Warper.

Points uses independent warp/limiter points. Curves creates lines and outlines from connected anchors; dragging a single point is not the same as warping a closed curve.

CHECKCompare one point with a curve along an extended edge in the lab.

Builds curve anchors; Shift-click starts a limiter curve. Finish with Esc or close with Enter.

CHECKPlace the reference outline first; do not try to deform the image yet.

Edits the original curve and its handles without applying a warp. Can be entered automatically after finishing a new curve.

CHECKInspect the original outline on a still before switching to Warp.

Moving the control curve away from its reference location deforms the image.

CHECKCorrect the curve instead of compensating with heavy Global Blend.

Red limiter points protect a local area from warping. Add using Shift-click; remove an unwanted point with Option-click (Alt on some systems).

CHECKPlace limiters before pushing an object boundary into the background.

A limiter curve constrains deformation; a closed loop is useful for protecting a region inside the shape.

CHECKA red limiter is not a cutout alpha mask; it restricts deformation.

Overlays a reference grid to reveal deformation and artifacts. It is a diagnostic overlay, not an artistic layer.

CHECKHide the grid before judging the delivered frame.

Adjusts visibility of the original curve/point locations — from faint to strong guides. It does not redefine the warp reference state.

CHECKMove only Origin Reference: the warped picture must not change shape.

Keyframes the positions of control points over time. Points mode uses its Positions animation control.

CHECKInspect the motion of reference points separately from deformation.

Separately keyframes the warp of curve control points, enabling evolving deformation without rebuilding the reference outline.

CHECKInspect in-between frames, not just first and last.

Keyframes individual point positions in Points mode; not a global frame-position offset.

CHECKFollow the actual motion of the subject with keys.

Scales the influence of an existing warp. At zero the control points remain available while the result returns toward the source.

CHECKCompare a small control move at full strength with a large move at low strength.

Shows the original location of Points-mode markers, separating reference positions from current positions.

CHECKCompare original and current positions on a moved point.

Clears applied deformation while retaining control geometry (especially useful in Points mode).

CHECKThe controls should remain while the stretch disappears.

Deletes all added points; unlike Reset Warp, it removes control geometry.

CHECKUse only when the point layout itself should be rebuilt.

Keeps spline handles symmetrical for smooth balanced point transitions.

CHECKUseful on smooth cheek, fabric or product contours.

Converts a chosen point into a hard corner instead of a continuous curve.

CHECKAvoid hard corners on soft organic lines unless intentional.

Creates rounded spline-controllable geometry for the selected point.

CHECKWatch for overshoot between adjacent handles.

Returns selected spline-handle offsets to a neutral state in Warp mode.

CHECKFix a bad handle without destroying the whole deformation.

Shows every spline handle on the selected curve; a Viewer overlay only.

CHECKHide while inspecting the finished pixels.

Connects the final curve point to the first one, or reopens a closed loop.

CHECKClosed limiter contours are especially useful for protected areas.

Switches the selected curve between a warping curve and a limiting curve.

CHECKThe red limiter constrains warp and does not create deformation by itself.

Deletes the entire selected curve, not a single anchor point.

CHECKConfirm that the intended curve is selected before deleting.

Controls Viewer overlay visibility. Auto Hide temporarily clears overlays during adjustments.

CHECKThe warped image should match with handles visible or hidden.

Visualizes the protected region of limiter points: None, As Border or As Mask. This is diagnostic, not an alpha output.

CHECKAs Mask dims the protected area only in the Viewer overlay.

Resizes control handles in the Viewer, not warp radius or pixel count.

CHECKEnlarge markers for precise grabbing, then shrink the overlay.

Pin At Corners locks corners; Around The Edges locks the perimeter; Distant offers a more permissive boundary; Manual (Free-Floating) releases the edges but requires at least one limiter point before any warp point.

CHECKFor blanking check Limits before choosing Edge Behavior.

Fabric is the pointiest interpolation; Rubber is balanced and is the default; Jelly gives the smoothest, loosest bending.

CHECKCompare spatial falloff with identical control points.

Black leaves blanking black; Reflect mirrors nearby pixels; Wrap-Around borrows the opposite side; Replicate extends the boundary pixel.

CHECKThe modes differ only where warping asks for pixels outside the source frame.

The three calculation methods trade speed against warping smoothness; Better may suit final complex deformation at a performance cost.

CHECKInspect a target-resolution export; quality is not an effect-intensity slider.

Choose Input and Edit Sizing or Timeline Frame anchoring, especially when the clip is resized on Edit.

CHECKAlter Edit sizing to verify which coordinates the handles follow.

Automatically switches Add → Adjust after creating a curve.

CHECKDisable when creating multiple shapes in sequence.

Mixes the original frame with the already-rendered warp. Unlike Warp Strength it can superimpose both unwarped and warped edges.

CHECKLook for doubled edges at intermediate blend values.