ausboss-ComfyUI-AusBoss/js/docs/AUSBOSS_NODES_VideoCropRotatePadClip.md

Video Crop + Rotate + Pad → Clip

Outputs the whole clip. One rotate → crop → pad transform is applied to every frame of the trim window. The timeline selects that window and the playhead picks the frame you adjust the transform on.

Use it to cut a border, a logo corner, or a tilt out of a video, or to grow fill-color bands around it for a video outpaint: the mask output marks the bands (and rotation corners), ready for Crop For Inpaint or an in-context video model that paints black regions.

Source and window

• Uploads: Pick an existing input video (the list plays the clip under the pointer, muted, and filters as you type), click Upload, or drop a video file onto the node. The old source widgets remain compatible with saved workflows, but are now driven by this compact card. Choosing another video keeps the canvas settings - fill, feather, resize budget, Frames for, Length - and pads the new clip to the lit format chip; only rotation, crop and the trim window start over.
• Canvas row (under the format chips): the fill swatch, the feather amount and the Resize off | on switch, right on the node; turning Resize on opens the megapixel budget and its Step. These are what a video outpaint model keys on - the LTX IC-LoRA paints pure black at sizes rounded to 32 - so a wrong value shows here before a render is wasted. Feather only softens the mask and the stitch; the frames always meet the fill with a hard edge. The line under the picture names each step that sets the size (576×1024 → pad 1821×1024 → resize 1280×704) and warns in amber when the Step stretches the picture by more than 1% (2.2% wider: each side rounds to 32 px); the tooltip names a Step that avoids it, and in pad mode Even out adds a few pixels of padding so nothing stretches. The bands are drawn in the real fill colour with a faint hatch, so black bands show on the black stage. A fresh clip node starts with black and feather 0 and the editor's Reset transform returns to them; the image nodes keep their grey fill and feathered mask.
• Server file (source_mode / local_path): Read a video on the ComfyUI server in place without an upload copy. It must sit inside ComfyUI's input, output or temp folder, for queued runs and the editor's live preview alike; paths anywhere else are refused.
• Timeline: The rail on the node and in the editor is one timeline. Press or drag anywhere on it to scrub the playhead, with Length on or off; the stage shows that frame. Drag the IN or OUT handle to trim: the playhead rides on the handle, so what you see is the first (IN) or last (OUT) frame the run keeps, and it stays there when you let go. IN and OUT are frames, snapped to the source's frame grid; the boxes under the rail take a frame number, and start_seconds / end_seconds are derived from them (OUT is exclusive, 0 means the end of the source). Arrow keys on a handle move one second, Shift one frame. OUT always sits on the last frame the run outputs, so the handle and the bright bar end together; with Every nth or Frames for it steps to the frames the run keeps, and a dim tail marks frames the window holds but the run drops. In the editor, Set IN / Set OUT (or the I / O keys) put a trim point at the playhead, and Full clip resets the window.
• Length (max_frames): the one other way to set how long the clip is. Off (the default): OUT ends the clip. On: a number of output frames from IN; OUT sits that many frames after IN and follows it when you drag IN, and dragging OUT or typing the number changes the Length. To move the whole clip, drag IN or the small grip in the middle of the kept part (the grip also slides a trimmed window with Length off). When the Length is the whole clip there is nowhere to move it, and the row says so: "= the whole clip. Shorten it to move IN." The Length stays when you swap the video, so a workflow built for 97 frames keeps taking 97. Turning it on or off never moves anything: the count becomes the OUT, or the OUT the count. If the source ends first, the footer says how many frames are left. To start moves IN to the start of the source.
• Every nth (every_nth): Thin the batch. The fps output divides to match every_nth, so the clip keeps real-time downstream; a Length counts the frames kept.
• Frames for (frame_snap): Keep a frame count a video model takes: LTX (8n+1) (49, 97, 121) or Wan (4n+1). Any keeps every frame in the window. OUT drags and the Length step through those counts. With it on, frame_count, duration, the audio window and the stitcher all match the clip the sampler hands back, so wiring frame_count into the empty latent's length never leaves the stitch with more source frames than generated ones.
• frame_index / frame_time: The playhead. It is a preview position, not a trim point: scrubbing it never invalidates the queued clip, and it is still saved with the workflow.

Crop squares, padding diamonds and the rotation handle also work directly on the node preview. The graph still owns wheel zoom and middle-button pan. Tap a ratio to pad the clip to it (or crop it, with Fit on crop); tap the lit ratio again to go back to the whole frame. A lit ratio is the shape the canvas has now: drag a handle to another shape and it goes dark and the row says Custom, and a new clip is then no longer padded to it. A clip that already has the lit shape (within about 1%) gets nothing added, and the size line says so ("already 9:16: pick another ratio or turn it"); otherwise it names the lit ratio where it acted (pad to 16:9 1821×1024). The padlock keeps the shape while you drag, with new bands split evenly, and the row says Held; Reset and tapping the lit ratio turn it off, and it does nothing on the untouched clip. Fit is dimmed until a ratio is lit. The orientation button turns the shape on its side (16:9 to 9:16), and dragging the picture itself moves it inside its padding: the cursor and small arrows show which ways it can go. Reset crop restores the full crop without changing rotation, padding or trim; with the padlock on it also takes away the bands the lock added. Reset on the node clears rotation, crop and padding and turns the padlock off; fill, feather, Round canvas to and the timeline stay. Reset transform in the editor resets rotation, crop, padding, fill, feather and Round canvas to; it keeps the source, current frame, trim, Length, resize and stitch settings. Round canvas to sets the canvas pixel multiple (1 disables it).

Video Upload and file drop use a streaming route into ComfyUI's input folder, so the buffered image-upload size limit does not prevent long-video uploads.

The editor's sidebar uses the node's own ratio row, padlock and Fit switch, and the rotation is a number box (Shift for 0.1°). A ratio replaces the old crop and padding, keeping rotation and resize settings. Pixel rounding can differ by one pixel between opposite bands. Canvas multiple and resize steps can slightly change the final aspect ratio.

Transform and outputs

Rotation, crop, padding, feathering, fill, canvas multiple, and the editor's handles match the image node. Resize output in the editor scales the finished frames to a megapixel budget with a resolution step (32 keeps LTX and Wan sizes), the same trio as the core Scale Image to Total Pixels node.

Outputs: frames (BHWC), mask (BHW, one per frame), audio for the same window (silent when the source has none), frame_count, fps, width, height, duration, a stitcher, and original: the same selected source frames before the spatial transform and resize. Existing output socket positions are preserved.

Inpaint & Stitch

The stitcher output goes straight into Stitch Inpaint 🆎: after a video model has painted the padded bands (or rotation corners), Stitch puts the source frames back bit-for-bit and takes the generation only inside the generated area, so no separate Crop For Inpaint node is needed. The editor's right sidebar holds the settings:

• Blend (stitch_blend): the ramp, in output pixels, where generated pixels fade over the source. It is separate from the padding Feather, which shapes the mask output - a black-band outpaint does well with feather 0 and a blend of a few dozen pixels.
• Show blend tints the stage with the paste mask itself: the generated area (padding, rotation corners), the transform feather, then grow and blend applied in output pixels through any resize - the backend's mask math run at preview resolution.
• Advanced → Grow paste (stitch_grow) moves the paste boundary first: a few positive pixels let the generation repaint the source edge when a seam still shows.

The stitcher is built from the final resized frames, so it lines up with what the sampler returns at this node's width × height. Frames are transformed a few at a time so long clips do not double in memory, and the queue's progress bar and cancel work throughout.

The node performs no remote network requests and does not rewrite the source video.

Connected timing inputs

Five optional sockets sit on the left, above the editor:

Input	Meaning
force_rate	Sample at this fps before Every nth. 0 keeps the source rate. Drops or repeats frames to keep playback speed. Accepts FLOAT or INT.
start_frame	Zero-based source start frame. Overrides timeline IN.
end_frame	Exclusive source end frame. 0 means the end of the source. Overrides timeline OUT.
fixed_frames	Exact output frames from IN; the source must be long enough. Connected, it sets the length: OUT and Length step aside.
frame_load_cap	Maximum frames after rate conversion and Every nth, before Frames for. 0 means unlimited. Connected, it sets the length in place of Length.

Frame bounds use the source's frame-rate grid, independent of force_rate. The footer labels Source fps separately from Output fps. A direct numeric rate connection (including a reroute) can be shown before running; calculated rates are labeled as determined at run time. force_rate is the requested sampling rate before Every nth: 24 with Every nth 2 outputs 12 fps. Connect the node's fps output to CreateVideo.fps or Save Video.fps so the next node uses the actual rate rather than changing playback speed. For example, start 24 and end 72 select two seconds from a 24 fps source. A 12 fps forced rate returns 24 frames; a cap of 10 then keeps only the first 10 of those. Audio and duration follow the returned batch.

A connected start or end locks that handle and its IN/OUT field on both the node and fullscreen editor. Hover to see why. Disconnect to restore local control. While timing inputs are connected, the preview shows the local trim as a reference and avoids claiming an output count before the linked values are evaluated at run time.

A connected length input takes over the length. Connect a count to fixed_frames (exact) or frame_load_cap (at most) and the OUT handle goes away, OUT and Length grey out, and only IN is left to set: the clip starts at IN and the input decides where it ends. Literal Integer/Float nodes (including AusBoss cards and reroutes) show the resulting frames on the rail before running; calculated counts show "at run time". An older workflow that saved a Fixed frames number without a connection reads as a Length; the first change here turns it into one.