variable edge softness on a point by point basis and realistic motion
blur, assist you in creating complicated shape animations. Integrated motion
tracking makes the normally tedious task of rotoscoping a breeze.

Where did the term Rotoscope come from? A rotoscope was a mechanical
device patented by Max Fleischer in 1917. It projected single frames of live
action footage onto the animators drawing board. By simply tracing the
projected shape, the animator could quickly produce incredibly lifelike
drawings. With the passage of time, Rotoscoping or “Roto” for short has
become a generic term for drawing shapes to extract, isolate or affect a portion
of an image. It is tedious work, but it’s one of the most important parts of the
visual effects process.

Roto Features
• Unlimited number of animated B-spline, X-Spline or Bézier shapes
• Stereoscopic rotoscoping workflow and tools
• Integrated Motion Tracker that can apply motion data to points or shapes
• Planar tracker provides automatic, markerless motion analysis and tracking
• Support for open or closed shapes
• Move, scale, rotate, shear, and corner-pin shapes and groups of shapes
• Point-by-Point variable edge softness
• Realistic motion blur
• Animation changes for one point or selected points across all keyframes
• Independent shape viewing and hiding
• User-definable names, colors, blurs and blend modes for each shape
• Preview shape animation over image
• Shape import and export

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• Composite preview and rendering
• Support for video fields and 3:2 Pulldown

Paint
Paint is a high dynamic range 2D raster based paint system designed from the
ground up to handle the demands of feature film and television production.
Whether it’s image restoration, dustbusting, wire and rig removal or just plain
paint, Silhouette provides simple and sensible tools to get the job done.

Paint Features
• Innovative non-destructive raster paint allows rotoscoping and keying changes
without having to re-paint
• Paint on both stereo images simultaneously using an adjustable interocular offset
• Black and White, Blemish, Blur, Clone, Color, Color Correct, Drag, Eraser, Grain,
Mosaic, Repair and Scatter brushes
• Stereoscopic paint workflow and tools
• Sophisticated cloning interface
• Motion track, position, scale, rotate and corner-pin Clone sources
• Onion-Skin, Split Screen and Align tools to match up elements
• High dynamic range painting in Float, 16 bit and 8 bit

Effects
The Effects node allows you to apply the brushes available in the Paint node
as filter effects to shapes or layers. Paint and shape features are tightly
integrated to form an extremely powerful shape based effects tool. Not only can
filters be animated, but they can be combined with animated shapes to take the
drudgery out of everyday jobs.

Effects Features
• Black and White, Blemish, Blur, Color, Color Correct, Grain, Mosaic, Scatter and
Scratch filters
• Assign filters to shapes and layers
• Animateable filter parameters

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Silhouette Features • 5
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Keying
Using proprietary matte extraction techniques, Silhouette’s Keyer and Power
Matte modules are capable of extracting almost any object in an image quickly
and simply even if you are dealing with fine hair detail, smoke, or reflections.
They are easy to use, yet provide the needed tools when faced with good, bad,
or ugly shots.

Keying Features
• Interactive image matting tool capable of extracting almost any object in an image
• DV/HD deartifacting
• Multiple matte creation
• Color suppression
• Sophisticated matte manipulation
• Generate mattes without blue or green screens

Architecture
• Node based workflow
• Stereoscopic viewing and editing
• Command-Line Rendering
• Scripting and Actions
• OpenGL® accelerated animation engine
• Multi-processor support
• Proxy management for large image sizes
Compatibility
• File Formats: Cineon, DPX, IFF, JPEG, OpenEXR, PNG, SGI/RGB, QuickTime, TIFF
and TARGA
• Export Autodesk®/Discreet® gMask, Elastic Reality®, Eyeon Fusion®, Nuke® and
Shake® 4.x SSF shapes
• Import Commotion, Elastic Reality and Shake 4.x SSF shapes
• Mask interchange with After Effects® using the Silhouette Shape Import/Export
Plug-in

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• Export After Effects, Autodesk/Discreet, Nuke and Shake 4.x trackers
• Import After Effects Corner-Pin, Nuke and Shake 4.x trackers
• Macintosh®, Windows®, Linux®

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Installation and Licensing • 7
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INSTALLATION AND LICENSING
Windows / Macintosh Standalone
1 Download the Silhouette software at www.silhouettefx.com
2 Double-click on the Silhouette installer file that you downloaded to begin the
installation process.
The default installation folder on Windows systems is C:\Program
Files\SilhouetteFX\Silhouette4. On Macintosh systems, the default installation
folder is /Applications/SilhouetteFX/Silhouette4.
3 Start Silhouette on Windows systems by selecting Programs > SilhouetteFX >
Silhouette4 > Silhouette v4 in the Windows Start menu.
or
4 Start Silhouette on Macintosh systems by going to the
/Applications/SilhouetteFX/Silhouette4 folder and double-clicking on Silhouette.
5 A dialog box pops up when you run Silhouette.
6 If you purchased the software, select Activate Silhouette and follow the
instructions.
or
7 Select Request Trial Activation (Internet Required) and click Next to receive a
fully functioning version of Silhouette for the specified trial period. At the end of
the trial period, Silhouette reverts to a limited demo mode.
or
8 Select Run in Demo Mode and click Finish.
Note: In Demo Mode, a watermark is superimposed over the image and you will not be
able to save projects or export shapes.

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Linux Standalone
1 Download the Silhouette software at www.silhouettefx.com
2 Open a Terminal window and change to the directory where you downloaded the
file.
3 Type tar xvzf <name of file>
4 Change to the new directory that is created.
5 To install the Silhouette software, become root and run the “install.py” script by
typing: ./install.py
Note: A Python installation is required to run the script.
The default installation folder on Linux systems is
/opt/SilhouetteFX/silhouette4.
6 Open a new Terminal window and type silhouette to start the application.
7 A dialog box pops up when you run Silhouette.
8 If you purchased the software, select Activate Silhouette and follow the
instructions.
or
9 Select Request Trial Activation (Internet Required) and click Next to receive a
fully functioning version of Silhouette for the specified trial period. At the end of
the trial period, Silhouette reverts to a limited demo mode.
or
10 Select Run in Demo Mode and click Finish.
Note: In Demo Mode, a watermark is superimposed over the image and you will not be
able to save projects or export shapes.

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Linux Modifier Key Configuration
When using the KDE or GNOME desktops, by default there is a Move Window
modifier key combination set up, so that if you Alt-drag a window, it will move.
This interferes with our Alt-drag capability in some tools, so you will want to
disable this desktop feature.

KDE Desktop
1 Run the KDE Control Center.
2 Go to the Desktop/Window Behavior panel and select the “Actions” tab.
3 Down in the Inner Window, Titlebar & Frame area, change the “Modifier Key
option from Alt to Meta.

GNOME Desktop
1 Run the Control Center in Preferences.
2 Select Windows.
3 Select Super (or “windows logo”).

Linux Tablet Configuration

We require that proper tablet support is enabled in the X server. This part is left
up to the user, as it is very distribution and version specific. This site can be
used for more information: http://linuxwacom.sourceforge.net/index.php/all

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Activation
Internet Activate (Recommended)
Activates Silhouette over the Internet.

Request License from Self-Service Website

If you do not have an Internet Connection on the computer where you want to
run Silhouette, use this option. The self-service website will generate a license
file which you can then transfer to the desired computer.

Install a License File

Loads a license file obtained from the self-service website or received by email.
Note: If you experience an error when using Internet Activate, it is because you or your
company uses a proxy server to access the Internet and/or your firewall is blocking our
program’s access to the Internet. For proxy server users, select Advanced Options and
enter the appropriate proxy server settings. For firewall users, open your firewall
software and allow our software to access the Internet.

Deactivation
Once Silhouette has been activated, you can access the deactivate option by
selecting the Help > License menu.

Internet Deactivate (Recommended)

Deactivates Silhouette over the Internet. Use this method to return your
Product Code back to the activation server. You will then be able to use your
Product Code to activate Silhouette on another computer.
Note: Internet Deactivate is only available if your computer was activated using
Internet Activate. If the deactivate option is grayed out, please contact customer
support.

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Installation and Licensing • 11
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License Transfer
Your Product Code allows you to run Silhouette on one computer at a time.
However, you may transfer the license by deactivating on one computer and
activating on another.

Internet Deactivate / Internet Activate is the preferred method of license

transfer between computers, but is only available if you initially activated over
the Internet and currently have Internet access. If you do not have Internet
access, you will need to contact customer support to assist you in transferring
the license.

To transfer a license:
1 Select License from the Help menu.
2 Choose Internet Deactivate (Recommended) and click Next.
Silhouette is now deactivated.
3 On the target computer, select Activate Silhouette and follow the instructions.
Silhouette will then activate on the new computer.

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Floating License Installation
Silhouette can utilize either nodelocked or floating licenses. Nodelocked
licenses are locked to a particular machine in contrast to floating licenses which
can be used on different machines. A floating license is checked out of a
dedicated license server when Silhouette is started and checked back in to the
server when Silhouette is closed.
In order to connect to your license server, you will need to know the port
number and hostname or IP address. This information is entered into the
Silhouette Activation window > Advanced Options > License Server field.
Note: Please contact your system administrator if you do not know the port number and
hostname or IP address. Silhouette ships with a default port of 4313, but you would use
a different port number if you have defined a custom port.

Floating License Installation

1 Start Silhouette.
A dialog box pops up.
2 Select Advanced Options and click Next.
3 In the License Server field, type your port@host information and press Finish.
Examples of how to enter the port@host would be 4313@big-server or
4313@192.168.1.50.
Note: Silhouette now checks the SFX_LICENSE_SERVER environment variable
before checking the state of the Advanced Options > License Server entry. If you have
a large number of client machines that connect to a floating license server, you can now
set the SFX_LICENSE_SERVER environment variable with the port@host as the
value. Doing this will eliminate the need to enter the port@host in the Advanced
Options window for each client machine.

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TUTORIALS
Starting Silhouette
1 Start Silhouette on Windows systems by selecting Programs > SilhouetteFX >
Silhouette4 > Silhouette v4 in the Windows Start menu.
or
2 Start Silhouette on Macintosh systems by going to the
/Applications/SilhouetteFX/Silhouette4 folder and double-clicking on Silhouette.
or
3 Start Silhouette on Linux systems by opening a Terminal window and typing:
silhouette

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Importing and Replacing Media
Before you can start using Silhouette, media or footage has to be imported.

Importing Media
1 Select File > Import > Media.
or
2 Double-click on an open space in the Project window.
3 When the File Browser opens, navigate to the location of your image sequence.

We currently support the following file formats: Cineon, DPX, IFF, JPEG,
OpenEXR, PNG, SGI/RGB, QuickTime, TIFF and TARGA.
Note: QuickTime is only available on operating systems that support it.
4 Select the first frame in the sequence and click on Open.
The entire sequence is imported into Silhouette.

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Replacing Media
1 In the Project window, right-click on a clip and choose Replace from the pop-up
menu.

The File Browser opens.

2 Navigate to your clip, select it and hit the Open button.
The old clip is replaced with the new clip.

File Path Environment Variables

The Edit Source > Path and Result fields allow you to specify the file path with
environment variables. You can replace parts of the Path field with a new path
and/or environment variables, while the read-only Result field shows you the
resulting path. If you don’t know what an environment variable is, skip this
section as fast as you can.

Ok, now for some examples. Say you have some common media on a file
server and you want to share the media between various OS types.
1 On my Windows computer, I would import the following media located at:
C:\Media\footage\station\station.[0001-0032].tiff
To make my project cross-platform, I need to replace the C:\Media prefix with
an environment variable which points to my “network media location”.
2 To do this, I right-click on the media in the Project window and select Edit
Source.
3 In the Path field, I replace “C:\Media” with “$(MY_MEDIA)”, where MY_MEDIA is
an environment variable I set using normal environment variable methods.
On my Windows computer, MY_MEDIA points to C:\Media.
4 When I hit the Tab key, the Result field will expand the path string and show you
the result, and in this case, the resulting path is the same one I started with.
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It scans that location for all 32 frames and finds them all, so it shows a green
check. Now, let’s say I screw up. It wouldn’t be the first time.
5 I change $(MY_MEDIA) to $(YOUR_MEDIA), and YOUR_MEDIA isn't set as an
environment variable.
The Result field will change to “/footage\station\station.[0001-0032].tiff” and a
yellow warning icon is displayed, because that path doesn't exist and the
frames can't be found. Now, say my administrator has set up a new
environment variable for this project, and defined “STATION_MEDIA” to be
“C:\Media\tracking\station”.
6 I type this into the Path field: $(STATION_MEDIA)\station.[0001-00032].tiff which
would expand in the Result field to the same as before.
You can essentially replace your source footage path with pretty much anything
you want, using environment variables.

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Creating Sessions
Once media is imported into Silhouette, a session has to be created. A session
in Silhouette is where you do your work, whether it be rotoing shapes, creating
mattes or painting images.
1 Highlight an image sequence in the Project window.

2 Choose File > New > Session or press Ctrl(Win)/Cmd(Mac)-N.

The image sequence settings are automatically imported into the Session
settings.

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3 Activate the nodes that you would like to work with in your Silhouette session.

Silhouette internally is a node based system and different nodes are used for
various functions. Currently, you can choose from Keyer, Roto, Paint, Effects
and Composite nodes. By default, the Roto node is selected. Activate
whichever nodes you will be using in your session. You can always add
additional nodes to a session after it has been created by selecting Session >
Settings from the pull-down menu at the top of the screen.
4 If you’d like, rename the session in the Name field and click OK.

Editing Sessions
Once you have created a session, you can change its settings at any time by
using one of the three methods listed below. You will most likely edit a session
to add additional nodes or change duration.
1 From the pull-down menu at the top of the screen, select Session > Settings.
or
2 Right-click on the name of the session in the Project window and choose Edit
Session.
or
3 Press Ctrl(Win)/Cmd(Mac)-Shift-S.
In either case, the Session window opens and you can change the settings.
When the Edit Session window opens, make the desired changes.
4 In the Available Nodes area of the Edit Session window, add a unselected node
to the session, for instance a Paint node.

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Cineon and DPX/Log Session Workflow
To ensure that Cineon and DPX rendered files will be exactly the same quality
as your original images, use the workflow outlined below.
Note: Silhouette tries to figure out whether a DPX file is logarithmic or linear based on
the file’s header information. Sometimes the program used to create the DPX file writes
the wrong information into the header causing Silhouette to think it is Logarithmic when
it is Linear and vice versa. To explicitly set whether or not the file is Logarithmic or
Linear, see Edit Source > Interpretation for more information.

Working in a Float Session

Our preferred Cineon and DPX/Log workflow is to use Cineon and DPX/Log
images in a Float session.
1 Create a Float session.
2 Use the default Preferences > Input/Output settings.
3 Click the Viewer > Display icon to open the Display window.

4 From the LUT pop-up menu, choose Cineon.

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Your Cineon or DPX/Log image should now look correct in the Viewer. If you’d
like, you can also adjust the display of the image in the Viewer by using the
Viewer > Display controls.
5 For instance, to control the brightness of the Viewer display, turn up your Viewer
> Display > Exposure setting.

Cineon Bypass Conversion

By default, Silhouette converts Cineon files from logarithmic to linear on import
and back to logarithmic on render. However, you can bypass Silhouette’s
Cineon conversion. This allows you to work with the raw Cineon file without any
conversion.

Cineon Bypass Conversion Workflow

1 Load a Cineon file sequence.
2 Create a Float session.
3 Right-click on the Cineon sequence in the Project window and select Edit
Source.
4 Enable Cineon Bypass Conversion.
Note: The Cineon LUT in the Viewer Display Options is not to be used when the Cineon
Conversion Bypass is enabled. You will need to create your own LUT when bypassing
the Cineon conversion.
5 Before rendering, enable Cineon Conversion Bypass in the Render > Cineon >
Options window.

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Video Fields and 3:2 Pulldown
When working with footage that contains video fields, you have the option of
either deinterlacing or removing 3:2 Pulldown.

Working with Video Fields

1 Import some video media that contains fields and create a session.
2 Right-click on the imported clip in the Project window and select Edit Source.

3 Select Deinterlace from the Field Handling pop-up menu.

4 Choose Even (NTSC) or Odd (PAL) deinterlacing from the Field Dominance pop-
up menu.

5 Press the F button in the Timebar located at the bottom right of the Viewer to
expand the Timeline and increment in half fields.

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6 Roto, paint or key objects while in field mode.
7 When it is time to render, select Field Handling > Interlace and Field Dominance
> Even (NTSC) or Odd (PAL) in the Render Options window.

Working with 3:2 Pullup / Pulldown

1 Import some 3:2 based media and create a session.
2 Step through the beginning of your clip and determine the first field blended
frame using the 3:2 Pullup setting in the chart below.

First frame with field blending 3:2 Setting

1 BC

2 BB

3 AA

4 DD

5 CD

3 Right-click on the imported clip in the Project window and select Edit Source.

4 Select the appropriate 3:2 setting from the Field Handling pop-up menu.

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5 Choose Even (NTSC) or Odd (PAL) deinterlacing from the Field Dominance pop-
up menu.

6 When you choose the 3:2 value, the length of your clip changes in the Project
Window.
7 Change the Session > Settings to reflect the new clip length.
8 When it is time to render, select the desired Field Handling > 3:2 setting and Field
Dominance > Even (NTSC) or Odd (PAL) in the Render Options window.

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Using the Node List
Silhouette internally is a node based system and different nodes are used for
various functions. Currently, there are Keyer, Power Matte, Roto, Paint, Effects,
Composite, Output and Source nodes. The Node List is used to select nodes
for editing, viewing, enabling or disabling.

1 Create a session with Keyer and Roto nodes.

The Keyer node is selected by default since it is first in the order of processing.
2 Click on or near the Roto node’s icon to make it the active node. You can tell
which node is active by its highlighted state.

Once active, the Roto node’s parameters appear in the Node window and the
appropriate tools show up in the Toolbar.

The nodes that you see in the Node List are those that were previously selected
when creating the session. You can always add additional nodes to a session
after it has been created by selecting Session > Settings from the pull-down
menu at the top of the screen.
3 Select the View icon for the Keyer.

The Viewer switches to show the output of the Keyer, but the tools and controls
remain for the Roto node since it is the active node.
4 Reactivate the View icon for the Roto node.
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You may want to selectively disable certain nodes to speed up your interaction.
If you will be rotoing for an extended period of time and don’t what the speed
hit of the Keyer processing on every frame, you can disable it.
5 Click on the Enabled icon for the Keyer to disable it.

6 When you are ready to render, enable the Keyer.

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Shifting a Source Node in Time
You can shift a Source node in time. This is useful for lining up frames that are
numbered differently.
1 In the Node List window, select the Source node.

Once active, the Source node’s parameters appear in the Node window.
2 Drag the Time Shift slider to the desired value or enter a number in the field on
the right.

The start frame for the node is adjusted by the Time Shift value.

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Viewer
Using the RGBA buttons in the Viewer
1 Click on the Red, Green, Blue or Alpha buttons to solo that channel as a gray
scale image.

2 Ctrl(Win)/Cmd(Mac)-click the Red, Green or Blue channels to toggle the display

of each component.
If only one component is selected, it is displayed in gray scale. The horizontal
white bar above the RGBA buttons quickly toggles the display of the image
back to full color mode.
3 Select the horizontal white bar above the RGBA buttons to quickly toggle the
display of the image back to full color mode.
4 Either press the Alpha button (to the right of the blue button) or the A key to cycle
the state of the Alpha display.
Note: To view a shape’s Alpha channel, you must first set the View to Output before
pressing the Alpha button or A key.
Hitting the Alpha button or A key once superimposes the Alpha channel over
the image. Pressing a second time displays the Alpha channel over black.
Hitting again shows only the color image.

Shift-A activates RGBA mode which does the following: Toggles the View to
Output, superimposes the Alpha channel over the image and deactivates the
Overlay. Pressing Shift-A again returns the Viewer to its previous state.

Viewer Navigation
Zooming
1 Select a value between 25% and 200% in the Zoom pop-up menu.

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or
2 Use the scroll wheel on your mouse to zoom in and out of the image.
or
3 Press Space Bar-Shift and drag left or right.
or
4 Use the I key to zoom in and the O key to zoom out.

Zoom and Centering Presets

1 Press the F keyboard shortcut or select Fit from the zoom pop-up window to
display the image as large as possible within the Viewer window.
2 Press the H keyboard shortcut or double-click the middle mouse button to set
the image to a 100% zoom level and center it in the Viewer.
3 Press Ctrl(Win)/Cmd(Mac)-F to center the selection in the Viewer.

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Optimizing Playback
There are number of ways to increase the amount of frames that can be played
back in real time.
1 Select File > Preferences on Windows and Linux or Silhouette > Preferences on
Mac.
2 Increase the %Total Physical RAM parameter in the Cache preferences (requires
a restart of Silhouette to take effect). Please note that setting the % Total Physical
RAM too high could cause instability if running other memory intensive
programs.
and / or
3 Change your View from Output to Foreground.
and / or
4 Shorten the length of the clip by adjusting the First and Last Frame in the
Timebar.
and / or
5 Change the proxy setting to 2:1, 3:1 or 4:1.

and / or
6 If you are working with film resolution files in a Float session, change the session
depth to 8 bits while you work, then switch back to Float for rendering.
Note: When painting, do not use a proxy setting other than 1:1 and make sure that you
remain at the Sessions original bit depth. Do not use steps 5 and 6 when painting.

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Roto Tips
Rotoscoping or “Roto” for short has become a generic term for drawing shapes
to extract, isolate or affect a portion of an image. It is tedious work, but it’s one
of the most important parts of the visual effects process. Within the Roto node,
there are all the tools needed to make quick work of any Roto job.

Creating usable shape animations can be a bit tricky with the most common
problem being edge chatter. Here’s a few tips to help you on your way.

Analyze the Sequence

View your sequence to determine the frame that requires the greatest number
of points to create the shape. It is easier to draw your shape on the most
complex frame as opposed to starting on a simpler frame and adding points
later.

Select a Spline Type

In Silhouette, you can create B-Splines (also known as natural splines), X-
Splines, Bézier splines, Circles and Squares.

Create Shapes with Less Points

Use as many points as needed to create the shape, but avoid using more than
is necessary. The fewer the points, the easier it is to successfully animate the
shape. Unnecessary shape complexity inevitably leads to inconsistency when
editing points.

Create Multiple Shapes

Create multiple shapes to Roto complex objects. Drawing separate shapes for
the major parts of an object give you finer control over motion especially when
separate objects intersect with each other.

Edit the Shape in Groups

Try not to individually move points in a shape unless absolutely necessary.
Moving points in groups will maintain consistency and eliminate edge chatter.

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Keyframe, Keyframe, Keyframe
By editing your shape at various frames in the sequence, Silhouette animates
the shape in between those keyframes. This saves you work. Make as few
keyframes as possible, but as many as needed so the shape properly follows
the object that you are rotoing. For instance, on a 80 frame clip, start by adding
keyframes at 1, 20 and 40. If more animation is needed, add keyframes at 10
and 30. Get the idea? Creating too many keyframes will cause the shape to
jitter or chatter.

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Roto Quick Start
For the inpatient among you, here’s a Roto quick start. For all others, Roto
features are covered in more detail after this exercise.
1 Create a session that includes a Roto node and make sure that it is selected in
the Node List.
When the Roto node is selected, a number of different tools are selectable from
the Toolbar to the left of the Viewer.

Transform

Reshape

B-Spline

X-Spline

Bézier

Square

Circle

Feather

Tracker

MultiFrame

2 View your sequence to determine the frame that requires the greatest number of
points to create the shape. It is easier to draw your shape on the most complex
frame as opposed to starting on a simpler frame and adding points later.
3 Select the B-Spline tool (B) from the Toolbar.

4 Click on the screen to create a control point.

A control point is created.
5 Add as many points as you like.

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6 When finished adding points, click the first control point that you added to close
the shape.
Use as many points as needed to create the shape, but avoid using more than
is necessary. The fewer the points, the easier it is to successfully animate the
shape.

Now that you have a shape, you can use either the Reshape or Transform tool
to perform editing functions.
7 Select the Reshape tool (R).

The Reshape tool modifies shapes by adjusting their control points and
tangents.
8 To move points, select one or more control points and drag the point or points to
a new location.
9 To add a new control point, Alt-click on a selected shape.
10 To delete control points, select them and press the Delete key.
11 Go to various frames in your sequence and edit the shape using the Reshape
tool.
As the shape is edited on different frames, a keyframe marker is shown in the
Timebar to provide a visual display of where there are shape keyframes. The
color of the markers is determined by the shape color. If multiple selected
shapes have a keyframe on the same frame, the most recently selected
object's color has precedence.

Next, instead of modifying the shape’s control points, try modifying the entire shape.
12 Click on the Transform tool (T) in the Toolbar.

The Transform tool affects an entire shape or a group of shapes

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13 Select a shape and use one of the on-screen controls to modify it.

Shortcut Action

Drag within large center circle Moves the layer

Shift-drag within large center circle Constrain layer movement horizontally or vertically

Drag the center square horizontal and Scales the layer horizontally or vertically
vertical halfway points

Drag a center square corner Proportionally scale the layer

Drag large center circle Rotate the layer

Ctrl(Win)/Cmd(Mac)-drag large center circle Rotates the layer with finer control

Drag small center circle Moves the Anchor point

Q Activates / Deactivates translation of selected layers

W Activates / Deactivates rotation of selected layers

E Activates / Deactivates scaling of selected layers

Q, W, E then Ctrl(Win)/Cmd(Mac) Translates, Rotates or Scales in finer increments

The Q, W and E keys allow you to quickly translate, rotate or scale selected
shapes while using the Transform tool.
14 Press the Q key to activate translation mode, the W key for rotation mode or the
E Key for Scale mode and click and drag to transform the selected shape. You
must press the Q, W or E key, whichever one was selected, a second time to
deactivate the mode.

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Using the Bézier Tool
Bézier splines are defined by control points and tangents. The position of the
two tangent handles control the amount of a point's curvature.

1 Select the Bézier tool (Shift-B) from the Toolbar.

2 Click on the image to place the first control point.

The starting control point is created and sets the direction of the shape’s path.
3 To extend the control point’s tangents, drag the cursor while keeping the mouse
pressed.
Although you can use the Reshape tool to later change a shape’s look after
drawing it, you can also use the same Reshape tool keyboard shortcuts to
modify a shape while drawing it. See Adjusting Bézier Curves for more
information on the various ways to change a control point’s tangents.
4 Click on the screen to add more control points.
5 When finished adding points, click the first control point that you added to close
the shape.
Use as many points as needed to create the shape, but avoid using more than
is necessary. The fewer the points, the easier it is to successfully animate the
shape.

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Using the B-Spline Tool
In contrast to Béziers, B-Splines don’t use tangents and are created by only
using control points. The position of the points, their intensity settings as well
as their proximity to each other determine the curvature of the shape.

1 Select the B-Spline tool (B) from the Toolbar.

2 Click on the screen to create a control point.

A control point is created.
3 Add as many points as you like.
4 When finished adding points, click the first control point that you added to close
the shape.
Use as many points as needed to create the shape, but avoid using more than
is necessary. The fewer the points, the easier it is to successfully animate the
shape.

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Using the X-Spline Tool
A X-Spline is an intuitive and easily editable spline format whereby it’s points
can be of three different types: Cardinal, Corner or B-Spline.

Cardinal Corner B-Spline

1 Select the X-Spline tool (S) from the Toolbar.

2 Click on the screen to create a control point.

A control point is created.
3 Add as many points as you like.
4 When finished adding points, click the first control point that you added to close
the shape.
Use as many points as needed to create the shape, but avoid using more than
is necessary. The fewer the points, the easier it is to successfully animate the
shape.

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Using the Square Tool
1 Select the Square tool (Shift-S) from the Toolbar.

2 Do one of the following:

• Click and drag in the shape of a square.
• To create a perfect square, hold down the Shift key while clicking and dragging in
the shape of a square.
3 When you release the mouse button, a square shape appears.

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Using the Circle Tool
1 Select the Circle tool (Shift-C) from the Toolbar.

2 Do one of the following:

• Click and drag in the shape of a circle.
• To create a perfect circle, hold down the Shift key while clicking and dragging in
the shape of a circle.
3 When you release the mouse button, a circular shape appears.

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Working with Open Shapes
Open shapes are good for rotoscoping strands of hair or thin objects.
1 Select either the Bézier, B-Spline or X-Spline tool from the Toolbar.
2 Click on the screen to create a control point.
A control point is created.
3 Add as many points as you like.
4 When finished adding points, press the Esc key or switch to a different tool to
finish the shape.
5 Select the open shape and in the Object window, adjust the Stroke Width to set
it’s thickness.
Note: Open shapes can not be exported.

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Using the Transform Tool
Once you draw a shape, there are various ways to modify it. As the object that
you are attempting to Roto changes over time, you will need to adjust the shape
so that it exactly matches the object. The Transform tool affects an entire shape
or a group of shapes.

Shape Mode
The Transform tool Shape Mode allows you to position, move, scale, rotate,
shear or corner-pin a shape or selection of shapes using the on-screen
controls.

1 Click on the Transform tool (T) in the Toolbar.

2 Select a shape.
3 Use one of the on-screen controls to modify the shape. See the following
tutorials for more detail on using the On-screen controls.

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Points Mode
The Transform tool Points Mode allows you to position, move, scale, rotate,
shear or corner-pin a selection of points using the on-screen controls.
1 Using the Reshape tool (R), select multiple points on the shape.

2 In the Toolbar, click on the Transform tool twice (TT).

A bounding box with on-screen controls appears around the selected points
instead of around the entire shape.
3 Use one of the on-screen controls to modify the shape. See the following
tutorials for more detail on using the On-screen controls.

Moving Shapes
Shapes can be moved horizontally or vertically.
Note: The remainder of the Transform tutorials assume that the Transform tool Shape
Mode is enabled in the Toolbar.
1 Make sure that the Transform tool (T) Shape Mode is enabled.

2 Select a shape or series of shapes.

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3 Drag on the outline of one of the shapes.

or
4 Press the Q key to activate translation mode and click and drag to move the
shapes.
5 You must press the Q key a second time to deactivate translation mode.

To constrain movement along an axis:

1 Select a shape or series of shapes.
2 Press the Shift key while dragging the outline of a shape. The movement is
constrained by the first direction (horizontal or vertical) that you drag in.

Nudging Shapes
Shapes can be nudged horizontally or vertically using the Arrow keys. One
press of the Arrow key moves the shapes 1 pixel. Using the Shift key in
conjunction with the Arrow keys moves the shapes 10 pixels.
1 Select a shape or series of shapes.
2 Use the Arrow keys to nudge the shapes.

Scaling Shapes
Scaling changes the size of the shapes.
1 Select a shape or series of shapes.
2 Drag any of the points on the shape bounding box.

or

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3 Press the E key to activate scaling mode and click and drag to scale.
Note: The position of the cursor when E is pressed sets the anchor point for the
scaling.
To proportionately scale, hold down the Shift key when scaling.
4 You must press the E key a second time to deactivate scaling mode.

Rotating Shapes
Rotating changes the angle of the shapes.
1 Select a shape or series of shapes.
2 Ctrl(Win)/Cmd(Mac)-drag on a shape bounding box corner handle.

or
3 Press the W key to activate rotation mode and click and drag to rotate.
Note: The position of the cursor when W is pressed sets the anchor point for the
rotation.
4 You must press the W key a second time to deactivate rotation mode.

Corner-Pinning Shapes
The corner points of a shape’s bounding box can be corner-pinned. For
instance, you could fit the corners of a shape into the corners of a billboard.
1 Select a shape.
2 Alt-drag the corners of the shape’s bounding box.

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Shearing Shapes
Shapes can be sheared resulting in the shape being skewed horizontally or
vertically.
1 Select a shape.
2 Ctrl(Win)/Cmd(Mac)-drag on the midpoints of a shape bounding box on either the
horizontal or vertical axis.

Anchor Point
A shape rotates around its center point, but scales from the opposite handle.
Moving the anchor point changes the center of rotation and scaling when using
the on-screen controls.
1 Press the . (period key).
The Anchor Point is displayed on the screen.

2 Click and drag the Anchor Point to the desired location.

3 Select your shape and then rotate or scale it.
Notice how the shape rotates and scales around the Anchor Point.
Note: If more than one shape is selected, they will both rotate and scale around the
.
Anchor Point. Turning off the Anchor Point with the (period key) will cause the shapes
to revert to rotating and scaling around their center points.

Copying and Pasting Shapes

Shapes can be cut(Ctrl(Win)/Cmd(Mac)-X), copied(Ctrl(Win)/Cmd(Mac)-C)
and pasted(Ctrl(Win)/Cmd(Mac)-V).
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Deleting Shapes
A shape or selection of shapes can be easily deleted using none other than the
Delete key.
1 Select a shape or set of shapes.
2 Hit the Delete key.

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Using the Reshape Tool
The Reshape tool (R) modifies shapes by adjusting their control points and
tangents.

Note: The following tutorials assume that the Reshape tool has been enabled in the
Toolbar.

Adding Control Points

Adding control points assists in tracing more detailed images.
1 Alt-click on a selected shape to add a new control point.
Don’t click on an existing control point because it will move it instead.

Deleting Control Points

1 Select the control points and press the Delete key.
or
2 Right-click on a control point and select Delete from the Reshape pop-up menu.

Moving Control Points

1 Select one or more control points.
2 Drag the point or points to a new location.

Nudging Points
Points can be nudged using the Arrow keys. One press of the Arrow key
moves the points 1 pixel. Using the Shift key in conjunction with the Arrow
keys moves the points 10 pixels.
1 Select a point or series of points.
2 Use the Arrow keys to nudge the points.

Numbering Points
All points or a selection of points can be numbered.

Numbering All Points

1 Go to File > Preferences > Shape on Windows and Linux or Silhouette >
Preferences > Shape on Mac.

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2 Set the Number Points preference to All.
3 Click OK.
Numbers are now displayed next to all points.

Number One Point or a Selection of Points

1 In the Reshape tool, select one or more points.
2 Right-click on one of the selected control points and select Tag.
The points are now tagged for numbering.
3 Go to File > Preferences > Shape on Windows and Linux or Silhouette >
Preferences > Shape on Mac.
4 Set the Number Points preference to Tagged.
5 Click OK.
Numbers are now only displayed next to tagged points.

Adjusting Bézier Curves

The length and direction of a control point’s tangents direct the curve through
that control point.

Curve Join
Tangent Handle

Tangent

Control Point

Control points have two tangents that can extend from it. The path of the curve
through the control point is determined by the length and orientation of the
tangents. When you drag one tangent’s handle, the adjacent tangent moves as
well.
1 Select a control point on a Bézier shape.

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2 Click and drag a tangent handle.
This adjusts the length of one tangent while retaining a fixed angle between the
two tangents.

3 Ctrl(Win)/Cmd(Mac)-drag a tangent.
This adjusts both tangents simultaneously while retaining a fixed angle
between the two tangents.

4 Alt-drag a tangent.
Only one tangent is moved which is useful for creating corners.

5 Right-click over a control point and select Linear, Corner or Cardinal.

Linear adjusts both tangents one quarter the distance and in the direction of
their adjoining control points. Corner collapses both tangents to create a corner
point. Cardinal creates a smooth point where the curve passes smoothly
through it.

Extending Short Tangents

Sometimes a control point’s tangents are so close together that trying to modify
the tangent results in movement of the control point. If this is the case, you can
force the tangents to move without affecting the control point.
1 Press the Alt key while dragging the tangent.
Only the tangent will move, leaving the control point unaffected.

Moving Curve Segments

Normally, you move control points to adjust the form of a shape, but you can
also move the portion of the curve between control points.
1 Deselect all control points by clicking somewhere off the shape.

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2 Ctrl(Win)/Cmd(Mac)-drag a Bézier curve segment between control points.

Once you start dragging, the Ctrl(Win)/Cmd(Mac) key can be released.

Note: The surrounding tangents remain smooth, but if you want to keep adjacent
tangents from moving, hold down the Alt key while dragging.

Adjusting B-Splines
B-Splines are created by only using control points and are simple to adjust. The
position of the points, their weight settings as well as their proximity to each
other determine the curvature of the shape. The weight (amount of pull on a
point) decides how sharp or smooth it is. Silhouette employs variable weight
intensities on a point by point basis.
1 Select a control point on a B-Spline shape.
2 Alt-drag the point to the right to create a corner point or Alt-drag to the left to
create a smooth point.
or
3 Alt-click to cycle through the preset weight settings of the point.
or
4 Right-click over a control point and select Corner or B-Spline.
Note: The Alt-click and pop-up menu preset weight settings for Corner and B-Spline
can’t be animated.

Adjusting X-Splines
X-Splines are created by using control points and then adjusting their weight to
coincide with one of the point types: Cardinal, Polygon or B-Spline. The point
type can even be somewhere in between one point type and another.
1 Select a control point on a X-Spline shape.

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2 Alt-drag the point to the right. The tension of the point goes from Cardinal to
Corner to B-Spline.
or
3 Alt-click to cycle through the different point types.
or
4 Right-click over a control point and select Corner, Cardinal or B-Spline.

Converting B-Splines or X-Splines to Bézier Splines

You may convert your B-Splines or X-Splines to Bézier Splines at any time.
1 Select a B-Spline or X-Spline shape.
2 Select Edit > Spline > Convert to Bézier.
Once you select Convert to Bézier, a couple of things happen. The visibility of
the B-Spline or X-Spline is toggled to off. A new Bézier Spline is created and is
named the same as the B-Spline or X-Spline but has an * at the end of the
name.
Note: The Bézier conversion of B-Splines that use extreme, variable weight
adjustments will not exactly match the original B-Spline. Do not use extreme, variable
weight adjustments if you are planning on converting the B-Spline to a Bézier.

Copying and Pasting Shapes

Selected shapes can be cut(Ctrl(Win)/Cmd(Mac)-X),
copied(Ctrl(Win)/Cmd(Mac)-C) and pasted(Ctrl(Win)/Cmd(Mac)-V).

Breaking Shapes
In the Reshape tool, closed shapes can be opened using the Break option from
the control point pop-up menu.
1 Select and right-click on a control point.
2 Choose Break from the pop-up menu.
The shape opens at the selected control point.
Note: Feather information will be removed once you break a shape.

Closing and Extending Shapes

Shapes can be closed or extended with just a few mouse clicks. It is necessary
to use the Reshape tool to perform the following actions.

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Closing Shapes
1 Select one of the control points at the end of the shape.
2 Alt-click on the other end point to close the shape.

Extending Shapes
1 Select a control point at either end of an open shape.
2 Alt-click somewhere off the shape.

Joining Open Shapes

In the Reshape tool, open shapes can be joined together.
1 Select two open shapes.
2 Select one of the end points of the source shape by clicking on it.
3 Alt-click on one of the end points of the target shape.
The two shapes are now joined together as one.
4 Repeat steps 2 and 3 for the two remaining end points to close the shape.
Note: The target shape inherits the attributes of the source shape.

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Using the Feather Tool
The Feather tool creates variable edged blurs on a point by point basis.
1 Select the Feather tool (Shift-F) from the Toolbar.

2 To create a feather point, Alt-click on a selected shape and drag.

3 To create a second feather point, Alt-click on the original curve and drag.
4 To edit the feather point, click and drag on one of the outer points.
5 To delete a feather point, select it and press the Delete key.

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Using the MultiFrame Tool
The MultiFrame tool modifies the Transform and Reshape tools to allow you to
make adjustments across all previously set keyframes or a selection of
keyframes.
1 Select the MultiFrame tool (M) in the Toolbar.

A red outline is drawn around the Viewer to let you know that the MultiFrame
tool is active.
2 Drag the blue ends of the MutliFrame range bar at the top of the Timeline to limit
the keyframes affected by the MultiFrame tool.

3 Select either the Transform or Reshape tools, make a selection and modify the
shape.
Only keyframes defined in the MultiFrame range are adjusted.

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Rendering Shapes to Channels
Shapes can be assigned to different channels of an image when rendering.
1 Create four shapes.
2 Select a shape and in the Object window, set the Channel parameter to Red.
3 Assign the other three shapes as Green, Blue and Alpha.
Now that you have assigned the shapes to different channels, you can visualize
the results prior to rendering using View > Channels in conjunction with the Alt-
R, G, B and A shortcut keys.
4 Choose View > Channels.
5 Use the Alt-R, G, B and A shortcut keys to see which shapes are assigned to
the various channels.
6 When ready, render shapes into the assigned channels with the Actions >
Render Shapes to Channels action.
7 When the Render window opens, choose a file format that supports RGBA and
set Save to Color+Alpha.

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Importing and Exporting Shapes
Exporting Shapes from Silhouette
Silhouette, Elastic Reality, Fusion, gMask (Combustion, Flint, Flame, Inferno),
Nuke and Shake 4.x SSF shapes can all be exported.
Note: To export shapes for use in After Effects, use the Silhouette Shape format. The
Silhouette Shape Import/Export Plug-in is then required to import Silhouette Shapes
into After Effects.
1 Select the shapes that you want to export.
If you are exporting using the Silhouette Shapes format, you can also export
layers.
Note: Open shapes can only be exported using the Silhouette shape format.
2 Choose File > Export and select the shape format that you would like to export to.
Note: There are two Nuke shape export options--Nuke Shapes and Nuke 6.2+ Shapes.
Nuke 6.2+ Shapes exports substantially more shape attributes than Nuke Shapes. Of
course, the Nuke 6.2+ Shapes option requires that you are using Nuke 6.2 and above.
3 When the file browser opens, type a name and click OK to save the file.
A file is saved with the appropriate file extension.

After Effects Import and Export

Importing Silhouette Shapes into After Effects
The Silhouette Shape Import/Export Plug-in for After Effects is required to
import Silhouette Shapes.
1 Start Adobe After Effects, open a project and select a layer in the Timeline.
2 From the After Effects File menu, select Import > Silhouette Shapes.
A file browser opens.
3 Select the shape file to import and click OK.
The Silhouette Shape Import/Export Plug-in will import the shapes and convert
them to After Effects masks. When importing Silhouette Shapes, the following
shape parameters transfer into After Effects: opacity, blur, shape color, shape
name, invert and locked states, transfer mode and per-shape motion blur state.

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Exporting After Effects Masks to Silhouette Shapes
The Silhouette Shape Import/Export Plug-in for After Effects is required to be
able to convert After Effects masks to Silhouette Shapes.
1 Start Adobe After Effects, open a project and select a layer in the Timeline that
contains After Effects masks.
2 From the After Effects File menu, choose Export > Silhouette Shapes.
A file browser opens.
3 Type a name and press OK to save the file.
All After Effects masks from the selected layer are exported and a file is saved
with a .fxs file extension. When exporting After Effects masks, the following
shape parameters transfer into Silhouette: opacity, blur, shape color, shape
name, invert and locked states, transfer mode and per-shape motion blur state.

Importing Shapes
Importing Shapes into Silhouette
Silhouette, Commotion, Elastic Reality and Shake 4.x SSF shapes can all be
imported into Silhouette.
1 Choose File > Import and select the shape format that you would like to import.
A file browser opens.
2 Select the shape file to import and click OK.
The shapes are added to the current session.
• Commotion Import Notes
When importing Commotion shapes, the following shape parameters transfer into
Silhouette: shape visibility, shape locked state, shape motion blur on / off state. If the
shape is invisible in Commotion, it will start out invisible in Silhouette, so it might not
look like it was imported unless you have the Object List open.
• Shake Import Notes
Shake 4.x shapes are imported but attributes such as feathering, color and opacity are
ignored.

Importing Shapes into Other Programs

Instructions for importing shapes into the programs that Silhouette supports
can be found below.
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Combustion
Import Shapes into Combustion
1 In a Mask operator, click on the Settings tab.
2 Under Mask Setups, click on Import and select the gMask file that you saved from
Silhouette.

Elastic Reality
Import Shapes into Elastic Reality
1 With an Elastic Reality project open, select Shape >Import.
2 When the File Browser opens, choose the .ers file that you saved from
Silhouette.

Flint / Flame / Inferno

Importing Shapes into Flint / Flame / Inferno
1 Open the Garbage Mask Setup menu.
2 Click Load Setup.
3 When the File Browser opens, select the gMask file that you saved from
Silhouette.

Fusion
Importing Shapes into Eyeon Fusion
1 From a file browser window, drag the .setting file that you saved from Silhouette
and drop it into a Fusion flow.

Nuke
There are two Nuke shape export options--Nuke Shapes and Nuke 6.2+
Shapes. Nuke 6.2+ Shapes exports substantially more shape attributes than
Nuke Shapes. Of course, the Nuke 6.2+ Shapes option requires that you are
using Nuke 6.2 and above.
Nuke 6.2+ Shapes
Nuke 6.2 and above will import the shape opacity, blend mode, invert, motion
blur, outline color, shape blur (if outside) as well as the layer and node blur and
motion blur.

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Nuke Shapes
For Nuke 5.1v3 and above, Silhouette shapes and their blend modes are
imported. Nuke will also import Hold and Linear key frames for Opacity.

Importing Shapes into Nuke

1 Select File > Open and choose the .nk file that you saved from Silhouette.
Note: The imported shapes are set to render into the alpha channel only.

Shake 4.x
Shake 4.x will import the shape name, locked/unlocked state, opacity, visibility,
motion blur on/off, shutter angle, and shutter phase. In addition, subtractive
shapes import as black in the RGB channels with a white alpha channel.

Importing Shapes into Shake 4.x

1 Create a RotoShape node.
2 Click on the Import Shape Data from File icon.
3 When the File Browser opens, select the .ssf file that you saved from Silhouette.
4 Drag the slider in the Timebar to see your shape.

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Using the Planar Tracker
The Planar tracker generates and tracks several points on the image while
automatically handling partial occlusions of the tracked object.
Note: The Tracker tool is available in both the Roto and Effects nodes.

Planar Tracking
1 Go to the frame where you want to start tracking.
2 Set the View to Foreground for the fastest speed when tracking. In the
Foreground view, no shape processing occurs and therefore it is faster than
View > Output.
3 Create a layer in the Object List using the Add Layer icon.

4 Inside of the new layer, create a shape around the object that you would like to
track and make sure that there is some detail inside of the shape. It does not have
to be exact and it is best to leave a little extra room around the object. In addition,
you can use more than one shape as long as they are on the same geometric
plane.
Note: When a layer is selected, the per-shape blend mode, invert state, on/off state
and opacity are all obeyed. This allows you to use shapes to subtract out areas of
unwanted motion that may interfere with tracking.
5 Choose the Tracker tool (Shift-T) in the Toolbar.

6 In the Tracker tab located at the bottom of the screen, select the Planar Tracker
tab.

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7 Enable Preview in Pre-Processing.

The image in the Viewer becomes black and white and displays the color space
that you will track in.
8 Select the color space to track with in the Channel pop-up menu.

Pick the color space that displays the best contrast in the object you are
tracking.
9 Disable Preview in Pre-Processing.
10 Make sure that the layer containing your shape is selected. Otherwise, the
Tracker Direction controls will be grayed out.

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11 Hit either the forward or backward track button.

12 When the tracking is done, that’s it, you're done.

The tracking data is automatically applied to the selected layer.
13 After tracking, if you are not happy with the results, try the different techniques
listed at Planar Tracker Tips and Tricks.
14 If you want to use Stabilization, click the Stabilize icon above the Viewer to
stabilize the image.
15 Make shape adjustments and keyframe it as necessary using the Reshape and
Transform tools.
16 When shape editing is complete, click on the Stabilize icon (if it was activated)
above the Viewer to turn off the stabilization.

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Planar Tracker Tips and Tricks
If you have trouble tracking a shot using the Planar Tracker, here are some tips
and tricks:
• When creating a shape around the area you want to track, make sure that
there is some detail inside of the shape. Also, leave a little extra room around
the object you are trying to track.
• Change the Channel parameter from Luminance to Red, Green or Blue. The
Channel parameter determines which image value the tracking algorithm uses.
• Use the Blur, Sharpen, Contrast, De-Noise or Remove Flicker pre-processing
parameters.
• Stop the tracker if it fails and go back a few frames before it messed up. Reposition
your shape and hit the tracking button again. You don't need to go back to your
start frame.
• Depending on the motion of the object to be tracked, you may get better results if
you track from the end to the beginning. You may also track from the middle to the
beginning and then from the middle to the end.
• In the Layer you are tracking, create shapes to subtract out areas of unwanted
motion that may interfere with tracking and select the layer prior to tracking.
• Set the View to Foreground for the fastest speed when tracking. In the Foreground
view, no shape processing occurs and therefore it is faster than View Output.
• You can use shapes for tracking purposes only and once the track is completed,
you can hide or delete them.

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Using the Point Tracker
The Point tracker uses trackers which are placed on distinguishable image
features.

Creating a Tracker
1 Select the Tracker tool (Shift-T) in the Toolbar.

Note: The Tracker tool is available in both the Roto and Effects nodes
2 Go to the frame where you want to start tracking.
3 Set the View to Foreground for the fastest speed when tracking. In the
Foreground view, no shape processing occurs and therefore it is faster than
View > Output.
4 In the Tracker tab located at the bottom of the screen, select the Point Tracker
tab.

5 Press the Create button and a tracker is placed in the center of the image.

or
6 Alt-click on an open space in the image.

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As you pass your cursor over the image with the Alt key depressed, a zoomed
region to the right of the tracker aids in selecting your Match Area.

Moving Tracker Components

1 Clicking and dragging directly on the Track point will move all components of the
Tracker: Match Area, Search Region and Track Point simultaneously.

2 Clicking and dragging somewhere in the area of the Search Region will move
only the Search Region.

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3 Clicking and dragging somewhere in the area of the Match Area will move both
the Search Region and Match Area simultaneously, leaving the Track Point at its
current location. This would be used for Offset Tracking when the original track
point becomes obscured.

Scaling Tracker Components

1 Clicking and dragging on the corners of the Match Area bounding box scales
both the Match Area and Search Region.
2 Clicking and dragging on the corners of the Search Region bounding box scales
only the Search Region.

Tracking an Image
1 Adjust the size and position of the Match Area and Search Region.
2 Right-click on the tracker and select the color space to use in the Channel sub-
menu.

3 Hit either the forward or backward track button.

Silhouette will analyze the motion for each frame in the sequence.

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Offset Tracking
There are times when your original Match Area gets obscured, and in these
instances, you can offset the Match Area and Search Region from the Track
Point.
1 Create a tracker and track a portion of the sequence until the Match Area
becomes obscured.
2 Hit the Stop button in the Tracker Progress window.
3 Back up to the last properly tracked frame.
4 Click and drag somewhere within the Match Area and both the Match Area and
Search Region will move simultaneously, leaving the Track Point at its current
location.

5 Click the forward tracking button to continue tracking.

The Track Point follows the same path, but the new Match Area is used to
acquire the tracking data.

Tracking Difficult Shots

Some sequences are difficult to track because of erratic motion or the occlusion
of the feature that you are attempting to track. In these cases, you can do a bit
of hand tracking using one of two methods:
• By pre-keyframing the tracker at various frames throughout the sequence.
• Keyframing a shape and then creating tracker keyframes based on the shape’s
motion.

Keyframing the Tracker

1 Create a tracker.

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2 Adjust the tracker to match the object at various frames throughout the
sequence.
3 In the Tracker tab, change the Behavior to Key Frames.

The Tracker Match Area will now use these keyframes as a reference while
tracking.

Create Tracker from Shape Center

1 Create a shape around the feature that you would like to track. Go to various
frames throughout the sequence and adjust the shape to match the feature.
2 Select the Tracker tool and right-click on the shape.
3 From the pop-up menu, select Create Tracker from Shape Center.

A tracker is automatically created around the center point of the shape and any
shape keyframes are automatically applied to the Tracker.
4 In the Tracker tab, change the Behavior to Key Frames.

The Tracker Match Area will now use these keyframes as a reference while
tracking.

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Modifying Tracking Data
Averaging Trackers
Averages multiple tracks into a new destination track. A common technique is
to track forwards from the first frame to the last, and then create a second track,
tracking backwards from the last frame to the first. These two trackers are then
averaged together to derive a more accurate track.
1 Select more than one tracker.
2 In the Tracker tab, choose Average.

A new averaged tracker is created.

Smoothing Trackers
Smoothing trackers removes inaccuracies in the tracking data caused by film
grain or video noise.
1 Select a tracker to smooth.
2 In the Tracker tab, choose Smooth and adjust the slider when it pops-up.

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Applying Trackers
Match Moving and Stabilizing Layers
In general, tracking data should be applied to layers instead of individual
shapes. The tracking data is placed into the transform of a selected layer
(containing shapes) allowing you to have separate keyframes for both the layer
transformation and for the shapes. This results in far fewer shape keyframes
than other methods and is the preferred way of working with clips in motion.
The result is a very flexible method for discrete editing of layer and shape
transformations.

Once applied to a layer, the tracking data can be used in Match Move or
Stabilize mode. In Match Move mode, the clip moves as normal and the shape
follows along according to the tracking data. In Stabilize mode, the clip is locked
in place by stabilizing the Viewer. In either mode, you only need to keyframe
the shape when it changes form. After shape editing is complete in Stabilize
mode, the Viewer can be returned to its normal state and the shapes will match
the motion of their respective objects.
1 Create a layer in the Object List using the Add Layer icon.

The new layer is active and you can tell by the check mark icon in the box to
the right of the layer name in the Object List.
Note: Point tracking data is only applied to the active layer.
2 Select the trackers that you would like to use.
3 Press the Apply button.

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You have a choice of applying position, scaling and/or rotation. However,
scaling and rotation require two trackers.

4 Select Position, Rotation and/or Scaling and click OK.

The tracking data is applied to the Transform > Matrix parameter of the selected
layer.
5 Create a shape inside of the selected layer.
If you look at various frames in the sequence, you’ll see that the shape is match
moved to the motion of the image.
6 If you want to use Stabilization, click the Stabilize icon above the Viewer to
stabilize the image.

The Viewer is now stabilized.

7 Keyframe your shapes as necessary.
8 When shape editing is complete, click on the Stabilize icon (if it was activated)
above the Viewer to turn off the stabilization.
The Viewer is returned to its normal state and the shapes match the motion of
their respective objects. You can return to stabilization mode at any time by
clicking the Stabilize icon.

Other layers can be match moved or stabilized using different trackers. Just go
to the Tracker tab and apply the motion from different trackers to other layers.

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Four Point Corner-Pin Tracking
Four-point tracking is traditionally used to match the perspective of a square or
rectangular shape by tracking it’s four corners and applying a corner-pin
transformation.
1 Create four trackers on the corners of a square or rectangular object and track
the motion.
2 Create a layer in the Object List using the Add Layer icon.

The new layer is active and you can tell by the check mark icon in the box to
the right of the layer name in the Object List.
Note: Point tracking data is only applied to the active layer.
3 Select the four trackers.
4 Press the Apply button.

The corner-pin data from the four trackers is applied to the layer.
5 Create a square shape inside of the selected layer. When drawing the shape, it
should be placed near the location of the four trackers.
If you look at various frames in the sequence, you’ll see that the shape’s motion
is matched to the motion of the image.

Match Moving Points

Match moving applies the motion of a tracker to individual points on a shape.
Note: Match moving individual points results in keyframes being set on every frame of
the shape and can make it cumbersome to later edit those points. This functionality has
been added to Silhouette as some users prefer to work with this way.
1 Select a tracker.

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2 Click on a shape to select it and then select a point.
Note: To select points on a shape, you must first select the shape by clicking on the
shape outline. Then, Ctrl(Win)/Cmd(Mac)-click each point that you would like to
select. Also, when a tracker overlaps a point, it will be difficult to select the point while
in the Tracker tool. To select a point that overlaps a tracker, switch to the Reshape tool,
select the point and switch back to the Tracker tool.
3 Right-click over a selected point and choose Apply from the pop-up menu.

The tracking data is applied to the point.

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Point Tracker Tips and Tricks
If you have trouble tracking a shot using the Point tracker, here are some tips:
• Set the View to Foreground for the fastest speed when tracking. In the Foreground
view, no shape processing occurs and therefore it is faster than View Output.
• Stop the tracker, go to the bad frame and reposition the Track Point, and hit the
tracking button again. You don't need to go back to your start frame.
• Lower the Tolerance value, and track again from the beginning, or the frame
before the bad frames. The lower the Tolerance, the more forgiving the tracker will
be--but also less accurate.
• Start over and switch Behavior from Start Frame to Every Frame. This means that
instead of trying to compare the tracking region with the first “pure” frame, it will
try to match to the previous frame. If you re-track from the middle of a sequence,
it will consider your new start frame as your reference frame with either setting.
• Use the Blur, Sharpen, Contrast, De-Noise or Remove Flicker pre-processing
parameters.
• At any time, you can manually adjust the Track Point by simply grabbing it and
putting it where you need to.
• Change the Channel parameter from RGB to Luminance, Red, Green or Blue and
re-track. The Channel parameter determines which image value the tracking
algorithm uses.
• A technique you can use to assist with difficult shots is to manually insert tracking
keyframes. For example, if you have 100 frames to track, you can put in a keyframe
every 5 or 10 frames by repositioning the Tracker. Once your keyframes are
manually entered, return to frame 1 and set the Behavior to Key Frames. The
tracker searches along the tracker's pre-existing motion path to find matching
patterns.
• You can use the same technique as in the previous tip, but with the following
differences. Create a shape around the feature that you would like to track. Go to
various frames throughout the sequence and adjust the shape to match the
feature. Select the Tracker tool and right-click on the shape. From the pop-up
menu, select Create Tracker from Shape Center. A tracker is automatically created
around the center point of the shape and any shape keyframes are automatically
applied to the tracker. In the Tracker window, change the Behavior to Key Frames.
The tracker Match Area will now use these keyframes as a reference while
tracking.

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Importing and Exporting Tracking Data
Exporting Tracking Data
Trackers can be exported to the After Effects, Discreet, Nuke and Shake
tracker formats. In addition, the tracking data applied to a layer, either by Point
trackers or Planar tracking, can be exported as a four point corner-pin track.

Prepping Trackers for Export

In most cases, trackers are ready to be exported as is. However, trackers can
be created based on a shape’s points, the center point of a shape or the
shape’s bounding box using the Tracker on-screen pop-up menu. Trackers
created in this manner are a concantenation of the shape and layer
transformation data. So, why do this? Because, it is a handy way of creating
trackers with all of this combined data for use in other programs.

Creating Trackers from Shapes

1 With the Tracker tool (Shift-T) enabled, right-click over a shape to open the
Tracker pop-up menu.
2 Choose either Create Corner Trackers from Shape Bounds or Create Tracker
from Shape Center.

The resulting trackers are a concantenation of the shape and layer

transformation data.

Creating Trackers from Points

1 Select the Tracker tool (Shift-T) in the Toolbar, right-click over a point and choose
Create Tracker from Points.

The resulting tracker is a concantenation of the shape and layer transformation

data.

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Exporting One to Two Trackers
1 Press the Tracker tool (Shift-T) in the Toolbar.
2 Select the trackers that you want to export.
3 Choose Export in the Tracker tab and select the tracker format.
4 When the window pops-up, type in a name and click Save.
Currently, you can export to the After Effects, Discreet, Nuke and Shake tracker
formats.

Exporting Four Trackers for Corner-Pinning

1 Press the Tracker tool (Shift-T) in the Toolbar.
2 Using the Shift key, select the four trackers that you want to export in a Z pattern:
Upper Left, Upper Right, Lower Left and Lower Right.
3 Choose Export in the Tracker tab and select the tracker format.
4 When the window pops-up, type in a name and click Save.

Exporting a Layer as a Four Point Corner-Pin

1 Select the layer that you want to export.
2 Press the Tracker tool (Shift-T) in the Toolbar, Choose Export in the Tracker tab
and select the tracker format.
3 When the window pops-up, type in a name and click Save.
Note: When exporting a four point corner-pin track to Discreet products, it is better to
use four trackers instead of the tracking information from a layer.

Importing Tracking Data

After Effects Corner-Pin, Nuke, Shake or Simple Format formatted trackers can
be imported into Silhouette. If you would like to import trackers from non-
supported applications, simply export a Silhouette tracker in Simple Format to
see how it should be formatted.

Importing Trackers into Silhouette

1 Select the Tracker tool (Shift-T) in the Toolbar.
2 Choose Import in the Tracker tab.

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3 Select the After Effects Corner Pin, Nuke, Shake or Simple Format tracker file
that you would like to import and click Open.
Note: If you select multiple trackers in the import dialog, more than one tracker can be
imported at a time.

Importing Silhouette Trackers into other Programs

After Effects
1 Double-click on the tracker text file that you exported from Silhouette.
The value of the Comp Pixel Aspect Ratio line at the top of the exported tracker
file must match the Pixel Aspect Ratio in the After Effects Composition settings.
Edit the exported tracker file as needed.
2 Press Ctrl(Win)/Cmd(Mac)-A to select all and Ctrl(Win)/Cmd(Mac)-C to copy.
3 In After Effects, select a layer in the Timeline and press Ctrl(Win)/Cmd(Mac)-V to
paste the Tracker Data.
Note: If you exported a limited work range in Silhouette, go to the start frame of the
work range in After Effects before pasting.
4 Open the Window > Tracker controls.
5 In the Motion Source pop-up, select the layer where you pasted the tracking data.
6 From the Current Tracker pop-up, select the Tracker that you just pasted. If you
only have one tracker, this would be Tracker 1.
7 Change the Track Type from Raw to one of the available options.
8 Click Edit Target and choose the layer that you would like to apply the motion to.
9 Hit Apply.

Combustion
Importing One to Two Trackers into Combustion
1 Click on the Tracker tab.
2 In the Source pop-up, choose your layer.
3 Select the Track type: Position, Scale or Rotate.
4 Click on the Import Data button and pick Discreet Tracker Setup.
5 Load the tracker file that you saved from Silhouette.

Importing Four Trackers into Combustion

1 Create a 3D Workspace.
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2 Import two layers into your Composite workspace.
3 Click and select the layer that you want to corner-pin and make sure it is at the
top of the stack.
4 In the Composite Controls > Layer Tab, activate Four Corner.
In your Viewport, the layer will have a point on each corner of the image.
5 Click and drag each corner point to the position where you want your layer
placed after the trackers are imported.
6 Using the Shift key, select the four corner points.
The points turn yellow when they are selected.
7 Click on the Tracker tab.
8 In the Source pop-up, choose the layer the tracking data was derived from.
9 Select the Position Track type.
10 Click on the Import Data button and pick Discreet Tracker Setup.
11 Load the tracker file that you saved from Silhouette.
Note: When importing a four point corner-pin track in Combustion, it is better to use
four trackers instead of the tracking information from a layer.

Flint / Flame / Inferno

1 Select the Stabilizer.
2 Click on the Imp button below the Track fields and select the tracker file that you
saved from Silhouette.
Note: When importing a four point corner-pin track in Flint, Flame and Inferno, it is
better to use four trackers instead of the tracking information from a layer.

Nuke
1 Choose File > Import Script and select the tracker file that you saved from
Silhouette.

Shake
1 Add a Tracker, Match Move or Stabilize node.
2 In the Tracker node, click the Load button in the Parameter tab and select the
tracker file that you saved from Silhouette.
3 For the Match Move and Stabilize nodes, right-click on one of the trackName's in
the Parameter tab and choose Load Track File.
4 Select the tracker file that you saved from Silhouette.
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Using Motion Blur
Motion blur is the directional blurring of rapidly moving shapes. To use Motion
Blur, it must be activated for each individual shape as well as in the Node
window.
1 Select one or more shapes and enable Motion Blur in the Object window.
2 Click on the Node tab to display the Node parameters.

3 In the Node window, enable Motion Blur and adjust the Shutter Angle, Shutter
Phase and Samples as desired.

When working with motion blur, it is best to keep your View set to Foreground.
This way editing your shape will be quick and interactive.
4 Set your View to Foreground.
When you need to view the motion blurred Alpha channel, use Shift-A. Shift-
A toggles the View to Output, superimposes the Alpha channel over the image
and deactivates the Overlay. Pressing Shift-A again returns the Viewer to its
previous state.
5 To view the motion blurred Alpha channel, press Shift-A.

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Renaming Objects
You can rename a shape, layer or tracker by either:
1 Click on the object once to select it, hit the Enter key, type in the new name and
press Enter again.
or
2 Double-click the object, type in a new name and hit the Enter key.
or
3 Right-click on the object, select Rename and type in a new name.

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Adding Notes
You can type an arbitrary length note for selected objects. Currently, only
shapes, trackers and layers are supported.
1 Select a shape, tracker or layer.
2 In the Object List, click the Notes icon.

The Notes window comes forward above the Object List.

3 Click in the Notes window and type your note.

Because you can type multiple paragraphs into the Notes window, you must
press Apply to assign the note.
4 Click Apply in the notes window.
The Notes icon changes once a note is applied to the object.

5 Hover over the Note icon in the Object List and the note is displayed as a tool tip.

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Timebar Keyframes
Colored markers in the shuttle area signify where selected objects have
keyframes. These keyframes can be moved to a new position. Objects that
display keyframes in the Timebar are shapes, trackers and painted frames.
Path keyframes are shown for shapes, position keyframes for trackers and
painted frames when in the Paint node.

The color of the markers is determined by the object color. If multiple selected
objects have a keyframe on the same frame, the most recently selected
object's color has precedence.
1 Press Shift and hover over one of the colored markers.
2 When the cursor changes to a double arrow, click and drag the marker to a new
location.

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Using the Timeline

Zooming the Timeline In or Out

1 Use the scroll wheel to zoom the Timeline in and out.
or
2 Shift-Middle-mouse drag in the Timeline.

Panning the Timeline

1 Use the Spacebar and click and drag to pan horizontally or vertically in the
Timeline.

Moving One Keyframe

1 Click on a keyframe to select it.
2 Drag the selected keyframe to its new time.

Moving a Selection of Keyframes

1 Click on the starting keyframe to select it.
2 Shift-click on the ending keyframe.
A range of keyframes is selected.
3 Click and drag one of the selected keyframes to the new location.
All selected keyframes move to the new location.

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Paint
Paint is a high dynamic range 2D raster based paint system designed from the
ground up to handle the demands of feature film and television production.
Note: Before Paint can be available for use, it must be enabled in the Session Settings
and selected in the Node List.

Using Paint
1 Create a session that includes a Paint node and make sure that it is selected in
the Node List.
When the Paint node is selected, various non-animateable controls appear in
a Paint window located at the bottom portion of the screen. Silhouette provides
a wide variety of paint tools that are organized into Brush, Profile and Paint
categories.

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In addition, a number of different brushes are selectable from the Paint Toolbar
to the left of the Viewer.

Black and White

Blemish

Blur

Clone

Color

Color Correct

Drag

Eraser

Grain

Mosaic

Repair

Scatter

Once a brush is selected, it’s controls appear on the left side of the Paint
window.

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2 The Color brush (Shift-C) is selected by default and is preset to white. Select the
Color brush if it is not selected.

3 Paint on the image in the Viewer by pressing and dragging with your pen or
clicking and dragging with your mouse.
4 In the Paint window’s Profile group, adjust some of the settings to see how it
changes your brush.

In addition to the Profile > Size control, the brush can also be resized in the
Viewer by holding Ctrl(Win)/Cmd(Mac) and dragging the brush outline.
5 Experiment with some of the other brushes in the Brush Toolbar.
6 Adjusting the brush parameters located on the left side of Paint window will
change the effect of the brush when you paint.
By default, you are painting on the RGB channels of the image. However, you
can paint individually on the Red, Green, Blue or Alpha channels as well as
simultaneously paint on the RGB and Alpha channels using the Paint settings.

7 Make sure that the Color brush (Shift-C) is selected.

8 In the Paint window’s Paint group, click on R to paint only the Red channel.
9 Paint on the image.

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10 If you view the individual Red, Green and Blue channels using the RGBA buttons
in the Viewer, you will see that only the Red channel is affected.

11 Select the horizontal white bar above the RGBA buttons to quickly toggle the
display of the image back to full color mode.
At any time, you can clear all paint strokes and restore the original unpainted
frames by using the Paint > Restore pop-up menu. You can restore the Current
Frame, All Frames or the Work Range.

12 Select Restore > All Frames to clear all paint strokes on all frames.
13 Go to frame 1 of the sequence and paint on the image.
14 Advance to frame 2.
As you change frames in the sequence, the painted frames are stored to disk.
Paint on the current frame is also saved with File > Save.
15 Go back to frame 1 and you will see that your paint stroke has been recorded.
16 Paint some more frames in the sequence.
As frames are painted, a marker is shown in the Timebar to provide a visual
display of which frames are painted.

Using the Clone Brush

The Clone brush paints the image using another part of the image/or other
image as defined by the settings in the Clone controls.

Quickly Set the Clone Offset

1 Choose the Clone brush (C) from the Toolbar.

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2 Press and hold down the Shift key.
3 In the Viewer, click, drag and release the mouse and then the Shift Key to set the
Clone offset.
The first click sets the Clone source and where you drag and release is the
Clone destination.

Quickly Reset the Clone Offset

1 Press Shift and without moving the cursor, click your mouse or tap your pen on
the screen once.
The Clone offset is quickly set to a 0,0 offset.

Using the Clone Brush

1 In the Clone controls, select Output, Foreground or Clone 1-4 in the Source pop-
up menu.
Output is the painted output of the Paint node and when selected, clones from
previously painted areas. Foreground clones from the foreground image, while
Clone 1-4 are additional clone sources that clips can be assigned to in the
Viewer > Inputs menu.
2 If you’d like, set the Frame parameter to choose which source frame to paint
from.
3 Set your Clone source offset by one of the following methods:
• Shift-clicking, dragging and releasing in the Viewer.
• Press Q (Translate), W (Rotate) or E (Scale) and click and drag to translate, rotate
or scale the Clone source. Onion Skin mode is automatically activated once the Q,
W or E key is pressed. Press whatever key you pressed (Q, W or E) again to
deactivate the mode.
• Turn on Interactive mode and use the up, down, left and right arrow keys to nudge
the Clone source.
• Turn on Interactive mode and adjust the X and Y (position), Z (rotate), and H and V
(scale) parameters.
• Turn on Interactive mode and use the on-screen controls. For instance, to corner-
pin the Clone source, drag the handles on the corners of the image.
4 Activate Onion Skin or Align mode if you need to line up the Clone source and
target images.

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• Select the Onion Skin icon to activate it and then align the Clone source.

or
• Select the Align icon to activate it and then align the Clone source.

5 Once the Clone source offset is set, deactivate Onion Skin or Align mode if they
are activated.
Very often, you will encounter two images from the same location that are not color
matched.

6 If the Clone source needs to be color corrected to match the image to be painted,
select the Grade tab and adjust the various sliders.
If you need to do exacting color correction, follow the steps below.
7 Choose the Vertical Split icon to compare the Clone source and target using a
split screen.

The split is handy when using the Grade controls to color match the Clone
source to the target.
8 Move your cursor into the image area over the split line and when the cursor
changes to a double-arrow, click and drag to move the split line to the location
where you will be painting and where you want to do the color matching. The
split line may not be obvious, so white triangles on the edge of the Viewer will
help you find it.
By isolating individual color channels, it is easier to match the colors.
9 In the Viewer, look only at the Red channel (Alt-R).
10 Ctrl(Win)/Cmd(Mac)-drag (for finer accuracy) the Gain > Red slider so that the
luminance values on either side of the split line match.
Tip: Set your Update mode to Always. As you drag a parameter, Silhouette is
constantly rendering. This makes the color adjustments more interactive.
11 In the Viewer, look only at the Green channel (Alt-G).

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12 Ctrl(Win)/Cmd(Mac)-drag (for finer accuracy) the Gain > Green slider so that the
luminance values on either side of the split line match.
13 In the Viewer, look only at the Blue channel (Alt-B).
14 Ctrl(Win)/Cmd(Mac)-drag (for finer accuracy) the Gain > Blue slider so that the
luminance values on either side of the split line match.
15 Press Alt-B again to toggle off the Blue channel and to display the RGB channels
in the Viewer at the same time.
Your Clone source and target should now be color matched.
16 Toggle off the Vertical Split and paint the image.
Tracking the Clone Source
1 Using a Roto node, create a tracker and apply it to a layer.
2 Select the Paint node in the Node List.
3 Choose the Clone Brush in the Toolbar.
4 Select the tracked Roto node layer in the Paint > Tracking menu.
5 Make sure that the Clone > Match Move control is activated. It is normally on by
default.
Selecting a layer in the Paint > Tracking menu and activating Clone > Match
Move allow you to apply the tracking or transformation data of a Roto node
layer to the Clone source.
6 If you would like to Stabilize instead, click the Stabilize icon at the top of the
Viewer.

Aligning Image Features from Different Frames

Oftentimes, you need to align the same image feature in two different frames
of a sequence when painting with the Clone brush.
1 In the Clone controls, select Output, Foreground or Clone 1-4 in the Source pop-
up menu and then set the Frame parameter to choose which source frame to
paint from.
2 Press the Q key.
This activates Translate mode and turns on Onion Skinning.

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3 Click on the source feature in the image and keep the left mouse depressed.
4 Press the Q key again.
Onion Skin turns off.
5 Drag and then release on the target feature.
The Clone offset is set.

Dual Clone Brush

Two Clone presets can be activated at once. This allows you to paint from two
different frames, using separate transforms and/or color corrections.
1 Select one of the 0-9 Clone presets.

2 Set the Clone source transform, timing and grade controls.

3 Choose a second Clone preset and set it’s Clone source transform, timing and
grade controls.
4 Choose the first preset and press Shift to select the second one.
The second preset will light up red and there will be a Mix control that appears
at the top right of the Clone controls.

5 Change the Mix parameter to set the relative opacity of the two Clone sources.
Mix adjusts the opacity of the first Clone preset. The opacity of the second
Clone preset is 1.0 - Opacity.
6 When you paint, both Clone presets will contribute to the painted result.

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Using Effects
The Effects node allows you to apply the brushes available in the Paint node
as filter effects to shapes or layers.
Note: Before the Effects node can be available for use, it must be enabled in the
Session Settings and selected in the Node List.

Applying Filters
1 Create a session that includes an Effects node and make sure that it is selected
in the Node List.
2 Using one of the shape tools, draw a shape.
3 Make sure that the shape is selected and choose an effect from the Filter menu.
For instance, apply the Mosaic filter.
Once applied, the filter appears in the Object List within an Effects group.

When added to a layer, the effect is applied based on the alpha of the layer. The
idea is to allow shapes with various Blend modes to contribute to or limit where
the effect will be applied.

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Mosaic filter applied to the Face shape

When you click on one of the filters in the Object List, its editable parameters
show up in the Object window and can be keyframed like any other attribute.
4 Click on the Mosaic filter in the Object List if it is not selected.

5 Adjust the filter parameters in the Object window if you’d like.

Obeying Alpha Channels from Upstream Nodes

The incoming Alpha channel generated by previous nodes can be utilized when
applying a filter.
1 Click on the Effects node in the Node List and select Alpha Behavior > Obey Input
in the Node window.
The Alpha channel generated from previous nodes will now be used when
applying a filter.
2 Using one of the shape tools, draw a shape around the area where you want the
filter applied. The shape must contain areas of Alpha channel from a previous
node.
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3 Make sure that the shape is selected and select a filter from the Filter menu.

Using the Scratch Filter

The Scratch filter Removes vertical scratches by averaging in the surrounding
pixels.
1 Using one of the shape tools, draw a shape around the scratch.
2 Make sure that the shape is selected and choose Scratch from the Filter menu.
3 Set the Width parameter in the Object tab.

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Using the Keyer
Using proprietary matte extraction techniques, the Keyer quickly and simply
creates mattes with minimal parameters even if you are dealing with fine hair
detail, smoke, or reflections.

Inner / Outer Keying

We like to use an inner / outer keying method that involves creating a Primary
Matte which has gray values in the foreground’s edge. This will give a nice,
smooth edge in the final composite. Next, the trick is to use the Secondary
Matte to fill in any gray areas of the Primary Matte while retaining the gray
values in the edge. You can do this by adjusting the Blur, Shrink/Grow and/or
Wrap parameters of the Secondary Matte to retain the Primary Matte’s edge
values.
Note: Before the Keyer can be available for use, it must be enabled in the Session
Settings and selected in the Node List.
1 Create a session that includes a Keyer node and make sure that it is selected in
the Node List.
2 Start by selecting Primary Matte from the View pop-up menu.
3 Set the Primary Matte > Extract On to Blue or Green Screen.
4 Adjust the Background slider so that the background areas are completely black.
5 Set the Foreground slider so that the Primary Matte has gray values, especially
in the edges.

This Primary Matte will be used for the edges.

Note: If you are not going to use the Inner / Outer Keying method, you would adjust the
Foreground slider so that the foreground values would be completely white in the
Primary Matte. In this case, a Secondary Matte would not be used.
6 From the View menu, select Secondary Matte.
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The screen is black, because you must first enable it.
7 Expand the Secondary Matte group and click on the Enable checkbox.
You can now see the Secondary Matte in the Viewer.
8 Set the Secondary Matte > Extract On to the same setting as the Primary Matte.
9 Adjust the Secondary Matte so that the foreground is completely white and the
background is completely black.

10 Switch the View menu to Combined Matte.

The Combined Matte view shows the combination of the two mattes.
11 Adjust the Secondary Matte > Wrap parameter to pull back the hard edges of the
Secondary Matte to reveal the gray edges of the Primary Matte.
Note: You could also use Secondary Matte: Shrink/Grow and Blur instead of or in
conjunction with Wrap to blend the two mattes together.
12 Change the View menu to Composite.

If you have not selected a Background input, the Foreground will be

composited over a gray color by default. This color can be changed using the
Composite > Background Color preference.
13 If you have a clip that you would like to use for the background instead of a color,
select it from the Input > Background pop-up menu.

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The foreground will then be composited over the background.

If you see any color spill from the blue or green screen, it can be eliminated
using the Color Suppression controls.
14 Expand the Color Suppression group and click the Enable check box.
15 Adjust the Color Suppression > Foreground and Range controls as needed.

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Using Power Matte
Open Shape Method
Power Matte creates mattes by using a trimap--a pre-segmented image
consisting of three regions of foreground (what you want to cut out),
background (what you want to get rid of) and unknown. Partial opacity values
are then computed only for pixels inside the unknown region. Two trimap
methods can be used: Open Shape or Closed Shape. This tutorial will use the
Open Shape Method.

Unlike previous approaches, our trimaps can be relatively sparse consisting of

open foreground and background shapes. All pixels left unmarked will be
treated as unknown.
Original Shapes

A good Open Shape technique is to draw an inner and outer outline around the
object you are extracting using open shapes. Shapes should be near the
boundary of the foreground or background, but not right up against the edge.
Also, if the foreground or background has varying colors, the shapes should
cross over these colors.
Note: The general rule is to not put foreground and background shapes too close
together unless you need to.
1 Define foreground area (what you want to cut out) by drawing an open shape
around the inner edge of the object.
2 Start by selecting either the Bézier, B-Spline or X-Spline tool from the Toolbar.
3 Click on the screen to create a control point.
A control point is created.
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4 Add as many points as you like.
5 When finished adding points, press the Esc key to finish the open shape.

6 Now, draw shapes to define background areas (what you want to get rid of).
Press the Esc key each time you want to finish an open shape.
If the background has varying colors, the shapes should cover these colors.
7 Choose the Reshape tool when you are done drawing open shapes.
Warning: If you only provide a few sparse shapes, the Open Shape Method will take
longer to process with a less accurate result than the Closed Shape Method.
Good Shape Example Bad Shape Example

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8 In the Object List, feel free to change the name and color of your shapes. In the
example below, I named the inner shape Foreground and changed the color to
green. Also, I named all of the outer shapes Background and left their color set
to red. Although this is not a necessary step, it is helpful to identify what the
shapes are being used for.

Power Matte won’t process until you assign the shapes as either foreground or
background.
9 Select the inner, foreground shape and in the Object window, set the type to
Foreground.
10 Select all the outer, background shapes and in the Object window, set the type
to Background.
Once a foreground and background shape are assigned, Power Matte
processes the matte.The viewer displays the composite of the foreground over
the background based on your shapes. If “None” is selected for the Background
input, the foreground will be composited over a color. The default color is gray,
but can be changed by going to File > Preferences > Composite on Windows
and Linux or Silhouette > Preferences > Composite on Mac. If you add a
Composite node in the Session Settings, the composite will be rendered.

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Now that you have foreground and background shapes, animate them over
time so that they follow the motion of what you are cutting out. However, since
you already assigned the shapes as foreground and background, Power Matte
will try and update every time you adjust the shapes.
11 Set the View to Foreground. This way Power Matte is not constantly trying to
update when you change a parameter.
12 Animate the foreground and background shapes over time so that they follow
the motion of what you are cutting out.
It is best to use the Tracker (Shift-T) to animate the motion of your shapes as
it will most likely ensure that the motion is consistent from frame to frame.
13 Play through the clip to make sure that the shapes are properly following your
object.
14 Use View > Matte to display the generated matte.

15 Hit the Play button to check your results so far. When you hit the Play button,
Power Matte renders each frame.
16 If at any time you want to turn off the display of the shapes, click the Overlay icon
above the Viewer or press 0 (the number zero) shortcut key.
In the generated matte, white is foreground, black is background and any gray
areas in between represent a level of transparency. If the matte is not
acceptable after processing, you can either adjust the shapes or add additional
shapes near the region where the matte is not accurate.
17 If you see gray areas in the foreground object that should be completely white,
make additional foreground shapes in those areas.
18 If you see gray areas in the background that should be completely black, make
additional background shapes in those areas.

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19 Gray values in Unknown areas can be reduced by increasing the Deartifact value
located in the Node window.
If you need to adjust the shapes after they have been created and assigned in
Power Matte, you can enhance performance by either:
• Set the View to Foreground while editing shapes.
• Set the Update mode to Manual and hit the Enter key when you want to process.
This way Power Matte is not constantly trying to update when you change a
parameter.

• Use a lower quality proxy image by using the Proxy pull-down menu above the
Viewer.

20 Choose View > Composite to display the Composite.

If you look closely at the edges of our dog example, you will see some white
fringing created by the sky from the original image. By activating Power Matte’s
Color Estimation feature, the fringing can be removed by estimating the color
of the foreground in unknown and semi-transparent areas.
Color Estimation Off Color Estimation On

Note: Color Estimation can cause color flickering in edge areas of partial opacity if your
shape position is not constant from frame to frame or if your source footage is grainy.
Disable Color Estimation if you see flickering in the edge areas.

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21 To remove fringing around the object being cutout, go to the Node window and
turn on Color Estimation.
Original Composite

22 When you press the Play button while viewing the Composite, you will see the
result in full color.
Now that I have shown you how to generate a matte using open shapes, an
alternative method is to use a mix of open and closed shapes. If you have large
contiguous areas of background, surrounding the background with a closed
shape and enabling Filled in the Object window will speed up Power Matte’s
processing.
Open Shape Example Open/Closed Shape Example

Closed
Shape

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Closed Shape Method
Power Matte creates mattes by using a trimap--a pre-segmented image
consisting of three regions of foreground (what you want to cut out),
background (what you want to get rid of) and unknown.

The Closed Shape Method uses closed shapes to mark definite foreground and
background areas of the image. Any unmarked areas are considered unknown
and partial opacity values are then computed for the pixels inside the unknown
region. So, make sure that any hair detail, transparent or blurry portions fall
within the unknown areas
Note: The Closed Shape method does not handle a foreground object with background
holes in it, and therefore the Open Shape method would be a better choice when
extracting an object with holes.
Original Shapes

1 Define foreground area (what you want to cut out) by drawing a closed shape.
2 Start by selecting either the Bézier, B-Spline or X-Spline tool from the Toolbar.
3 Draw a shape around the inner edge of the object, in this case, the hiker.

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4 To close the shape, click on the first point that you created.

5 To tell Power Matte that you are using a closed shape, enable Filled in the Object
window.
6 Now, draw closed shapes to define background area (what you want to get rid
of). If your foreground object is completely surrounded by background, like the hiker
example below, a quick way to define the background area is to first draw a closed
shape around the outside of the foreground and then invert it in the Object window.
The areas outside of the background shape are then considered as background.

7 After drawing the background shape, enable Filled in the Object window. Invert
the shape as well if you drew around the boundary of your foreground object as
in the example above.
Once a foreground and background shape are assigned, Power Matte
processes the matte. The viewer displays the composite of the foreground over
the background based on your shapes. If “None” is selected for the Background
Input, the foreground will be composited over a color. The default color is gray,

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but for the example below I changed it to black by going to File > Preferences
> Composite on Windows and Linux or Silhouette > Preferences > Composite
on Mac.

Now that you have a foreground and background shape, animate them over
time so that they follow the motion of what you are cutting out. However, since
you already assigned the shapes as foreground and background, Power Matte
will try and update every time you adjust the shapes.
8 Set the View to Foreground. This way Power Matte is not constantly trying to
update when you change a parameter.
9 Animate the foreground and background shapes over time so that they follow
the motion of what you are cutting out.
It is best to use the Tracker (Shift-T) to animate the motion of your shapes as
it will most likely ensure that the motion is consistent from frame to frame.
10 Play through the clip to make sure that the shapes are properly following your
object.

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11 Use View > Matte to display the generated matte.

12 Hit the Play button to check your results so far. When you hit the Play button,
Power Matte renders each frame.
13 If at any time you want to turn off the display of the shapes, click the Overlay icon
above the Viewer or press 0 (the number zero) shortcut key.
In the generated matte, white is foreground, black is background and any gray
areas in between represent a level of transparency. If the matte is not
acceptable after processing, you can adjust the shapes.
14 If you see gray areas in the foreground object that should be completely white,
adjust the foreground shape in those areas.
15 If you see gray areas in the background that should be completely black, adjust
the background shape in those areas.
16 Gray values in Unknown areas can be reduced by increasing the Deartifact value
located in the Node window.
If you need to adjust the shapes after they have been created and assigned in
Power Matte, you can enhance performance by either:
• Set the View to Foreground while editing shapes.
• Set the Update mode to Manual and hit the Enter key when you want to process.
This way Power Matte is not constantly trying to update when you change a
parameter.

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• Use a lower quality proxy image by using the Proxy pull-down menu above the
Viewer.

17 Choose View > Composite to display the Composite.

If you look closely at the edges of our hiker example, you will see some white
fringing created by the sky from the original image. By activating Power Matte’s
Color Estimation feature, the fringing can be removed by estimating the color
of the foreground in unknown and semi-transparent areas.
Color Estimation Off Color Estimation On

18 To remove fringing around the cutout object, go to the Node window and turn on
Color Estimation.
Note: Color Estimation can cause color flickering in edge areas of partial opacity if your
shape position is not constant from frame to frame or if your source footage is grainy.
Disable Color Estimation if you see flickering in the edge areas after a preview or
render.

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19 When you press the Play button while viewing the Composite, you will see the
result in full color.
Original Result

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Blue/Green Screen Keying
Keying is a technique for blending two images, in which a color from one image
is removed, or made transparent, revealing another image behind it. Either the
Open or Closed Shape Method can be used when creating mattes for Blue or
Green screen photography. Power Matte doesn’t require any specific color for
the object to be photographed against, but blue and green screens will be
referred to as these are the most common.
Original

Shapes

Let’s start by creating some open shapes. The shapes should be near the
boundary of the foreground or background, but not right up against the edge.
Also, if the foreground or background has varying colors, the shapes should
cross over these colors.
1 Define foreground area (what you want to cut out) by drawing a open shape.
2 Start by selecting either the Bézier, B-Spline or X-Spline tool from the Toolbar.

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3 Draw a shape around the edge of the object that you want to cutout, in this case,
the television screen. When done adding points, press the Esc key to finish the
open shape.

4 Next, draw a shape to define background areas. In the example below, this would
be the blue area within the television screen. Press the Esc key when you want
to finish the open shape.

5 Choose the Reshape tool when you are done drawing the open shapes.
Power Matte won’t process until you assign the shapes as either foreground or
background.
6 Select the foreground shape and in the Object window, set the type to
Foreground.
7 Select the background shape and in the Object window, set the type to
Background.
Once a foreground and background shape are assigned, Power Matte
processes the matte. The viewer displays the composite of the foreground over
the background based on your shapes. If “None” is selected for the Background
Input, the foreground will be composited over a color. The default color is gray,

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but for the example below I changed it to black by going to File > Preferences
> Composite on Windows and Linux or Silhouette > Preferences > Composite
on Mac.

Now that you have foreground and background shapes, animate them over
time so that they follow the motion of what you are cutting out. However, since
you already assigned the shapes as foreground and background, Power Matte
will try and update every time you adjust the shapes.
8 Set the View to Foreground. This way Power Matte is not constantly trying to
update when you change a parameter.
9 Animate the foreground and background shapes over time so that they follow
the motion of what you are cutting out.
It is best to use the Tracker (Shift-T) to animate the motion of your shapes as
it will most likely ensure that the motion is consistent from frame to frame.
10 Play through the clip to make sure that the shapes are properly following your
object.
11 Use View > Matte to display the generated matte.

12 Hit the Play button to check your results so far. When you hit the Play button,
Power Matte renders each frame.
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13 If at any time you want to turn off the display of the shapes, click the Overlay icon
above the Viewer or press 0 (the number zero) shortcut key.
In the generated matte, white is foreground, black is background and any gray
areas in between represent a level of transparency. If the matte is not
acceptable after processing, you can adjust the shapes.
14 If you see gray areas in the foreground object that should be completely white,
adjust the foreground shape in those areas.
15 If you see gray areas in the background that should be completely black, adjust
the background shape in those areas.
16 Gray values in Unknown areas can be reduced by increasing the Deartifact value
located in the Node window.
If you need to adjust the shapes after they have been created and assigned in
Power Matte, you can enhance performance by either:
• Set the View to Foreground while editing shapes.
• Set the Update mode to Manual and hit the Enter key when you want to process.
This way Power Matte is not constantly trying to update when you change a
parameter.

• Use a lower quality proxy image by using the Proxy pull-down menu above the
Viewer.

17 Choose View > Composite to display the Composite.

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When a foreground object has been photographed against a solid blue or green
backdrop, the blue or green color can have a tendency to spill onto the
foreground object. When extracting an object photographed against one of
these colors, you may find it necessary to remove the blue or green spill. This
is a process called Color Suppression.
Color Suppression Off Color Suppression Off

18 To remove color spill from your object, go to the Node window and change the
Color Suppression > Type parameter from None to Blue or Green.
19 Click Play button to see the RGB image results.
Result

Original

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Working with Stereoscopic Images
Creating a Session Using Left and Right Sequences
1 Import left and right sequences into Silhouette.
2 Create a session with Roto and Paint nodes based on the left sequence.
3 Select the left sequence Source node in the Node List.

4 In the Node window, expand the View group and select the right sequence in the
Secondary/Right pop-up menu.

5 Select the Roto node in the Node List.

You are now ready to create shapes.

Creating a Session Using Stereoscopic EXR Files

1 Import a stereoscopic EXR file into Silhouette.
2 Create a session with Roto and Paint nodes based on the stereoscopic EXR file.
Since stereoscopic EXR files contain both the Left and Right Views within one
file, they are automatically connected to the Primary/Left and Secondary/Right
views.

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3 Select the Roto node in the Node List.
You are now ready to create shapes.

Rotoscoping
1 Above the Viewer, make sure that the L icon (Shift-1) is highlighted. L stands for
Left View.

When using a stereoscopic EXR file or when left and right sequences have
been assigned in the Source node’s View > Primary/Left and Secondary/Right
parameters, the Viewer displays additional view modes.

The L icon displays the Left View in the Viewer, the R icon displays the Right
View, and the LR icon displays both the Left and Right Views simultaneously.
When shapes and layers are created, they will be associated with either the
Left or Right View.
2 Create a shape around an object and keyframe as necessary.

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Since the Left View is selected, the shape is automatically associated with the
Left View and an L is displayed for it in the Object List’s View icon.

3 Select the shape if it is not already selected and from the Edit > Stereoscopic
menu, choose Duplicate > New Layer.
The shape and all of it’s keyframes from the Left View are duplicated to the
Right View in a new layer and the two shapes are linked together. The newly
duplicated shape and layer have a R displayed for it in the Object List’s View
icon signifying that it is associated with the Right View.

Note: Clicking on the View icon in the Object List toggles which view the object is
located in.
When using shapes inside of a transformed layer, you can duplicate the layer
instead. This will copy the layer along with it’s transform data into the other
view, copy any unlinked stereoscopic children into it and then link the shapes.
You can stereo duplicate one layer at a time using this method.
4 Select the Right View (Shift-2).

You probably noticed that the shape from the Left View does not line up with
the object it is associated with. This is because the Right View is offset from the
Left View to create the stereoscopic effect. However, you can use the
Stereoscopic Align tool in conjunction with a layer to negate the offset between
the Left and Right Views.
5 In the Object List, click on the Layer that was created for the duplicated shape.
Clicking on the layer makes it the Active Layer and a check appears.

You are now ready to align the two views.

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6 Select the Stereoscopic Align icon (Shift-4) above the Viewer.

When activated, Stereoscopic Align uses a negative mode which inverts one of
the views and mixes it with the other. This creates an embossed effect when
similar image areas are not aligned.
7 Click and drag the move cursor that appears to align the views in the area of your
shape. You can also Ctrl-drag for finer accuracy. When similar image features are
perfectly aligned for the object you are rotoscoping, you will see a solid gray
color.
If you need to align vertically (not common), you can either use the Up/Down
Arrow keys or press the Shift key while clicking and dragging the move cursor
in the Viewer.
Not Aligned Aligned

The amount you move the view in Stereoscopic Align mode is stored in the
Stereo Offset parameter of the active layer which is set to animate by default.
8 Deactivate Stereoscopic Align mode and the shape will be aligned in the Right
View.
If the object you are rotoscoping moves through various depths, you will want
to keyframe the Stereo Offset using the Stereoscopic Align mode at various
frames.
Note: If you are rotoscoping objects at different depths, place them in separate layers
so that different Stereo Offsets can be set on a per layer basis.

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9 Adjust the shape keyframes as needed for the shape in the Right View.
10 Select the Left/Right View (Shift-3).

In the Left/Right View, the Viewer displays both the left and right sequences.
11 To change whether the Left and Right Views are arranged either horizontally or
vertically in the Viewer, press the Stereoscopic Split Mode icon.

In the Left/Right View, selecting one of the linked shapes in the Viewer selects
the other as well and you can edit both shapes at once. If you only want to work
on one shape at a time in the Left/Right View, just make sure that only one of
them is selected in the Object List.

Linking Shapes
As an alternative to using Edit > Duplicate or Edit > Duplicate > New Layer as
outlined in the previous exercise, shapes of the same type and the same
number of control points can be linked together for stereoscopic rotoscoping.
Once linked, the two shapes can be simultaneously selected and edited in the
Left/Right View.

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1 Select the Left View (Shift-1) and create a shape.

2 Choose the Right View (Shift-2) and create a shape of the same type and number
of control points as the one you just created in the Left View.

3 Press the Left/Right View icon (Shift-3) above the Viewer.

4 Select both shapes in either the Object List or directly in the Viewer.
5 From the Edit > Stereoscopic menu, choose Link.
The two linked shapes can now be simultaneously selected and edited when in
the Left/Right View.

Paint
In general, painting on stereoscopic images is the same as painting with single
images.
1 Select the Paint node in the Node List.
The Stereoscopic View mode determines whether you are painting on the Left
View, Right View or both the Left and Right Views at the same time.

2 Select the Left View (Shift-1).

3 Choose the Color brush (Shift-C).

4 Paint on the image in the Viewer by pressing and dragging with your pen or
clicking and dragging with your mouse.

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5 Select the Right View (Shift-2) and paint on the image.

6 Select the Left/Right View (Shift-3).

7 To change whether the Left and Right Views are arranged either horizontally or
vertically in the Viewer, press the Stereoscopic Split Mode icon.

8 Paint on the image.

Paint is applied to both the left and right images simultaneously. However, the
location of the paint on the Left View will be offset slightly from the Right View.
To paint on both the Left and Right Views at the same time and in the same
location, you will need to use the Stereoscopic Align mode to line up the two
views.
9 Select the Stereoscopic Align icon (Shift-4) above the Viewer.

When activated, Stereoscopic Align uses a negative mode which inverts one of
the views and mixes it with the other. This creates an embossed effect when
similar image areas are not aligned.

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10 Click and drag the move cursor that appears to align the views in the area where
you will be painting. You can also Ctrl-drag for finer accuracy. When similar image
features are perfectly aligned for the object you are painting, you will see a solid
gray color.
If you need to align vertically (not common), you can either use the Up/Down
Arrow keys or press the Shift key while clicking and dragging the move cursor
in the Viewer.
Not Aligned Aligned

If the object you are painting moves through various depths, you will want to set
the Stereoscopic Align setting on each frame.
Note: The amount you move the view in Stereoscopic Align mode is stored in the Paint
> Stereo Offset parameter which can also be used to adjust the offset.
11 Deactivate Stereoscopic Align mode.
12 Paint on the image again.
Once aligned, painting with the Left/Right View activated will paint on the same
location of the image in both views.
13 Paint some more frames in the sequence.
As frames are painted, markers are shown in the Timebar to provide a visual
display of which frames are painted. Red markers are displayed for painted
frames in the Left View, blue markers for the Right View and green markers for
frames painted in both the Left and Right View.

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Using the Composite Node
The Composite node renders a composite of the foreground over the
background based on the generated Alpha channel.
1 From the pull-down menu at the top of the screen, select Session > Settings and
activate Composite in the Available Nodes.
If “None” is selected for the Background Input, the foreground will be
composited over a color. The default color is gray, but can be changed by going
to File > Preferences > Composite on Windows and Linux or Silhouette >
Preferences > Composite on Mac.
Note: For changes to the Background Color to be seen, you will need to purge the
cache and force an update by changing frames.
2 If you have a clip that you would like to use for the background instead of a color,
select it from the Input > Background pop-up menu.
The foreground will then be composited over the background.
3 If you choose to continue editing another node, just select it from the Node List.

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Rendering
When you have you completed your work in Silhouette, you will need to render
the final result. Rendering takes place in the Render Options window.
1 Select Session > Render.
The Render Options window opens.

2 Choose a Range, File Format and Save mode.

Save sets how the file will be rendered. You can choose from
Color+Alpha(RGBA), Color Only(RGB), Alpha Only and Paint Only. With Paint
Only, only the painted portions of the frame along with the Alpha channel
(where the brush painted) are exported as a premultiplied RGBA file. This
feature is handy for adding only the painted portions in your compositing
application.

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3 Select a directory to save your files and change the filename if you don’t like the
default name.
4 If you are rendering a stereoscopic project, select whether you want to render
the Left, Right or Both the Left and Right Views simultaneously using the View
pop-up menu. If you are using the EXR file format to render a stereoscopic
project, select View > Both and activate Combined to render both the Left and
Right stereoscopic views into one file.
At this point, you could just hit the Render button to render the sequence to
disk. Alternatively, you could open a Preview window that displays each
rendered image as well as render statistics while rendering.
5 Enable Preview and select Render.

The Preview window opens. Pressing the R, G, B, and A buttons toggles

viewing of the respective channels while C displays the RGB channels.

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Keyboard Customization
Keyboard shortcuts can be customized by using a text editor to modify a Python
script located in the scripts folder of your Silhouette installation.

To modify your Silhouette keyboard shortcuts:

1 Go to the scripts folder of your Silhouette installation.
2 For Windows, go to C:\Program
Files\SilhouetteFX\Silhouette4\resources\scripts.
or
3 For Linux, go to /opt/SilhouetteFX/silhouette4/resources/scripts.
or
4 For Macintosh, go to /Applications/Silhouette4, right-click on Silhouette and
select Show Package Contents.
A new Browser window opens.
5 In the new Browser window, go to Contents/Resources/scripts.
Inside the scripts folder, you will find a keybinds.py file. As a precaution, it would
be a good idea to make a backup of this file.
6 Make a copy of the keybinds.py file and rename the copy keybinds.py.bak.
7 Using a text editor, open the keybinds.py file.
8 Scroll down and replace the existing shortcuts with those of your choosing.
9 Save the file.
10 Restart Silhouette for the new keyboard shortcuts to be active.

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Using the Command-Line
Silhouette on the command-line allows you to execute projects with a variety of
commands to control the rendering process.
1 Open a Terminal window.
The Silhouette command-line program is named sfxcmd and is located in the
following locations depending on your operating system:
• Linux: /opt/SilhouetteFX/silhouette4
• Macintosh: /Applications/SilhouetteFX/Silhouette4
• Windows: C:\Program Files\SilhouetteFX\Silhouette4
2 Use the cd command to navigate to the location of the sfxcmd command-line
program.
3 Type: sfxcmd
The Silhouette command-line options are displayed in the Terminal window.
Command-line options are of the form: -option value, where value may be
optional. Required arguments are in brackets (<>) and optional arguments are
in braces ([]). If the value must be from a list of possible values, the available
values are separated by |. The basic form of the sfxcmd argument is: sfxcmd
<projectname> [options]
4 To render a project called vfx-125-02.sfx located at D:/SFX/projects, type: sfxcmd
D:/SFX/projects/vfx-125-02.sfx
By default, the project is rendered using the settings in the project unless
changed by command-line options.
5 To render every other frame, use the -step command as follows: sfxcmd
D:/SFX/projects/vfx-125-02.sfx -step 2
Use -range or -f to specify single or multiple ranges of frames to render and -
start to override the starting frame number of the rendered frames.
6 The vfx-125-02 session starts at frame 4000 and you want to render 50 frames,
but you want the rendered files to start at 1. To do this, type: sfxcmd
D:/SFX/projects/vfx-125-02.sfx –range 4000-4049 –start 1

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If your project has multiple sessions, you would need to target one of the
sessions to render. If you are too lazy to open up the Silhouette user interface
to determine the session name, you can use the -info command.
7 To print information about the overall project, type: sfxcmd D:/SFX/projects/vfx-
125-02.sfx -info
When –info is used, rendering is disabled and the project information is
displayed.

Project: vfx-125-02.sfx
FileSource: 125-02.[4000-4351].exr
Session: Session1
Size: (2048, 1556)
Aspect: 1.0
Duration: 352.0
Start: 4000.0
Rate: 24.0
Work Range: (4000.0, 4351.0)
Node: Roto
Node: 125-02.[4000-4351].exr
Node: Output
Node: Keyer
Session: Session2
Size: (2048, 1556)
Aspect: 1.0
Duration: 352.0
Start: 4000.0
Rate: 24.0
Work Range: (4000.0, 4351.0)
Node: Output
Node: 125-02.[4000-4351].exr
Node: Effects
Node: Power Matte
8 To render Session2 from the vfx-125-02 project, type the following: sfxcmd
D:/SFX/projects/vfx-125-02.sfx -session Session2
It is also possible to render only a specific node.
9 To render only the Power Matte node in Session2 of the vfx-125-02 project, you
would type: sfxcmd D:/SFX/projects/vfx-125-02.sfx -session Session2 -node
“Power Matte”
Quotes are used around Power Matte because there is a space in the node
name.

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There are lots of possibilities, so see the Command-Line section for a
complete list of options and descriptions.

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USER INTERFACE
Silhouette uses a combination of traditional pull-down menus, toolbars and
pop-up menus. Quick keys are provided for most functions and are shown next
to the pull-down menu equivalent. Pop-up tool tips describe the function of
buttons when the cursor is dragged over them. Pop-up and floating windows
are used where appropriate.

The Silhouette interface is comprised of a Project window, Viewer, Toolbar,

Timebar, Timeline, Parameters, Node and Object Lists.

Node List

Toolbar

Project
Window
Parameters

Timeline
Timebar

Viewer

Object List

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Concepts
Projects
A project contains sessions and media.

Sessions
A session in Silhouette is where you create your Roto shapes, create mattes or
paint images. It describes the resolution, bit depth, duration, frame rate and
aspect ratio as well as what nodes you will be using. More on nodes below.
Typically, you may have a job that requires you to work on multiple shots. A
session would be created for each shot that you will work on. You can have as
many sessions as you want, but can only work on one session at a time.

Media
Media is a sequence of images. The location, frame rate, raster type, image
size, and other information about the media is stored for your reference.

Objects
Objects are items such as shapes, trackers and brushes.

Layers
Layers are used to organize shapes, but more importantly they are used to
contain the motion information from trackers.

Nodes
Silhouette internally is a node based system and different nodes are used for
various functions. Currently, there are Keyer, Roto, Paint, Effects, Composite,
Output and Source nodes.

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Windows and Adjustments
The Silhouette interface contains multiple windows. Windows can be closed,
torn off to be a floating window, or moved to a new location. The upper right
portion of the window has two icons: a Minimize/Maximize and a Close icon.
Minimize/Maximize Close

Opening and Closing Windows:

• Click the Close icon to close a window.
• Once a window has been closed, it can be reopened by selecting it from the View
pull-down menu.

Creating Floating Windows:

• Click the Minimize/Maximize icon to make the window a floating window.

Moving Windows:
• Click and drag a docked window’s title bar and place it in a new location in the user
interface. Note how the interface adjusts to accommodate the moved window.
Title Bar

• Click and drag a floating window’s title bar and place it in a new location.
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• If you drop the window in the center of an existing window, a tab will be created
so that both windows will share the same space. This is the same as the Object,
Node and Notes windows sharing the same location.

Sashes
By clicking and dragging the sashes, dividing lines between areas of the
screen, you can customize the Silhouette interface.

Status Bar
The Status Bar is located at the bottom left of the User Interface and displays
various messages.

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Tool Tips
Hovering the cursor over an icon will pop up a tool tip that displays its function.

Twirly Icons
Parameter groups in the Object and Node windows can be expanded and
collapsed using the Twirly icons located to the left of the group.

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Animate Icons
Animateable parameters in the Object and Node windows have an Animate
icon to the left of them. Keyframes are set when the Animate icon is enabled
(highlighted).

Off On

Reset Icons
Individual parameters as well as parameter groups can be reset to their default
settings using the Reset icon.

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Slider Precision
You can adjust any slider with finer precision by pressing Ctrl(Win)/Cmd(Mac)
while dragging the slider.

Spin Boxes

Spin boxes change values according to the following key strokes:

• Click = change by 1 pixel.
• Shift-click = change by 10 pixels.
• Ctrl-click = change by 0.1 pixel.

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Pull-Down Menus
File
New
Project
Create a new project by selecting File > New.

Session
Create a new session by selecting File > Session.

Open
Open projects with File > Open.

Save and Save As

Projects can be saved by choosing File > Save and File Save As.

Revert
You can revert to the last saved version by selecting File > Revert.

Close
File > Close closes the current project.

Recent Projects
The last five recently opened or saved projects can be selected and opened in
File > Recent Projects.

Import
Media
Imports media into the project.

Shapes
Imports shapes into the project.

Export
Exports selected shapes from the project.

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Edit
Undo
Undo operations.

Redo
Redo operations.

Cut
Cuts the selected object.

Copy
Copies the selected object.

Paste
Pastes the selected object.

Select All
Selects all shapes.

Deselect All
Deselects all shapes.

Spline
Convert to Bézier
Converts the select shapes to Bézier shapes.

Stereoscopic
This is where you can link, unlink and duplicate shapes for stereoscopic
rotoscoping.
Link
Links two selected shapes of the same type and the same number of control
points for stereoscopic rotoscoping. Linking allows the two shapes to be
simultaneously selected and edited in the Left/Right View.
Note: Linked shapes are bolded in the Object List when one or both of a linked pair is
selected.
Unlink
Unlinks selected shapes.

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Duplicate
Duplicates a selected shape or a single layer containing shapes to the other
view and automatically links it. When a layer is duplicated, all of it’s transform
data is copied as well.
Duplicate > New Layer
Duplicates a selected shape to the other view, automatically links it and places
it in a new layer.
Note: Duplicate > New Layer is not available if you are in the Left/Right View.

Session
Session Settings
Opens the session settings.

Render Settings
Opens the render settings.

View
Maximize Viewer
Only the Viewer is shown.

Viewer + Timeline
Only the Viewer and Timeline are shown.

Windows
The various Silhouette interface windows are displayed with checkboxes next
to them. When the box is checked next to an item, that particular window is
displayed in the user interface.

Actions
The Actions menu executes various scripts located in
Silhouette/resources/scripts/actions. For information on how to create custom
scripts that show up in the Silhouette > Actions menu, see the Silhouette 4
Scripting Guide for more information.

Select
Various selection actions are provided.
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All
Selects all items.

Hidden Objects
Selects hidden objects.

Layers
Selects all layers.

Transparent Shapes
Selects all transparent shapes.

Time
Jump to Transparent
Looks at the selected shapes and jumps the Timebar to the first entirely
transparent opacity keyframe it finds.

Render Active Node

Renders the active node.

Render Layers to Separate Files

Renders layers to separate files.

Render Shapes to Channels

Renders shapes to different channels of an RGBA image as defined by the
Shape > Channel parameter.

Render Shapes to Separate Files

Renders shapes to separate files.

Help
About
Shows the Silhouette version.

User Guide
Opens the Silhouette User Guide in HTML format.

Scripting Guide
Opens the Silhouette Scripting Guide in HTML format.
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What’s New
Opens the Silhouette What’s New document.

License
Opens the Deactivate window which has three choices: Internet Deactivate
(Recommended), Remove License and Advanced Options.

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Project Window
A project contains sessions and media. When you open Silhouette, a new
Project window automatically opens.

Import Media
Footage is imported by selecting File > Import > Media or by double-clicking on
an open space in the Project window. When the File Browser opens, you can
import a single frame, the entire clip or a range of frames.

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Table 1: Import Options

Selection Action

Select the first frame in a sequence Imports the entire sequence

Select a range of frames Imports the selected range of frames

Select any single frame other than the first frame Imports only that frame

We currently support the following file formats: Cineon, DPX, IFF, JPEG,
OpenEXR, PNG, SGI/RGB, QuickTime, TIFF and TARGA.
Note: QuickTime is only available on operating systems that support it.

Open
Loads the selected media into the Project window.

Cancel
Cancels the import operation.
Go to Importing Media to see how it works.

When media is imported into Silhouette, it is automatically plugged into a

Source node. When one of the image sources is selected in the Node List, it’s
parameters can be set in the Node window.

See Source Nodes for more information.

Replacing Media
If the media is moved from its location on disk after you have imported it,
Silhouette will no longer be able to find it. However, you can easily relink the
media using the Replace feature which lets you replace your existing clip with
a new one. You can replace footage by going to the Project window, right-
clicking the media and choosing Replace from the pop-up menu.
Go to Replacing Media to see how it works.

Relinking Painted Frames

When activating the Paint node, a scan for the painted images takes place. If it
detects anything missing, it will ask you want to relink or just ignore. The paint
resides in a directory named with a GUID (globally unique identifier), such as

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71e58332-2a34-4292-b828-6fa8c4b2bed3. This directory with the same name
must exist somewhere, and you will be allowed to point to the folder that
contains that GUID directory for the relink to happen.

Edit Source
The settings of the source media can be modified using the Edit Source
window. You can access these settings by right-clicking on media in the Project
window and selecting Edit Source from the pop-up menu.

Environment Variables
The Path and Result fields allow you to specify the file path with environment
variables.

Path
You can replace parts of the Path field with a new path and/or environment
variables.

Result
The Result field is read-only and shows you what your path expands to if you
have environment variables. A green check or yellow warning icon to the right
shows you whether or not all of the images in your path are actually present. A
green check means the path is valid while a yellow warning icon indicates an
invalid path.
Go to File Path Environment Variables to see how it works.

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Video Fields
When working with footage that contains video fields, you have the option of
either deinterlacing or removing 3:2 Pulldown. What are video fields and 3:2
Pulldown, you ask? Well, a review of the mechanics of video frames and fields
is in order, so listen up.

The resolution of video images is 525 lines for NTSC and 625 lines for PAL.
NTSC video runs at 30 frames per second and PAL at 25 frames per second.
Each video frame is made of two separate subframes called fields. Each of
these fields is an individual snapshot in time. By using fields, the viewer sees
twice as many frames and smoother motion. Even though the fields represent
different points in time, they occupy the same video frame. This is achieved
through a process called interlacing.

Here comes the fun part. Interlacing weaves together the two fields by starting
at the top of the image and taking one line from field 1 (the odd field) and
another line from field 2 (the even field) until all 525 or 625 lines are interlaced
together. Temporally, the fields always occur in the following order: field 1 and
then field 2. Spatially, the ordering is different for NTSC and PAL. For NTSC,
the spatial field order starts with field 2, or the even field. For PAL, it is the exact
opposite with field 1, or the odd field, being the first spatial field.

Therefore, the interlace process produces two fields of half-height for every
broadcast frame. When a television displays these images, it quickly shows the
first field only, and then the second field only, and then proceeds to the next
frame. Each field sacrifices vertical resolution for the benefit of temporal quality.

Deinterlacing
When deinterlacing is enabled, it strips out the two fields from each other,
placing field 1 at frame 1, and field 2 at frame 1.5. Each field is then copied and
moved into the empty spatial place of the removed field. This ensures that all
spatial effects are properly handled when rendering fields. This strategy is
clever because it doubles the number of frames you have, but keeps the frames
within the same duration.

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3:2 Pullup / Pulldown
What in the blazes does 3:2 Pullup / Pulldown mean? This is a technique to
temporally convert (resolution not being considered here) film footage to video
footage and back again. Given that film uses solid frames and video uses
interlaced fields, and that film runs at 24 fps and NTSC runs at 30 fps, you split
the film footage into fields and double up 2 out of 5 frames to increase your
frames to fill the 30 fps. Pullup is the conversion of film footage from 30fps to
24fps while Pulldown is the conversion of 24fps film footage to 30fps.

Let's use the classic diagram:

4 Film Frames
A B C D
5 Video Frames
AA BB BC CD DD
We see that the third and fourth video frames have field blending in them to
stretch time out. It's therefore called 3:2 because you have three solid frames
and two mixed frames.

3:2 Pullup
We can fully reconstruct our original four film frames by extracting the field data
from the five video frames. Here comes the odd bit. When you receive your
footage, it has probably been edited, so it is not necessarily the case that
frames three and four are the mixed frames because all of the clips have been
shifted around in the edit. We therefore need to figure out what the first frame
is before we attempt to remove the extra fields. To do this, you would go to your
first five frames in the sequence. If the first frame to have field blending is frame
three, you know your first frame should be set to AA. If the first frame to have
field blending is frame two, then you know your first frame is BB. You would
then set your 3:2 parameter accordingly. If your first frames are a solid color and
you can't figure it out, you have to jump to a time range of frames that display
the blending and start guessing what the first frame is until the fields go away.
Very scientific, isn’t it?

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Use the 3:2 setting in the chart below that corresponds to your first frame with
field blending.

Table 2: 3:2 Pullup

First frame with field blending 3:2 Setting

1 BC if followed by a blended frame / CD if followed by a solid frame

2 BB

3 AA

4 DD

Field Handling
You can choose from either Deinterlace or one of the 3:2 settings.

None
No field processing takes place.

Deinterlace
Deinterlaces the video frame into two separate fields.

3:2 AA
Removes 3:2 Pulldown based on the AA frame being the first frame.

3:2 BB
Removes 3:2 Pulldown based on the BB frame being the first frame.

3:2 BC
Removes 3:2 Pulldown based on the BC frame being the first frame.

3:2 CD
Removes 3:2 Pulldown based on the CD frame being the first frame.

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3:2 DD
Removes 3:2 Pulldown based on the DD frame being the first frame.

Field Dominance
Select either Even or Odd field dominance depending on whether you are
working with NTSC or PAL images.

Even
Use for NTSC images.

Odd
Use for PAL images.
Go to Working with Video Fields and Working with 3:2 Pullup / Pulldown
to see how they work.

Cineon Conversion Bypass

By default, Silhouette converts Cineon files from logarithmic to linear on import
and back to logarithmic on render. However, you can bypass Silhouette’s
Cineon conversion.

Cineon Conversion Bypass only appears in the Edit Source menu when using
Cineon files. When enabled, it allows you to work with the raw Cineon file
without any conversion. When rendering, you will also need to enable Cineon
Conversion Bypass in the Render > Cineon > Options window.
Note: The Cineon LUT in the Viewer Display Options is not to be used when the Cineon
Conversion Bypass is enabled. You will need to create your own LUT when bypassing
the Cineon conversion.

Interpretation
Interpretation is only displayed in the Edit Source menu when using DPX files.
It detects and sets whether DPX files are Logarithmic or Linear. Sometimes the
program used to create the DPX files writes the wrong header information into

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the file causing Silhouette to think it is Logarithmic when it is Linear and vice
versa. The controls below allow you to explicitly set whether or not the file is
Logarithmic or Linear.

Auto
Automatically figures out whether the DPX file is Logarithmic or Linear.

Log
Manually sets the DPX file to Logarithmic.

Lin
Manually sets the DPX file to Linear.

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Autosaving and Backups
A numbered autosave and backup system ensures that you will not lose any of
your work. Autosaves and backups are stored in $HOME/Silhouette4 for
Windows and Linux. HOME on Windows is by default in the user's profile
directory, usually C:\Documents and Settings\UserName on XP and
C:\Users\UserName on Vista. On Macintosh, the autosaves and backups are
stored in your HOME directory in Library/Application
Support/Silhouette4/autosaves.

Autosaves
The Auto Save > Maximum # of Saves preference specifies how many
autosave files will be stored at once. The most recent autosave is autosave.sfx,
the second most recent is autosave.1.sfx, then the next is autosave.2.sfx, etc.,
up to the maximum number of 5. As each new autosave is added, the files are
rotated upward. When a project is opened or created, a lock file is created. This
file is deleted when the current project is closed. If Silhouette crashes, the lock
file will remain. The next time Silhouette starts up, it checks for the lock file as
well as the presence of any autosave files, and lets the user choose one. If an
autosave file is chosen, the path is cleared, so the user will be asked to choose
a filename at the next save.

Backups
The Auto Save > Maximum # of Backups preference controls how many
backup files are created. Each time a project is saved, a backup copy is stored.
These files are rotated exactly like the autosave files each time the project is
saved. The backup files are named with the same name as the project.
Note: Like autosaves, the most recent backup is project_name.sfx, the second most
recent is project_name.1.sfx, then the next is project_name.2.sfx, etc., up to the
maximum number of 5.

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Sessions
A session in Silhouette is where you do your work, whether it be rotoing
shapes, creating mattes or painting images. Typically, you may have a job that
requires you to work on multiple shots. A session would be created for each
shot that you will work on. You can have as many sessions as you want, but
can only work on one session at a time.

Go to Creating Sessions to see how it works.

New Session
You must create a session before you can start working with your footage. It
describes the resolution, bit depth, duration, frame rate and aspect ratio as well
as what nodes you will be using. You create a new session by highlighting an
image sequence in the Project window and pressing either
Ctrl(Win)/Cmd(Mac)-N or selecting File > New > Session.

Editing Sessions
Once you have created a session, you can change its settings at any time by
either 1) Selecting Session > Settings, 2) Right-clicking on the name of a
session in the Project window and choosing Edit Session or 3) Pressing
Ctrl(Win)/Cmd(Mac)-Shift-S. In either case, the Session window opens and
you can change the settings.

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Switching Sessions
To switch between sessions, double-click on the name of the session in the
Project window.

Session Window
The Session window has a variety of settings for format, image size, pixel type,
and frame rate. You can choose one of the preset formats or create a custom
format.

Available Nodes
Silhouette internally is a node based system and different nodes are used for
various functions. Currently, there are Keyer, Roto, Paint, Effects and
Composite nodes. By default, the Roto node is selected. Activate whichever
nodes you will be using in your session. You can always add additional nodes
to a session after it has been created by selecting Session > Settings.

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Keyer
Activates the Keyer node for the session.

Power Matte
Activates the Power Matte node for the session.

Roto
Activates the Roto node for the session.

Paint
Activates the Paint node for the session.

Effects
Activates the Effects node for the session.

Composite
Activates the Composite node for the session.

Name
Determines the name of the session.

Format
A number of preset formats can be selected from the Format pop-up menu.
When one of the options is selected, the session fields are preset with the
appropriate data. See Appendix C - Session Formats for a complete listing of
all format presets.

Format Presets
• Custom
• Film Full Aperture (4K: 4096x3112)
• Film Full Aperture (4K: 4096x3072)
• Film Full Aperture (2k: 2048x1556)
• Film Full Aperture (2k: 2048x1536)
• Film Cinemascope Full (3656x2664)
• Film Cinemascope Half (1828x1556)
• Film Academy (1828x1332)
• HDTV 24p (1920x1080)
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• HDTV 1080i (1920x1080)
• HDTV 720p (1280x720)
• NTSC (640x480)
• NTSC (648x486)
• NTSC DV 720x480)
• NTSC DV Widescreen (720x480)
• NTSC D1 (720x486)
• NTSC D1 Square Pixels (720x540)
• PAL D1/DV (720x576)
• PAL D1/DV Square Pixels (768x576)
• PAL D1/DV Widescreen (720x576)
Size
Width
Sets the width of the image.

Height
Sets the height of the image.

Pixel Aspect
Sets the pixel aspect ratio of the image.

Duration
Sets the length of the session.

FPS
Sets the frame rate of the session.

Start Frame
Sets the start frame for the session. The Player, Timeline and Render Options
incorporate this value into their numbering.

Depth
Sets the bit depth of the session.

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8 bit
Sets the bit depth to 8 bits per channel.

16 bit
Sets the bit depth to 16 bits per channel.

Float
Sets the bit depth to floating point. Use for film sessions using OpenEXR, DPX
and Kodak Cineon files.

OK
Creates a new session in the Project window. The name, New Session, is
highlighted waiting for you to name it. When you click OK, the session is
automatically created.

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Toolbar
Along the left side of the Viewer is the Toolbar. It contains icons that select
various tools. The contents of the Toolbar will change depending upon the node
that is selected.
Paint Toolbar
Black and White

Blemish

Blur

Clone

Color

Color Correct

Drag

Eraser

Grain

Mosaic

Repair

Scatter

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Viewer
Silhouette uses a Viewer for image editing as well as for clip playback. Some
features include: viewing individual color channels, the simultaneous display of
RGB and Alpha channels, the selection of stereoscopic views as well as the
superimposition of shapes over images.

Stereoscopic
Inputs View Modes Display Masks Overlay Aspect
View Update Proxies Magnifier Stabilize RGBA Zoom

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View
Offers various View options for the selected node. The View choices will
depend on the node.

Inputs
Roto, Effects, Keyer and Power Matte Node Inputs
Selects clips from the Project window to be used as the foreground and
background.

Foreground
Selects a clip from the Project window to be used as the foreground.

Background
Selects a clip from the Project window to be used as the background.

Paint Node Inputs

Selects clips from the Project window to be used as clone sources and the
foreground.

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Foreground
Selects a clip from the Project window to be used as the foreground. The
foreground input in Paint is the image you will paint on.

Clone 1-4
Selects clips from the Project window to be used as clone sources.

Update
Determines when processing takes place. The ! key cycles through the Update
modes.

Drag
Tries to process as fast possible.

Release
Processes once the mouse or pen is released. This the default setting.

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Manual
Silhouette does not process. If you place the cursor within the Viewer window
and hit the Enter key, Silhouette will manually process any changes.

Stereoscopic View Modes

The Stereoscopic View modes, which only show up when using stereoscopic
sources, determine whether you are working on the Left View, Right View or
both the Left and Right Views at the same time.

L (Shift-1)
Left View displays the left sequence in the Viewer.

R (Shift-2)
Right View displays the right sequence in the Viewer.

LR (Shift-3)
Left/Right View displays both the left and right sequences in the Viewer at the
same time.

Stereoscopic Split Mode

Only available once the Left/Right View is active, Stereoscopic Split Mode
determines whether or not the Left and Right Views are arranged horizontally
or vertically.

Horizontal
Arranges the Left and Right Views horizontally.

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Vertical
Arranges the Left and Right Views vertically.

Stereoscopic Align (Shift-4)

Stereoscopic Align utilizes layers to line up two stereoscopic sequences which
will effectively negate the offset between them. Aligning the sequences in this
manner allows painting on the same location of the Left and Right Views
simultaneously, while for rotoscoping, it means shapes created for the Left
View can be easily duplicated to the Right View in the proper position.

Note: Stereoscopic Align can only be selected and used once a layer is active.
When activated, Stereoscopic Align uses a negative mode which inverts one of
the views and mixes it with the other. This creates an embossed effect when
similar image areas are not aligned. By dragging the move cursor that appears,
you can drag on the Viewer to align the views. When similar image features are
perfectly aligned, you will see a solid gray color. The amount you move the view
in Stereoscopic Align mode is stored in the Stereo Offset parameter of the
active layer which is set to animate by default. Animation of this parameter is
needed for image sequences that contain depth changes.

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Table 3: Stereoscopic Align Keyboard Shortcuts

Shortcut Action

Click and drag in Viewer Moves the Stereo Offset horizontally

Shift-click and drag in Viewer Moves the Stereo Offset horizontally and vertically

Ctrl-drag in Viewer Moves the Stereo Offset in finer increments

Alt-click in Viewer Resets the Stereo Offset

Arrow keys Moves the Stereo Offset by 1 pixel

Shift-Arrow keys Moves the Stereo Offset by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the Stereo Offset by one tenth of a pixel

Hold down Arrow keys Moves the Stereo Offset continuously

Anaglyph Preview (Shift-5)

Activates Anaglyph Preview mode so that you can check your stereoscopic
image in 3D using red-blue glasses.

Table 4: Stereoscopic View Shortcuts

Shortcut Action

Shift-1 Selects the Left View

Shift-2 Selects the Right View

Shift-3 Selects the Left/Right View

Shift-4 Selects Stereoscopic Align

Shift-5 Anaglyph Preview

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Display
The Display icon will give you Exposure, Gamma, Black Point, White Point and
a LUT menu depending on your session type.

Gamma, Black Point, White Point and LUT are available for 8 and 16 bit
sessions, while Exposure, Black Point, White Point and LUT will only show up
when you are in a Float session. These adjustments are useful for adjusting the
brightness of the image.

Exposure
Adjusts the brightness of the image in F-stops.

Gamma
Adjusts the gamma of the image.

Black Point
Sets the black point of the image.

White Point
Sets the white point of the image.

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LUT
The LUT (Look Up Table) pop-up menu lets you select from pre-made or user
created LUT files. When working with Cineon and DPX/Log files, set the LUT
to Cineon so that it looks correct in the Viewer.

For user created LUT files to show up in this menu, they must have a .lut
extension and be placed in Silhouette/resources/ in a folder called luts. The
LUT file should be formatted into 256 lines, with each line containing a number
between 0 and 255. There can be either one column (Luminance) or three
columns (one per Red, Green and Blue) with spaces or tabs to separate them.
Use the Cineon.lut file included in the luts folder as a reference.

Proxy
Sets the resolution at which the clip will be played and viewed. The higher the
number, the lower the resolution.

The higher the proxy setting, the more frames you can play.

1:1
1:1 keeps the image quality at full resolution.

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2:1
2:1 lowers the image resolution by 1/2.

3:1
3:1 lowers the image resolution by 1/3.

Magnify
Magnify opens a magnification window at the bottom right corner of the Viewer
and displays a zoomed area around the cursor location. It is useful for precise
control point or tracker placement when the Viewer is zoomed out. Magnify is
only available in the Reshape and Tracker tools.

Masks
Masks aid you in determining what will be projected on film or shown on
television by adding reticles and or a variable opacity mask to the Viewer.

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The following aspect ratio’s are supported: 1:66, 1:78, 1:85, 2:35 as well as
Safe Action for video. When an aspect ratio is selected from the Mask pull-
down menu, the mask settings defined in the Viewer Preferences are activated.
See the Viewer Preferences for more information.

Creating Custom Masks

In the Silhouette/resources folder of your installation, there are two files:
formats.xml and masks.xml.

You can add your own custom masks to the masks.xml file. The rectangle
values are multiplied by the image width/height to figure out where the mask
should be placed. For example, Safe Action is a 90% rectangle, so the border
is .1, .1, .9, .9 (i.e. 10%, 10%, 90% 90%) of the image size.

You associate certain masks with certain formats by adding a “Mask” entry to
the formats in formats.xml. You can add any number of masks to each format.
These masks will be available in the mask selector in the Viewer, depending on
the session format.
Note: You can't associate masks with “custom” session formats. Instead, you should
add a new format to your formats.xml file if you have an odd format you want to use
with masks.

Stabilize
The Viewer is stabilized based on the active layer’s tracking data.

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Overlay
Toggles the display of overlays which are lines, shapes or objects that
Silhouette superimposes over the image. 0, the number zero, toggles the
overlay.

RGBA
Displays various combinations of the Red, Green, Blue and Alpha channels.

Selecting Channels
Clicking on the Red, Green, Blue or Alpha buttons solo that channel as a gray
scale image. Ctrl(Win)/Cmd(Mac)-clicking the Red, Green, Blue or Alpha
buttons toggles the display of each component. The horizontal white bar above
the RGBA buttons quickly toggles the display of the image back to full color
mode.

Solo Channels
Alt-R/G/B/A toggles the Red, Green, Blue and Alpha channels on and off.

Alpha Display
Cycle Alpha
Either press the Alpha button (to the right of the blue button) or the A key to
cycle the state of the Alpha display. Pressing once superimposes the Alpha
channel over the image. Pressing a second time displays the Alpha channel
over black. Hitting it again shows only the color image.
Note: To view a shape’s Alpha channel, you must first set the View to Output before
pressing the Alpha button or the A key.
Display Alpha - No Overlay
Shift-A toggles the View to Output, superimposes the Alpha channel over the
image and deactivates the Overlay. Pressing Shift-A again returns the Viewer
to its previous state.

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Display Output Node’s Alpha
You can quickly view the Output node’s Alpha channel from any other node by
using the Alt+o shortcut key. Pressing Alt-o again views the previous node.
Alpha Mix
The numeric entry box next to the RGBA buttons controls the opacity of the
Alpha channel when it is superimposed over the image.

Go to Using the RGBA buttons in the Viewer to see how it works.

AR
Activates pixel aspect ratio correction in the Viewer as defined in the session
settings. For instance, this lets you view Cinemascope ratio images as they
would appear when projected.

Zooming and Panning

Sets the zoom factor for the image.

25%-200%
100% displays the image at it’s actual size at a ratio of one image pixel to one
screen pixel.

You can also zoom the image using the scroll wheel on your mouse, the I key
to zoom in and the O key to zoom out or press Space Bar-Shift and drag left
or right.

Fit
Either pressing the F keyboard shortcut or selecting Fit from the zoom pop-up
window will display the image as large as possible within the Viewer window.

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Home
You can either press the H keyboard shortcut or double-click the middle mouse
button to set the image to a 100% zoom level and center it in the Viewer.

Center Selection
Press Ctrl(Win)/Cmd(Mac)-F to center the selection in the Viewer.

Go to Viewer Navigation to see how to zoom and pan the Viewer.

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Table 5: Viewer Keyboard Shortcuts

Shortcut Action

F1 Only the Viewer is shown in the interface

F2 Only the Viewer and Timeline are shown in the interface

0 Toggles the display of overlays which are lines, shapes or objects

Number Keys (1-6) Switches the Viewer > View menu

! Cycles through the update modes

A Cycles the display between the full color image, the Alpha channel
superimposed over the image and the Alpha channel by itself

Shift-A Toggles the View to Output, superimposes the Alpha channel over
the image and deactivates the Overlay

Alt-R/G/B/A Toggles the Red, Green, Blue and Alpha channels on and off

Alt-o Toggles the display to/from the Output node’s Alpha channel from
any other node. Pressing Alt-o again views the previous node.

Ctrl(Win)/Cmd(Mac)-click Toggles the display of each component on or off

RGB buttons

Middle-mouse drag Pans the image

Space Bar-drag Pans the image

I Zooms the image in

O Zooms the image out

Shift-Middle-mouse drag Zooms the image in and out

Scroll wheel Zooms the image in and out

Space Bar-Shift-drag Zooms the image in and out

F Fits the image in the Viewer

H or Middle-mouse double Centers the image in the Viewer at 100%

click

Ctrl(Win)/Cmd(Mac)-F Centers selection in the Viewer

~ Opens a context menu over pen/mouse location

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Timebar / VTR Controls
The Timebar below the Viewer provides you with controls to play your clips as
well as navigate your sequence.

First Frame Current Frame Shuttle Area Last Frame Current Frame Increment

Play Menu Keyframes VTR Controls Frame Rate Fields

Timebar
Keyframe Markers
Colored markers in the Timebar shuttle area signify where selected objects
have keyframes. Objects that display keyframes in the Timebar are shapes,
trackers and painted frames. Path keyframes are shown for shapes, position
keyframes for trackers and painted frames when in the Paint node.

The color of the markers is determined by the object color. If multiple selected
objects have a keyframe on the same frame, the most recently selected
object's color has precedence. A white marker is used to signify the current
frame and hovering over a marker displays a tool tip showing the keyframe
time.

Shift-clicking and dragging a marker will move the keyframe in time.

First Frame
The numeric entry box on the left displays the first frame of the clip being
viewed. Enter a new number in the numeric entry box to change the start frame
and hit Enter.

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Last Frame
The numeric entry box to the right of the shuttle slider displays the last frame of
the clip being viewed. Enter a new number in the numeric entry box to change
the last frame and hit Enter.

Current Frame
The second numeric entry box to the right of the shuttle slider displays the
current frame of the clip being viewed. Enter a new number in the numeric entry
box and hit Enter to move directly to that frame in the clip.

Increment
The far right numeric entry box controls the amount of frames that the Viewer
increments from frame to frame.

Fields
When selected, the Fields button changes the Timebar and Timeline to
advance and display in half frame increments.

Play Menu
Change how the clip is played. The Play menu is located at the bottom-left of
the Viewer.

Once
Plays the clip once when you press the Play button.

Loop
Plays the clip in a continuous loop when you press the Play button.

Swing
Plays the clip continuously, alternately forwards, then backwards when you
press the Play button.

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VTR Controls
The VTR controls control clip playback.

Shuttle
Clicking and dragging in the shuttle area shuttles through the clip.

Previous Key
Moves to the previous keyframe.

Next Key
Moves to the next keyframe.

Home
Moves to the first frame of the sequence.

Previous Frame
Step backward 1 frame.

Play Backward
Plays the sequence backwards.

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Stop
Stops playing the sequence.

Play
Plays the sequence forward.

Next Frame
Step forward 1 frame.

End
Moves to the last frame of the sequence.

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Table 6: VTR Controls Keyboard Shortcuts

Shortcut Action

Z Step backward 1 frame

Shift-Z Moves to the previous keyframe

X Step forward 1 frame

Shift-X Moves to the next keyframe

J Plays the sequence backwards

K Stops or starts playback

L Plays the sequence forwards

Space Bar Stops playback

Home Moves to the first frame of the sequence

End Moves to the last frame of the sequence

Click and drag in the shuttle area Shuttles through the clip

Shift-click and drag a keyframe marker Moves the keyframe in time

Frame Rate
Sets the frame rate for the clip in the Viewer. Enter the desired frame rate, for
instance: 24 fps (film), 25 fps (PAL), 29.97 fps (NTSC DF) or 30 fps (NTSC
NDF).

Real-Time Playback
Silhouette can cache frames into RAM to guarantee real-time playback. When
you hit the play button, each frame is cached into RAM. Once the clip is played
through once, it will then play in real-time. At the bottom right corner of the

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interface, there is a numeric readout (Cache Display). It displays the length of
your clip, the maximum frames that can be cached into RAM, the percentage
of RAM currently being used as well as the session’s bit depth.

If your clip is longer than the maximum frames that can be cached into RAM,
the clip will not play in real-time.
Note: Hovering over the Cache Display will reveal a tool tip that shows the maximum
cache size and total available physical memory in megabytes.
Go to Optimizing Playback to see how you can playback the maximum
amount of frames.

Purge Cache
Right-clicking on the Cache Display (numeric readout at the bottom right corner
of the interface) pops up a Purge Cache option. If selected, this will clear out
currently cached frames.

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Node List
Silhouette internally is a node based system and different nodes are used for
various functions. Currently, there are Keyer, Roto, Paint, Effects, Composite,
Output and Source nodes. The nodes that you see in the Node List are those
that were selected when creating the session. You can always add additional
nodes to a session after it has been created by selecting Session > Settings
from the pull-down menu at the top of the screen.

The Node List is used to select nodes for editing, viewing, enabling and
disabling.

Clicking on or near a node’s icon makes it the active node. You can tell which
node is active by its highlighted state.

Once active, the node’s parameters appear in the Node window and the
appropriate tools show up in the Toolbar.
Go to Using the Node List to see how it works.

Icons
There are two icons directly to the right of a node’s name that are used to
change which node is viewed and whether nodes are enabled or disabled.

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View
Chooses which node or source to show in the Viewer. Normally, you are
viewing the active node, but there are times when you may want to view one
node while editing another. Double-clicking the active node will return the view
to the active node if a different node was selected for viewing.

Note: The tools and controls are shown for the active node (the node that is
highlighted) and not the node that is being viewed.

Enabled
Enables or disables the node. When disabled, the node does not render.

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Parameters
Parameters for selected objects such as shapes, layers, and trackers are set
in the Object window while nodes like Keyer, Power Matte, Roto, Paint, Effects,
Composite, Output and Sources are set in the Node window. In addition, notes
can be assigned to shapes, layers and trackers in the Notes window.
Note: When dragging sliders, press the Ctrl(Win)/Cmd(Mac) key while dragging for
finer control.

Object Parameters
All of the editable parameters of a shape, layer or tracker can be adjusted in the
Object window. When a shape is selected, you will see the parameters listed
below.
Shape Parameters

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Node Parameters
The Node window allows you to adjust parameters for the selected node in the
Node List. The nodes that can be currently selected are Keyer, Power Matte,
Roto, Paint, Effects, Composite, Output and Sources.
Output Node Parameters

Notes
The Notes window allows you to type an arbitrary length note for selected
objects.

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Object List
The Object List is where you can select, lock, combine, rename or delete
shapes, layers and trackers. Layers are containers for shapes and have their
own individual transforms.

Layer Layer Icons

Objects Shape Icons

Add Layer
Located at the bottom of the Object List, this icon creates a new layer. Layers
are used to organize shapes, but more importantly they are used to contain the
motion information from trackers.

Note: Dragging objects onto the New Layer icon will create a new layer and move the
objects into it in one operation.

Deleting
Select the shape, layer or tracker in the list and press Ctrl(Win)/Cmd(Mac)-X,
hit the Delete key or use the Delete icon at the bottom of the Object List.

Renaming
You can rename a shape, layer or tracker by either:
• Clicking on the object once to select it, hitting the Enter key, typing in the new
name and pressing Enter again.
• Double-clicking the object, typing in a new name and hitting the Enter key.
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• Right-clicking on the object, selecting Rename and typing in a new name.
Selecting
Clicking the name of a shape, layer or tracker selects it. Multiple shapes, layers,
and trackers can be selected by Shift-clicking on them. Ctrl-clicking will add to
the selection of objects that are located at different levels of the Object List
while Ctrl-clicking an object after it is selected will deselect it. In addition, if you
Shift-click a color pot in the Object List, you select all objects of the same type
and color.
Note: In File > Preferences > Shape on Windows and Linux or Silhouette >
Preferences > Shape on Mac, there is a Template Color setting that sets the color and
opacity of unselected shapes. This feature is enabled by using Shift-W.

Moving
Shapes, layers or trackers can be moved by dragging and dropping them to a
new position in the list or within another layer.

Expanding / Collapsing Layers

Expand All
Shift-clicking the +/- icon expands or collapses all nested layers inside that
layer.

Expand or collapse multiple layers at once

If expanding or collapsing a selected layer using +/- icon, then any other
selected layers with the same parent will also expand or collapse. This can be
combined with Shift to expand or collapse children as well.

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Icons
Shape Icons
There are number of icons directly to the right of a shape’s name that can be
used to modify shapes. The Opacity, Blend Mode, Invert, Motion Blur and Color
icons duplicate the functionality of the Shape parameters in the Object window
and does so because it is often easier to change these settings in the Object
List when multiple shapes are selected.
Motion
Invert Color
Blur Lock
Blend Mode
Opacity Visibility

View Notes

View
The View icon, which only shows up when using stereoscopic sources, displays
either a L for Left View or R for Right View to the left of the Opacity icon and
indicates which view the shape or layer is assigned to. Clicking on the View
icon toggles which view the shape or layer is located in.

Opacity
Indicates the opacity level of a shape. It is white when opacity is 100%, black
when 0% and a shade of gray when somewhere in between. When keyframing
is activated for Opacity in the Shape parameters, you can quickly keyframe the
opacity of a shape from 100% to 0% by toggling this icon.

Note: In File > Preferences on Windows and Linux or Silhouette > Preferences on Mac,
there is a Shape > Fade Outline with Opacity setting that draws unselected/inactive
shape outlines using the Opacity value. This preference can be toggled using the V key
so that you can easily see any shapes that are at 0% opacity.

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Blend Mode
Controls how shapes are blended together. Each click of the icon cycles
through the blend modes. See Blend Mode for information.

Invert
Inverts selected shapes.

Motion Blur
Turns Motion Blur on or off for selected shapes.

Outline Color
Sets the color of selected shape’s outlines.

Left-clicking the color pot opens a standard color picker while right-clicking on
the color pot opens a pop-up color menu with 16 primaries.

Lock
Locks/Unlocks selected objects. A locked shape cannot be edited or changed
and is italicized in the Timeline.

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Visibility
Click the Visibility icon to hide or show selected objects. Only visible shapes are
rendered. To solo an object, Alt-click on it’s Visibility icon. Alt-Ctrl-click to force
the visibility of all objects to the on position.

Notes
Select an object and click the Notes icon to bring the Notes window forward
above the Object List.

You can type an arbitrary length note for selected objects. Currently, only
shapes, trackers and layers are supported. Because you can type multiple
paragraphs into the Notes window, you must press Apply to assign the note.
The Notes icon changes once a note is applied to the object.

• Hovering over the Notes icon displays the note, if there is one, as a tool tip.
• The Status Bar displays the object name and the note for the selected object.
Layer Icons
There are few icons directly to the right side of a layer’s name that can be used
to modify layers.
Blend Mode Lock
Active Layer Invert Visibility

View Notes

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The Layer View, Blend Mode, Invert, Lock, Visibility and Notes icons have
similar functionality to the ones used by shapes.

Active Layer
The Active Layer box displays a checkbox when the layer is selected. Clicking
the checkbox will toggle the state of the Active Layer.

Table 7: Object List Shortcuts

Shortcut Action

Click on an object Selects the object

Shift-click an object Adds an object to the current selection

Ctrl(Win)/Cmd(Mac)-click on an object Toggles the object selection

Shift-click color pot Selects shapes of same color

Alt-click the Visibility icon Solos an object

Alt-Ctrl-click the Visibility icon Forces the visibility of all objects to the on position

Shift-click the +/- icon Expands or collapses all nested layers inside that layer

Double-click an object Selects the object so it can be renamed

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Timeline
The Timeline is an overall view of all animated parameters. Animation is the
process of setting values at various frames, or keyframes as they are called.
These keyframes transition from one to another over time. The Timeline
provides you with the tools necessary to view, edit, move or delete keyframes.

The Timeline is divided in two parts:

• Parameter List: lists all animateable parameters for a particular process.
• Timeline: displays keyframes over time.
Go to Using the Timeline to see how it works.

Parameter List
The Parameter list shows all objects in the current session. This list is arranged
in a collection of shapes, filters, trackers and their associated parameters. Click
the twirly to the left of the parameter to either show or hide parameters of a
particular object.

Timeline
The Timeline is an overview of your shapes, filters, trackers and keyframes. In
the Timeline, you can edit a keyframe's position in time, but not its value.

Current Time Indicator

The vertical line in the Timeline is the current time that you are parked at. To
move the Current Time Indicator, just click and drag the shuttle slider below the
Viewer or in the top line of the Timeline.

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Zooming and Panning the Timeline
The Timeline shows the duration specified for the current session. You can
zoom in or out using the mouse scroll wheel to see the Timeline in more or less
detail and can pan horizontally or vertically using the Spacebar while clicking
and dragging.

Timeline Pop-up Menu

Right-click over a selected keyframe or property in the Timeline to open the
Timeline pop-up menu.

Add Key
Right-click over the property you are interested in at the desired frame in the
Timeline and select Add Key. Keyframes will be added to that property for all
selected objects.
Note: You can also Alt-click in the Timeline to add a keyframe.

Cut
Deletes the currently selected keyframe or keyframes.

Copy
Copies the currently selected keyframe or keyframes.

Paste
Pastes the currently selected keyframe or keyframes.

Delete
Deletes the currently selected keyframe or keyframes.
Note: Individual shape points can be copied and pasted between keyframes using
Ctrl(Win)/Cmd(Mac)-Alt-C to copy and Ctrl(Win)/Cmd(Mac)-Alt-V to paste.

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Interpolation
• Hold
There is no interpolation and abrupt switches in value occur at keyframes.
• Linear
When values change, a straight line with sharp, abrupt angles from one
keyframe to the next is drawn.

Ease
Ease allows you to smoothly transition in or out of a keyframe.
• Ease In
Eases in to the selected keyframe.
• Ease Out
Eases out of the selected keyframe.
• Ease In/Out
Eases in and out of a selected keyframe.

Moving One Keyframe in Time

A single keyframe can be moved by selecting it and then dragging it to a new
location.

Moving a Selection of Keyframes in Time

Multiple keyframes can be moved by first selecting a range using the Shift key
and then dragging on them to a new location.

Selecting Shapes and Trackers

Objects can be selected within the Timeline. Clicking the name of an object
selects it. Multiple objects can be selected by Shift-clicking on them. Ctrl-
clicking an object after it is selected will deselect it.

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Table 8: Timeline Keyboard Shortcuts

Shortcut Action

Scroll wheel Zooms the Timeline in and out

Shift-Middle-mouse drag Zooms the Timeline in and out

Space Bar-drag Pans the Timeline

Middle-mouse drag Pans the Timeline

Single-click keyframe Selects one keyframe

Ctrl(Win)/Cmd(Mac)-click Toggle the keyframe selection

keyframe

Shift-click keyframes Selects a range of keyframes

Alt-click Inserts a keyframe

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ROTO NODE
Rotoscoping or “Roto” for short has become a generic term for drawing shapes
to extract, isolate or affect a portion of an image. It is tedious work, but it’s one
of the most important parts of the visual effects process. Within the Roto node,
there are all the tools needed to make quick work of any Roto job.

Roto Node Parameters

When Roto is selected in the Node List, parameters specific to the Roto node,
such as Motion Blur, can be adjusted in the Node window.

Alpha
Invert
Inverts the Alpha channel.

Blur
Blurs the Alpha Channel. The blur range is from 0-100 and defaults to 0.

Motion Blur
Motion blur is the directional blurring of rapidly moving shapes.

Go to Using Motion Blur to see how it works.

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Enable
Turns Motion Blur on or off. The default is off. Leave this turned off for faster
interaction while editing shapes.
Note: The Motion Blur parameters will not affect shapes unless you first activate Motion
Blur for each shape in the Object window. See Motion Blur in the Shape Parameters
for more information.

Shutter Angle
Determines how long the camera shutter stays open when a picture is taken--
higher values create more motion blur. The range of the Shutter Angle is 0-720
and defaults to 180. Measured in degrees, it simulates the exposure of a
rotating camera shutter. The shutter angle uses the footage frame rate to
determine the simulated exposure. For example, a shutter angle of 180
degrees (50% of 360 degrees) for 24fps footage creates an effective exposure
of 1/48 of a second. Typing 1 degree applies almost no motion blur, and typing
720 degrees applies a high degree of motion blur.

Shutter Phase
Offsets the point in time, either forward or reverse, when the shutter opens. The
range of the Shutter Phase is -360 to 360 and defaults to -90.

Motion Samples
Renders intermediate frames equal to the Motion Samples value and
accumulates them, one over the other, on a single frame. The higher the
number, the smoother the motion. The Motion Samples range is from 1-256
and defaults to 16.

Roto View Menu

When Roto is selected in the Node List, the View menu displays either the
shape Output, the Foreground, Background or a Composite of the foreground
over the background based on your shapes.

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The 1, 2, 3 and 4 keys can quickly switch the view: 1 is Output, 2 is Foreground,
3 is Background and 4 is Composite.

Output
Output allows you to see the output of your shapes in the form of an Alpha
channel, but will slow down shape editing. To view the Alpha, click either the A
key or the Alpha channel button at the top right of the Viewer.
Note: Output is the default setting, but switch to Foreground for faster interaction and
less memory usage.

Foreground
Display the Foreground clip in the Viewer.

Background
Display the Background clip in the Viewer.

Composite
Display the composite of the foreground over the background based on your
shapes. If “None” is selected for the Background Input, the foreground will be
composited over a color. The default color is gray, but can be changed by going
to File > Preferences > Composite on Windows and Linux or Silhouette >
Preferences > Composite on Mac. If you add a Composite node in the Session
Settings, the composite will be rendered.

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Roto Toolbar
When the Roto node is selected, a number of different tools are selectable from
the Toolbar to the left of the Viewer.

Transform

Reshape

B-Spline

X-Spline

Bézier

Square

Circle

Feather

Tracker

MultiFrame

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Table 9: Toolbar Keyboard Shortcuts

Shortcut Action

T Selects the Transform tool Shape Mode

TT Selects the Transform tool Points Mode

R Selects the Reshape tool

B Selects the B-Spline tool

S Selects the X-Spline tool

Shift-B Selects the Bézier tool

Shift-S Selects the Square tool

Shift-C Selects the Circle tool

Shift-F Selects the Feather tool

Shift-T Selects the Tracker tool

M Selects the MultiFrame tool

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Bézier Tool (Shift-B)
Creates a new Bézier spline.

To draw a Bézier spline, click on the image to place the first control point and
drag the cursor while keeping the mouse pressed to extend the control point’s
tangents. Click on the screen to add more control points and when finished
adding points, click the first control point that you added to close the shape.
When creating an open shape, press the Esc key or switch to a different tool to
finish the shape.

Originally developed by Pierre Bézier in the 1970's for CAD/CAM operations,

Bézier splines became the foundation of the entire Adobe drawing model. If
you're a user of Adobe products, you've probably used Bézier’s. Bézier splines
are defined by control points and tangents. The position of the two tangent
handles control the amount of a point's curvature.

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A shape is created by drawing a Bézier curve path. This path contains control
points and tangents that define the form of the curve.

Tangent Handle

Tangent

Control Point Curve Join

Control Points
Control points are locations on the curve that determine its shape. When a
control point is selected, two tangents extend from the control point. These
tangents guide the shape of the curve.

Joins
The area of the curve at the control point is called the curve join.
Cardinal Join Corner Join

Joins can either be corner or cardinal (smooth) joins. When control point
tangents are positioned in opposite directions, the join is cardinal. In contrast,
corner joins have their tangents positioned at an angle to each other.

Go to Using the Bézier Tool to see how it works.

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B-Spline Tool (B)
Creates a new B-Spline shape.

To create a B-Spline, click on the screen to create a control point and add as
many points as you like. When you are finished adding points, click the first
control point that you added to close the shape. When creating an open shape,
press the Esc key or switch to a different tool to finish the shape.

In contrast to Béziers, B-Splines don’t use tangents and are created by only
using control points. The position of the points, their intensity settings as well
as their proximity to each other determine the curvature of the shape. B-Splines
are somewhat similar to NURBS (non-uniform rational B-Splines) that are used
in many 3D modeling packages.

The images below show how the same shape can be created with either Bézier
splines or B-Splines.

Bézier B-Spline

Because the two spline types of have significant strengths and differences,
artists are religiously loyal to one or the other. B-Splines create natural curves
but are terribly inefficient at defining square corners and require more points to
define a similar Bézier shape. On the other hand, Bézier splines can easily
create corners and use fewer points, but can have an unnatural curved path
caused by overly malleable “split” handles. The best approach is to use both
spline types depending on the shape and complexity of the object that you are
trying to Roto. Depending upon your expertise, you may find Bézier splines are
more appropriate for square and angular shapes while B-Splines will work
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better for objects with a lot of curves like a person’s face. Just to upset the
status quo, there is a new kid on the block called X-Splines which is explained
in the next section. This spline type brings together the best of both B-Splines
and Béziers.

Go to Using the B-Spline Tool to see how it works.

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X-Spline Tool (S)
Creates a new X-Spline shape.

To create a X-Spline, click on the screen to create a control point and add as
many points as you like. When you are finished adding points, click the first
control point that you added to close the shape. When creating an open shape,
press the Esc key or switch to a different tool to finish the shape.

A X-Spline is an intuitive and easily editable spline format whereby it’s points
can be of three different types: Cardinal, Corner or B-Spline.
• Cardinal creates a path that passes smoothly through each point.
• Corner makes a path that consists of angular corner points.
• B-Spline creates a smooth path that is determined by the surrounding points.
Look at how the same set of points can yield entirely different shapes based on
the point type setting.

Cardinal Corner B-Spline

The point type can be changed at anytime as well as animated from one type
to another. You’ll find that the beauty of X-Splines is that the shape’s points can
be a mix of Cardinal, Corner or B-Splines.

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The images below show how the same shape can be created with either Bézier
splines, B-Splines or X-Splines.

Bézier B-Spline X-Spline

Go to Using the X-Spline Tool to see how it works.

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Square Tool (Shift-S)
Creates a new square or rectangle Bézier spline.

To create a Square, click and drag in the shape of a square and release the
mouse.

Go to Using the Square Tool to see how it works.

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Circle Tool (Shift-C)
Creates a new circle or ellipse Bézier spline.

To create a Circle, click and drag in the shape of a circle and release the mouse.

Go to Using the Circle Tool to see how it works.

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Shape and Layer Parameters
Shape Parameters
All of the editable parameters of a shape can be adjusted in the Object window.
When a shape is selected, you will see the parameters listed below.
Shape Parameters

Blend Mode
Controls how shapes are blended together.

Add
Adds the shape to other shapes.
Shape 1 Shape 2 Result

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Subtract
Subtracts the shape from other shapes.
Shape 1 Shape 2 Result

Multiply
Produces a result where there is a union of pixels from two shapes.
Shape 1 Shape 2 Result

Difference
Produces a result where a value exists in each shape, but not in both.
Shape 1 Shape 2 Result

Blur
Sets the blur level of the selected shape or shapes. The Blur slider range is
from 0-100 and defaults to 0.

Blur Type
Determines the type of blur.

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• Centered
The blur is centered on the edge of the shape, equally blurring inward and
outward.
• Inner
The shape is blurred inward from the edge of the shape.
• Outer
The shape is blurred outward from the edge of the shape.

Shrink/Grow
Shrinks or grows the shape’s alpha channel. Negative values shrink and
positive values grow.

Opacity
Sets the opacity of the selected shape. The opacity range is from 0-100 and
defaults to 100. The interpolation type is set to Hold by default making it easy
to turn shapes on and off at particular frames.
Note: You can change the Opacity interpolation type from Hold to Linear at any time.
To do so, select the shape’s Opacity keyframes in the Timeline, right-click and select
Interpolation > Linear.

Invert
Inverts the shape values. The default is off.

Motion Blur
Motion blur is the directional blurring of rapidly moving shapes. This parameter
turns Motion Blur on or off. The default is off.
Note: The Motion Blur parameters will not affect a shape unless Motion Blur is enabled
in the Node window. See Motion Blur in the Roto Node Parameters for more
information.

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Outline Color
Sets the color of the shape outline. Left-clicking the color pot opens a standard
color picker while right-clicking on the color pot opens a pop-up color menu with
16 primaries.

Stroke Width
Sets the thickness of an open shape. When used on a closed shape, an outline
is created.
Note: Open shapes can not be exported.

Channel
Determines what channel the shape is rendered into. You can set each shape
to Red, Green, Blue, or Alpha. To visualize the results prior to rendering, use
View > Channels in conjunction with the Alt-R, G, B and A shortcut keys. When
ready, render shapes into the assigned channels with the Actions > Render
Shapes to Channels action.

Go to Rendering Shapes to Channels to see how it works.

Reset All
Resets all parameters to their default state.

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Layer Parameters
Layers are used to organize shapes, but more importantly they are used to
contain the motion information from trackers. All of the editable parameters of
a layer can be adjusted in the Object window. When a layer is selected, you will
see the parameters listed below. The Transform, Stereo Offset, Blend Mode,
Blur and Invert state of a layer can be adjusted.

Transform
The Position, Scale, Rotation and Anchor Point can be adjusted and animated.

Anchor
Sets the anchor point for the layer transformation. Scaling and rotation
operations center around the anchor point.

Position
Sets the horizontal and vertical position of the layer.

Scale
Sets the horizontal and vertical scale of the layer. Typing in a negative value will
flip or flop the shapes in the layer.

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Rotate
Sets the rotation of the layer.

Matrix
When tracking data is applied to a layer, the Matrix parameter is used to store
the tracker keyframes.

Stereo Offset
Stereo Offset, which only shows up when using stereoscopic sources, is used
to align the offset between Left and Right Views of stereoscopic sequences and
is set to animate by default. This value is automatically set when using the
Viewer’s Stereoscopic Align mode’s on-screen control.

Blend Mode
Controls how layers are blended together. See Blend Mode for more
information.

Blur
Sets the blur level of all shapes within the layer. The Blur slider range is from
0-100 and defaults to 0.

Blur Type
Determines the type of blur.
• Centered
All shapes in the layer are blurred equally inward and outward centered on the
edge of the shapes.
• Inner
All shapes in the layer are blurred inward from the edge of the shapes.
• Outer
All shapes in the layer are blurred outward from the edge of the shapes.

Invert
Inverts all shapes within the layer. The default is off.

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Channel
Determines which channel the shapes in the layer are rendered into. You can
set a layer to Red, Green, Blue, or Alpha. To visualize the results prior to
rendering, use View > Channels in conjunction with the Alt-R, G, B and A
shortcut keys. When ready, render layers into the assigned channels with the
Actions > Render Shapes to Channels action.
Note: This overrides the Shape > Channel setting, except when set to Alpha, in which
case the shape’s Channel setting is obeyed instead.
Go to Rendering Shapes to Channels to see how it works.

Reset All
Resets all parameters to their default state.

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Nudging Layers
Layers can be nudged using the Arrow keys. One press of the Arrow key
moves the layer 1 pixel. Using the Shift key in conjunction with the Arrow keys
moves the layer 10 pixels. Ctrl plus the Arrow keys moves the layer one tenth
of a pixel. These nudge values can be changed in the Preferences menu
located in File > Preferences > Nudging on Windows and Linux or Silhouette >
Preferences > Nudging on Mac. Holding the Arrow keys down slides the layer.

Table 10: Layer Nudging Keyboard Shortcuts

Shortcut Action

Arrow keys Moves the layer by 1 pixel

Shift-Arrow keys Moves the layer by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the layer by one tenth of a pixel

Hold down Arrow keys Moves the layer continuously

Q, W, E then Ctrl(Win)/Cmd(Mac)-drag Translates, Rotates or Scales in finer increments

Q, W, E then Arrow keys Translates, Rotates or Scales by 1 pixel

Q, W, E then Shift-Arrow keys Translates, Rotates or Scales by 10 pixels

Q, W, E then Ctrl(Win)/Cmd(Mac)-Arrow keys Translates, Rotates or Scales by 1/10 of a pixel

Note: Nudging of the layer transform is only available if one layer is selected, and no
shapes are selected. This is to avoid confusion in case nested layers or objects in them
are also selected.

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Transform Tool
Once you draw a shape, there are various ways to modify it. As the object that
you are attempting to Roto changes over time, you will need to adjust the shape
so that it exactly matches the object. While the Transform tool affects an entire
shape or a group of shapes, you can use the Reshape tool to modify individual
points on a shape. See the Reshape Tool for more information.
Go to Using the Transform Tool to see how it works.

Transform Tool - Shape Mode (T)

The Transform tool Shape Mode allows you to position, move, scale, rotate,
shear or corner-pin a shape or selection of shapes using the on-screen
controls. To enter this mode, press either the Transform tool in the Toolbar or
the T key once. Then, select a shape and use the on-screen controls to modify
it.

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Table 11: Transform Tool On-Screen Controls

Shortcut Action

Drag shape Moves the shape

Shift-drag shape Constrain shape movement horizontally or

vertically

Drag bounding box corner or edge handle Scales a shape

Shift-drag bounding box corner or edge handle Proportionally scale a shape

Ctrl(Win)/Cmd(Mac)-drag on a bounding box Rotate a shape

corner handle

Alt-drag on a bounding box corner handle Corner-pin a shape

Alt-Shift-drag on a bounding box corner handle Constrains the corner-pin movement to one axis

Ctrl(Win)/Cmd(Mac)-drag on a bounding box Shear a shape

edge handle

. (period key) Turns the Anchor Point on or off

Drag on Anchor Point Moves the Anchor Point

.
Shift- (period key) Moves the Anchor Point to the mouse location

Q Activates / Deactivates translation of selected

shapes or layers

W Activates / Deactivates rotation of selected

shapes or layers

E Activates / Deactivates scaling of selected

shapes or layers

Q, W, E then Ctrl(Win)/Cmd(Mac) Translates, Rotates or Scales in finer increments

If there are any selected layers while in Transform mode, pressing Q, W or E

and then clicking and dragging will translate, rotate or scale the selected layers.
If there are no selected layers, you must select a shape or group of shapes
before clicking and dragging. Also, the position of the cursor when W or E is
pressed sets the anchor point for the rotation or scale operation.

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Transform Tool - Points Mode (TT)
The Transform tool Points Mode allows you to position, move, scale, rotate,
shear or corner-pin a selection of points using the on-screen controls. To utilize
this mode, use the Reshape tool to first select some points

and then press either the Transform tool twice in the Toolbar or the T key twice.

Instead of a bounding box with on-screen controls around the shape, the
bounding box is around the selected points.

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Transform Tool - Layers
When a layer is selected and the Transform tool is active, you can position,
move, scale and rotate the layer using the on-screen controls.

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Table 12: Layer Transform On-Screen Controls.

Shortcut Action

Drag within large center circle Moves the layer

Shift-drag within large center circle Constrain layer movement horizontally or vertically

Drag the center square horizontal and Scales the layer horizontally or vertically
vertical halfway points

Drag a center square corner Proportionally scale the layer

Drag large center circle Rotate the layer

Ctrl(Win)/Cmd(Mac)-drag large center circle Rotates the layer with finer control

Drag small center circle Moves the Anchor point

Q Activates / Deactivates translation of selected layers

W Activates / Deactivates rotation of selected layers

E Activates / Deactivates scaling of selected layers

Moving Shapes
Selected shapes are moved using one of two methods: 1) Drag on the outline
of a shape or 2) Press the Q key to activate translation mode and click and drag
to move the selected shapes. You must press the Q key a second time to
deactivate translation mode.

In either case, you can constrain movement along an axis by pressing the Shift
key while dragging the outline of a shape. The movement is constrained by the
first direction (horizontal or vertical) that you drag in.

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Nudging Shapes
Shapes can be nudged using the Arrow keys. One press of the Arrow key
moves shapes 1 pixel. Using the Shift key in conjunction with the Arrow keys
moves the shapes 10 pixels. Ctrl plus the Arrow keys moves shapes one tenth
of a pixel. These nudge values can be changed in the Preferences menu
located in File > Preferences > Nudging on Windows and Linux or Silhouette >
Preferences > Nudging on Mac. Holding one of the Arrow keys down slides the
shapes in that direction.

Table 13: Shape Nudging Keyboard Shortcuts

Shortcut Action

Arrow keys Moves shapes by 1 pixel

Shift-Arrow keys Moves shapes by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves shapes by one tenth of a pixel

Hold down Arrow keys Moves shapes continuously

Scaling Shapes
Scaling changes the size of the shapes. Selected shapes are scaled using one
of two methods: 1) Drag any of the points on the shape bounding box or 2)
Press the E key to activate scaling mode and click and drag to scale the
selected shapes. You must press the E key a second time to deactivate
translation mode.

Note: The position of the cursor when E is pressed sets the anchor point for the
scaling.
To proportionately scale, hold down the Shift key when resizing.

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Rotating Shapes
Rotating changes the angle of the shapes. Selected shapes are rotated using
one of two methods: 1) Ctrl(Win)/Cmd(Mac)-drag on a shape bounding box
corner handle or 2) Press the W key to activate rotation mode and click and
drag to rotate the selected shapes. You must press the W key a second time to
deactivate translation mode.

Note: The position of the cursor when W is pressed sets the anchor point for the
rotation.

Corner-Pinning Shapes
The corner points of a shape’s bounding box can be corner-pinned. For
instance, you could fit the corners of a shape into the corners of a billboard. Alt-
drag the corners of the shape’s bounding box to corner-pin the shape.

Shearing Shapes
Shapes can be sheared resulting in the shape being skewed horizontally or
vertically. To shear a shape, Ctrl(Win)/Cmd(Mac)-drag on the midpoints of a
shape bounding box on either the horizontal or vertical axis.

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Anchor Point
A shape rotates around its center point, but scales from the opposite handle.
Moving the anchor point changes the center of rotation and scaling when using
.
the on-screen controls. To position the Anchor Point, press the (period key)
and the Anchor Point is displayed on the screen. Then, click and drag the
Anchor Point to the desired location.

Now, when you rotate or scale the shape, notice how the shape rotates and
scales around the Anchor Point.
Note: If more than one shape is selected, they will both rotate and scale around the
.
Anchor Point. Turning off the Anchor Point with the (period key) will cause the shapes
to revert to rotating and scaling around the default Anchor Points.

Cutting, Copying and Pasting Shapes

Shapes can be cut(Ctrl(Win)/Cmd(Mac)-X), copied(Ctrl(Win)/Cmd(Mac)-C)
and pasted(Ctrl(Win)/Cmd(Mac)-V).

Deleting Shapes
A shape or selection of shapes can be easily deleted using none other than the
Delete key.

Selecting Shapes
Table 14: Shape Selection Keyboard Shortcuts

Shortcut Action

Click on a shape Selects the shape

Shift-click a shape or drag select multiple shapes Selects multiple shapes

Ctrl(Win)/Cmd(Mac)-click on a shape Toggles the shape selection

Click anywhere off the shape Deselects all shapes

Shift-click color pot in the Object List Selects shapes of same color
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Reshape Tool (R)
The Reshape tool modifies shapes by adjusting their control points and
tangents. In this mode, the shape’s control points and tangents are visible.

You must first select a control point before it can be modified. The following
table lists the methods for selecting and deselecting points.

Table 15: Control Point Selection Keyboard Shortcuts

Shortcut Action

Click on a control point. If the control point is part of a Bézier Selects the control point
curve, its tangents appear

Shift-click the control points or drag select multiple control points Selects multiple control points

Ctrl(Win)/Cmd(Mac)-Alt-I Inverts the point selection

Alt-Shift-A Selects all control points

Alt-Ctrl-A Deselects all control points

Ctrl(Win)/Cmd(Mac)-click on a control point Toggles the point selection

Click anywhere off the shape Deselects all control points

Go to Using the Reshape Tool to see how it works.

Adding Control Points

Adding control points assists in tracing more detailed images. To add a control
point, Alt-click on the selected shape. Don’t click on an existing control point
because it will move it instead.

Deleting Control Points

You can delete control points in one of two ways. Select the control point and
press the Delete key or right-click on the control point and select Delete from
the Reshape pop-up menu.

Moving Control Points

Control points are easily moved. Just select one or more control points and
drag one of the selected points to a new location.
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Nudging Points
Points can be nudged using the Arrow keys. One press of the Arrow key
moves the points 1 pixel. Using the Shift key in conjunction with the Arrow
keys moves the points 10 pixels. Ctrl plus the Arrow keys moves shapes one
tenth of a pixel. These nudge values can be changed in the Preferences menu
located in File > Preferences > Nudging on Windows and Linux or Silhouette >
Preferences > Nudging on Mac. Holding the Arrow keys down slides the
points.

Table 16: Point Nudging Keyboard Shortcuts

Shortcut Action

Arrow keys Moves points by 1 pixel

Shift-Arrow keys Moves points by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves points by one tenth of a pixel

Hold down Arrow keys Moves points continuously

Numbering Points
All points or a selection of points can be numbered. To number one point or a
selection of points, right-click on a selected control point and select Tag. To see
all points numbered, go to File > Preferences > Shape on Windows and Linux
or Silhouette > Preferences > Shape on Mac and set the Number Points
preference to All.

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Adjusting Bézier Curves
The length and direction of a control point’s tangents direct the curve through
that control point.

Curve Join
Tangent Handle

Tangent

Control Point

Control points have two tangents that can extend from it. The path of the curve
through the control point is determined by the length and orientation of the
tangents. When you drag one tangent’s handle, the adjacent tangent moves as
well. Using keyboard shortcuts while dragging allows you to control how the
curve passes through a control point.

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Table 17: Bézier Keyboard Shortcuts

Shortcut Action Curve

No key needed Adjust the length of one tangent while

retaining a fixed angle between two
tangents

Ctrl(Win)/Cmd(Mac) Adjust both tangents simultaneously

while retaining a fixed angle between
two tangents

Alt Adjusts only one tangent to create

corners

Shift Adjusts only the length of one tangent

(similar to the “No key needed”
shortcut)

Ctrl(Win)/Cmd(Mac)-Alt-1 Sets the point tension to Corner

Ctrl(Win)/Cmd(Mac)-Alt-2 Sets the point tension to Cardinal

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Reshape Tool: Bézier Pop-up Menu
Right-click over a control point to open the Bézier Reshape pop-up menu and
select one of the options.

To modify multiple selected points simultaneously, do not right-click on one of

the selected points. Right-click on an open area of the Viewer instead.

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Table 18: Bézier Pop-up Menu

Menu Option Description

Invert Selection Inverts control point selection state

Delete Deletes the selected control point

Break Breaks the shape at the selected control point

Close Closes an open shape

Linear Both tangents are adjusted to one quarter the distance and in the
direction of their adjoining control points

Corner Creates a corner point

Cardinal Creates a smooth point where the curve passes smoothly through it

Center Centers the control point between its adjoining control points

Tag Tags control points for point numbering

Untag Untags control points when using point numbering

Tween Takes the point and “re-tweens” it using the surrounding keyframes,
and puts them where they would be if you hadn't moved them on that
frame. Useful for simulating an “unkey” of selected points (the shape
remains keyed of course)

Extending Short Tangents

Sometimes a control point’s tangents are so close together that trying to modify
the tangent results in movement of the control point. If this is the case, you can
force the tangents to move without affecting the control point by pressing the
Alt key while dragging the tangent. Only the tangent will move, leaving the
control point unaffected.

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Moving Curve Segments
Normally, you move control points to adjust the form of a shape, but you can
also move the portion of the curve between control points. To move a curve
segment, deselect all control points by clicking somewhere off the shape and
then Ctrl(Win)/Cmd(Mac)-drag a curve segment between control points.

Once you start dragging, the Ctrl(Win)/Cmd(Mac) key can be released.

Note: The surrounding tangents remain smooth, but if you want to keep adjacent
tangents from moving, hold down the Alt key while dragging.

Adjusting B-Splines
In contrast to Béziers, B-Splines don’t use tangents and are created by only
using control points and are simple to adjust. The position of the points, their
weight settings as well as their proximity to each other determine the curvature
of the shape. The weight (amount of pull on a point) decides how sharp or
smooth it is. Silhouette employs variable weight intensities on a point by point
basis. The weight can be adjusted by hovering over a point and Alt-dragging to
the right to create a corner point or Alt-dragging to the left to create a smooth
point. Alternatively, you can Alt-click on one of the selected points to cycle
through the preset weight settings.
Note: Do not use extreme, variable weight adjustments if you are planning on
converting the B-Spline to a Bézier Spline.

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Table 19: B-Spline Keyboard Shortcuts

Shortcut Action

Alt-drag control point right Creates a corner point

Alt-drag control point left Creates a smooth point

Alt-clicking control point Cycles through the preset weight settings of the point

Ctrl(Win)/Cmd(Mac)-Alt-1 Sets the point tension to Corner

Ctrl(Win)/Cmd(Mac)-Alt-3 Sets the point tension to B-Spline

Reshape Tool: B-Spline Pop-up Menu

Right-click over a control point to open the B-Spline Reshape pop-up menu and
select one of the options.

To modify multiple selected points simultaneously, do not right-click on one of

the selected points. Right-click on an open area of the Viewer instead.

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Table 20: B-Spline Pop-up Menu

Menu Option Description

Invert Selection Inverts control point selection state

Delete Deletes the selected control point

Break Breaks the shape at the selected control point

Close Closes an open shape

Corner Creates a corner point

B-Spline Creates a smooth point that is determined by the surrounding points

Center Centers the control point between its adjoining control points

Tag Tags control points for point numbering

Untag Untags control points when using point numbering

Tween Takes the point and “re-tweens” it using the surrounding keyframes,
and puts them where they would be if you hadn't moved them on that
frame. Useful for simulating an “unkey” of selected points (the shape
remains keyed of course)

Note: The Alt-click and pop-up menu preset weight settings for Corner and B-Spline
can’t be animated.

Adjusting X-Splines
X-Splines are created by using control points and then adjusting their weight to
coincide with one of the point types: Cardinal, Corner or B-Spline. The point
type can even be somewhere in between one point type and another. The
weight can be adjusted by hovering over a selected point and Alt-dragging to
the right. The weight of the point goes from Cardinal to Corner to B-Spline.
Alternatively, you can Alt-click to cycle through the different point types.

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Table 21: X-Spline Keyboard Shortcuts

Shortcut Action

Alt-drag control point right Adjusts the weight of the point from Cardinal to Corner to B-Spline

Alt-drag control point left When the weight is set to B-Spline, it adjusts the weight of the point
from B-Spline to Corner to Cardinal

Alt-clicking control point Cycles through preset weight settings of the point

Ctrl(Win)/Cmd(Mac)-Alt-1 Sets the point tension to Corner

Ctrl(Win)/Cmd(Mac)-Alt-2 Sets the point tension to Cardinal

Ctrl(Win)/Cmd(Mac)-Alt-3 Sets the point tension to B-Spline

Reshape Tool: X-Spline Pop-up Menu

Right-click over a control point to open the X-Spline Reshape pop-up menu and
select one of the options.

To modify multiple selected points simultaneously, do not right-click on one of

the selected points. Right-click on an open area of the Viewer instead.

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Table 22: X-Spline Pop-up Menu

Menu Option Description

Invert Selection Inverts control point selection state

Delete Deletes the selected control point

Break Breaks the shape at the selected control point

Close Closes an open shape

Corner Creates a corner point

Cardinal Creates a smooth point where the curve passes smoothly through it

B-Spline Creates a smooth point that is determined by the surrounding points

Center Centers the control point between its adjoining control points

Tag Tags control points for point numbering

Untag Untags control points when using point numbering

Tween Takes the point and “re-tweens” it using the surrounding keyframes,
and puts them where they would be if you hadn't moved them on that
frame. Useful for simulating an “unkey” of selected points (the shape
remains keyed of course)

Converting B-Splines or X-Splines to Bézier Splines

You may convert your B-Splines or X-Splines to Bézier splines at any time. To
convert a B-Spline to a Bézier spline, select a B-Spline or X-Spline and choose
the Edit > Spline > Convert to Bézier menu item.

Once you select Convert to Bézier, a couple of things happen. The visibility of
the B-Spline or X-Spline is toggled to off. A new Bézier spline is created and is
named the same as the B-Spline or X-Spline but has an * at the end of the
name.
Note: The Bézier conversion of B-Splines that use extreme, variable weight
adjustments will not exactly match the original B-Spline. Do not use extreme, variable
weight adjustments if you are planning on converting the B-Spline to a Bézier.

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Breaking Shapes
In the Reshape tool, closed shapes can be opened using the Break option from
the control point pop-up menu. To break a shape, select a point and right-click
on it to open the pop-up menu. Choose Break and the shape opens at the
selected control point.
Note: Feather information will be removed once you break a shape.

Closing and Extending Shapes

Shapes can be closed or extended with just a few mouse clicks. It is necessary
to use the Reshape tool to perform the following actions.

Closing Open Shapes

Select one of the control points at the end of the shape and Alt-click on the
other end point to close the shape.

Extending Shapes
Select a control point at either end of the shape and Alt-click somewhere off
the shape.

Joining Open Shapes

In the Reshape tool, open shapes can be joined together. To join open shapes,
first select two open shapes. Next, select one of the end points of the source
shape by clicking on it and then Alt-click on one of the end points of the target
shape. The two shapes are now joined together as one.
Note: The target shape inherits the attributes of the source shape.

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Feather Tool (Shift-F)
Creates variable edged blurs on a point by point basis.

The Feather points can be placed either inside or outside the shape.

To use the Feather tool, select it from the Toolbar and Alt-click on a selected
shape and drag. Additional feather points are added by Alt-clicking on the
original curve and dragging. Feather points are edited by clicking and dragging
on one of the outer points.
Note: Feather points can only be added when the Feather tool is activated, but can be
edited and manipulated using the Reshape tool.
Go to Using the Feather Tool to see how it works.

Table 23: Feather Tool Keyboard Shortcuts

Shortcut Action

Alt-drag on shape Adds and pulls out a feather point

Click-drag a feather point Changes the length and position of the feather point

Shift-drag a feather point Constrains the length of the point

Hover over feather point and hit the Deletes the feather point
Delete key

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MultiFrame Tool (M)
Normally, adjusting a shape or points on a shape are keyframed only on that
particular frame. When the MultiFrame tool is activated, it modifies the
Transform and Reshape tools to allow you to make adjustments across all
previously set keyframes or a selection of keyframes. A red outline is drawn
around the Viewer to let you know that the MultiFrame tool is active.

To use the MultiFrame tool, select it in the Toolbar. Then, drag the blue ends of
the MutliFrame range bar at the top of the Timeline to limit the keyframes
affected by the MultiFrame tool.

The Transform or Reshape tools will now only affect keyframes within the
MultiFrame selection.
Go to Using the MultiFrame Tool to see how it works.
Note: When using the MultiFrame tool, attempts to edit a shape outside the MultiFrame
work range will be ignored. If you try to, for example, transform a shape and nothing
happens, check to see if the MultiFrame range is active at that particular point in time.

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Shape Import and Export
Shapes can be imported and exported using File > Import > Shapes and File >
Export > Shapes.

Shape Import/Export Notes

After Effects
1 When importing and exporting Silhouette Shapes using the Silhouette Shape
Import/Export Plug-in for After Effects, the general rule is that the After Effects
Composition size must match the Silhouette Session size for shapes to import
and export properly. However, as long as the ratio of the sizes between the After
Effects Composition and the Silhouette Session match, you can successfully
import and export shapes between them. For instance, you could import or
export shapes from a 2000x1000 Silhouette Session to a 1000x500 After Effects
Composition with no problems, as long as the pixel aspects were the same.
2 When After Effects has the Preserve Constant Vertex Count in the General
Preferences dialog deactivated, it is possible for a differing number of control
points to occur on different keyframes. These type of shapes can’t be imported
into Silhouette.

Commotion
1 You can’t import Commotion B-Splines made with just 3 points.

Nuke
1 X-Splines are converted to Bezier's in Nuke.
2 Only Blurs set to Outside will transfer to Nuke.
3 Multiply mode is not guaranteed to work if the opacities involved are not 0 and
100%. Nuke and Silhouette’s notion of multiply is different.
4 Layer blend modes are not implemented as Nuke does not support them.
5 Nested transformations are exported fully baked because Nuke does not actually
nest transformations in its layers.
6 If the top or bottom of a Bezier rectangle is perfectly parallel to the screen edge,
the resulting shape export will do poorly. This is because the points used for the
homography are the four bounding box points which for the Bezier described
above are the same as the four points in the shape, adding no information. If you
make a rectangle with more than four points then the shape export will work fine.
For instance, add points between each corner.

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General
1 The resulting export of B-Splines that use extreme, variable weight adjustments
will not exactly match the original B-Spline. Do not use extreme, variable weight
adjustments if you are planning on exporting B-Splines.
2 Open shapes can only be exported using the Silhouette shape format.
3 Shapes with variable edge blurs created with the Feather tool can be exported,
but only the original spline without the variable edge feather is used.
4 B-Spline, X-Spline and Bézier splines can all be exported, but B-Splines and X-
Splines are first converted to Bézier splines.
Note: B-Splines exported to Nuke 6.2 and above are not converted to Bézier splines.

After Effects Import and Export

Importing Silhouette Shapes into After Effects
The Silhouette Shape Import/Export Plug-in for After Effects is required to be
able to convert Silhouette Shapes into After Effects masks.

Go to Importing Silhouette Shapes into After Effects to see how it works.

Exporting After Effects Masks to Silhouette Shapes

The Silhouette Shape Import/Export Plug-in for After Effects is required to be
able to convert After Effects masks to Silhouette Shapes.

Go to Exporting After Effects Masks to Silhouette Shapes to see how it

works.

Importing Shapes
Silhouette, Commotion, Elastic Reality and Shake 4.x SSF shapes can all be
imported into Silhouette.

Go to Importing Shapes to see how it works.

Exporting Shapes
Silhouette, Fusion, gMask (Combustion, Flint, Flame, Inferno), Nuke and
Shake 4.x SSF shapes can all be exported.
Go to Exporting Shapes to see how it works.

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TRACKER
Tracking is a technique that involves analyzing the motion of an image over
time. In Silhouette, images can be tracked using an automatic image tracking
system called Planar tracking, or Point tracking which utilizes either one, two or
four track points. One point tracking obtains horizontal and vertical movement.
Two point tracking analyzes scaling and rotation in addition to horizontal and
vertical movement. Lastly, four point tracking evaluates and applies
perspective movement using a corner-pin transformation.

However the tracking data is obtained, it can then be applied in one of two
ways: match moving or stabilization. Match moving applies the motion of the
trackers to a layer so that it’s shapes follow the motion of the clip. Stabilization
inverts the tracking data so that the clip appears to be stable.

Selecting the Tracker (Shift-T) gives you access to the various tracking
features and controls.

When the Tracker tool is selected, various non-animateable controls appear in

a Tracker window located at the bottom portion of the screen. You have the
choice of using either the Planar Tracker or Point Tracker.

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Planar Tracker
The Planar tracker generates and tracks several points on the image while
automatically handling partial occlusions of the tracked object.

Go to Using the Planar Tracker to see how it works.

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Tracker Direction
The Tracker Direction buttons are used to track backwards and forwards and
are enabled when a layer has been selected.

Note: In a Stereo project, the Tracker Direction buttons are grayed out in the L/R View.
You must be in either the Left or Right View to track.

Track Backward One Frame

Tracks backward one frame at a time.

Track Backward
Tracks backward to the beginning of the sequence.

Track Forward
Tracks forward to the end of the sequence.

Track Forward One Frame

Tracks forward one frame at a time.

As you track, the tracker’s transform data is automatically applied to the

selected layer.
Note: When a layer is selected, the per-shape blend mode, invert state, on/off state
and opacity are all obeyed. This allows you to use shapes to subtract out areas of
unwanted motion that may interfere with tracking.

Reset
Resets the tracking points.

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Channel
Determines which image channel the tracker uses to analyze the image.

Luminance
The tracker analyzes the luminance or brightness of the image.

Red
The tracker analyzes the image’s red channel.

Green
The tracker analyzes the image’s green channel.

Blue
The tracker analyzes the image’s blue channel.

Valid Tracks
The number next to Valid Tracks is a running total of the number of trackers that
are viable as the tracker progresses.

Reference Frame
Displays the reference frame number. The reference frame is the frame you
first started tracking on and it locks in the picked set of track points at that
frame.

Jump to Reference Frame

When clicked, the Timebar is positioned at the reference frame.

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Point Tracker
The Point tracker uses trackers which are placed on distinguishable image
features.

Go to Using the Point Tracker to see how it works.

Tracker Components
Each tracker has a Match Area, Search Region, and Track Point.

Search Region
Match Area
Track Point

Match Area
The inner box is the Match Area. It defines a pattern that will be searched for
from frame to frame. It's a good idea to choose a region with good contrast and
detail. Corners with sharp contrast are usually good areas to track as
movement can easily be detected in any direction. The Match Area can be
scaled to the desired size.

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Search Region
The outer, dashed box is the Search Region, which should be the maximum
amount your tracking point will move between frames. The larger the size, the
slower the processing. The trick is to make the Search Region as small as
possible, yet still large enough to cover the area the tracker will move from
frame to frame. The Search Region can be sized in the same fashion as the
Match Area.

Track Point
The center cross is the track point. It represents the position of the motion track.
Normally, the Track Point is at the center of the tracker, but can be offset if the
Match Area becomes obscured.

Tracker Direction
The tracker can track both forward and backward one frame at a time or for the
entire sequence and are enabled when a tracker has been selected.

Note: In a Stereo project, the Tracker Direction buttons are grayed out in the L/R View.
You must be in either the Left or Right View to track.

Track Backward One Frame

Tracks backward one frame at a time.

Track Backward
Tracks backward to the beginning of the sequence.

Track Forward
Tracks forward to the end of the sequence.

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Track Forward One Frame
Tracks forward one frame at a time.

Behavior
Behavior decides what frame should be used as the reference to check the
accuracy of the Match Area. By default, the reference is the first frame at which
you started the track.

Start Frame
At each frame, the Match Area is compared to the first frame at which you
started tracking. If you stop tracking halfway through your sequence, and start
up again at a later frame, the later frame will be used as the reference.

Every Frame
The Match Area is compared to the previous frame. This method will cause
inherent drift in your track, but is useful for sequences that have drastic
changes in perspective and scale.

Key Frames
For difficult shots, it is helpful to preset keyframes for the tracker at various
points in the sequence. The Match Area will use these keyframes as a
reference while tracking.

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Tolerance
Describes the level of accuracy between the Match Area that the Tracker is
searching for and the area it actually finds when searching from frame to frame.
A prefect match would be a value of 100. If the error that is calculated is below
the Tolerance value, no keyframe will be set on that particular frame. The
Tolerance is preset to a value of 75.

Create
Clicking on the Create button places a new tracker in the center of the screen.
You can also add a new tracker at any time by Alt-clicking the image when the
Track tool is activated.

Apply
Selecting the Apply button opens the Match Move window where you
determine how the tracking data will be applied to a selected layer.

When OK is clicked, the tracking data is transferred to the Transform > Matrix
parameter of the selected layer.
Note: The Apply button is only available when trackers and a layer are selected.

Position
Applies X/Y position data to the layer.

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Scaling
Applies X/Y scaling data to the layer. Requires two trackers.

Rotation
Applies rotation data to the layer. Requires two trackers.

Average
Averages multiple tracks into a new destination track. A common technique is
to track forwards from the first frame to the last, and then create a second track,
tracking backwards from the last frame to the first. These two trackers are then
averaged together to derive a more accurate track.

To average trackers, select more than one tracker and click the Average button.
A new averaged tracker is created.

Smooth
Smooths out the inaccuracies in the tracking data caused by film grain or video
noise.

To smooth, select a tracker and click the Smooth button. Adjust the slider when
it pops-up and adjust it to the desired level of smoothing.

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Tracker Parameters
Most tracker parameters are interactively set while moving the tracker in the
Viewer. When a point tracker is selected, its parameters are displayed in the
Object window.

Magnify Window

A magnified version of the Match Area is displayed to aid in the placement of a

tracker. It is activated when you click the Create button or when you move an
existing tracker. The magnified area is displayed in the color space selected
from the Mode pop-up menu.

Position
Sets the position of the Track Point. This parameter is automatically set when
using the on-screen tracker controls.

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Nudging Trackers
Trackers can be nudged using the Arrow keys. One press of the Arrow key
moves the tracker 1 pixel. Using the Shift key in conjunction with the Arrow
keys moves the tracker 10 pixels. Ctrl plus the Arrow keys moves the tracker
one tenth of a pixel. These nudge values can be changed in the Preferences
menu located in File > Preferences > Nudging on Windows and Linux or
Silhouette > Preferences > Nudging on Mac. Holding the Arrow keys down
slides the tracker.

Table 24: Tracker Nudging Keyboard Shortcuts

Shortcut Action

Arrow keys Moves the tracker by 1 pixel

Shift-Arrow keys Moves the tracker by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the tracker by one tenth of a pixel

Hold down Arrow keys Moves the tracker continuously

Channel
Determines which image channel the tracker uses to analyze the image.

RGB
The tracker analyzes the red, green and blue channels of the image.

Luminance
The tracker analyzes the luminance or brightness of the image.

Red
The tracker analyzes the image’s red channel.

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Green
The tracker analyzes the image’s green channel.

Blue
The tracker analyzes the image’s blue channel.

Match Offset
Offsets the Match Area from the tracker. This parameter is automatically set
when using the on-screen tracker controls.

Search Offset
Offsets the Search Region from the tracker. This parameter is automatically set
when using the on-screen tracker controls.

Match Size
Sets the size of the Match Area. This parameter is automatically set when using
the on-screen tracker controls.

Search Size
Sets the size of the Search Region. This parameter is automatically set when
using the on-screen tracker controls.

Path Color
Sets the color of the tracker’s path. Left-clicking the color pot opens a standard
color picker while right-clicking on the color pot opens a pop-up color menu with
16 primaries.

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Tracker Pop-Up Menu
With the Tracker tool enabled, right-click over a shape or a selected control
point to open the Tracker pop-up menu.

Trackers can be created based on a shape’s points, the center point of a shape
or the shape’s bounding box. Trackers created in this manner are a
concantenation of the shape and layer transformation data. So, why do this?
Because, it is a handy way of creating trackers with all of this combined data
for use in other programs.

Create Corner Trackers from Shape Bounds

Creates four trackers around the four corners of the shape bounding box.

Create Tracker from Shape Center

Creates one tracker in the center of the shape.

Create Tracker from Points

Creates trackers from selected points.

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Pre-Processing
Images that contain film grain or video noise, lack contrast or sharpness as well
as images that have flicker can be tracked more accurately by applying certain
filters during the tracking process. Filters such as Blur, Sharpen, Contrast, De-
Noise and Remove Flicker will increase tracker accuracy for problematic
images.

Blur
Applies a blur to the image features.

Sharpen
Sharpens image features.

Contrast
Increases contrast so that the features being tracked are more apparent.

De-Noise
Applies a de-noise algorithm to smooth out noise will retaining detail.

Remove Flicker
Corrects image flicker or brightness variation over time, which has a habit of
interfering with tracker accuracy.

Preview
Shows the effect of the Pre-Processing parameters on the entire image in the
Viewer.

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I/0
Importing and exporting tracking data takes place in the I/0 section of the
Tracker tab.

Import
After Effects Corner-Pin, Nuke, Shake or Simple Format formatted trackers can
be imported into Silhouette. If you would like to import trackers from non-
supported applications, simply export a Silhouette tracker in Simple Format to
see how it should be formatted.
Go to Importing Tracking Data to see how it works.

Export
Trackers can be exported to the After Effects, Discreet, Nuke and Shake
tracker formats. In addition, the tracking data applied to a layer, either by the
Point tracker or Planar tracker, can be exported as a four point corner-pin track.
To create trackers for export that are a concatenation of the shape and layer
transformation data, see the Tracker Pop-Up Menu for more information.

Go to Exporting Tracking Data to see how it works.

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View
Either shapes or tracker vectors can be toggled on or off.

Shapes
Toggles the display of shapes in the Viewer.

Points
Toggles the display of Planar Tracker track points in the Viewer.

Vectors
Toggles the display of tracking vectors in the Viewer. This option is not available
for use with the Planar Tracker.

Tracker Preferences
Seldom adjusted tracker controls can be accessed by clicking the Tracker
Preferences icon.

See the Tracker Preferences for information on their use.

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PAINT NODE
Paint is a high dynamic range 2D raster based paint system designed from the
ground up to handle the demands of feature film and television production.
Whether it’s image restoration, dustbusting, wire and rig removal or just plain
paint, Silhouette provides simple and sensible tools to get the job done.
Note: Before Paint can be available for use, it must be enabled in the Session Settings
and selected in the Node List.
Warning: To store painted frames to disk, you must change frames in the sequence.
The current frame’s paint is also saved with a save operation or an autosave.
Go to Using Paint to see how it works.

Paint View Menu

When Paint is selected in the Node List, the View menu displays either the
Output, Foreground or Clone 1-4.

The 1-6 keys can quickly switch the view: 1 is Output, 2 is Foreground, 3 is
Clone 1, 4 is Clone 2, 5 is Clone 3 and 6 is Clone 4.

Output
The viewer displays the output of the Paint node. This view mode shows the
painted frames.

Foreground
The viewer displays the foreground clip.

Clone 1-4
The viewer displays the clips assigned to the Clone 1-4 inputs.

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Paint Tools
When the Paint node is selected, various non-animateable controls appear in
a Paint window located at the bottom portion of the screen. Silhouette provides
a wide variety of paint tools that are organized into Brush, Profile and Paint
categories.

In addition, a number of different brushes are selectable from the Paint Toolbar
to the left of the Viewer.

Black and White

Blemish

Blur

Clone

Color

Color Correct

Drag

Eraser

Grain

Mosaic

Repair

Scatter

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Once a brush is selected, it’s controls appear on the left side of the Paint
window.

B/W (B)
The B/W brush converts color images to black and white simulating the look of
Black and White photographic filters.

Mode
Selects the method by which the color image is converted to a monochrome
image.

Luminance
Creates a monochrome image using the brightness of the image.

Average
Creates a monochrome image using the average of the red, green and blue
channels.

Red
Simulates a red filter in black and white photography.

Green
Simulates a green filter in black and white photography.

Blue
Simulates a blue filter in black and white photography.

Yellow
Simulates a yellow filter in black and white photography.
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Orange
Simulates a orange filter in black and white photography.

Blemish (Shift-B)
The Blemish brush is useful for removing facial blemishes on film originated
footage. It combines the Blur and Grain brushes.

Blur (Ctrl-B)
Blurs the image.

Radius
Sets the amount of blur to be applied.

Clone (C)
Paints the image using another part of the image/or other image with the ability
to grade (color correct) the clone source.

Go to Using the Clone Brush to see how it works.

The controls for the Clone brush are split into two tabs: Clone and Grade. The
Clone tab deals with the timing and transformation of the Clone source while
the Grade tab contains color correction controls.
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Clone
To quickly set the Clone offset, press and hold down the Shift key. Next, click,
drag and release the mouse and then the Shift key to set the Clone offset. The
first click sets the Clone source and where you drag and release is the Clone
destination.

To reset the Clone offset, press Shift and without moving the cursor, click your
mouse or tap your pen on the screen once.

Source Controls
The Source controls are where you select the Clone source as well as which
frame to paint from.

Source
Picks which image will be used as the Clone source.
• Output
Clones from the previously painted areas.
• Foreground
Clones from the foreground image.
• Clone 1-4
Clones from the clips assigned to Clone 1-4 in the Viewer > Inputs menu.
View
The View pop-up menu, which only shows up when using stereoscopic
sources, determines which view the Clone source will come from.
• Auto
The Clone source is determined by the stereoscopic View mode that has been
selected at the top of the Viewer.

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For instance, if the Left View is selected above the Viewer, the Clone source
comes from the Left View. If the Right View is selected, the Clone source comes
from the Right View. If the Left/Right View is selected, the Clone source comes
from both the Left and Right Views so you can simultaneously Clone on both
the views at the same time.
• Left
The Clone source comes from the Left View.
• Right
The Clone source comes from the Right View.
Opaque
The Opaque control, which defaults to on, ensures that when cloning with Paint
> Alpha enabled that the output Alpha channel renders the paint strokes. This
is necessary for Clone sources that do not contain an Alpha channel.
Frame
Choose which frame number of the Clone source to paint from. By default, the
Frame field displays the actual frame number that you are cloning from.
Alternatively, a frame offset can be displayed instead. This behavior is
controlled with the Paint > Clone > Absolute Frame Numbers preference.
• Relative
When the Relative box is checked, the Clone source Frame value remains
relative to the current frame. So, if the Frame value is different than the current
frame, the offset between the two is maintained.
When Relative is unchecked, the Clone source is painting from a single frame
defined by the value entered in the Frame field.
Match Move
Match Move allows you to apply the tracking or transformation data of a Roto
node layer to the Clone source. To do so, select the desired Roto node layer in
the Paint > Tracking menu and your Clone source will be Match Moved. If you
would like to Stabilize instead, click the Stabilize icon at the top of the Viewer.

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Transform Controls
The Transform Controls allow you to position, scale, rotate and corner-pin the
Clone source.

X
Sets the horizontal position of the Clone source.
Y
Sets the vertical position of the Clone source.
Subpixel
When activated, subpixel positioning is used when moving the Clone source.
Z
Sets the rotation of the Clone source.
H
Sets the horizontal scale of the Clone source. Typing in a negative value will
flop the Clone source.
V
Sets the vertical scale of the Clone source. Typing in a negative value will flip
the Clone source.
Nudging the Clone Source
The Clone source can be nudged using the Arrow keys. One press of the
Arrow key moves the Clone source 1 pixel. Using the Shift key in conjunction
with the Arrow keys moves the Clone source 10 pixels. Ctrl plus the Arrow
keys moves the Clone source one tenth of a pixel. These nudge values can be
changed in the Preferences menu located in File > Preferences > Nudging on
Windows and Linux or Silhouette > Preferences > Nudging on Mac. Holding the
Arrow keys down slides the Clone source.
Interactive
Activates the on-screen controls. Turn off Interactive mode when you want to
Paint. When Interactive is selected, you can position, move, scale, rotate and
corner-pin the Clone source using the on-screen controls.
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Table 25: Clone Source Transform On-Screen Controls

Shortcut Action

Drag within large center circle Moves the Clone source

Shift-drag within large center circle Constrain Clone source movement horizontally or
vertically

Drag the center square horizontal and vertical Scales the Clone source horizontally or vertically
halfway points

Drag a center square corner Proportionally scale the Clone source

Drag large center circle Rotate the Clone source

Ctrl-drag large center circle Rotates the Clone source with finer control

Drag handles on corners of image Corner-pins the Clone source

Q Activates / Deactivates translation of the Clone

source

W Activates / Deactivates rotation of the Clone

source

E Activates / Deactivates scaling of the Clone source

Q, W, E then Ctrl(Win)/Cmd(Mac) Translates, Rotates or Scales in finer increments

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Corner-Pin
When Interactive mode is enabled, you can corner-pin the Clone source by
dragging the handles on the corners of the image. Alternatively, you can select
and move the corner points without being in Interactive mode by using
Ctrl(Win)/Cmd(Mac)-1,2,3 or 4 to select the top left, top right, bottom right and
bottom left corner points. Then, use the Arrow keys to move the points. This is
great way to select and move the corner points without having to zoom in or out
to find the points.
Filter
Chooses the filtering method when transforming the Clone source. Mitchell is
the default.
• Triangle
The Triangle filter is not the highest quality, but fine for scaled images.
• Quadratic
Quadratic is like triangle, but more blur with fewer artifacts. It offers a good
compromise between speed and quality.
• Cubic
Cubic is the default filter in Photoshop. It produces better results with
continuous tone images, but is slower than Quadratic. If the image contains fine
details, the result may be blurrier than desired.
• Catmull-Rom
This produces good results with continuous tone images which are scaled
down, producing sharp results with fine detailed images.
• Gaussian
Gaussian lacks in sharpness, but is good with ringing and aliasing.
• Mitchell
A good balance between sharpness and ringing, Mitchell is a good choice when
scaling up.
• Sinc
Keeps small details when scaling down with good aliasing.

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Reset
Resets all Clone brush transform controls.
Q (Translate), W (Rotate), E (Scale)
Pressing Q, W or E and then clicking and dragging will translate, rotate or scale
the Clone source. Pressing Q, W or E a second time deactivates the mode.
Also, the position of the cursor when W or E is pressed sets the anchor point
for the rotation or scale operation.
Note: Onion Skin mode is automatically activated once the Q, W or E key is pressed.

Table 26: Clone Source Nudging Keyboard Shortcuts

Shortcut Action

Arrow keys Moves the Clone source by 1 pixel

Shift-Arrow keys Moves the Clone source by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the Clone source by one tenth of a pixel

Hold down Arrow keys Moves the Clone source continuously

Q, W, E then Arrow keys Translates, Rotates or Scales by 1 pixel

Q, W, E then Shift-Arrow keys Translates, Rotates or Scales by 10 pixels

Q, W, E then Ctrl(Win)/Cmd(Mac)-Arrow keys Translates, Rotates or Scales by 1/10 of a pixel

Q, W, E then Arrow keys Translates, Rotates or Scales by 1 pixel

Ctrl(Win)/Cmd(Mac)-1 then Arrow Keys Nudges the top left corner point

Ctrl(Win)/Cmd(Mac)-2 then Arrow Keys Nudges the top right corner point

Ctrl(Win)/Cmd(Mac)-3 then Arrow Keys Nudges the bottom right corner point

Ctrl(Win)/Cmd(Mac)-4 then Arrow Keys Nudges the bottom left corner point

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Grade
The Clone source can be graded (color corrected) using the various
parameters.

Gain
Red
Multiplies red values.
Green
Multiplies green values.
Blue
Multiplies blue values.
Note: The parameters are ganged together by default. To deactivate Gang, press the
Lock icon located at the top right of each parameter group.

Gamma
Red
Adjusts red gamma values.
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Green
Adjusts green gamma values.
Blue
Adjusts blue gamma values.

Lift
Red
Adds red values.
Green
Adds green values.
Blue
Adds blue values.

Reset All
Resets all grade controls.

Clone Viewing Options

Four Clone viewing options will aid you in positioning the Clone source. They
are: Onion Skin, Align, Vertical Split and Horizontal Split.

Onion Skin
Onion Skin does a mix, as defined by the slider to the right, between the Clone
source and target. It is useful when aligning elements and painting with the
Clone brush. In addition to the icon, pressing the Caps Lock key toggles Onion
Skin mode on and off.

Align
Align inverts the paint source and mixes it with the foreground, as defined by
the slider to the right, creating an embossed effect when similar images are not
aligned.

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When similar images are perfectly aligned, you will see a solid gray color.
Not Aligned Aligned

Vertical Split
Compares the Clone source and target using a Vertical Split. Move your cursor
into the image area over the split line and when the cursor changes to a double-
arrow, click and drag to move the split line. The split line may not be obvious,
so white triangles on the edge of the Viewer will help you find it.

The split is handy when using the Grade controls to color match the Clone
source to the target.

Horizontal Split
Compares the Clone source and target using a Horizontal Split. Move your
cursor into the image area over the split line and when the cursor changes to a
double-arrow, click and drag to move the split line. The split line may not be
obvious, so white triangles on the edge of the Viewer will help you find it.

The split is handy when using the Grade controls to color match the Clone
source to the target.

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Clone Presets
0-9 Presets
The 0,1, 2, 3, 4, 5, 6, 7, 8 and 9 buttons on the left side of the window allow you
to save all of the Clone parameters as a preset. This includes the Clone source,
Frame Offset, Transform and Grade controls. To save a preset, click on one of
the numbered presets and adjust the transform controls. You can also use Alt-
0 through Alt-09 keyboard shortcuts to quickly select one of the presets.

Dual Clone
Two Clone presets can be activated at once. This allows you to paint from two
different frames, using separate transforms and/or color corrections.

After you have set up two Clone presets, choose the first preset and press Shift
to select the second one. The second preset will light up red and there will be
a Mix control that appears at the top right of the Clone controls. Mix sets the
relative opacity of the two Clone sources.

When you paint, both Clone presets will contribute to the painted result.
Note: The first preset is dominant and any transform changes will affect it instead of
the second preset.

Color (Shift-C)
Paints the image with the current color.

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Color Wheel
Colors can be selected from a color wheel.

Current Color

Value

Color Wheel
Paint Pots
Alpha
Mode

Color Picking
Colors can be picked off of the screen by hovering over an area in the Viewer
.
and pressing the (period key). The area inside the brush diameter is sampled
and averaged when choosing the color.

Value
The slider to the right of the Color Wheel controls the brightness of the selected
color.

Alpha
The slider below the Color Wheel controls the level of the painted Alpha when
Paint > A (Alpha) is selected. An Alpha value of 0 paints black, a value of 100
paints white while a value in between paints a level of gray.

Current Color
Displays the currently selected color. Clicking on the Current Color opens a
standard color picker.

Mode
Selects how color is applied to the image.

Normal
The Current Color is added to the image.

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Tint
The Current Color is used to tint the image by replacing hue and saturation.

Hue
The Current Color is used to tint the image by only replacing hue.

Luminance
Replaces the luminance of the image while leaving hue and saturation
unaffected.

Lighten
Pixels darker than the paint color are replaced, and pixels lighter than the paint
color do not change.

Darken
Pixels lighter than the paint color are replaced, and pixels darker than the paint
color do not change.

Paint Pots
Favorite colors can be stored in the paint pots by dragging and dropping from
the Current Color. Click on one of the paint pots to make it the current color.

Color Correct (Alt-C)

The image is painted using color adjustments.

Hue
Rotates the hue.

Saturation
Adjusts saturation. Positive values saturate, negative values desaturate.

Brightness
Adjusts brightness. Positive values brighten, negative values darken.

Contrast
Adjusts contrast. Positive values increase contrast, negative values decrease
contrast.
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Center
Adjusts the contrast curve to weight it more towards shadows or highlights. A
lower value means a brighter range.

Gamma
Adjusts gamma. The gamma adjustment leaves the white and black points the
same and only modifies the values in-between. Positive values darken the
midtones, negative values lighten the midtones.

Red
Adds or subtracts red.

Green
Adds or subtracts green.

Blue
Adds or subtracts blue.

Drag (D)
Smudge or smear an area of the image. When the brush first starts, it makes a
copy of the area under the brush, then on subsequent samples it stamps that
area down in the new location with a blend.

Mix
Mix is the initial blend amount of the smudged area.

Decay
Determines how much of the Mix to use on the next stamp and reduces the Mix
percentage with each sample.
The defaults are Mix = 50% and Decay = 90%. So, the first stamp will be a
50/50 mix of the brush start sample and the new sample, then the next will be
50% * 90% of it, etc. until it eventually fades away entirely.

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Eraser (Shift-E)
Erases previously painted brush strokes.

Grain (G)
Paints grain onto the image.

Size
Sets the size of the grain.

Red Size
Controls the size of the red grain.

Green Size
Controls the size of the green grain.

Blue Size
Controls the size of the blue grain.

Amount
Sets the intensity of the grain.

Red Amount
Controls the intensity of the red grain.

Green Amount
Controls the intensity of the green grain.

Blue Amount
Controls the intensity of the blue grain.

Softness
Sets the softness of the grain.

Red Softness
Controls the softness of the red grain.

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Green Softness
Controls the softness of the green grain.

Blue Softness
Controls the softness of the blue grain.

Mono
When checked, the grain is monochrome. In this mode, only the Red Size, Red
Amount and Red Softness sliders are active.

Mosaic (M)
Divides the picture up into square tiles.

Size
Controls the size of the square tiles. A small size value will create many square
tiles.

Repair (R)
Paints the image with the color level sampled at the beginning of each stroke.

Scatter (S)
Scatters pixels in a random fashion.

Radius
Sets the amount of scattering.

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Profile
You can customize your brush settings in the Profile section.

Profile
A soft, hard or square brush can be selected from the pop-up menu.

Hard
The brush profile is hard.

Soft
The brush profile is soft.

Square
The brush profile is set to a hard square.

Airbrush
When on, brush samples are generated at 30 samples/sec as long as the
mouse button or pen is held down.

Size
Sets the size of the brush. The brush can also be resized in the Viewer by
holding Ctrl(Win)/Cmd(Mac) and dragging the brush outline.

Opacity
Sets the opacity or transparency of the brush.

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Softness
Sets the brush softness. The brush softness can be changed in the Viewer by
holding Ctrl(Win)/Cmd(Mac)-Shift and dragging the brush outline.

Flatness
Sets the flatness of the brush.

Angle
Sets the angle of the brush.

Spacing
Sets the brush spacing.

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Paint
The Paint settings affect how paint is applied to the image.

RGB
The selected brush paints on the RGB channels.

R
The selected brush paints on the Red channel.

G
The selected brush paints on the Green channel.

B
The selected brush paints on the Blue channel.

A
The selected brush paints on the Alpha channel.

Obey Alpha
The intensity of the Alpha channel controls how much the image will be affected
by a particular paint operation. At any given pixel in the image, the more
transparent the value in the Alpha channel, the more transparent the
application of the paint operation.

Invert Alpha
Inverts the Alpha channel.

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Clear Alpha
Wipes any painted portions of the Alpha channel.

Restore
Clears all paint strokes and restores the original unpainted frames.

Current Frame
Clears all paint strokes on the current frame.

All Frames
Clears all paint strokes on all frames.

Work Range
Clears all paint strokes for the Timebar work range.

Tracking
Chooses a Roto node layer’s tracking or transformation data to be applied to
the Clone source. The Clone source will then be automatically set according to
the selected layer’s tracking or transformation data.
Note: Match Move in the Clone controls must be activated to use the selected layer’s
tracking or transformation data.

Stereo Offset
The Stereo Offset control, which only shows up when using stereoscopic
sources, is used to align the offset between Left and Right Views of
stereoscopic sequences. These values are automatically set when using the
Stereoscopic Align mode’s on-screen control.

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Table 27: Paint Keyboard Shortcuts

Shortcut Action

B Selects the Black and White brush

Shift-B Selects the Blemish brush

Ctrl-B Selects the Blur brush

C Selects the Clone brush

Shift-C Selects the Color brush

Alt-C Selects the Color Correct brush

Shift-E Selects the Eraser brush

D Selects the Drag brush

G Selects the Grain brush

M Selects the Mosaic brush

R Selects the Repair brush

S Selects the Scatter brush

Ctrl(Win)/Cmd(Mac)-drag brush outline Sizes the brush

Ctrl(Win)/Cmd(Mac)-Shift-drag brush outline Sets the brush softness

Shift with Clone brush Sets the Clone offset

Shift-click or tap Resets the Clone offset

Caps Lock Toggles Onion Skin mode on and off

. (period key) Picks colors off of the screen

Alt-1 through Alt-5 Selects one of the Clone brush setups

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EFFECTS NODE
The Effects node allows you to apply the brushes available in the Paint node
as filter effects to shapes or layers. Paint and shape features are tightly
integrated to form an extremely powerful shape based effects tool. Not only can
filters be animated, but they can be combined with animated shapes to take the
drudgery out of everyday jobs.

Since shapes are needed for the filters, the Effects node has it’s own shape
tools similar to those in the Roto node. See the Roto Node for more
information.

Effects Node Parameters

When the Effects node is selected in the Node List, parameters specific to the
Effects node can be adjusted in the Node window.

Alpha Behavior
Determines how incoming and outgoing Alpha channel’s are handled. The
default is None.

None
The incoming Alpha channel generated by previous nodes is not used for filter
applications nor are the Effects node’s shapes rendered to the Alpha channel.

Obey Input
The incoming Alpha channel generated by previous nodes is considered when
applying a filter.

Obey Inverted Input

The incoming Alpha channel generated by previous nodes is inverted and
considered when applying a filter.

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Write Output
When enabled, shapes with effects applied to them are rendered to the Alpha
channel.

Effects View Menu

When Effects is selected in the Node List, the View menu displays either the
Foreground or Output.

The 1 and 2 keys can quickly switch the view: 1 is Foreground and 2 is Output.

Foreground
The viewer displays the foreground clip.

Output
The viewer displays the output of the Effects node.

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Applying Filters
Using Shapes or Layers
Filters can be applied to shapes or layers. Simply select a shape, a selection of
shapes or a layer and choose an effect from the Filter menu. When added to a
layer, the effect is applied based on the alpha of the layer. The idea is to allow
shapes with various Blend modes to contribute to or limit where the effect will
be applied.
Mosaic filter applied to the Face shape

Once applied, the filter appears in the Object List within an Effects group.

In addition, if you click on one of the filters in the Object List, its editable
parameters show up in the Object window and can be keyframed like any other
attribute.

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Here’s an example of the Color Correct filter parameters:

Go to Applying Filters to see how it works.

Obeying Alpha Channels from Upstream Nodes

The incoming Alpha channel generated by previous nodes can be utilized when
applying a filter. All you need to do is click on the Effects node in the Node List
and select Alpha Behavior > Obey Input in the Node window. Now, when a filter
is added to a shape, it is only applied to the areas of input Alpha contained
within the shape.

Go to Obeying Alpha Channels from Upstream Nodes to see how it works.

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Filters Menu
When the Effects node is selected in the Node List, a Filter menu appears in
the Title bar. This is where you select filters to be applied to shapes or layers.
A number of different effects are selectable from the Filters menu.

B/W
The B/W filter converts color images to black and white simulating the look of
Black and White photographic filters.

Opacity
Sets the opacity of the B/W filter.

Mode
Selects the method by which the color image is converted to a monochrome
image.

Luminance
Creates a monochrome image using the brightness of the image.

Average
Creates a monochrome image using the average of the red, green and blue
channels.

Red
Simulates a red filter in black and white photography.

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Green
Simulates a green filter in black and white photography.

Blue
Simulates a blue filter in black and white photography.

Yellow
Simulates a yellow filter in black and white photography.

Orange
Simulates a orange filter in black and white photography.

Blemish
The Blemish filter is useful for removing facial blemishes on film originated
footage. It combines the Blur and Grain filters.

Blur
Adds blur to the image.

Opacity
Sets the opacity of the Blur filter.

Radius
Sets the amount of blur to be applied.

Color
Adds color to the image.

Opacity
Sets the opacity of the Color filter.

Color Picker
The Color parameter sets the color through the use of a standard color picker.

Blend Mode
Selects how color is applied to the image.

Normal
The current color is added to the image.

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Tint
The current color is used to tint the image by replacing hue and saturation.

Hue
The current color is used to tint the image by only replacing hue.

Luminance
Replaces the luminance of the image while leaving hue and saturation
unaffected.

Lighten
Pixels darker than the paint color are replaced, and pixels lighter than the paint
color do not change.

Darken
Pixels lighter than the paint color are replaced, and pixels darker than the paint
color do not change.

Color Correct
Manipulates the image using hue, saturation, brightness, contrast, gamma,
red, green and blue values.

Opacity
Sets the opacity of the Color Correct filter.

Hue
Rotates the hue.

Saturation
Adjusts saturation. Positive values saturate, negative values desaturate.

Brightness
Adjusts brightness. Positive values brighten, negative values darken.

Contrast
Adjusts contrast. Positive values increase contrast, negative values decrease
contrast.

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Center
Adjusts the contrast curve to weight it more towards shadows or highlights. A
lower value means a brighter range.

Gamma
Adjusts gamma. The gamma adjustment leaves the white and black points the
same and only modifies the values in-between. Positive values darken the
midtones, negative values lighten the midtones.

Red
Adds or subtracts red.

Green
Adds or subtracts green.

Blue
Adds or subtracts blue.

Grain
Adds grain to the image.

Opacity
Sets the opacity of the Grain filter.

Size
Sets the size of the grain.

Red Size
Controls the size of the red grain.

Green Size
Controls the size of the green grain.

Blue Size
Controls the size of the blue grain.

Amount
Sets the intensity of the grain.

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Red Amount
Controls the intensity of the red grain.

Green Amount
Controls the intensity of the green grain.

Blue Amount
Controls the intensity of the blue grain.

Softness
Sets the softness of the grain.

Red Softness
Controls the softness of the red grain.

Green Softness
Controls the softness of the green grain.

Blue Softness
Controls the softness of the blue grain.

Mono
When checked, the grain is monochrome. In this mode, only the Red Size, Red
Amount and Red Softness sliders are active.

Mosaic
Divides the image up into square tiles.

Opacity
Sets the opacity of the Mosaic filter.

Size
Controls the size of the square tiles. A small size value will create many square
tiles.

Scatter
Scatters pixels in a random fashion.

Opacity
Sets the opacity of the Scatter filter.
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Radius
Sets the amount of scattering.

Scratch
Removes vertical scratches by averaging in the surrounding pixels.

Opacity
Sets the opacity of the Scratch filter.

Width
Controls the strength of the Scratch filter.

Go to Using the Scratch Filter to see how it works.

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KEYER NODE
Using proprietary matte extraction techniques, the Keyer quickly and simply
creates mattes with minimal parameters even if you are dealing with fine hair
detail, smoke, or reflections. It is easy to use, yet provides the needed tools
when faced with good, bad, or ugly shots — tools such as DV/HD deartifacting,
multiple matte creation, color suppression and sophisticated matte
manipulation.

Composite

FG BG

Secondary Primary
Matte Matte

Go to Using the Keyer to see how it works.

Note: Before the Keyer can be available for use, it must be enabled in the Session
Settings and selected in the Node List.

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Keyer View Menu
When the Keyer is selected in the Node List, the View menu displays either the
Composite, Foreground, Background, Combined Matte, Primary Matte,
Secondary Matte or Output.

The 1, 2, 3, 4, 5, 6, and 7 keys can quickly switch the view: 1 is Composite, 2

is Foreground, 3 is Background, 4 is Combined Matte, 5 is Primary Matte, 6 is
Secondary Matte and 7 is Output.

Composite
The viewer displays the composite of the foreground over the background
based on your matte. If “None” is selected for the Background Input, the
foreground will be composited over a color. The default color is gray, but can
be changed by going to File > Preferences > Composite on Windows and Linux
or Silhouette > Preferences > Composite on Mac. If you add a Composite node
in the Session Settings, the composite will be rendered.

Foreground
The viewer displays the foreground clip.

Background
The viewer displays the background clip.

Combined Matte
The viewer displays the final matte. If the Primary and Secondary Mattes are
utilized, this option will show you the combined matte.

Primary Matte
The viewer displays the Primary Matte.

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Secondary Matte
The viewer displays the Secondary Matte if it is enabled.

Output
The viewer displays the output of the Keyer node which is the modified
foreground and Alpha channel.

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Deartifact
The Deartifact parameters are handy for cleaning up artifacts caused by DV
and HD video footage. In fact, they are useful for cleaning up foregrounds that
have aliased or jaggy edges.
Deartifact off Deartifact on

When activated, a RGB to YUV conversion takes place so that you can blur
only the U and V color channels. Since this is where most of the artifacting
shows up, this has the effect of cleaning up the ratty edges encountered when
keying DV or HD video footage. It is usually best to blur mostly on the horizontal
axis.
Note: The Deartifact parameters default to settings that are good for DV footage. If you
are working at higher resolutions, you will want to increase the Horizontal and Vertical
Blur settings.

Enable
Activates Deartifacting.

Horizontal Blur
Prior to pulling the matte, the U and V color channels are blurred by a fast,
quality blur along the X-axis.

Vertical Blur
Prior to pulling the matte, the U and V color channels are blurred by a fast,
quality blur along the Y-axis.

Gang
The horizontal and vertical slider values can be ganged together.

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Primary Matte
The Keyer can utilize up to two mattes in the creation of the final composite. If
only one matte is needed, you would use the Primary Matte. When adjusting
the Primary Matte, you should select Primary Matte in the View pop-up menu
so you can see what you are doing.
Note: Keep in mind when creating your matte that wherever you see black in the matte,
you will see background in the final composite. Wherever you see white in the matte,
you will see foreground in the final composite--foreground being anything that is
extracted from the blue or green screen.

Extract On
Extract On selects the type of matte extraction. Select whichever type isolates
the desired values. A matte is extracted based on one of the following:

Blue Screen
Choose blue screen if you have a blue screen.

Green Screen
Choose green screen if you have a green screen.

Luminance
A matte is extracted based on the luminance of the image.

Hue
A matte is extracted based on the hue of the image. When adjusting the
Position parameter, you are selecting different hues.

Saturation
A matte is extracted based on the saturation of the image.

Average
A matte is extracted based on the average of the image’s RGB values.

Red
A matte is extracted based on the image’s red values.

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Green
A matte is extracted based on the image’s green values.

Blue
A matte is extracted based on the image’s blue values.

Alpha
A matte is extracted based on the image’s alpha values.

Cyan
A matte is extracted based on the image’s cyan values.

Magenta
A matte is extracted based on the image’s magenta values.

Yellow
A matte is extracted based on the image’s yellow values.
Background/Foreground
When using the Extract On > Blue Screen or Green Screen settings,
Background and Foreground are used while all other matte extraction methods
use Position and Range.

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Background
Sets the background value. The lower the value, the harder or blacker the
matte will become.
Background = 40

Background = 80

It is best to set the Background value as high as possible, while at the same
time making sure that the background is completely black.

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Foreground
Sets the foreground value. The higher the value, the harder or whiter the matte
will become.
Foreground = 0

Foreground = 17

It is best to set the Foreground value as low as possible, while at the same time
making sure that the foreground is completely white for any areas that should
be opaque in the final composite.

Position and Range

When using matte extraction methods other than the Extract On > Blue Screen
or Green Screen settings, Position and Range are used instead of Foreground
and Background.

Position
The Position value pinpoints the values to be used in the matte. For a
Luminance extraction, a Position value of 100 would make a white matte of the
highlights and a value of 0 would make a white matte of the shadows.

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Range
Increases or decreases the range of values in the matte. A low Range value
indicates a narrow range of values. A high Range value indicates a large range
of values included in the matte.

Black Clip
Blacks in the matte are made blacker by increasing the value of the slider. As
the slider value increases, more values are clipped to black. This is helpful for
getting rid of unwanted gray areas in what should be the black part of the matte.

White Clip
Whites in the matte are made whiter by increasing the value of the slider. As
the slider value increases, more values are clipped to white. This is helpful for
getting rid of unwanted gray areas in what should be the white part of the matte.

Shrink/Grow
Shrinks or grows the matte. Negative values shrink and positive values grow
the matte.
Shrink/Grow = -5

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Blur
The matte is blurred by a fast, quality blur.
Blur = 10

Wrap
Helps blend the foreground into the background by making the background
“wrap” into the foreground edges without completely losing the edge. The edge
of the foreground starts to become transparent.
Wrap = 30

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Secondary Matte
Sometimes two mattes are needed to create a good key. The Keyer allows you
to create two different mattes and combine them with various Blend modes.

With the exception of those listed below, the remaining parameters for the
Secondary Matte are the same as the Primary Matte: Extract On, Background,
Foreground, Position, Range, Shrink/Grow, Blur, and Wrap.

Enable
Activates the Secondary Matte.
Note: You must first enable the Secondary Matte before it can be seen in the View pop-
up menu.

Blend
Once a blend mode is selected, the Secondary Matte is combined with the
Primary Matte.

Add
The Secondary Matte is added to the Primary Matte.
Primary Matte Secondary Matte Result

Subtract
The Secondary Matte is subtracted from the Primary Matte.
Primary Matte Secondary Matte Result

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Multiply
Produces a result where there is a union of the Primary and Secondary Mattes.
Primary Matte Secondary Matte Result

Screen
This looks kind of like the Add blend mode, but highlights are retained as
opposed to being burnt out.
Primary Matte Secondary Matte Result

Difference
Produces a result where a value exists in the Primary and Secondary Mattes,
but not in both.
Primary Matte Secondary Matte Result

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Darken
Compares the two mattes and takes pixels with the lower value.
Primary Matte Secondary Matte Result

Lighten
Compares the two mattes and takes pixels with the higher value.
Primary Matte Secondary Matte Result

Opacity
Sets the opacity of the Secondary Matte.

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Color Suppress
Removes either blue or green spill from the foreground object.
Note: Color Suppress is only available when using Extract On > Blue or Green Screen
in the Primary Matte.

Enable
Activates color suppression.
Foreground
Suppresses color spill in the foreground.The default value of 100 should be
sufficient for most situations.
Foreground = 0 Foreground = 100

Range
Increases the range of areas that are color suppressed. If color spill is still
evident, increase this value.

Edge
Suppresses the color spill of the foreground edge to the color gray. This is very
useful for edges that contain a lot of transparency like hair or reflections.

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POWER MATTE NODE
Power Matte is an easy to use interactive image matting tool capable of
extracting almost any object in an image--even if you are dealing with fine hair
detail, smoke, or reflections.
Before After

Matte Shapes

To work this magic, Power Matte iteratively estimates the transparency value
for every pixel in the image, based on a small sample of foreground (what you
want to cut out) and background (what you want to get rid of) pixels marked by
defining simple shapes on the image. Results show that compared with
previous approaches, our method is more efficient and requires minimal effort
to extract high quality mattes for foregrounds with significant semi-transparent
regions. In addition, the foreground edge colors can be estimated in the semi-
transparent areas to create a seamless composite.

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Go to Using Power Matte to see how it works.
Note: Before Power Matte can be available for use, it must be enabled in the Session
Settings and selected in the Node List.
Since shapes are required for Power Matte, it has it’s own shape tools similar
to those in the Roto node. See the Roto Node for more information.

Matte Creation
Power Matte uses open or closed shapes to define the object you would like to
isolate or extract. The shapes can be loose--they don’t need to follow exactly
around the edges. Areas not defined by shapes are considered unknown areas
and are automatically computed by Power Matte.

Trimaps
Power Matte creates mattes by using a trimap--a pre-segmented image
consisting of three regions of foreground (what you want to cut out),
background (what you want to get rid of) and unknown. Partial opacity values
are then computed only for pixels inside the unknown region. Two trimap
methods can be used: Open Shape or Closed Shape. When creating mattes,
start with the Open Shape Method and move on to the Closed Shape Method
if the results are not satisfying.

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Open Shape Method
Power Matte only requires a few open shapes to define foreground and
background areas of the image when using the Open Shape Method. Areas not
defined by shapes are considered unknown areas with partial opacity values
being computed between the areas marked by foreground and background
shapes.
Shapes Matte

Trimap

Using the shapes, Power Matte generates an intermediate matte result called
a Trimap. White signifies solid foreground, black is complete background and
gray is unknown area where Power Matte will compute partial opacity.

The Open Shape Method requires little user input, but when color ambiguity
exists between the foreground and background, the Closed Shape Method
may create a more accurate matte. In addition, the Open Shape Method will
also take slightly longer to render as it requires an extra calculation step.

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Open Shape Method Tips & Tricks
• Make sure you draw enough foreground (what you want to cut out) and
background (what you want to get rid of) shapes. A good technique is to draw an
open inner shape within the object you are extracting and an outer, open shape
outside the object.
• The shapes should be near the boundary of the object, but not right up against the
edge.
• If the foreground or background has varying colors, the shapes should cover
these colors.
• When viewing the matte, if you see gray areas in the foreground object that should
be completely white, make additional foreground shapes in those areas. If you see
gray matte areas in the background that should be completely black, make
additional background shapes.
• The general rule is to not put different foreground and background shapes too
close together unless you need to.
Warning: If you only provide a few sparse shapes, the Open Shape Method will take
longer to process with a less accurate result than the Closed Shape Method.
Good Shape Example Bad Shape Example

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Closed Shape Method
The Closed Shape Method uses closed shapes to mark definite foreground and
background areas of the image. Any unmarked areas are considered unknown
and partial opacity values are then computed for the pixels inside the unknown
region. So, make sure that any hair detail, transparent or blurry portions fall
within the unknown areas.
Shapes Matte

Trimap

Closed Shape trimaps process slightly faster than Open Shape trimaps and
can result in extracting a more accurate shape, most notably when color
ambiguity exists between the foreground and background. However, they can
be tedious to create and tend to fail for images with large portions of semi-
transparent foreground where the trimap is difficult to create manually. The
Closed Shape method does not handle a foreground object with background
holes in it, and therefore the Open Shape method would be a better choice
when extracting an object with holes

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Closed Shape Method Tips & Tricks
• First, define foreground areas by drawing a closed shape around the inside edges
of the foreground (what you want to cut out).
• Next, define background areas (what you want to get rid of) by drawing a closed
shape around the background areas.
• If your foreground object is completely surrounded by background, a quick way
to define the background area is to first draw a closed shape around the outside
of the foreground and then invert the shape in the Object window.
• Ideally, the unknown region, the regions not defined with foreground or
background shapes, should only cover transparent pixels whose actual values are
not completely foreground or background. In other words, the unknown region
should include hair detail, transparent or blurry portions of the image.
Note: Large foreground objects take longer to process than small ones.

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Power Matte View Menu
When Power Matte is selected in the Node List, the View menu displays either
the Composite, Foreground, Background, Trimap, Matte or Output.

The 1, 2, 3, 4 , 5 and 6 keys can quickly switch the view: 1 is Composite, 2 is

Foreground, 3 is Background, 4 is Trimap, 5 is Matte and 6 is Output.

Composite
The viewer displays the composite of the foreground over the background
based on your shapes. If “None” is selected for the Background Input, the
foreground will be composited over a color. The default color is gray, but can
be changed by going to File > Preferences > Composite on Windows and Linux
or Silhouette > Preferences > Composite on Mac. If you add a Composite node
in the Session Settings, the composite will be rendered.

Foreground
The viewer displays the foreground clip.

Background
The viewer displays the background clip.

Trimap
The viewer displays the trimap matte.

Matte
The viewer displays the generated matte.

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Output
The viewer displays the output of the Power Matte node which is the modified
foreground and Alpha channel.
Note: If Color Estimation is enabled, the edges of the foreground element will look a bit
odd in the Output View.

Power Matte Node Parameters

When Power Matte is selected in the Node List, parameters specific to Power
Matte can be adjusted in the Node window.

Source Alpha
Controls how the incoming Alpha channel is blended with the Power Matte
Alpha channel.

Ignore
The incoming Alpha channel is not used.

Add
Adds the incoming Alpha channel to the Power Matte Alpha channel.

Subtract
Subtracts the incoming Alpha channel from the Power Matte Alpha channel.

Multiply
Produces a result where there is a union of pixels from the incoming Alpha
channel and Power Matte Alpha channel.

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Difference
Produces a result where a value exists in the incoming Alpha channel and
Power Matte Alpha channel, but not in both.

Color Estimation
Estimates the color of the foreground in unknown and semi-transparent areas.
Color Estimation is off by default and when activated, prevents fringing to
create a seamless composite. When disabled, a foreground object with
transparent edges against a bright or dark background will have bright or dark
edges in the composite.
Off On

Note: Color Estimation can cause color flickering in edge areas of partial opacity if your
shape position is not constant from frame to frame or if your source footage is grainy.
Disable Color Estimation if you see flickering in the edge areas after a preview or
rendering.

Sensitivity
Sets the sensitivity of the Unknown areas. The higher the value, the more
details are brought out.

Deartifact
Blurry artifacts can be generated while attempting to extract objects that have
drop shadows, similar colors to the background or out of focus edges.
Deartifact can be used to limit these artifacts.

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Accuracy
The accuracy of the generated matte can be increased with this control. When
foreground and background shapes are close together, setting the Accuracy to
Higher or Full will result in a more accurate matte.
Note: It is best to work with Power Matte at the Accuracy setting that you will be
rendering at.

Normal
Normal will work for most images and will render faster than the other settings.

Higher
Higher results in better accuracy than the Normal setting, but not quite as good
as Full.

Full
Full will result in the most accurate matte, but will take longer to render.

Color Suppression
When a foreground object has been photographed against a solid blue or green
backdrop, the blue or green color can have a tendency to spill onto the
foreground object. When extracting an object photographed against one of
these colors, you may find it necessary to remove the blue or green spill. This
is a process called Color Suppression.
Off On

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Type
Selects whether blue or green is suppressed from the foreground image.

Foreground
Suppresses color spill in the foreground.The default value of 100 should be
sufficient for most situations.

Range
Increases the range of areas that are color suppressed. If color spill is still
evident, increase this value.

Edge
Suppresses the color spill of the unknown edge areas to the color gray. This is
useful for edges that contain a lot of neutral transparency like glass reflections.

Reset All
Resets all parameters to their default state.

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Power Matte Shape Parameters
Type
Foreground
Assigns the shape to be used as foreground (what you want to cut out).

Background
Assigns the shape to be used as background (what you want to get rid of).

Filled
Determines whether or not the shape is filled.

Invert
Inverts a filled shape. This option is only available if Filled is enabled.

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STEREOSCOPIC
Traditional stereoscopic photography consists of creating a 3-D illusion from a
pair of 2-D images. The easiest way to create depth perception in the brain is
to provide the eyes of the viewer with two different images, representing two
perspectives of the same object, with a minor deviation similar to the
perspectives that both eyes naturally receive in binocular vision.

Silhouette provides stereoscopic viewing and editing tools to handle dual

images from different perspectives.

Go to Working with Stereoscopic Images to see how it works.

Stereoscopic Workflow
Creating Sessions
• Load a stereoscopic EXR file or left and right sequences into Silhouette.
• Create a Session.
• If you are not using a stereoscopic EXR file, the left and right sequences have to
be linked together using the Source node’s View > Primary/Left and
Secondary/Right parameters.

Roto
• Use the Stereoscopic View modes to determine whether you are rotoscoping on
the Left View, Right View or both the Left and Right Views at the same time.
• Create a shape around an object in either the Left or Right View and keyframe it as
needed.
• Use Edit > Stereoscopic > Duplicate > New Layer so that the shape and all of it’s
keyframes from the Left View are duplicated to the Right View in a new layer and
the two shapes are linked together. When using shapes inside of a transformed
layer, you can duplicate the layer instead. This will copy the layer along with it’s
transform data into the other view, copy any unlinked stereoscopic children into
it and then link the shapes. You can stereo duplicate one layer at a time using this
method.
• Go to the view that contains the duplicated shape and layer and click on the layer
in the Object List to make it active.

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• Activate the Stereoscopic Align mode and click and drag in the Viewer to align the
two views in the area of your shape. The views are aligned when there is a solid
gray color.
• If the object you are rotoscoping moves through various depths, you will want to
keyframe the Stereoscopic Align setting at various frames.
• Deactivate Stereoscopic Align mode.
• Once aligned, the duplicated shape is aligned to the rotoscoped object using the
offset created when adjusting the Stereoscopic Align mode.
• Adjust the duplicated shape as needed.
Paint
• Use the Stereoscopic View modes to determine whether you are painting on the
Left View, Right View or both the Left and Right Views at the same time.
• To paint on both the Left and Right Views at the same time and in the same
location, you will want to use Stereoscopic Align mode to line up the two views.
• Activate the Stereoscopic Align mode and click and drag in the Viewer to align the
two views in the area where you will be painting. The views are aligned when there
is a solid gray color.
• Deactivate Stereoscopic Align mode.
• Once aligned, painting in the Left/Right View will paint on the same location of the
image in both views.

Keying
• Use the Stereoscopic View modes to view the result of the keyer in the Left View,
Right View or both the Left and Right Views at the same time.
Note: The Keyer applies the same setting to both the Left and Right Views.

Effects
• Use the Stereoscopic View modes to determine whether you are creating effects
on the Left View, Right View or both the Left and Right Views at the same time.

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Source Node > View
The stereoscopic tools in Silhouette only show up in the user interface when
using a stereoscopic EXR file or when left and right sequences have been
assigned in the Source node’s View > Primary/Left and Secondary/Right
parameters.

In the Source node parameters, you will find View controls. This is where you
identify which sequences are used for the left and right views of stereoscopic
sessions.

Primary/Left
Sets which sequence is used for the left view.

Secondary/Right
Sets which sequence is used for the right view.
Note: Stereoscopic EXR files which contain both the Left and Right Views within one
file are automatically connected to the Primary/Left and Secondary/Right views.

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Stereoscopic View Modes
The Viewer’s Stereoscopic View modes determine whether you are working on
the Left View, Right View or both the Left and Right Views at the same time.

L (Shift-1)
Left View displays the left sequence in the Viewer.

R (Shift-2)
Right View displays the right sequence in the Viewer.

LR (Shift-3)
Left/Right View displays both the left and right sequences in the Viewer at the
same time.

Stereoscopic Split Mode

Only available once the Left/Right View is active, Stereoscopic Split Mode
determines whether or not the Left and Right Views are arranged horizontally
or vertically.

Horizontal
Arranges the Left and Right Views horizontally.

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Vertical
Arranges the Left and Right Views vertically.

Stereoscopic Align (Shift-4)

Stereoscopic Align utilizes layers to line up two stereoscopic sequences which
will effectively negate the offset between them. Aligning the sequences in this
manner allows painting on the same location of the Left and Right Views
simultaneously, while for rotoscoping, it means shapes created for the Left
View can be easily duplicated to the Right View in the proper position.

Note: Stereoscopic Align can only be selected and used once a layer is active.
When activated, Stereoscopic Align uses a negative mode which inverts one of
the views and mixes it with the other. This creates an embossed effect when
similar image areas are not aligned. By dragging the move cursor that appears,
you can drag on the Viewer to align the views. When similar image features are
perfectly aligned, you will see a solid gray color. The amount you move the view
in Stereoscopic Align mode is stored in the Stereo Offset parameter of the
active layer which is set to animate by default. Animation of this parameter is
needed for image sequences that contain depth changes.

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Table 28: Stereoscopic Align Keyboard Shortcuts

Shortcut Action

Click and drag in Viewer Moves the Stereo Offset horizontally

Shift-click and drag in Viewer Moves the Stereo Offset horizontally and vertically

Ctrl-drag in Viewer Moves the Stereo Offset in finer increments

Alt-click in Viewer Resets the Stereo Offset

Arrow keys Moves the Stereo Offset by 1 pixel

Shift-Arrow keys Moves the Stereo Offset by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the Stereo Offset by one tenth of a pixel

Hold down Arrow keys Moves the Stereo Offset continuously

Anaglyph Preview (Shift-5)

Activates Anaglyph Preview mode so that you can check your stereoscopic
image in 3D using red-blue glasses.

Table 29: Stereoscopic View Shortcuts

Shortcut Action

Shift-1 Selects the Left View

Shift-2 Selects the Right View

Shift-3 Selects the Left/Right View

Shift-4 Selects Stereoscopic Align

Shift-5 Anaglyph Preview

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Layer > Stereo Offset
The Layer > Stereo Offset control is used to align the offset between Left and
Right Views of stereoscopic sequences and is set to animate by default. This
value is automatically set when using the Stereoscopic Align mode’s on-screen
control.

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Stereoscopic Roto
Shape and Layer Creation
When in the Left or Right View, creating a shape or layer will create it in either
the Left or Right View. In the Left/Right View, a shape or layer is created in both
the Left and Right Views.

Switching the View Assignment for Shapes and Layers

Whichever view is selected when the shape or layer is created, a L for Left View
or R for Right View appear to the left of the Object Lists’s Opacity icon and
indicates which view the shape or layer is assigned to. Clicking on this View
icon toggles which view the shape or layer is located in.

Link, Unlink and Duplicate Shapes

In the Edit menu, you will find a Stereoscopic entry. This is where you can link,
unlink and duplicate shapes for stereoscopic rotoscoping.

Link
Links two selected shapes of the same type and the same number of control
points for stereoscopic rotoscoping. Linking allows the two shapes to be
simultaneously selected and edited in the Left/Right View.
Note: Linked shapes are bolded in the Object List when one or both of a linked pair is
selected.

Unlink
Unlinks selected shapes.

Duplicate
Duplicates a selected shape or a single layer containing shapes to the other
view and automatically links it. When a layer is duplicated, all of it’s transform
data is copied as well.

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Duplicate > New Layer
Duplicates a selected shape to the other view, automatically links it and places
it in a new layer.
Note: Duplicate > New Layer is not available if you are in the Left/Right View.

Selection
Selecting Shapes
• When in the Left/Right View, selecting a shape also selects its linked shape.
• While in the Left/Right View, in the Transform and Reshape tools, changing the
selection state of a stereoscopic linked shape will do the same to the linked shape.
• It is possible to only select one of the two linked objects:
1 In the Left/Right View by using the Object List.
2 In the Transform tool by Alt-clicking a shape.
3 In the Reshape tool by Alt-clicking an unselected shape.
• An Alert icon appears over the Left or Right View icons if there is a selected shape
in the other view.

Selecting Points
When in the Left/Right View, changing point selection on one shape will match
the point selection on the linked shape

Editing
Points
Moving Points
When in the Left/Right View, selected points on both shapes are moved by the
same amount.

Adding Points
Adding points is only allowed while in the Left/Right View, so you can see the
change to both linked shapes.

Deleting Points
Deleting points is only allowed while in the Left/Right View, so you can see the
change to both linked shapes.
Note: Adding and deleting points is only allowed when in the Left/Right View when both
shapes are selected and when both shapes have the same selected control points.

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Shapes
Deleting Shapes
Deleting a linked shape will sever its link.

Cutting Shapes
Cutting a single linked shape will sever its link, unless both linked shapes are
cut.

Copying Shapes
Copying a single linked shape will sever its link, unless both linked shapes are
copied.

Pasting Shapes
If both linked shapes are in the copy buffer, the new pasted shapes will be
linked to each other.

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Stereoscopic Paint
Painting
In general, painting on stereoscopic images is the same as painting with single
images. The Stereoscopic View mode determines whether you are painting on
the Left View, Right View or both the Left and Right Views at the same time.

In the Timebar, red markers are displayed for painted frames in the Left View,
blue markers for the Right View and green markers for frames painted in both
the Left and Right View.

Clone > View

The View menu determines which view the Clone source will come from.

Auto
The Clone source is determined by the Stereoscopic View mode that has been
selected at the top of the Viewer.

For instance, if the Left View is selected above the Viewer, the Clone source
comes from the Left View. If the Right View is selected, the Clone source comes
from the Right View. If the Left/Right View is selected, the Clone source comes
from both the Left and Right Views so you can simultaneously Clone on both
the views at the same time.

Left
The Clone source comes from the Left View.
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Right
The Clone source comes from the Right View.

Paint > Stereo Offset

The Stereo Offset controls are used to align the offset between Left and Right
Views of stereoscopic sequences. These values are automatically set when
using the Stereoscopic Align mode’s on-screen control.

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Stereoscopic Rendering
The View and Dominant View pop-up menus appear in the Render Options
window when using stereoscopic sources.

View
The View pop-up allows you to control whether you render the Left, Right or
both the Left and Right stereoscopic views simultaneously.

Both
Renders both the Left and Right stereoscopic views with a _L and _R
appended to the filenames.

Left
Renders only the Left stereoscopic view with a _L appended to the filename.

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Right
Renders only the Right stereoscopic view with a _R appended to the filename.

Combined
Renders both the Left and Right stereoscopic views into one file when using the
EXR file format.

Note: View > Both must be selected before the Combined button is active.

Dominant View
The Dominant View, which is only available when rendering stereoscopic EXR
files, determines the view that non-stereoscopic aware applications will display.

Left
Sets the Left stereoscopic view as the dominant view.

Right
Sets the Right stereoscopic view as the dominant view.

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SOURCE NODES
When media is imported into Silhouette, it is automatically plugged into a
Source node.

Source Node Parameters

When one of the image sources is selected in the Node List,

parameters specific to that Source node can be adjusted in the Node window.

Preserve Alpha
Determines whether or not to use the input clip’s Alpha channel. The default is
off.

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View
The View parameters are where you identify which sequences are used for the
Left and Right Views when working on stereoscopic sessions. The
stereoscopic tools in Silhouette only show up in the user interface when using
a stereoscopic EXR file or when left and right sequences have been assigned
in the View > Primary/Left and Secondary/Right parameters.
Note: Non-stereoscopic sources only use the Primary/Left view.

Primary/Left
Sets which sequence is used for the Left View.

Secondary/Right
Sets which sequence is used for the Right View.
Note: Stereoscopic EXR files which contain both the Left and Right Views within one
file are automatically connected to the Primary/Left and Secondary/Right views.

Time Shift
Shifts the source node in time.

Extend Duration
When enabled, the last frame of the sequence will repeat if the Session
duration is longer.

Flip Vertical
Flips the sequence vertically.

Flip Horizontal
Flops the sequence horizontally.

Renaming Source Nodes

You can rename a Source node by either:
• Clicking on the Source node once to select it, hitting the Enter key, typing in the
new name and pressing Enter again.
• Right-clicking on the Source node, selecting Rename and typing in a new name.

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COMPOSITE NODE
The Composite node renders a composite of the foreground over the
background based on the generated Alpha channel. If “None” is selected for
the Background Input, the foreground will be composited over a color. The
default color is gray, but can be changed by going to File > Preferences >
Composite on Windows and Linux or Silhouette > Preferences > Composite on
Mac.
Note: Before the Composite node can be available for use, it must be enabled in the
Session Settings.
Both the position and scale of the foreground element can be adjusted in the
Composite node.

Go to Using the Composite Node to see how it works.

Composite View Menu

When Composite is selected in the Node List, the View menu displays either
the Composite, Foreground or Background.

The 1, 2 and 3 keys can quickly switch the view: 1 is Composite, 2 is

Foreground and 3 is Background.

Composite
The viewer displays the composite of the foreground over the background
based on your matte. If “None” is selected for the Background Input, the
foreground will be composited over a color.

Foreground
The viewer displays the foreground clip.

Background
The viewer displays the background clip.
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Composite Node Parameters

Transform
Transforms the foreground and matte.

Position
Sets the horizontal and vertical position of the foreground and matte.

Scale
Sets the horizontal and vertical scale of the foreground and matte.

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OUTPUT NODE
The Output node is the result of all enabled nodes and is what Silhouette
actually renders.

Tip: You can quickly view the Output node’s Alpha channel from any other node by
using the Alt+o shortcut key. Pressing Alt-o again views the previous node.

Alpha
Blur
Blurs the final Alpha channel.

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RENDER
When you have you completed your work in Silhouette, you will want to render
the final result. Rendering takes place in the Render Options window and is
accessed by selecting Session > Render.

Go to Rendering to see how it works.

Additional rendering options are available in the Actions menu such as: Render
Active Node, Render Layers to Separate Files, Render Shapes to Channels,
and Render Shapes to Separate Files. Go to Actions for more information.

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Render Options
Range
Range determines which frames will be rendered. The numeric entry fields to
the right of the range pop-up display the frame range to be rendered, but can
also be used to enter a specific frame range if Custom has been selected.

All
Renders the entire frame range.

Work Range
Renders the frame range in and out points in the Timebar.

Current Frame
Renders the current frame.

Custom
Renders a custom frame range as defined by the numeric entry fields.

Format
The format setting allows you to select from various file formats. We currently
can save to the following file formats: Cineon, DPX, IFF, JPG, OpenEXR, PNG,
SGI/RGB, QuickTime, TIFF and TARGA.
Note: QuickTime is only available on operating systems that support it.

Options
Adjusts options for the selected file format.

Save
Save sets how the file will be rendered.

Color+Alpha
Renders a single RGB+Alpha file.

Premultiply
Premultiplies the RGB channels by the Alpha channel.
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External Alpha
Renders two separate files: an RGB file and an Alpha file. The Alpha file has
alpha appended to the filename.

Color
Renders the foreground image into the RGB channels.

Alpha Only
Renders an Alpha only file.

Paint Only
Only the painted portions of the frame along with the Alpha channel (where the
brush painted) are exported as a premultiplied RGBA file. This feature is handy
for adding only the painted portions in your compositing application.
Note: If you paint into individual R, G or B channels, or paint Alpha only, this Paint Only
feature will not work properly.

Resolution
Lowers the image resolution for faster rendering.

Full
Full keeps the image quality at full resolution.

Half
Half lowers the image resolution by 1/2.

Quarter
Quarter lowers the image resolution by 1/4.

Custom
Allows you to choose a custom resolution.

Field Handling
None
No field processing takes place.

Deinterlace
Deinterlaces the video frame into two separate fields.
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3:2 AA
Removes 3:2 Pulldown based on the AA frame being the first frame.

3:2 BB
Removes 3:2 Pulldown based on the BB frame being the first frame.

3:2 BC
Removes 3:2 Pulldown based on the BC frame being the first frame.

3:2 CD
Removes 3:2 Pulldown based on the CD frame being the first frame.

3:2 DD
Removes 3:2 Pulldown based on the DD frame being the first frame.

Field Dominance
Select either Even or Odd field dominance depending on whether you are
working with NTSC or PAL images.

Even
Use for NTSC images.

Odd
Use for PAL images.

View
The View pop-up menu, which only shows up when using stereoscopic
sources, allows you to control whether you render the Left, Right or both the
Left and Right stereoscopic views simultaneously.

Both
Renders both the Left and Right stereoscopic views with a _L and _R
appended to the filenames.

Left
Renders only the Left stereoscopic view with a _L appended to the filename.

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Right
Renders only the Right stereoscopic view with a _R appended to the filename.

Combined
Renders both the Left and Right stereoscopic views into one file when using the
EXR file format.
Note: View > Both must be selected before the Combined button is active.
Go to the Render Preferences to see how to modify the default suffixes
appended to the filename.

Dominant View
The Dominant View, which is only available when rendering stereoscopic EXR
files, determines the view that non-stereoscopic aware applications will display.

Left
Sets the Left stereoscopic view as the dominant view.

Right
Sets the Right stereoscopic view as the dominant view.

Slap Comp
Renders out the Alpha channel overlayed on the image as a color with opacity.
This is useful for showing your handiwork to a supervisor for approval. When
activated, color and opacity parameters appear.

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Output
The Output options control where the file is rendered and how it is named.

Directory
Selects the directory where the rendered files will be stored.

Filename
By default, the name of the session is used for the filename. Type in a new
name if you don’t like the default.

Output Start Frame

The rendered frames will start with this number.

Padding
Sets how many numbers are in the filename. The default is 4.

Prefix
Adds a prefix symbol before the file numbers. Allowed values are . - _ and
nothing with . being the default.

Template
Shows you where the file will be stored and how it will be named.

Filename Customization
You can add environment variables to the filename using the sfx $(VARNAME)
format. Two internal variables are defined for rendering, VIEW and ALPHA.
$(ALPHA) expands to _alpha, but only when it is needed for naming external
alpha. $(VIEW) expands to L or R, when appropriate.

The default filename expansion, when $(VIEW) and $(ALPHA) are not typed
manually (i.e. by default), is this:

$(FILENAME_TYPED_BY_USER)_$(VIEW)$(ALPHA)

If not doing multiple view stereo rendering, it is:

$(FILENAME_TYPED_BY_USER)$(ALPHA)

Remember that $(ALPHA) expands to nothing when not needed.

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Miscellaneous
Preview
Opens a Preview window that displays each rendered image as well as render
statistics. With the Preview window open, press the R, G, B, and A buttons to
toggle viewing of the respective channels or C to view the RGB channels.

Render
Renders using the current settings.

Cancel
Closes the Render Options window.

Apply
Saves the current settings and closes the Render Options window without
rendering.

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Table 30: Render > Preview Shortcuts

Shortcut Action

R Displays the Red channel

G Displays the Green channel

B Displays the Blue channel

A Displays the Alpha channel

C Displays the RGB channels

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COMMAND-LINE
Silhouette on the command-line allows you to execute projects with a variety of
commands to control the rendering process. Further customization is
accomplished via scripting as much of the Silhouette object model is exposed
to the Python scripting language.

General Options
Command-line options are of the form: -option value, where value may be
optional. Required arguments are in brackets (<>) and optional arguments are
in braces ([]). If the value must be from a list of possible values, the available
values are separated by |.

The basic form of the sfxcmd argument is: sfxcmd <projectname> [options]

where options are from the list below. By default, the project is rendered using
the settings in the project unless changed by command-line options. Rendering
can be disabled with the –render 0 option (see below). Certain options, such
as format conversion, will implicitly disable rendering as well.

-options <options file>

Load the options file and treat each line of the file as a command-line option.
For instance, instead of writing this:

sfxcmd project.sfx –log –info project

You can write this:

sfxcmd project.sfx –options options.txt

Where options.txt contains:

-log
-info project

-version
Print the sfxcmd version.

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-log
Enable log messages. For example, use -log to display module load messages
and other non-critical informational messages.

-info[project|session|node|render]
Print information about the overall project, the active session, active node or
active session rendering information. Enabling this option loads the info.py
script in the Silhouette scripts directory, and calls the appropriate function to
dump basic information. This file can be modified by the user to alter how the
information is presented. If just –info is used, the default is to display project
information. Multiple options can be supplied, separated by commas, to print
multiple types of information. For instance, -info session,render will print
session and rendering information. When –info is used, rendering is implicitly
disabled, unless the –render 1 option is also used.

The information displayed by -info can be customized by editing the info.py

Python script located in Silhouette/resources/scripts.

-session <name>
Make the specified session active in the project. This is only useful if the project
contains more than one session. To print a list of sessions in the project, use
the –info option.

-node <name>
Target the specified node in the active session for output. By default, the Output
node is used. The node name (ie. RotoNode, KeyerNode, etc) or the user-
defined node label (as displayed in the node list) can be used. To print a list of
nodes in the active session, use the –info session option.

-script <scriptfile>
Run the specified Python script after the project is loaded. The script has
access to the active project, session, and node, as specified by the –session
and –node options. Scripts can walk the object model, manipulate the object
state such as visibility, and print information, limited only by the Silhouette
scripting API.

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-action <actionName>
Run the specified Action after the project is loaded, where actionName is an
action class name for one of the actions found in
Silhouette/resources/scripts/actions. When –action is used, rendering is
implicitly disabled, unless the –render 1 option is also used. Any rendering
done by the action itself is not disabled.

-render <0|1>
Rendering can be disabled by using –render 0. Use this if you only want to print
information about the project or run a script that does other things with the
project. Rendering is enabled by default if a project is specified.
Note that when –info or -action are used, -render 0 is implicitly set unless the
–render 1 option is also set.

Rendering options
-write <0|1>
Disable frame writing by using –write 0. This is useful for doing test runs to
verify that options are set properly.

-dir <path>
Specifies the output directory where files should be written to.

-file <name>
Use –file to specify the root filename for output files.

-padding <number>
Sets the number of digits of padding for frame numbers. Use –padding 0 to
disable padding.

-range <all|work|start#-end#x#>
Specifies the range of frames to render. A specific range is set by passing two
numbers. A step factor can be introduced by using x# after the range. Some
examples are:
• -range 1-10 renders frames 1, 2, 3, 4, 5, 6, 7, 8, 9, and 10.
• -range 1-10x2 renders frames 1, 3, 5, 7, and 9.
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• -range 3 renders frame 3.
Multiple -range arguments can be used to specify multiple ranges, for instance
-range 1-50x1 -range 51-60x2 -range 60-100x3. You can also use commas to
separate ranges in a single -range option.

Frames are in the range of the session, and do not necessarily start at 1. If your
session starts at frame 4000, to render the first 50 frames of the session, use –
range 4000-4049.

-f
Same as -range.

-step <number>
Specifies the number to add to get to the next frame. The default is 1. Note that
-step will override whatever step factor is used in -range or -f.

-start <number>
Use –start to override the starting frame number of the output frames. For
example, if your session starts at 4000 and you want to render 50 frames, but
you want the generated frame files to start at 1, use –range 4000-4049 –start
1.

-depth <8|16|float>
Sets the render depth.

-save <rgba|rgb|alpha|paint>
Specifies the output type and the channels that are rendered. When using
RGBA, the –extalpha option can be used to write alpha to a separate file.
When using –save paint, a Paint Node is assumed to be present in the
session, and will be automatically targeted.

-resolution <full|half|quarter|%>
Override the output resolution to full resolution, half resolution, quarter
resolution, or a specific percentage of the original size (1-100%).
Note: Half resolution is width/2*height/2, and quarter resolution is width/4*height/4.

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-extalpha <0|1>
Use –extalpha 1 to write the alpha channel to a separate, single-channel file,
when supported by the file format. This is only useful when saving in RGBA
mode.

-mb <0|1>
Controls the motion blur on/off state of the targeted node providing that the
node supports motion blur. For instance, to force motion blur off in the Roto
node, you would write this: -node Roto -mb 0

-format <name>
Specifies the output file format. For a list of supported formats, consult the
format list in the Silhouette Render dialog.

-formatopts <options>
Specifies format specific options for the output file format. The options are a
comma-separated list of name=value pairs. Consult the format options of the
desired file format in the Silhouette Render dialog. To view the current set of
format options, use the –info render option. For example, to set the SGI format
compression option to on, use –formatops compression=1.

-fields <none|interlace|aa|bb|bc|cd|dd>
Sets the field handling to one of the supported options. The two letter options
assume 3:2 handling.

-dominance <even|odd>
Sets the field dominance when field handling is enabled.

-view <left|right|both>
Sets the Stereoscopic view(s) to render.

-domview <left|right>
Sets the dominant Stereoscopic view when –view both is used.

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-combinestereo <0|1>(available with EXR format only)
Enables writing of both Stereoscopic views to the same file, with –view both
when the output format is EXR. The dominant view will be the first one
referenced in the file.

-slapcomp <r,g,b,a>
Perform a slap comp on the rendered image when the output type is RGBA or
RGB. This will overlay the alpha channel over the RGB channels using the
color specified as 4 floating point numbers from 0-1.

-nogui
For Linux systems without X-Windows installed, -nogui allows Silhouette to not
use X-Windows. However, scripts that do drawing, for example Slate, will not
work.

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APPENDIX A - PREFERENCES
Preferences allow you to customize default settings and can be accessed by
selecting File > Preferences on Windows and Linux or Silhouette > Preferences
on Macintosh.

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Autosave
Interval (minutes)
Sets the default time for autosaving the project. Set interval to 0 to disable
autosave.

Maximum # of Backups
Controls how many backup files are created. Each time a project is saved, a
copy is stored in $HOME/Silhouette3/backups.

Maximum # of Saves
Specifies how many autosave files will be stored at once. These files are stored
in $HOME/Silhouette3/autosaves.

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Cache
% Total Physical RAM
Sets the amount of RAM to be used for playback. The default is 50% and the
range is 10-90%.
Note: A program restart is needed to enable % Total Physical RAM changes.

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Composite
Background Color
When the View is set to Composite and no background input has been
selected, the foreground based on it’s matte will be composited over this color
at the percentage listed in the numeric entry box to the right.
Note: For changes to the Background Color to be seen, you will need to purge the
cache and force an update by changing frames.

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Input/Output
Float Conversion
Controls the conversion of 8/16 bit images in a Float Session.

sRGB
Allows 8/16 bit images to be used in a Float Session and round trip seamlessly
if they were then saved back to a 8/16 bit format. With sRGB enabled, 8/16 bit
images are assumed to be in sRGB, which is fairly standard.

Legacy
Legacy is the method used by Silhouette 3.0.4 and below.
Note: The Float Conversion setting has no effect on Cineon, DPX or EXR images.

Cineon/DPX
Our preferred Cineon and DPX workflow is to use Cineon and DPX images in
a Float session.

Black Point
Sets the black point of the image.

Display Gamma
The display gamma, according to Kodak, is used to compensate for the
monitor's lookup table.

Negative Gamma
The film negative gamma, according to the standard Kodak specification,
should be set to a default value of .6.

Soft Clip
Smooths out the clipping of the white values.

White Point
Sets the white point of the image.
Note: For adjustments to the Cineon settings to be seen, you will need to purge the
cache and force an update by changing frames.

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Nudging
Distance (pixels)
Sets how many pixels an object moves when the Arrow keys are used.

Extended (shift) Distance (pixels)

Sets how many pixels an object moves when the Arrow keys are used in
conjunction with the Shift key.

Precise (control) Distance (pixels)

Sets how many fractional pixels an object moves when the Arrow keys are
used in conjunction with the Ctrl key.

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Paint
Brush Outline Color
Sets the color of the brush outline.

Cursor
Controls the display of the cursor crosshair while painting.

Off
The cursor crosshair is not displayed.

On
The cursor crosshair is always displayed.

On/Off
The cursor crosshair disappears while painting a stroke, but is visible
otherwise.

Default Directory
Determines how painted frames should be stored/accessed.

The first time the paint tool is activated, per session, the Default Directory
preference is used to generate a default path. This path is shown and can be
changed to some other path if desired. Once the path is set, Paint can be used
and that path is then stored with the project from then on.
The default directory value is:

$(PROJECT_DIR)/painted/$(PROJECT_NAME)/$(SESSION_NAME).

Variables
PROJECT_DIR
The directory the current project is stored in.

Painted
This is the folder name for painted frames. It can be named to anything you like.

PROJECT_NAME
The name of the current project (without the extension).

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The name of the current session.

Pressure Threshold
Controls how hard the pen has to be pressed before opacity kicks in. The
preference is from 0-1. When the threshold has been reached, the calculated
pressure is scaled into the new range from threshold to 1.

Use Tablet Pressure

Turn tablet pressure sensitivity on or off.

Clone
Absolute Frame Numbers
When activated (the default), displays the actual frame number in the Clone >
Frame field. When turned off, it uses the old Silhouette v2.3 behavior where an
offset in relation to the current frame was shown instead of the actual frame.

Incremental Clone Offset

Controls whether the Clone offset starts at last offset or at click location.

Show Offset
Forces the Clone Offset connecting line to always be displayed.

Source Outline Color

Sets the color of the Clone brush outline.

Source Outline Color (Secondary)

Sets the color of the secondary Clone brush outline. This is the color of the
second Clone source that is activated by Shift-clicking a second Clone preset.

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Render
Default Format
Sets the default file format for rendering.

Default Channels
Sets the default channels to be rendered.

Filename
Sets the default suffixes that are appended to the Filename in the Render
Options menu.

Alpha Suffix
Sets the default Alpha suffix to _alpha.

Left View Suffix

Sets the default Left View suffix to _L.

Right View Suffix

Sets the default Right View suffix to _R.

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Session
Default Depth
Sets the default session bit depth.

Auto
Automatically sets the session bit depth based on the media selection.

8 bits
Sets the default session bit depth to 8 bits.

16 bits
Sets the default session bit depth to16 bits.

Float
Sets the default session bit depth to linear Float.

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Shape
Active Point Color
Sets the default color of the active point (the point that the cursor is hovering
over) through the use of a standard color picker.

Auto Switch to Reshape Tool

After closing a new shape, you will switch to the Reshape tool automatically.

Bounding Box Color

Sets the default color of shape bounding boxes through the use of a standard
color picker.

Control Handle Size

Sets the size of control point handles.

Control Point Color

Sets the default color of control points through the use of a standard color
picker.

Default Interpolation
Sets the default keyframe interpolation type.

Hold
There is no interpolation and abrupt switches in value occur at keyframes.

Linear
When values change, a straight line with sharp, abrupt angles from one
keyframe to the next is drawn.

Ease In
Eases in to the selected keyframe.

Ease Out
Eases out of the selected keyframe.

Ease In/Out
Eases in and out of a selected keyframe.
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Default Outline Color
Sets the default color of the shape outline through the use of a standard color
picker.

Fade Outline with Opacity

Draws unselected/inactive shape outlines using the shape opacity value. The
V key toggles this preference so that you can easily see any shapes that are at
0% opacity.

Hide Hulls During Edit

When activated, tangents/hulls hide when editing.

Hull Color
Sets the default color of the hull (lines that connect tangents) through the use
of a standard color picker.

Number Points
None
Control points are not numbered.

Tagged
Only numbers points that have been tagged using the Reshape tool > control
point pop-up menu.

All
All control points are numbered.

Primitive Type
Sets what shape type is used when circles and squares are created.

Bézier
Bézier shapes are used for circle and square creation.

B-Spline
B-Splines are used for circle and square creation.

X-Spline
X-Splines are used for circle and square creation.
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Recursive Subdivide
Drastically improves the curvature of shapes and reduces artifacts when using
feathering. You can return to the previous behavior of v4.0.4 and below which
used a fixed-step iterator by turning this preference off, if for some reason it
causes shape artifacts.

Selected Point Color

Sets the default color of selected points through the use of a standard color
picker.

Show Shape Name

Displays the shape name in the center of the shape.

Show Tangent Vectors

Turns Bézier tangents on or off. Turns B-Spline and X-Spline hull drawing on or
off.

Template Color
Sets the color and opacity of unselected shapes. This Viewer Template feature
is enabled by using Shift-W.

X-Spline Point Type

Controls the default weighting of X-Spline points when they are created.

B-Spline
X-Spline points have B-Spline weighting.

Cardinal
X-Spline points have Cardinal weighting.

Corner
X-Spline points have Corner weighting.

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X-Spline Tension Factor
This is a weight from -10 to 10 that is multiplied by the mouse delta when
manipulating the X-Spline point tension. You can reverse the sense of the
weight by making this value negative. Also, you can boost the amount the
tension is adjusted based on mouse movement by making the value larger, for
example closer to -10 or 10.

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Tracker
Default Path Color
Sets the default color of the tracker path.

Default Point Track Tolerance

Sets the default tracker tolerance. Describes the level of accuracy between the
Match Area that the Tracker is searching for and the area it actually finds when
searching from frame to frame.

Point Tracking Behavior

Sets the default tracker behavior. Behavior decides what frame should be used
as the reference to check the accuracy of the Match Area.

Show Path Points

Displays tracker points along the path of the track.

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Undo
Max Paint Undo Events
Sets the maximum number of paint undos.

Max Undo Events

Sets the maximum number of undos.

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User Interface
Show Sources Last in Node List
When enabled (the default), Source nodes are displayed last in the Node List.

Show Object Properties on Selection

When you select an item in the Object List, the controls for that item are
automatically shown in the Object window. If you select an item in the Node
List, the controls for that item are automatically shown in the Node window. This
behavior can be disabled with this preference.

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Viewer
Alpha Overlay Color
Sets the color of the Alpha overlay.

Anchor Color
Sets the color of the Transform tool anchor point.

Background Color
Sets the border color in the Viewer.

Display Gamma
Sets the display gamma used when converting Float to 8/16 bit and 8/16 bit to
Float.

Handle Mode
Controls how handles are drawn.

Blend
Uses a normal blend mode to display layer and shape handles.

XOR
Uses an XOR blend mode to display layer and shape handles.

Layer Transform Color

Sets the color of the layer’s on-screen controls.

Mask Fill Color

Color
Sets the color of the mask.

Opacity
Set the opacity of the Mask Fill Color by clicking on the percentage field (to the
right of the color picker) and typing in a new number.

Mask Outline Color

Color
Sets the color of the mask outline.
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Opacity
Set the opacity of the Mask Outline Color by clicking on the percentage field (to
the right of the color picker) and typing in a new number.

Picking Tolerance
Sets the radius of the threshold for picking points.

Template Mode
Turns template mode on or off. See Template Color for more information.

Zoom Filter
Linear
Interpolates pixels when zoomed into the image. This results in a smoother, but
softer image.

Nearest
Replicates pixels when zoomed into the image. This results in a sharper, but
chunkier image.

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APPENDIX B - KEYBOARD SHORTCUTS
Bézier Splines
Shortcut Action Curve

No key needed Adjust the length of one tangent while

retaining a fixed angle between two
tangents

Ctrl(Win)/Cmd(Mac) Adjust both tangents simultaneously while

retaining a fixed angle between two
tangents

Alt Adjusts only one tangent to create corners

Shift Adjusts only the length of one tangent

(similar to the “No key needed” shortcut)

Ctrl(Win)/Cmd(Mac)-Alt-1 Sets the point tension to Corner

Ctrl(Win)/Cmd(Mac)-Alt-2 Sets the point tension to Cardinal

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Bézier Control Point Pop-up Menu
Menu Option Description

Invert Selection Inverts control point selection state

Delete Deletes the selected control point

Break Breaks the shape at the selected control point

Close Closes an open shape

Linear Both tangents are adjusted to one quarter the distance and in the
direction of their adjoining control points

Corner Creates a corner point

Cardinal Creates a smooth point where the curve passes smoothly through it

Center Centers the control point between its adjoining control points

Tag Tags control points for point numbering

Untag Untags control points when using point numbering

Tween Takes the point and “re-tweens” it using the surrounding keyframes,
and puts them where they would be if you hadn't moved them on that
frame. Useful for simulating an “unkey” of selected points (the shape
remains keyed of course)

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B-Spline Shapes
Shortcut Action

Alt-drag control point right Creates a corner point

Alt-drag control point left Creates a smooth point

Alt-clicking control point Cycles through the preset weight settings of the point

Ctrl(Win)/Cmd(Mac)-Alt-1 Sets the point tension to Corner

Ctrl(Win)/Cmd(Mac)-Alt-3 Sets the point tension to B-Spline

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B-Spline Control Point Pop-up Menu
Menu Option Description

Invert Selection Inverts control point selection state

Delete Deletes the selected control point

Break Breaks the shape at the selected control point

Close Closes an open shape

Corner Creates a corner point

B-Spline Creates a smooth point that is determined by the surrounding points

Center Centers the control point between its adjoining control points

Tag Tags control points for point numbering

Untag Untags control points when using point numbering

Tween Takes the point and “re-tweens” it using the surrounding keyframes,
and puts them where they would be if you hadn't moved them on that
frame. Useful for simulating an “unkey” of selected points (the shape
remains keyed of course)

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Cut / Copy / Paste
Shortcut Action

Ctrl(Win)/Cmd(Mac)-X Cuts an object

Ctrl(Win)/Cmd(Mac)-C Copies an object

Ctrl(Win)/Cmd(Mac)-V Pastes an object

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Feather Tool
Shortcut Action

Alt-drag on shape Adds and pulls out a feather point

Click-drag a feather point Changes the length and position of the feather point

Shift-drag a feather point Constrains the length of the point

Hover over feather point and hit the Deletes the feather point
Delete key

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Layer Nudging
Shortcut Action

Arrow keys Moves the layer by 1 pixel

Shift-Arrow keys Moves the layer by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the layer by one tenth of a pixel

Hold down Arrow keys Moves the layer continuously

Q, W, E then Ctrl(Win)/Cmd(Mac)-drag Translates, Rotates or Scales in finer increments

Q, W, E then Arrow keys Translates, Rotates or Scales by 1 pixel

Q, W, E then Shift-Arrow keys Translates, Rotates or Scales by 10 pixels

Q, W, E then Ctrl(Win)/Cmd(Mac)-Arrow keys Translates, Rotates or Scales by 1/10 of a pixel

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Layer Transform On-Screen Controls
Shortcut Action

Drag within large center circle Moves the layer

Shift-drag within large center circle Constrain layer movement horizontally or vertically

Drag the center square horizontal and Scales the layer horizontally or vertically
vertical halfway points

Drag a center square corner Proportionally scale the layer

Drag large center circle Rotate the layer

Ctrl(Win)/Cmd(Mac)-drag large center circle Rotates the layer with finer control

Drag small center circle Moves the Anchor point

Q Activates / Deactivates translation of selected layers

W Activates / Deactivates rotation of selected layers

E Activates / Deactivates scaling of selected layers

Q, W, E then Ctrl(Win)/Cmd(Mac) Translates, Rotates or Scales in finer increments

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Object List
Shortcut Action

Click on an object Selects the object

Shift-click an object Adds an object to the current selection

Ctrl(Win)/Cmd(Mac)-click on an object Toggles the object selection

Shift-click color pot Selects shapes of same color

Alt-click the Visibility icon Solos an object

Alt-Ctrl-click the Visibility icon Forces the visibility of all objects to the on position

Shift-click the +/- icon Expands or collapses all nested layers inside that layer

Double-click an object Selects the object so it can be renamed

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Paint
Shortcut Action

B Selects the Black and White brush

Shift-B Selects the Blemish brush

Ctrl-B Selects the Blur brush

C Selects the Clone brush

Shift-C Selects the Color brush

Alt-C Selects the Color Correct brush

D Selects the Drag brush

Shift-E Selects the Eraser brush

G Selects the Grain brush

M Selects the Mosaic brush

R Selects the Repair brush

S Selects the Scatter brush

Ctrl(Win)/Cmd(Mac)-drag brush outline Sizes the brush

Ctrl(Win)/Cmd(Mac)-Shift-drag brush outline Sets the brush softness

Shift with Clone brush Sets the Clone offset

Shift-click or tap Resets the Clone offset

Caps Lock Toggles Onion Skin mode on and off

. (period key) Picks colors off of the screen

Alt-1 through Alt-5 Selects one of the Clone brush setups

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Paint Clone Source Nudging
Shortcut Action

Arrow keys Moves the Clone source by 1 pixel

Shift-Arrow keys Moves the Clone source by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the Clone source by one tenth of a pixel

Hold down Arrow keys Moves the Clone source continuously

Q, W, E then Arrow keys Translates, Rotates or Scales by 1 pixel

Q, W, E then Shift-Arrow keys Translates, Rotates or Scales by 10 pixels

Q, W, E then Ctrl(Win)/Cmd(Mac)-Arrow keys Translates, Rotates or Scales by 1/10 of a pixel

Q, W, E then Arrow keys Translates, Rotates or Scales by 1 pixel

Ctrl(Win)/Cmd(Mac)-1 then Arrow Keys Nudges the top left corner point

Ctrl(Win)/Cmd(Mac)-2 then Arrow Keys Nudges the top right corner point

Ctrl(Win)/Cmd(Mac)-3 then Arrow Keys Nudges the bottom right corner point

Ctrl(Win)/Cmd(Mac)-4 then Arrow Keys Nudges the bottom left corner point

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Paint Clone Source On-Screen Controls
Shortcut Action

Drag within large center circle Moves the Clone source

Shift-drag within large center circle Constrain Clone source movement

horizontally or vertically

Drag the center square horizontal and vertical Scales the Clone source horizontally or
halfway points vertically

Drag a center square corner Proportionally scale the Clone source

Drag large center circle Rotate the Clone source

Ctrl-drag large center circle Rotates the Clone source with finer control

Drag handles on corners of image Corner-pins the Clone source

Q Activates / Deactivates translation of the

Clone source

W Activates / Deactivates rotation of the Clone

source

E Activates / Deactivates scaling of the Clone

source

Q, W, E then Ctrl(Win)/Cmd(Mac) Translates, Rotates or Scales in finer

increments

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Render > Preview
Shortcut Action

R Displays the Red channel

G Displays the Green channel

B Displays the Blue channel

A Displays the Alpha channel

C Displays the RGB channels

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Shape & Point Nudging
Shortcut Action

Arrow keys Moves shapes or points by 1 pixel

Shift-Arrow keys Moves shapes or points by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves shapes or points by one tenth of a pixel

Hold down Arrow keys Moves shapes or points continuously

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Selecting / Deselecting Control Points
Shortcut Action

Click on a control point. If the control point is part of a Bézier curve, Selects the control point
its tangents appear

Shift-click the control points or drag select multiple control points Selects multiple control points

Ctrl(Win)/Cmd(Mac)-Alt-I Inverts the point selection

Alt-Shift-A Selects all control points

Alt-Ctrl-A Deselects all control points

Ctrl(Win)/Cmd(Mac)-click on a control point Toggles the point selection

Click anywhere off the shape Deselects all control points

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Selecting / Deselecting Shapes
Shortcut Action

Click on a shape Selects the shape

Shift-click a shape or drag select multiple shapes Selects multiple shapes

Ctrl(Win)/Cmd(Mac)-click on a shape Toggles the shape selection

Click anywhere off the shape Deselects all shapes

Shift-click color pot in the Object List Selects shapes of same color

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Stereoscopic Align Keyboard Shortcuts
Shortcut Action

Click and drag in Viewer Moves the Stereo Offset horizontally

Shift-click and drag in Viewer Moves the Stereo Offset horizontally and vertically

Ctrl-drag in Viewer Moves the Stereo Offset in finer increments

Alt-click in Viewer Resets the Stereo Offset

Arrow keys Moves the Stereo Offset by 1 pixel

Shift-Arrow keys Moves the Stereo Offset by 10 pixels

Ctrl(Win)/Cmd(Mac)-Arrow keys Moves the Stereo Offset by one tenth of a pixel

Hold down Arrow keys Moves the Stereo Offset continuously

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Stereoscopic View Shortcuts
Shortcut Action

Shift-1 Selects the Left View

Shift-2 Selects the Right View

Shift-3 Selects the Left/Right View

Shift-4 Selects Stereoscopic Align

Shift-5 Anaglyph Preview

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Timeline
Shortcut Action

Scroll wheel Zooms the Timeline in and out

Shift-Middle-mouse drag Zooms the Timeline in and out

Space Bar-drag Pans the Timeline

Middle-mouse drag Pans the Timeline

Single-click keyframe Selects one keyframe

Ctrl(Win)/Cmd(Mac)-click Toggle the keyframe selection

keyframe

Shift-click keyframes Selects a range of keyframes

Alt-click Inserts a keyframe

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Toolbar
Shortcut Action

T Selects the Transform tool Shape Mode

TT Selects the Transform tool Points Mode

R Selects the Reshape tool

B Selects the B-Spline tool

S Selects the X-Spline tool

Shift-B Selects the Bézier tool

Shift-S Selects the Square tool

Shift-C Selects the Circle tool

Shift-F Selects the Feather tool

Shift-T Selects the Tracker tool

M Selects the MultiFrame tool

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Tracker
Shortcut Action

Alt-click Alt-click on an open space in the Viewer

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Transform Tool
Shortcut Action

Drag shape Moves the shape

Shift-drag shape Constrain shape movement horizontally or

vertically

Drag bounding box corner or edge handle Scales a shape

Shift-drag bounding box corner or edge handle Proportionally scale a shape

Ctrl(Win)/Cmd(Mac)-drag on a bounding box Rotate a shape

corner handle

Alt-drag on a bounding box corner handle Corner-pin a shape

Alt-Shift-drag on a bounding box corner handle Constrains the corner-pin movement to one axis

Ctrl(Win)/Cmd(Mac)-drag on a bounding box Shear a shape

edge handle

. (period key) Turns the Anchor Point on or off

Drag on Anchor Point Moves the Anchor Point

.
Shift- (period key) Moves the Anchor Point to the mouse location

Q Activates / Deactivates translation of selected

shapes or layers

W Activates / Deactivates rotation of selected

shapes or layers

E Activates / Deactivates scaling of selected

shapes or layers

Q, W, E then Ctrl(Win)/Cmd(Mac) Translates, Rotates or Scales in finer increments

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Viewer
Shortcut Action

F1 Only the Viewer is shown in the interface

F2 Only the Viewer and Timeline are shown in the interface

0 Toggles the display of overlays which are lines, shapes or objects

Number Keys (1-6) Switches the Viewer > View menu

! Cycles through the update modes

A Cycles the display between the full color image, the Alpha channel
superimposed over the image and the Alpha channel by itself

Shift-A Toggles the View to Output, superimposes the Alpha channel over
the image and deactivates the Overlay

Alt-R/G/B/A Toggles the Red, Green, Blue and Alpha channels on and off

Alt-o Toggles the display to/from the Output node’s Alpha channel from
any other node. Pressing Alt-o again views the previous node.

Ctrl(Win)/Cmd(Mac)-click Toggles the display of each component on or off

RGB buttons

Middle-mouse drag Pans the image

Space Bar-drag Pans the image

I Zooms the image in

O Zooms the image out

Shift-Middle-mouse drag Zooms the image in and out

Scroll wheel Zooms the image in and out

Space Bar-Shift-drag Zooms the image in and out

F Fits the image in the Viewer

H or Middle-mouse double Centers the image in the Viewer at 100%

click

Ctrl(Win)/Cmd(Mac)-F Centers selection in the Viewer

~ Opens a context menu over pen/mouse location

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VTR Controls
Shortcut Action

Z Step backward 1 frame

Shift-Z Moves to the previous keyframe

X Step forward 1 frame

Shift-X Moves to the next keyframe

J Plays the sequence backwards

K Stops or starts playback

L Plays the sequence forwards

Space Bar Stops playback

Home Moves to the first frame of the sequence

End Moves to the last frame of the sequence

Click and drag in the shuttle area Shuttles through the clip

Shift-click and drag a keyframe marker Moves the keyframe in time

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X-Spline Shapes
Shortcut Action

Alt-drag control point right Adjusts the weight of the point from Cardinal to Corner to B-Spline

Alt-drag control point left When the weight is set to B-Spline, it adjusts the weight of the point
from B-Spline to Corner to Cardinal

Alt-clicking control point Cycles through preset weight settings of the point

Ctrl(Win)/Cmd(Mac)-Alt-1 Sets the point tension to Corner

Ctrl(Win)/Cmd(Mac)-Alt-2 Sets the point tension to Cardinal

Ctrl(Win)/Cmd(Mac)-Alt-3 Sets the point tension to B-Spline

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X-Spline Control Point Pop-up Menu
Menu Option Description

Invert Selection Inverts control point selection state

Delete Deletes the selected control point

Break Breaks the shape at the selected control point

Close Closes an open shape

Corner Creates a corner point

Cardinal Creates a smooth point where the curve passes smoothly through it

B-Spline Creates a smooth point that is determined by the surrounding points

Center Centers the control point between its adjoining control points

Tag Tags control points for point numbering

Untag Untags control points when using point numbering

Tween Takes the point and “re-tweens” it using the surrounding keyframes,
and puts them where they would be if you hadn't moved them on that
frame. Useful for simulating an “unkey” of selected points (the shape
remains keyed of course)

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APPENDIX C - SESSION FORMATS
A number of preset formats can be selected from the Session Format pop-up
menu. When one of the options is selected, the session fields are preset with
the appropriate data.

Film Full Aperture (4K: 4096x3112)

Uses the following presets.
Width: 4096
Height: 3112
Pixel Aspect Ratio: 1
Frame Rate: 24

Film Full Aperture (4K: 4096x3072)

Uses the following presets.
Width: 4096
Height: 3072
Pixel Aspect Ratio: 1
Frame Rate: 24

Film Full Aperture (2k: 2048x1556)

Uses the following presets.
Width: 2048
Height: 1556
Pixel Aspect Ratio: 1
Frame Rate: 24

Film Full Aperture (2k: 2048x1536)

Uses the following presets.
Width: 2048
Height: 1536
Pixel Aspect Ratio: 1
Frame Rate: 24
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Film Cinemascope Full (3656x2664)
Uses the following presets.
Width: 3656
Height: 2664
Pixel Aspect Ratio: 2
Frame Rate: 24

Film Cinemascope Half (1828x1556)

Uses the following presets.
Width: 1828
Height: 1556
Pixel Aspect Ratio: 2
Frame Rate: 24

Film Academy (1828x1332)

Uses the following presets.
Width: 1828
Height: 1332
Pixel Aspect Ratio: 1
Frame Rate: 24

HDTV 24p (1920x1080)

Uses the following presets.
Width: 1920
Height: 1080
Pixel Aspect Ratio: 1
Frame Rate: 24

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HDTV 1080i, 1920x1080
Uses the following presets.
Width: 1920
Height: 1080
Pixel Aspect Ratio: 1
Frame Rate: 30

HDTV 720p, 1280x720

Uses the following presets.
Width: 1280
Height: 720
Pixel Aspect Ratio: 1
Frame Rate: 60

NTSC, 640x480
Uses the following presets.
Width: 640
Height: 480
Pixel Aspect Ratio: 1
Frame Rate: 29.97

NTSC, 648x486
Uses the following presets.
Width: 648
Height: 486
Pixel Aspect Ratio: 1
Frame Rate: 29.97

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NTSC DV, 720x480
Uses the following presets.
Width: 720
Height: 480
Pixel Aspect Ratio: .9
Frame Rate: 29.97

NTSC DV Widescreen (720x480)

Uses the following presets.
Width: 720
Height: 480
Pixel Aspect Ratio: 1.2
Frame Rate: 29.97

NTSC D1 (720x486)
Uses the following presets.
Width: 720
Height: 486
Pixel Aspect Ratio: .9
Frame Rate: 29.97

NTSC D1 Square Pixels (720x540)

Uses the following presets.
Width: 720
Height: 540
Pixel Aspect Ratio: 1
Frame Rate: 29.97

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PAL D1/DV (720x576)
Uses the following presets.
Width: 720
Height: 576
Pixel Aspect Ratio: 1.07
Frame Rate: 25

PAL D1/DV Square Pixels (768x576)

Uses the following presets.
Width: 768
Height: 576
Pixel Aspect Ratio: 1
Frame Rate: 25

PAL D1/DV Widescreen (720x576)

Uses the following presets.
Width: 720
Height: 576
Pixel Aspect Ratio: 1.42
Frame Rate: 25

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Appendix D - Environment Variables • 395
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APPENDIX D - ENVIRONMENT VARIABLES
Environment Variables
The following environment variables can be set from a shell before launching,
and Silhouette will use those paths in respective dialog boxes instead of “the
last used” paths.
If you have custom modules, you can set SFX_MODULE_PATH to add other
search paths to look in for other modules.

MULTIVIEW_EXR_EXT
By default, stereoscopic (multi-view) EXR files are saved with a .sxr extension
instead of the normal .exr extension. However, the value of the
MULTIVIEW_EXR_EXT environment variable will be used instead if it is set.

SFX_EXPORT_PATH
Defaults to this path in the Export dialog box when set. Overrides the
SFX_IMPORT_EXPORT_PATH.

SFX_EXR_COMMENTS
By default, the Project path, Paint path and Session name are stored in the
comments attribute of the EXR file header.

If the SFX_EXR_COMMENTS environment variable is set, it is appended on to

the end of the comments string. The format of this variable should be
name=value;name=value; etc. No $VARIABLE expansion is performed.

SFX_EXR_COMPRESSION
Set to RLE for faster saving.

SFX_IMPORT_EXPORT_PATH
Default to this path in the Import/Export dialog boxes when set.

SFX_IMPORT_PATH
Defaults to this path in the Import dialog box when set. Overrides the
SFX_IMPORT_EXPORT_PATH.

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SFX_MODULE_PATH
Semi-colon separated list of paths to search for Silhouette modules. User-
specified paths are checked before the built-in modules path. Useful for end-
users to provide custom I/O modules in a network-central location.

SFX_LICENSE_SERVER
Set to enable floating licensing. Set to port@host of the license server.

SFX_OUTPUT_PATH
Default to this path in the Render dialog when set.

SFX_PAINT_TEMP
Define a writeable temp directory (preferably on a local disk) for storing paint
undo data. This data is deleted when Silhouette exits.

SFX_PROJECT_PATH
Default to this path in the Project Open/Save dialog box when set.

SFX_RESOURCE_PATH
Sets path to Silhouette run-time resources. On Mac, this defaults to
Silhouette.app/Contents/Resources on Mac, while on Windows and Linux it
defaults to <path_to_silhouette>/resources.

SFX_USER_PATH
Sets the path to the user's copy of Silhouette's files. Defaults to ~/Silhouette3

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