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Delirium v2 User Manual

1. Flash Angle mined by the flash angle control Pull Trigger v Pull Trigger When Auto Angle is unchecked Auto Fire v Fire Automatically Flash Angle determines the angle of the flash Burst Count Determines when the flash begins et jini Lifetime Keyframe this control if you want the flash to Sh Fire Spacing begin after the first frame a Flash Color When enabled Muzzle Flash will ie nen e keep firing based on Burst Count Flash Lifetime Min VPacny and Firing Space without having to keyframe Max Opacity Pull Trigger Determines how many times the Determines how transparent the muzzle flash will occur thinnest part or most transparent parts of the Determines the number of flash will be frames that a flash will last Determines how opaque or non Determines the number of frames SEE through the thickest parts of the flash will between each of the bursts This control only ap be plies if the Burst Count is greater than 1 Determines the color of the muzzle flash This effect is designed to work from a side angle of the Determines how large or small the gun only It cannot simulate head on gunfire muzzle flash will be effects Newsprint This plug in can create half tone images similar to an image on a newspaper In Newsprint all aspects of the half toning pro cess can be animated This includes halftone shape offset size of the halftone dots angle dark color and light color Newsprint can also b
2. Gamma Output Bla Invert Alpha Will invert the alpha channel of Output Wh the layer calculated before Premultiply With r Mask On Alpha v Enable 42 cicieffects Composite Controls color Will premultiply the channels of the layer with the alpha chan nel This effectively pre renders the layer over black layer These controls provide blurring for the Blur is only rendered when the amount is greater than 0 To help maximize rendering ef ficiency this menu allows you to decide what type of blur is used plied tions Controls whether the blur is ap equally in the horizontal and vertical direc Applying blur before or after Levels can produce dramatically different results Used to modify the grayscale values of the layer and is useful for both fine tuning and dramatic changes When increased the channel becomes darker Input Black and Input White values can be moved closer together to create contrast nel Controls the lightness of the chan Values less than 1 0 bias the gray levels towards black creating a darker image with more contrast When the gamma value is greater than 1 0 the gray values are pushed towards white brightening the image and reducing con trast effects nig DE Composite Animation Presets View Mode 7 Background Layer Layer aa 1 a ah en Ce EI v Blur Off Blur Qualit f a b Blur 5 Render
3. Channels In Color The selected channel will be rendered in color rather than grayscale Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to 100 the effect will not render cicieffects Colorize Colorize is a great tool for applying color schemes and tints to layers ColorSpace MVI_6204 M0V v jx DE Colorize Color Presets Input Channel Infrared Luminance Inwert e Premultiply With Alpha 5 Cyde Mode Wrap 7 Cyde v Levels Off 5 v Enable H Input Black b Input White b Gamma H Output Black b Output White Number of Colors Shadows Mid Shadows Midtones 5 Mid Highlights Highlights Composite Mode 7 Opacity 0 Colorize Controls Color Presets A wide range of common color corrections are listed in the presets menu Typi cally these presets offer at least a good starting point Choosing a preset may change the color values and the number of colors used Input Colorizing works by remapping the val ues to the new colors Any channel can be used to create the mapping Channel This specifies to which channel the new color will be mapped Invert Any channel can be inverted calculated before premultiplying or coloring Premultiply With Alpha Multiplies the channel with the alpha in effect combining them calcu lated after invert Cycle Mode Determines how v
4. Generate From Launch Point Launch Angle Launch Spread Launch Prob Launch Burst Min Thrust b Max Thrust 5 Explode Mode Explode Height Explode Speed Rocket Opacity 5 Explosion Shape Rotation Fireworks Controls Determines how far behind the firework particle a streak will travel een Min Generate 5 Max Generate gt 5 Min Veloc Determines how quickly the streak will fade out Max Veloc Min Opacity Max Opacity Birth Color Mid Color Death Color Min Lifetime Max Lifetime Min Mass Max Mass Launch System Check this box if you plan on keyframing any of the controls If you are not keyframing any of the parameters leave this box unchecked and rendering time will significantly decrease 5 Generate b Velocity b Opacity Color Lifetime Mass 6 Gravity Wind Horiz Wind Vert Air Resist gt Glow Radius the fireworks will be sent up from any point on the bottom of the layer The launch loca tion will be determined randomly Glow Intensity effects Use Source Composite Effect Add T Screen Integrate Params Over Point Explode At Height Spherical None 5 Glow Own Colors v Glow Own Colors Glow Inner Color mm 5 Glow Outer Color 5 Color Bias 5 Glow Mode l Add Spherical Burst Geometrical Burst 58 Launch System The fireworks will be launched a
5. Grad 1 Color When a multi gradient is selected in the pop up this will determine the color of the Grad 1 As additional colors are added to the gradient with the multi gradient pop up it will begin to colorize the gradient at their respective positions Grad 1 Alpha Determines the transparency of the Grad 1 color Grad 1 Position Determines the position of the Grad 1 color on the gradient relative to the start color and end color cicieffects This plug in simulates the flash that occurs when a gun is fired Firing System DE REEL 02 Vimeo DE REEL 02 Vimeo mp4 Each muzzle type will create a dif Bega De est ld OT ferent type of muzzle flash Animation Presets None 5 Apply Mode Use Source Determines where the beginning va S Use Source Mode Effect in Front of the flash will occur This is where the muzzle tip should align Composite Mode Blend 5 Alpha Threshold Alpha Weight This option only functions when Auto Angle is enabled When checked the angle of the flash point will be determined by this con P 9 Random seng trol A straight line passing through the gun butt O Blend Original and flash point will determine the flash angle Muzzle Type 357 Handgun When checked the angle of Flash Point the muzzle flash is determined by a straight line Gun Butt 7 passing through the flash point and gun butt Automatic Angle Auto Angle When this is unchecked the flash angle is deter
6. Color Bias Defines the balance of Glow Inner Color and Glow Outer Color digieffects Fairy Dust This plug in can be used to follow a magic wand or zip around the screen like a comet Fairy Dust Controls Dust Type Includes soft glow hexagonal sparky quad highlight quad solar random hex Dust Amount determines the quantity of dust that is generated per frame Max Speed Controls how fast the fastest of the particles will move Particle soeed functions as an average from zero to max speed Dust Lifetime Determines how long the par ticles will stay on the layer before they disappear Dust Color Determines the color of the dust on the layer when it is generated This can be a great control to keyframe Bright Variance Controls the amount of flicker that the various particles will have over time This is a temporal effect and may be difficult to see when adjusted on a single frame Min Size Determines the smallest size of par ticle that will be generated Max Size Determines the largest particle size generated Min Opacity Each of the particles is to some degree transparent and opaque Min Opacity controls the minimum amount of opacity for each particle Max Opacity Defines the maximum amount that a particle will be opaque Max Dispersion Controls the size of the emit ter point when Generate From is set to Dust Point When Generate From is set to any other generate type Max Dispe
7. O V Phase and base the horizontal values off of the vertical sg controls V Scale Repeat Wave Uses a wave shape to distort an Blend Original image multiple times For example the wave ef fect will be applied once to the first frame twice to the second frame three to the third frame and so on When enabled quality must be set to High Repeat Amount Determines the strength of the wave that is applied when Repeat Wave is enabled H Wave Type This defines the wave shape for the distortion Sine Uses a sine wave as a distortion shape Square A box wave distortion shape Triangle A tent shaped wave distortion shape Random Seed The seed value start point for any randomization that occurs in the plug in Do not animate this as it will cause the effect to jump or randomly change values and the anima tion will not be smooth digieffects 108 agi ee Cts DASG TCS Wave Displace Controls The minimum amplitude of the horizontal waves The maximum amplitude of the horizontal waves Determines the minimal number of times that the waves of distortion occur Determines the maximum number of times that waves will occur along the horizon tal axis By using minimums and maximums for frequency and amplitude non uniform patterns of distortion can be created Determines the position of the waves highs and lows amplitude along the lines of the waves frequency The minimum
8. Offset 0 00 Frequency 0 00 Render Quality Layer Quality Color Red Channel Green Channel Blue Channel 2 7 Randomize Each Frame Random Seed 5 Position Opacity 0 23 Matching Film Grain Often film footage has noticeable grain that var ies in size and intensity while CG elements have no grain It is very important to match the tex ture of the film with the CG elements in order to have a convincing composite To begin match ing the grain you need sample source footage and the layer to which you would like to apply the grain Start by placing the CG layer so you can see the source footage at the same time then apply Channel Noise to the CG layer and begin to work channel by channel to match the grain Prerendering Channel Noise To help save time it is a common practice to pre render noise which can be easily accomplished using the pre render option checkbox After the noise is rendered separately the plug in can then quickly composite the noise onto your layer giving individual opacity and composite mode controls for each channel digieffects Channel Noise View Mode Composite Renders the noise applied to the source layer using the composite mode specified by each channel Noise Only Ignores the input layer and renders the noise over black This is useful when you want to see the detail of the noise separately from the image or when you just want to create a noi
9. The Gradient Interface greatly simplifies the pro cess of creating and manipulating colors Control Bar Displays the name of any control as you move over or select it In some cases the control value is also displayed making it easier for you to judge the changes you are making Display Color Alpha Toggles between display OG S0SSSe8o00R ing the color gradient or the alpha gradient The change will be reflected in the main view ing area of the gradient interface The rendered gradient is unaffected by this change Reset Cycle This button provides a quick way to reset the cycle parameter and will not modify the colors or positions in any way digieffects Gradient Designer Histogram Scale There is a slider control at the Y Gradient Interface right of the interface that allows you to zoom ss Gradient B A into the histogram to see smaller details more clearly Color and Alpha Gradient Below the main viewing area of the histogram is the gradient display This is separated into two portions color and alpha Adding a Color Colors can be dynamically added to the gradient by clicking in any empty Space between existing color controls The cur sor will change to a pen to indicate the mode change Removing a Color Colors can be removed from the gradient by holding down the control key and clicking on a color The removed color will be returned to the color bank for reuse Colors can be removed until j
10. This is the color that is composited onto the source layer Standard color picker eye drop per or the color sliders can all be used to set the color Color Sliders These sliders offer a fast and direct way of changing the color Unlike using the color picker these sliders provide immediate feedback with the numerical color value dis played at the right of each slider cicieffects Matte Input Layer Matte Selection Mask Mask amp Matte Composite Matte Offers a way to control where color is applied based on a channel from any layer To help facilitate setup of the matte channel use the view mode to view the matte input layer and matte channel Click Enable to turn on these parameters Input Layer This specifies which layer on which to base the matte If none is selected Color Com posite will use the layer on which it is applied Selection Method The matte can be created using two methods Match Color Key or Use Channel Matte Using a color key allows you to select a specific range of colors based on Match Color Match Tolerance and Feather Channel Matte is used when you need to apply color based on a layer s transparency or luminance Match Color This color specifies the keying color when the selection method is set to Match Color Key and is based on RGB similarity 35 oa i x m e p n e a O View Mode Composite at Color oo Color Sliders Gray Pace Pris rsv emv fo E n eee
11. cicieffects Electrical Arcs TIP Electrical Arcs typically look best with a lighter and whiter color for the Glow Inner Color and a darker more vibrant color for the Glow Outer Color 52 Electrical Arcs Controls Start Segment Width Determines the width of the start segment If start segment width and end segment width are of different sizes the arcs will taper between the wider and narrower sizes End Segment Width Determines the width of the end segment by default the right side seg ment Segment Size Variation Allows control of how uniform or non uniform the sizes are for each segment The higher this value the more ran dom and less uniform the segments Begin Draw Controls where the beginning of the arc will be drawn in relation to the start point This control will remove segments starting at the start point and moving towards the end point End Draw Controls where the ending of the arc will be drawn in relation to the end point This control will remove segments starting at the end point and moving towards the start point Glow Radius Controls the distance from the arc s edge glow colors will travel Glow Intensity Controls the brightness level of the glow affecting both the interior and exterior of the arc Glow Inner Color Defines the glow color clos est to the arc Glow Outer Color Defines the glow color that is outside the electrical arc affects the glow in ner color
12. Composite Enable Offset Position Y Scale Ti v Uniform Scale Scale Rotation t Shear X Shear 7 Blur v Uniform Blur b Green v Blue s 27 Channel Offset is used for creating interesting designs and effects by transforming the red green blue and alpha channels of a layer sepa rately Channel Offset can easily be used to simu late print misalignments and even chromatic aberration View Mode The View Mode is used to isolate and work with different aspects of Channel Offset You can use it to view each channel individually while dialing in the controls This displays the unaltered input layer of Channel Offset The input layer is the lay er on which the effect is applied This View Mode actually just passes the input layer through the effect and is practically the same as turning the effect off This mode is useful when placing the Anchor Point since the layer remains fixed in the same position Each of these options will display the selected channel This temporarily disables the other channel con trols to help you see more clearly what you are doing and speed up rendering Choose this view mode to see the final result of Channel Offset All the controls will be enabled in this mode sieffects Offset Controls M Affect all channels making it possible to move all of the channels in unison without disrupting relative offsets fset shifts the current tim
13. Electrical Arcs Controls Sub Distortion Controls how far the sub segments will be bent The higher this value the more crooked the lines between the segments Branch Prob Controls the probability of a branch being generated at a sub segment joint This does not define how the branch will behave only whether or not it will appear Branch Segments Controls how many times the branches will be segmented or change direction Higher values will give the branches a more twisted appearance Soft amp Bright Harsh Falloff Branch Length Determines the total length of the branch This length will be subdivided by the number of segments so the greater number of branch segments the closer the branch will stay to the main arc Branch Angle Determines the direction of the branches as they come out of the joints of the sub segments Sub Branch Prob Controls the likelihood of each branch dividing into additional branches Dot Star Sub Branch Segments Determines how many times the sub branches will be divided The high er the value the more twisted the sub branches will appear Sub Branch Angle Determines the angle of each sub branch divide AFTER it has left the arc The initial direction is determined by Branch Oval Rounded Angle Lightning Color Determines the color of the interior or arc non glowing portion of the light Ing Alpha Determines the transparency or opacity of the Electrical Arc
14. Radius 1 Determines the radius of the first or red circle that determines one end of the bars Radius 2 Determines the radius of the second or green circle that determines one end of the bars Speed 1 Determines the rate at which one end of the bars will move around the circumference of the first red circle Speed 2 Determines the rate at which one end of the bars will move around the circumference of the second green circle Phase 1 Determines the point on Circle 1 red where it is touched by the first bar Phase 2 Determines the point on Circle 2 green where it is touched by the first bar cicieffects FL O2 Vimeo DE REEL O02 Vimeo mp4 DE Nexus Animation Presets None 5 Apply Mode Use Source 5 Use Source Mode Effect in Front 5 Image Composit Blend T Particle Composi Blend 7 Blend Original 5 Alpha Threshold Alpha Weight Bar Shape Soft 5 Preview Paths Preview Path Num Echos Center 1 Center 2 5 Radius 1 Radius 2 Speed 1 5 Speed 2 Phase 1 Phase 2 Bar 1 Size O Bar 2 Size Start Color a 5 Start Alpha End Color End Alpha 5 Glow Radius Glow Intensity Glow Own Colors Glow Own Colors Glow Inner Color x Glow Outer Colo 5 Color Bias 5 Glow Mode Screen Y Bar 1 Size Determines the size of the side of the bar that touches Circle 1 red Bar 2 Size Determines the size of the side of t
15. Red Edge Controls the maximum value for the red channel Red Softness Controls the smoothness of the red channel Green Edge Controls the maximum value for the green channel Green Softness Controls the smoothness of the green channel Blue Edge Controls the maximum value for the blue channel Blue Softness Controls the smoothness of the blue channel Great for creating a pseudo new wave look Blend Controls the level to which the effect interacts with the underlying layer cicieffects Comp 1 Black Solid 1 DE ElectricalArcs 5 Apply Mode Use Source Mode 5 Image Composite Mode 5 Particle Composite Mode Blend Original Random Seed Alpha Threshold Alpha Weight 5 Segment Shape Use Source Composite Effect Blend 7 Blend 7 Soft amp Bright b 5 Num Arcs b Speed 5 Start Point End Point Segments H Distortion Sub Segments b Sub Distortion H Branch Prob Branch Segments b Branch Length Branch Angle H 5 Sub Branch Prob Sub Branch Segments b Sub Branch Angle Lightning Color 5 Alpha Start Segment Width H End Segment Width Segment Size Variation Begin Draw b End Draw H Glow Radius b Glow Intensity Glow Inner Color Glow Outer Color Color Bias 5 Glow Mode Screen Y This effect is very fast when there is only a single arc To test how the controls work set the number
16. SS ee ee ee T Matte On Enable Input Layer None Selection Method Match Color Key Match Color Matching Tolerance Matching Feather Invert x J a i Premultiply With Alpha Blur Off Blur Quality Automatic O Uniform Blur Blur Render Order Blur After Levels mhi Color Composite Controls This slider controls the plus or minus range for the match color Increas ing the tolerance will grow the matte to include more colors that resemble the match Also increases the plus or minus range of the match color however it calculates the amount of difference This helps to soften the matte This channel is extracted from the in put layer and determines where color is applied The grayscale levels of the channel stencil the color with white being opaque and black being transparent If this checkbox is enabled the channel will be inverted For example to isolate the shad ows of a layer you could select the luminance channel and Invert it the channel will be multiplied with its alpha channel This is useful when you want the transparency of the input layer to be included in the channel These controls provide blurring for the Matte channel Click Enable to turn on these parameters To help maximize rendering ef ficiency this menu allows you to decide what type of blur is used When set to Automatic the effect will render Gaussian Blur for best quality and F
17. Sampling Mode Automatic Motion Blur Samples Blend With Original This plug in is used for creating interesting animated textures with crystalline type patterns The crystal pattern is made up from a series of circle shaped nodules You can control the num ber of nodules which controls the level of detail the size of the nodules and the nodule falloff Crystallizer Controls controls the size of each crystal nodule Larger sized create longer renders but each nodule will be smoother when rendered Controls the smoothness of each nodule Lower values create smoother nodules Controls the total number of nodules rendered Larger values create more detail but render more slowly h Effect Controls Dark Gray Solid 1 Y Comp 1 Dark Gray Solid 1 f 3 DE Crystallizer Nodule Size Changing this value will create Nodule Falloff different looks but do not change this setting Num of Nodules Random Seed Randomize Every Frame Background Color Will randomize the Blend effect every frame I per frame as the effect will seem to jump and not render smoothly Controls the level to which the effect interacts with the underlying layer Controls how areas outside the layer are handled Can be used to create infinite ly repeating stripes 48 effects Edgex This plug in is used to create a posterization of the image by thresholding individual color channels Edgex Controls
18. This mode is most useful when using Layer Map Gradient Only This mode will output just the gradient with its own opacity Use this view mode when you don t care to composite the gradient over the source layer Composite This mode will render the gradient composited over the layer on which the effect is applied With this mode selected Composite Mode and Opacity controls will become avail able Composite Mode This option is only available when Render Mode is set to Composite The default setting of Normal simply replaces the Original layer colors Other composite modes can be used to create more dynamic coloring effects Preserve Transparency When this option is enabled the alpha channel of the original layer is preserved Otherwise the glow region has it s own alpha and may extend beyond the edges of the original alpha Opacity The amount of color applied is con trolled by the Opacity At a value of 0 no color is applied to the image while at 100 the color is fully applied Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to 100 the ef fect will not render cicieffects Grayscaler This plug in converts color images into grayscale images with a customizable luminance control Grayscaler gives control over the process of go ing from color to grayscale allowing for varying amounts of red green and blue color channel
19. converting from or to the chosen color model When not checked Color Space converts to the specified color model storing the new chan nels in the RGBA channels of the layer Generally Color Space is applied twice Once to convert to the color model and then reversed to return the model back to RGB Premultiply With Alpha Incorporates the layer s original alpha with the color model 40 View 1 2 3 4 Provides the ability to see each channel individually The name of the View con trol will change to reflect the current arrange ment of channels Composite Outputs all channels of the color space When converting to and from a color space this mode must be set 1 2 3 4 Each of the numbered View modes relate to the ordered channels of the color mod el With each model the view name updates to reflect the ordering For example with the color model CMYK chosen the View mode name will be View C M Y K Furthermore the selected channel will be named next to the Isolate Chan nel checkbox If you choose View Mode 2 with the Lab color model the name will be shown a gt Green meaning that component a of Lab is being stored in the Green channel of the layer isolate Channel Will cause the current channel to be placed in its respective Red Green or Blue channel Use this feature if you are using Color Space to separate the channels into individual layers and want recombine them later using Color Space
20. enter the frame Some of the plug ins have both beginning and end values allowing for a wide array of specific adjustment to the effect By adjusting these val ues individually a very unique and personalized effect can be applied to your composition Phase set to 35 Phase set to 0 cicieffects Using the Plug ins Composite Modes Composite modes control how the colors of an effect interact with the colors of the source layer image There are at most two different com posite modes that can be used at a time the first being Image Composite Mode which defines how the entire effect will be mixed with the en tire source image The second composite mode defines how the particles will be mixed with the other particles when the particle system is rendered as well as how particles will interact with one another if there is an overlap between effects Apply Mode Use Source composites an effect over the layer to which it is applied Effect Only will hide the layer to which the plug in is applied and show only the effect This mode is useful when all you want to see at the time is the behavior of the specific plug in Use Source Mode Effect in Front places the effect directly in front of the layer to which the plug in is applied Effect Behind places the effect behind the layer to which the plug in is applied Use Source Mode Composite Effect in Front works similarly to Ef fect in Front excep
21. s Fire will have a much more organic and realistic appearance than other simulations due to the particle system Fire System Controls Organic Level Fire composites several slightly different layers of the fire effect to render a more natural and organic appearance Organic Level also determines the number of repetitions of the effect that will be generated Fire Amount Controls the total number of flames that are generated per organic layer per frame Vert Speed Controls the rate at which the flames rise once they have been emitted Flame Lifetime Controls how many frames the flames will last once they are emitted Min Size Determines the smallest size flame that will be emitted Max Size Determines the largest size flame that will be emitted Min Opacity Controls the minimum limit of Opacity of the flames The lower the value the more transparent the flame Max Opacity Controls the maximum limit of Opacity of the flames Horiz Dispersion Controls how much the flames will be dispersed along the horizontal axis from their generation location Wind Horiz Controls how much sideways force there is on the fire Wind Vert Controls how fast the flames rise cicieffects Fire from a logo Burn from the bottom TIP Using Generate from Layer Alpha gt Threshold is the best way to generate fire from text or a company logo that has an alpha channel 56 Fire Controls Turbule
22. transparent Wrap Infinitely repeats the layer in all directions When scaling the layer down this will produce a tiling texture Hold Extends the pixels on the edge of the layer out to infinity Mirror Repeats the image infinitely in all directions but flips the image with each repeat Sampling Mode Affects the speed and quality of the render by determining how pixel values are interpolated when the image is stretched and distorted Automatic Causes the plug in to use Bilinear sampling for best quality and Nearest Neighbor for draft quality cicieffects Crazy Stripes Crazy Stripes Controls Nearest Neighbor The fastest but also has the poorest quality It determines pixel colors by rounding coordinates to the nearest whole pixel Bilinear Uses linear interpolation to generate new pixel values between existing whole pixels Bicubic This method of sampling looks best but has the highest cost in rendering time For Crazy Stripes Bicubic is typically overkill Motion Blur Samples When motion blur is enabled for the layer this value determines how many samples are used in the blur Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to 100 the effect will not render cicieffects r ty Length 0 00 500 00 Width 0 00 s ty Rotation Spin Rate Cycles per Seco Drift Pixels per Second
23. 100 the ef fect will not render cicieffects Color Space This plug in provides access to a wide variety of standard color models Using Color Space is generally a multi step pro cess First Color Space is used to convert a layer to a color model other than RGB This exposes the channels of the selected color space tem porarily storing the values in the RGB and alpha channels which can then be manipulated with any effect Color Space is then re applied to re verse the color model back to RGB Color Space Controls Color Model When a color model is selected the components of the new color space are respectively stored in the RGBA channels of the layer For example choosing HLS will effectively store the Hue in the Red channel the Lightness in the Green and the Saturation in the Blue while the View control will read View H L S A RGB This is the standard color space Since the layer is already in RGB color space choosing this color model has no effect on the input channels This mode provides a useful way to view and isolate the RGB channels HLS Represents color as Hue Lightness and Saturation HSV HSV represents colors as Hue Saturation and Value Unlike Lightness Value represents the intensity of color CMY Offers the inverse space of RGB repre sented by Cyan Magenta and Yellow CMYK CMYK further extracts the Black channel K from the image This color model stores the K channel in t
24. Controls Range Curve Out 0 5 Fade In amp Out O Cycle b Advanced Options O Invert Rang Channel Viewer Channel Viewer is a utility for pulling channels out of a layer Channel Viewer Controls Channel Channel Viewer extracts the selected channel from the layer upon which it is applied There is a wide range of choices when it comes to channels each providing its own unique per spective into the source layer Most of the stan dard color models are available including YUV Channel Blue LAB and CMYK Hot Invert Any channel can be inverted The invert D A Itiphy 5 eae abide zs operation is calculated before premultiplying or O v In Color iar b Blend With Original COON ANLO a Effect Controls Dark Gray Solid 1 Y Comp 1 Dark Gray Solid 1 dii DE ChannelViewer Alpha Mode Since Channels are typically extracted from just the color channels you may wish to also include the Alpha channel There are three options in regards to working with the alpha channel a Premultiply Multiplies the channel with the alpha in effect combining them Premultiply is calculated after Invert Leave As Is With this option Channel Viewer will not change the alpha channel at all Ignore If Ignore is selected the alpha channel gets mare filled solid white This is useful when you need to a access the whole color value of each pixel regardless of the alpha value In
25. Far Determines the speed of the clos 5 Fog Color est layer of fog Fog Wispiness a Sh Determines the speed of the fog Blend Top that is furthest Blend Bottom Blend Bias Detail Close Provides curls and whirlpool Detail Far motion into the banks of fog Fog Wispiness aes determines the quantity of wispiness O Stretch V Far 5 Stretch H Close Determines how extreme Stretch H Far ly the wisps will affect the fog Determines the opacity of the fog ee bank in the upper half of the layer The lower the value the less fog there will be along the top of the layer Determines the color of the fog Bright Close H Bright Far O Contrast Close b Contrast Far Determines the opacity of the el sins fog bank in the lower half of the layer The lower i ati the value the less fog there will be along the top of the Bottom Allows for further weighting of the top and bottom opacities This is the only way to completely remove fog from the top or bottom halves of the footage 61 effects Fog Factory Fog Factory Controls Detail Close Determines the level of detail of the closest fog bank The smaller this number the closer the fog bank will appear Detail Far Determines the detail level of the furthest fog bank The higher this number the further away the fog bank will appear Stretch H Close Stretches the closest fog bank along the horizonta
26. It will also AutoAnimate meaning that it will automatically animate and look great without setting key frames Many of the particle effects don t need lengthy ad just ment of parameters to get excellent immediate results a a N We will be adding more sample projects to our web site and from time to time newsletters will be sent out when new presets projects and tutorials are available on our website digieffects com Installation System Requirements Delirium v2 is a plugin for Adobe After Effects Adobe Premiere Pro Apple Final Cut Pro Autodesk Combustion Boris RED and Grass Valley Edius It has been tested with Snow Leopard and Windows 7 nataning Locate the Install file i Double click the installation program and follow the in structions 3 The first time that you run the installer you will be asked to enter the serial V7 6 000 0000 For more information visit http www digieffects com support installation_guide 4 cicieffects Using the Plug ins Particle Systems Delirium v2 has a number of different effect plug ins that includes a collection of particle systems which simulate or create specific effects For example the Fire plug in makes a great look ing fire effect as soon as it s applied to a layer In the past creating effects like snow with par ticles that look and move realistically like snow could take hours or days to perfect With t
27. Smoke Controls Controls how much the om Fd 3 jon oi Yo co 3 j smoke will randomly drift horizontally When Q 2 ee i i ects set to zero the smoke will drift straight up The higher the value the more the smoke will drift Provides the capability of allowing air flow to interact with the smoke This deter a P mines the degree of horizontal movement in a particular direction as opposed to Horiz Disper ilh terne Ets sion which is random Increases or decreases the vertical speed of the smoke This can be used to increase the initial soeed which in many cases starts at Zero a Fi HA e i a E i s ee Pe e pi diietfect E n m T i a eat ik re fects E gt i a T i 2 iS 4 i gt r 5 amp i ey i ika gm Gof and di ieffects Py F i effects This plug in creates a realistic simulation of a winter storm with complete control f lt DE SnowStorm Apply Mode 5 Use Source Mode Effect Only Composite Effect Composite Mode Screen T Alpha Threshold Alpha Weight b Random Seed gt Blend Original 5 Generate From Top of Layer 7 Integrate Over Time Integrate Params Over Generate Layer None gt Generate Threshold Snow Point 5 Pile Up Mode Pile Up via Layer gt Pile Up Threshold 5 Preroll Frames Dont Pile Up None b Snow Generate b Min Size gt Max Size gt Min Opacity b 5 Max Opac
28. Specifies the input layer for the gradient If none is selected then the layer on which the effect is applied will be used Channel The selected channel will be extracted from the layer You can set the render mode to Gradient Map to see the channel by itself with the Invert and Premultiply With Alpha options included Invert When enabled the selected channel will be inverted calculated before Premultiply With Alpha This will reverse the mapping of the gradient Premultiply With Alpha Enable this in order to render the channel premultiplied with its alpha channel Color Presets As a starting point you can choose from the list of color presets Each preset may vary in the number of colors used cicieffects Gradient Designer Layer Map Number of Colors Gradient Designer supports up to 12 colors You can set the number of color using this popup menu or you can interactively add and remove colors using the gradient inter face Repeat Mode Specifies how the gradient be haves beyond the initial range and when using the cycle feature You can create infinitely re peating gradients or gradients that simply fade in and out Reverse Checking this box will reverse the gradient aoe Dither Dither To help avoid gradient banding you can enable dithering Dithering adds slight random ies Gradient NL variation to the color mapping to help reduce visual steps in the gradient Gradient Interface
29. Uniform fade can be turned off in the advanced settings to get an independent Fade Out control represented as a purple line offsets the entire range curve without modifying the values of the In or Out points sieffects Advanced Options When enabled the resulting output gradient will always be normalized to a full soectrum of black and white values Otherwise the output gradient will be based on the existing grayscale values of the EUECHannet When enabled the Fade In and Fade Out values will be merged into a single Fade In amp Out control There are two types of curves available Natural and Linear Natural curve type is the default and will produce a smooth curve based on Gaussian distribution Linear causes the range curve to interpolate in straight lines Allows for further manipulation of the curve making it either more concave or more convex Can repeat the range curve left right or left amp right of the initial curve 3 Sets the distance between repetitions inverts the values of a specific range Specifies a channel to which to composite the effect result The default choice RGB will composite the channel range to the color channels of the source layer Sets how the channel range is mixed with the destination channel Controls how much the channel range affects the destination channel effects View Mode Input Layer Channel Luminance O Invert O 7 Premultiply Range
30. When one of these generate methods is selected this slider controls the threshold level at which particles will be generated When set to zero any lumi nance level or alpha level can generate particles When set high only the brightest luminance levels or most opaque alpha levels will generate particles Generate Point also Bubble Point Fire Point etc becomes enabled when the Generate From control is set to Generate from Point This control will set the point where the particles are created Preroll Frames allows you to start the effect before the first frame of the clip giving the abil ity to make the effect begin generating particles before the clip starts on the timeline The value corresponds to the number of frames before the first frame that the effect will start to generate particles cicieffects Presets The Presets user interface provides a way to load and save parameter settings for the Delirium v2 plugins Included with the installation of Delirium v2 are over 100 presets designed by Digieffects In After Effects CS5 the installed presets can be found in the Effects and Presets panel under Animation Presets gt Presets gt DE_Deliriumv2 It is possible to save additional presets by setting the controls of the effect and then selecting Animation gt Save Animation Preset The next time the presets pop up is selected that preset will be in the User Presets folder effects Animation
31. all the information in the view Double Click Also resets the histogram view how ever it zooms out completely on the horizontal axis This will set the black point to 0 and the white point to the highest value available Triple Click This will reset the histogram view as well as set all the controls back to their default settings Black and White Sliders Allow interaction with the histogram view by zooming the data hori zontally There are also two modified modes for cicieffects interacting with these sliders Option Alt Key Holding down the option alt key while dragging the slider will uniformly zoom the view in or out Control Key This will uniformly pan the view left or right Scale Slider The slider control on the far right of the histogram display controls the vertical scale of the histogram Sample Allows a choice between using the whole Image or just a region to build the his togram When sample mode is set to Region it allows the ability to specify the position width and height of the region measured in pixels located around the center position VanGoughist This plug in creates a painted effect by brushing the source image with a series of bit mapped brush strokes VanGoughist Controls Include Source Check this to paint over the source image Background Color Controls the color to fill the background if Include Source is not checked Alpha Mode Controls how the effect will us
32. amplitude of the vertical waves The maximum amplitude of the vertical waves used in the distortion Determines the minimal number of times that the waves of distortion occur Determines the maximum number of times that waves will occur along the vertical axis Determines the position of the waves highs and lows amplitude along the lines of the waves frequency Zooms into or out of the wave distor tion effect along the horizontal axis Zooms into or out of the wave distor tion effect along the vertical axis Blends the unaffected original layer with the affected layer The higher the val ue the more of the original layer will be blended in with the affected footage effects
33. groups Channel Lighting supports up to 6 independent lighting groups Determines if a light group is used Turned on by default determines whether the master layer is used Specifies an alternate light source Uses single greyscale channels as lighting passes Inverts normal channel values Premultiplies the channel value with the light layer s aloha chan nel Light color is pre computed into the light group and is subjected to Intensity and Gamma values Specifies the darkest color of the light controls the black point of the light Increases overall lighting Biases channel midrange levels to ward black or white multiplies the light value and will increase or decrease the power of the light effects Comp 1 e Black Solid 1 Saeed DE ChannelLighting O View Mode Diffuse Layer Master Light Layer Master Ambient Master Gamma v Master Intensity 0 00 Final Composite Mode 7 Light 1 at ri 5 Channel Light Color 6 Shadow Color Shadow Level Ambient Gamma Intensity 0 00 Composite Mode Final Composite None None Multiply Y Enable v Use Master Light Layer Red Invert Premultiply With Alpha m Channel Noise Channel Noise applies random noise to layers with individual controls for the red green blue and alpha channels 5 View Mode Composite Noise Type Smooth Fractal Fractal Settings Detail ji
34. is controlled by this slider If set to 0 the depth map will not render Motion Blur Samples Can be used with Star gate to help smooth motion and create more fluid effects O View Mode Source Layer Final Output None Display Mode Both Planes 5 Position r Rotation 7 Slit Scan Controls v Direction b Width H Length b lt Speed pixels second e Offset pixels b Taper b 5 Curvature Upper Offset Lower Offset Edge Behavior r Depth Map On Mirror T P v Enable Size b ty Blas is Invert Apply To Alpha 5 Color 5 Composite Mode 4 Fy Preserve Transparency Opacity Super Histogram This plug in is a useful tool for inspecting image data and viewing color distribution a Color Mode RGE 7 Render Output Histogram se Selection R c B A WEN dia Ada Correcting Problems Super Histogram provides a method of visual izing and diagnosing issues with color space and channel data however it is really beyond the scope of this plug in to fix problems that may be encountered For example if an image that is supposed to be 16 bit is discovered to have been converted down to 8 bit there is no post process that can be applied to retrieve the lost informa tion Ultimately Super Histogram is a tool that will help make better production decisions and set up projects more efficiently When working ona film project where 16 bit c
35. mask will be ren dered inverted Rather than color being filled inside the path shape it will fill all areas outside the closed path The default Mask Mode is Multiply which produces the most commonly expected result However you can use any other mode to subtract add or otherwise affect the transpar ency Controls how much the mask affects the light layer With a value of 0 the mask is not rendered and at a value of 100 the mask is fully applied This function adds another level of control to Light Wrap by limiting light to particular areas It is often desirable to have more light wrap relative to the dark areas of the foreground and less light wrap along bright edges The default settings are intended for this purpose using the inverted luminance of the source layer as matte Typically this can be left to None in order to use the layer on which the effect is applied The default is Luminance with Invert en abled This means the bright areas of the foreground object will be more resistant to the background light The selected channel will be inverted calcu lated before Premultiply With Alpha This option is generally used for layers that have transparency in These controls work identically to the light layer Blur and Levels controls Specifies the method to use when applying the Obscuration Layer The default mode is Multiply amp Burn a proprietary mode that s great for organically combining matt
36. particles down towards the bottom of the layer Determines the amount of hori zontal push that wind can give to the sparks Increases or decreases the vertical speed of the sparks Determines the amount of de celeration that the air will drag on the sparks sieffects Sparks Controls Determines the maximum dis tance that a glow will extend from the spark particles Controls the brightness level of the glow Defines the glow color clos est to the arc Defines the glow color that is outside edge of the glow Defines the balance of Glow Inner Color and Glow Outer Color Lower numbers will increase the value of the Glow Inner Color in the overall appearance of the glow Larger numbers tip the balance towards the outer color Multiplies the inverse brightness values of the colors in all layers The resulting color is never darker than the original Combines the color values of the layer and the underlying colors The resulting color is lighter than the original effects Specular Lighting This effect simulates a single colored light source shining on an image as if it were a piece of plastic 98 Mater Amb Norn a a ee Mater Dit Norm Light Source Light Type Determines the Light modeling mode Point Light Light emanates from a point close to the surface Directional Light Light is reflected at an angle from a light source infinitely far away Light Color Determines th
37. region Match Color Key This method uses color keying to define the image region to glow When using this mode the Match Color Tolerance and Feather controls will become enabled Use Channel Matte The other method of selecting the glow region is to use a channel as a matte A channel can be used with levels to pull a precise region from an image For example you could use the luminance channel to generally ap ply glow to the lighter areas of the image Match Color This color specifies the color to key from the layer Any color matching this will be included in the glow Matching Tolerance Starting from the match color the tolerance expands the search region to include more pixels Matching Feather Can also be used to increase the selection region However the feather fades in pixels based on their closeness in matching creating a softer matte Channel The selected channel is used to de termine what areas of the image will be glowed Levels can be used to fine tune the selection region Invert When enabled the glow region will be inverted Premultiply With Alpha The selection region will be multiplied with the layer s alpha channel Levels The glow selection can be further ad justed using Levels Input Black When increased the channel be comes darker The Input Black and Input White values can be moved closer together to create contrast cicieffects Input White Increases the range o
38. shadow softness can be tweaked in Channel Lighting using Gamma and Intensity but it will affect surface shading as well Light Direction Direction cannot be changed in Channel Lighting so make sure that lighting directions are set accurately cicieffects Diffuse Layer Master Light Layer Light 1 Layer Light 2 Layer Light 3 Layer Light 4 Layer Light 5 Layer Light 6 Layer Light 1 Light 2 Light 3 Light 4 Light 5 Light 6 Light Composite Final Composite View Mode Diffuse Layer The layer to which the light is applied Master Light Layer Defines the source chan nels for the lights Light 1 Layer 1 6 Each light layer view mode displays the source layer for that light Light 1 1 6 Use these view modes to see what each light is doing individually Light Composite This is where you can best see how lights are interacting with each other and fine tune the settings before the final com posite Final Composite renders the complete Chan nel Lighting process and composites the light over the diffuse layer Channel Lighting Controls This specifies the overall am bient amount for all lights Each light s gamma value is factored into the master gamma The master intensity is mul tiplied with each light s Intensity and affects overall brightness of light Controls how lighting is applied to the diffuse layer not related to the composite mode of individual light
39. that Source 1 Channel you can easily work with the plug in to dial in FA ioe the settings The following modes are available Source Mask Source 1 Layer Displays the original input source Output layer for Source 1 as specified by the layer con trol If None is selected then the layer on which Se the plug in is applied will be shown source 2 Layer Source 1 Channel Allows you to directly see Source 2 Channel the input channel making it easy to select the Source 2 Mask best channel for your needs Source 1 Mask Displays the mask for Source 1 If no path is selected or it is invalid a red X will be rendered instead Composite Source 1 Output The final processed input Vv channel including Mask and Levels is displayed by this view mode Source 2 Layer Channel Mask Output Works the same as the Source 1 options but displays the elements specified by the Source 2 controls These View Modes will only work if the com pound channel is enabled Composite renders the final processed output of Channel Composite It takes into account all of the effects settings and renders the output to the destination channel cicieffects 18 fx DE Chan mposite Animation Presets None View Mode 7 Source 1 Layer Channel 5 Invert 5 Premultiply With Alpha Composite None Luminance 7 Blur Off Blur Qualit Automatic a O v Uniform Blur Blur Render Or Blur After Levels v Le
40. the ef fect with the original input layer effects This plug in is a powerful tool for generating and manipulating mattes and transitions by easily allowing you to isolate specific grayscale ranges of channels View Modes L Displays the input layer to the ef fect specified by the Input Layer popup menu With this view mode no rendering takes place and the input layer is simply passed through the effect After choosing an input layer use this mode to view the input channel Renders out the selected channel range in grayscale Allows you to composite the range over the source layer This makes it possible to apply Channel Range directly into the alpha channel or use the range to modify the source in another way Channel Range Controls Specifies the layer from which the channel range derives the range You can choose from a long list of channels on which to base the range vert The selected channel will be inverted This is processed before Premultiply With Alpha Incorporates the input layer S alpha channel with the selected channel effects Range Input Layer Input Channel Range Composite ChannelRange Paint_13 mov View Mode Range Input Layer None Channel Luminance Invert Y Premultiply With Alpha Range Controls ni Range Curve FARES eT LIET 5 Out 0 ie 5 Fade In amp Out i 5 C Y gle b Advanced Options ax Invert Range Chan
41. the ultimate tool for building gradients and supports dynamic creation of up to 12 colors Basic Shape Layer Map Horizontal Vertical Linear e Elliptical Rectangular Radial Gradients can be created in two general ways Basic Shape and Layer Map Basic Shape You can choose from a list of standard gradient shapes to create practically any kind of gradient needed Horizontal This maps the gradient from left to right across the layer Vertical This maps the gradient from top to bottom across the layer Linear This creates a gradient in a direction from the start point to the end point Elliptical Produces a circular gradient In this mode the transform controls will become ac tive allowing you to move scale and rotate the gradient just as you would a layer with Anchor determining the center of the transformations 6 Rectangular This produces a box style gradi ent In this mode the transform controls will become active allowing you to move scale and rotate the gradient just as you would a layer An chor determines the center point of the transfor mations Radial This produces a gradient that rotates around the center point in a clockwise direction This shape also supports transformation con trols Layer Map When the gradient type is set to Layer Map these controls will become active Layer Map builds a gradient by mapping the colors to the specified channel of a layer Layer
42. A Color A Alpha A Particle Size A Begin Draw A End Draw A Radius 1 A Freq 1 5 A Phase 1 A Radius 2 A Freq 2 A Phase 2 A Radius 3 A Freq 3 A Phase 3 B Center Point B Color 5 B Alpha B Particle Size B Begin Draw 5 B End Draw B Radius 1 B Freq 1 B Phase 1 B Radius 2 B Freq 2 B Phase 2 B Radius 3 B Freq 3 5 B Phase 3 ee ee Use Source Composite Effect In Front Blend Screen Lines Use Spacing HyperHarmonizer is a visual element generating plug in designed using sine wave curves and other mathematical constructs to create beauti ful and interesting patterns HyperHarmonizer Controls Controls the number of harmonizer generators Each one will create a single possibly very complicated curve Define the particle shape that makes up the line for the Harmonizer Shapes include star oval line soft amp bright harsh falloff dot Allows a distance to be set be tween drawing points Used to control the amount of space between segments when Use Spacing is enabled This is the phase of the spacing segments Animate this to move the particles along their paths A Shape This section defines the HyperHarmonizer graphic element using 3 sets of sine wave gen erators Defines the center of the har monizer Controls the color of the harmonizer Controls the opacity of the harm
43. Color Even though individual channels really have no color this pseudo coloring can be help ful in better understanding what the channel represents Blend With Original Use this slider to blend the result of the effect with the original input layer 33 cicieffects Color Composite This plug in applies color to a layer with advanced features such as mattes masking composite modes and alpha channel control View Modes Matte Input Layer Displays the Matte Input Layer unmodified The layer is specified by the Input Layer menu in the matte group If the layer is set to none then the layer on which the effect is applied will be used Matte Selection Shows where the color will be applied to the layer How the matte is created depends on the selection method Match Color Key or Use Channel Matte The Matte is always rendered in grayscale and represents the areas to which the color will be filled In this view mode you can adjust all of the matte settings including Blur and Levels Mask Use this view mode to see the Mask by itself Mask amp Matte When using both a matte and mask this view mode can be very helpful to see their combined result The mask is composited over the matte using Mask Mode and Opacity Composite This mode outputs the final re sult of Color Composite In this mode all effect controls will be enabled and the color will be applied to the source layer Color Composite Controls Color
44. Intersections are objects placed on the points on the grid where main grid lines intersect pum A SS Se E o o Intersect Prob Determines the likelihood of the intersect shape appearing on any given intersection DET E a es Intersect Shape The various objects or shapes that can appear on the intersections a Intersect Size Determines the size of the inter sect shapes that appear on the intersections a Intersect Color Determines the color of the intersect shapes l i Intersect Alpha Determines the transparency of the intersect shapes Smaller values give a more transparent Intersect Shape Intersect Composite Defines how the intersect image blends with the grid Glow Radius Determines the distance from the lines in the grid that the glow will extend Glow Intensity Determines how brightly the grid will glow Glow Mode Add Combines the color values of the layer and the underlying colors The resulting color is lighter than the original Screen Multiplies the inverse brightness values of the colors in all layers The resulting color is never darker than the original digieffects This plug in creates a realistic billowing colored smoke effect es DE Smoke Apply Mode Use Source Mode Composite Mode Blend 7 Alpha Threshold Alpha Weight Random Seed gt Blend Original Use Source F Composite Efe Y Generate From smoke Poi
45. Or v Levels Off b Input Blac b Input Whit b Gamma Output Bla Output Wh T Mask On Path 5 Feather O Mask Mod 5 Mask Opa Nome Composite None Invert Color Invert Alpha Premultiply With Alpha Automatic v Uniform Blur Blur After Levels v Enable Mask 1 T Use All Paths v Uniform Feather Invert Multiply uly DE Composite Animation Presets None View Mode 7 Background Layer Composite Layer None Invert Color Invert Alpha G Premultiply With Alpha 7 Blur Off Blur Qualit Automatic 5 7 Uniform Blur Blur Render Or Blur After Levels 7 Levels Off Input Blac Input Whit Gamma b 5 Output Bla b 5 Output Wh vV Enable Mask 1 Use All Paths v Uniform Feather 5 Feather Invert 5 Mask Mod Multiply b 5 Mask Opa 44 Composite Controls Limits the maximum darkness of the matte Limits the maximum lightness of the matte Layer masks can be used with Composite similarly to how they are used with other plug ins The mask group is only active when a valid Path is chosen Paths must be closed To specify a mask select the desired path from this menu With this option it is not neces sary to explicitly select a path Instead all avail able closed paths are used Feathering will be equal in the horizontal and vertical directions This slider controls the size of the feathering in pixels You can turn off Uniform Feather in order to cont
46. Presets in CS4 and below Effects amp Presets Animation Presets a Presets b EB Aged Film Presets i Backgrounds A Behaviors B DE_AgedFilm_V1_05x 64 I DE_Delirium_V2_OSX64 b I Image Creative b E Image Special Effects A Image Utilities A Shapes b Sound Effects m Synthetics S Text A Mesias S Transitions Dissolves S Transitions Movement A Transitions Wipes D Trapceode Particular ffx Ei User Presets 3D Channel Audio Animation Presets for CS5 The Effects cicieffects Alpha Tool This plug in is a special tool for working with alpha channels and gives a wide range of capabilities Alpha Modes Alpha Tool provides 7 different operations each Unmultiply Black one with a particular purpose that affects the ata alpha and color channels differently Premultiply Unmultiply Black Premultiply composites the layer over a solid Remove Color Matting background color resulting in an opaque layer i Unmultiply Color Rey Unmultiply Black The preexisting alpha chan Ignore straight RGB nel is replaced by a new one generated from luminance This is ideal for lens flares fire smoke Non Zero Alpha and other effects matted over black Set Matte Remove Color Matting When an image has been rendered pre multiplied with alpha this mode can be used to remove color matting from the RGB channels Unmultiply Color Key Specify what color you want to be the transpa
47. Radius Glow Intensity 5 Glow Own Colors Glow Inner Color Glow Outer Color 5 Color Bias 6 Glow Mode None Use Source Y Composite Effect In Front Blend 7 Screen T Lines Only Use Spacing Glow Own Colors Visual Harmonizer 106 Visual Harmonizer Controls Start Frequency Determines how often the start frequency goes up and down in a wave form The higher the value the greater the num ber of wave forms End Frequency Determines how often the end frequency goes up and down in a wave form Start Phase Determines the alignment of the waves of the first frequency End Phase Determines the alignment of the waves of the last frequency Use Spacing Breaks the frequencies from solid lines into individual dots depending on Particle Shape Spacing Distance Only valid when Use Spac ing is checked This determines the amount of space between the individual particles that make up the frequencies Spacing Phase Determines the location of the particles that make up the frequencies Glow Radius Controls the distance from the harmonizers edge that the glow colors will travel Glow Intensity Controls the brightness level of the glow Glow Inner Color Defines the glow color clos est to the harmonizers Glow Outer Color Defines the glow color that is outside the harmonizers Color Bias Defines the balance of Glow Inner Color and Glow Outer Color cicieffects W
48. Wh 6 Render Or Levels First 7 Mask On Using 1 ra v Enable v Use All Paths 5 v Uniform Feather b 5 Feather E Invert a j Mask Mod Multiply Mask Opa g 63 Glow works by extracting a region of the source layer blooming it and then re compositing it over the original Selection of glow regions can be achieved using a channel matte or color key Additionally masks can be used to control where the blur is applied View Mode This view mode displays the selected layer unmodified If the layer is set to none then the layer on which the effect is ap plied will be used Use this view mode to see the areas that will be glowed The glow selection is controlled by Match Color or Matte Channel depending on which mode is chosen Use this view mode to see the mask by itself This view mode displays the fully processed glow layer by itself This is useful to see exactly what the glow is doing and can even be used as an output option to use with other effects This view mode outputs the final result of Glow In this mode all effect controls will be enabled and the glow will be applied to the source layer Glow Controls Specifies the input layer and op tions for building the glow Specifies on which layer to base the glow effects Glow Glow Controls Selection Method Rather than glowing the entire image Glow uses a selection to build the glow There are two methods for selecting the image
49. alues are han dled beyond the normal value range when the cycle is changed 41 Cycle Offsets the input phase of the channel This essentially cycles the grayscale gradient wrapping it around Cycle Mode can be used to determine how the values are wrapped Levels The matte can be further adjusted using Levels These controls work similarly to the stan dard Levels effect Input Black As Input Black is increased the channel becomes darker Input Black and Input White values can be moved closer together to create contrast Input White As Input White is Increased the channel becomes lighter Gamma Gamma values less than 1 0 bias the gray levels towards black creating a darker image When the Gamma value is greater than 1 0 the gray values are pushed towards white brightening the image Output Black Limits the maximum darkness of the matte Output White Limits the maximum lightness of the matte Number of Colors Colorize supports either 3 or 5 colors When set to 3 colors the Mid Shadow and Mid Highlight controls become disabled Color Controls Each color control targets its respective range within the image Shadow for example is mapped to the darkest areas of the image while the highlights are mapped to the brightest Composite Mode Controls how new color is mixed with the original layer colors The default setting of Normal simply replaces the original layer colors Opacity The amount of
50. alues of the channel As the value increases the channel becomes darker As the value increases the chan nel becomes lighter effects Composite Controls Cont d Levels Off Input Blac The grayscale levels between white 5 Input Whit and black can be biased towards either end of Camma the spectrum using Gamma Output Bla tput Limits the maximum darkness of Output Wh the channel 7 o l l vy Mask On Limits the maximum brightness Fy Enable Or ACERA Path Maski The Mask group is only active when a 4 Use All Paths valid Path is chosen and the Enable checkbox is a 7 Uniform Feather on Paths must be closed Feather To specify a mask select the desired path from this menu Invert Open paths will be ignored Mask Mod Multiply while all closed paths are combined together as Mask Opa though they are one Compound Channel controls the size of the feathering in 6 Enable pixels Source 2 Mask feathering will be equal Composite M Normal in the horizontal and vertical directions o am posie Berane 5 Opacity 6 Destination Chan Grayscale 7 Advanced Output Options Comp With Ex 7 Enable Invert This whether the mask region is included or excluded Controls how the mask interacts with the channel The default mode is multiply Composite M Add Controls how much the mask Opacity affects the channel 5 Blend With Origi gt Used to combine a s
51. ares the channel values of the un derlying and layer colors and displays the lighter of the two Darker compares the channel values of the un derlying and layer colors and displays the darker of the two Scales is a special case composite mode to be used on an experimental basis It causes extreme color distortions Overlay multiplies or screens the colors depend ing on the base color Patterns or colors overlay the existing pixels while preserving the high lights and shadows of the base color Hard Light multiplies or screens the resulting color depending on the original layer color If the underlying color is lighter than 50 gray the layer lightens as if it were screened If the un derlying color is darker than 50 gray the layer darkens as if it were multiplied Soft Light darkens or lightens the resulting colors depending on the layer color If the un derlying color is lighter than 50 gray the layer lightens If the underlying color is darker than 50 gray the layer darkens Minimum uses the mathematical minimum of the effect and source images color values to replace the original image This is a modified ver sion of Lighter cicieffects Maximum uses the mathematical maximum color value to replace the original footage This is a modified version of Darker Bitwise OR Bitwise AND Bitwise XOR each do similar but slightly different operations to the color channels Exactly what they do is hard to explain wi
52. arser grain Offset determines the positional difference between each fractal iteration The larger the value the more random the effect View Mode Composite T Use Prerendered Noise O Noise Type smooth Fractal Frequency This feature is helpful for controlling ete Sere whether noise tends to get larger or smaller with increasing detail Layer Quality In this mode Channel Noise will match the quality at which the layer is rendered Draft Quality Forces Channel Noise to render faster by foregoing sub pixel sampling Best Quality Channel Noise will always use sub pixel sampling to produce the smoothest cleanest noise Color Relates directly to the amount of noise in each channel Channel Group Each channel of noise is only rendered when the opacity is greater than 0 Opacity Simply fades the noise off and on from 0 to 100 Opacity is directly linked to color control Density The default value of 1 0 results in perfectly uniform noise As density decreases towards zero the noise grains will become more and more sparse As density approaches 2 0 noise increases steadily until solid Size Controls individual grain size by channel Uniform Size Controls overall grain size for the entire channel group Uniform Size the value affects both horizontal and vertical values equally 25 cicieffects Channel Noise Fractal Settings Cont d Blur can be used on each noise channel t
53. ast Blur for draft quality This checkbox controls whether the blur is applied equally in the horizontal and vertical directions Applying blur before or after levels can produce dramatically different results effects Color Composite Color Composite Controls Levels The matte can be further adjusted using Blur Off the Levels controls These controls work similarly Blur Qualit Automatic to the standard levels effect Click Enable to 7 Uniform Blur turn on these parameters Blur Input Black As Input Black is increased the S RenderOr Blur After Levels channel becomes darker Input Black and Input Levels Ofi White values can be moved closer together to Input Blac create contrast 5 Input Whit a ge Wa TA Input White Opposite of Input Black Input White increases the range of white pixels Output Bia J Output Wh Gamma The grayscale levels between white and black can be biased towards either end of Enable the spectrum using Gamma Gamma values rath a less than 1 0 bias the gray levels towards black eas creating a darker image When the gamma value is greater than 1 0 the gray values are pushed towards white brightening the image Uniform Feather 5 Feather Invert Output Black Limits the maximum darkness of 5 Mask Mode Multiply the matte 5 Opacity Output White Limits the maximum brightness Mask With Color Composite the mask is com bined with th
54. ave Displace This plug in allows for complete control over wave distortion Wave Displace Controls Keka j 2 o fhs Effect Controls Dark Gray Solid 1 x Comp 1 Dark Gray Solid 1 DE WaveDisplace Number of Generator Number of Generators Determines the num ber of distortions that are used in the wave patterns The higher the value the greater the distortion Edge Mode Reflect Edge P Edge Mode Determines how the pixels will be Link H to V 7 Link H toV filled along the edges of the image when the dis O Repeat Wave Repeat Wave OR t Amount tortion moves the footage such that the footage S EE E bel hack deol bevi d B b Random Seed elow or background color can be viewed By H Wave Type Ss Was using one of these methods the footage below gt H Min Amp will not show through H Max Amp Repeat Edge pixels Repeats the pixel closest to the H Min Frq uncovered area This will give a stretched look from the H Max Frq edge of the distorted footage to the edge of the comp H Phase Wrap Around Uses pixels from the opposite side of the footage that have been distorted to replace the empty areas V Wave Type Sine Wave Reflect Edge Pixels Uses a reflection of the closest b VMin Amp pixels to the edge of the areas that are uncovered due b V Max Amp to the effect This is the setting used most often b V Min Frq i i V Max Frq Link H to V Disables the horizontal controls eee
55. ccording to whatever point is selected in the Launch Point control Determines the point from which the fireworks will be launched Determines the direction from which the fireworks will be launched 0 degrees will launch the fireworks straight up Negative numbers will launch to the left and positive numbers to the right Determines how far from the launch angle the fireworks may shoot When set low fireworks will go straight up from the launch point As the value increases the fireworks will shoot to the left and right of the launch point Determines how often the fire works will be launched The higher the value the greater the likelihood of fireworks being launched per frame Determines how many fireworks will be launched per launch event as determined by Launch Probability Determines the speed of the slow est fireworks on their way up pre explosion Determines the speed of the fast est fireworks on their way up Explosion System Determines the altitude at which the fireworks will explode when Explode at Height is selected Determines the rate at which rockets must be moving before they will explode into fireworks effects Explosion System To cause a rocket to explode on the way down set Explode Speed to a negative number Once the rocket peaks and it s falling rate equals the desired speed the rocket will explode Defines the general direction of the particles Shapes include explosive oral sp
56. civieffects Delirium v2 User Manual Delirium v2 User Manual Digieffects LLC 27 N Front Street Ste 200 Wilmington NC 28401 910 473 5169 info digieffects com support digieffects com www digieffects com Digieffects is a registered trademark of Digieffects LLC The Digieffects software is furnished under a license agreement which can be printed when the software is first installed This manual as well as the software described in it is furnished under license and may only be used or copied in accordance with the terms of such license The information in this manual is furnished for informational use only and is subject to change without notice and should not be construed as a commitment guarantee or contract by Digieffects Digieffects and assumes no responsibility or liability for any errors or inaccuracies that may appear in this document or the software it describes No part of this document may be reproduced or transmitted in any form or by any means electronic or mechanical for any purpose without the express written permission of Digieffects After Effects Photoshop Premiere Pro are registered trademarks of Adobe Systems Inc Apple MacOS Macintosh Apple and Quicktime are trademarks of Apple Computer Inc All other trademarks are the property of their respective owners cicieffects Contents Getting Started Introduction Installation Using the Plugins Using the Plugins Plugin Descriptions Alp
57. color applied is con trolled by Opacity digieffects Composite This plug in is designed to perform compositing directly on a layer without the need to pre compose Composite is capable of taking two layers and combining them together with a number of advanced options including inverting mask ing alpha control and additional compositing Backg round modes Background Mask View Mode Foreg round Background Displays the adjusted background F d bins layer including all the layer options Oregrouna Midst Background Mask Displays the mask for the l background layer Composite Foreground Displays the adjusted Foreground layer including all the layer options Foreground Mask Displays the mask for the foreground layer J A DE Composite Composite Displays the final composite of the Animation Presets None ili effect Only in this mode will all effect controls View Mode Composite be enabled Background Layer Layer NOME eee Composite Controls Premultiply With Alpha Background Layer Specifies the bottom layer to use in compositing Often these values are left at default so that the layer on which the plug in is set is used 7 Blur Off Blur Qualit Automatic bi E v Uniform Blur Blur Layer Used to select any layer in the composi Render Or Blur After Levels tion 7 Levels Off gt Input Blac Invert Color Will invert the color channels of gt Input Whit the layer
58. d Max that the glow will extend Threshold Min The minimal luminance thresh old from which the glow will be generated Zero els ff t is equal to black ec S Threshold Max The maximum luminance threshold from which the glow will be gener ated 255 is equal to white Use Original Colors When selected the glow colors will be determined by the colors in the footage When not selected the glow will be based on the dark color and bright color con trols Glow Intensity Determines how brightly the effect will glow on the pixels on which the threshold will let the effect occur Color Bias Determines the dominance be tween Dark Color and Bright Color Dark Color The color of the darkest part of the glow when Use Original Colors is NOT checked Bright Color The color of the brightest part of the glow when Use Original Colors is NOT checked Blend Original Will blend the unaffected origi nal layer with the affected layer The higher the TIP If you want the dark areas to glow set the min to zero and the max to somewhere around 75 depending on the image value the more the original layer will be blended This can give a slightly cartoonish look to the footage and will with the affected footage Blend Original IS an often bring detail out of the darker areas excellent way to bring some of the sharpness and detail back into the footage cicieffects Gradient Designer This plug in is
59. de filling in the source layer Blend This controls the overall blend of the ef fect with the underlying layer NOTE Any still image can be given an animated human per sonality using this plug in 86 cicieffects Rainfall This plug in simulates a weather pattern similar to a summer rainstorm Rainfall is a particle system that easily and el egantly handles rain effects through a realistic rain simulation Rainfall Controls Splash Mode Determines if and how the rain drops will splash in the footage Don t Splash When selected there will be no splash ing of the rain drops anywhere in the footage Splash On Bottom When selected Splash on Bottom will make the rain drops splash as they hit the bottom of the layer to which the effect is applied Splash on Alpha gt Threshold via Vert Height This will cause the rain to splash on the first vertical pixel detected in the alpha channel The threshold control will determine which pixels in the alpha channel will be detected as the first pixel Splash on RBG gt Threshold via Vert Height This will cause the rain to splash on the first vertical pixel in the image detected Splash on RGB gt Threshold via 2D Creates a mask that works in all directions to define areas of the layer where the rain will splash Splash via Layer Defines the layer that controls if a rain drop will splash at a specific location Splash Threshold Defines the minimum value
60. e blended back with the source image One great use for this filter is to create images that come alive on a newspaper and walk off the page into real life Create a smaller sized halftone for more detail larger for a more grainy look Newsprint Controls Halftone Shape Sets the shape of the halftone Dot Line and Square Offset Controls the location of the center of the mask Size Controls the size of the halftone image Angle Controls the angle of the halftone image mask Dark Color Renders color for the dark areas Light Color Renders color for the light areas Blend Controls the overall blend of the effect with the underlying layer 82 cicieffects Nexus This plug in will generate animated graphic elements from geometrical constructions The Nexus effect is generated by creating a bar that rotates around two circles and fades out over time Nexus Controls Bar Shape There are three options Soft thin and square Square is further broken down into soft medium and hard Preview Paths When enabled the motion path circles that form the basis of the effect can be seen Num Echoes Determines how many bars will appear in your footage Center 1 Determines the location of the center of the first circle When preview paths is on the first circle is red Center 2 Determines the location of the center of the second circle When preview paths is on the first circle is green
61. e Source Mode Effectin Front 5 Composite Mode Blend gt Particle Composite Mode Blend Alpha Threshold Alpha Weight Random Seed Blend Original Bubble Type Textured T 5 Generate From Bottom of Layer mF Integrate Over Time Integrate Params Over Time Generate Source None T Generate Threshold Bubble Point Preroll Frames Bubble Amount Hor Speed Vert Speed Bubble Lifetime 5 Min Size Max Size lt gt Min Opacity 5 Max Opacity Min Lilt Amount Max Lilt Amount Min Lilt Frequency T High Contrast Bubbles Max Lilt Frequency 5 Horiz Dispersion Wind Horiz Wind Vert 5 Distort H Distort V b be be a fe be fm ie be be a e be is fe B Low Contrast Bubbles Distortion Distortion determines how much the bubbles will distort the footage to which the bubbles effect is applied This distortion is based on the bubbles and so will have the same shape and location as the bubbles Determines the amount of hori zontal distortion Determines the amount of verti cal distortion 16 effects Channel Composite This plug in provides the ability to directly composite layer channels with many advanced options such as built in Levels Masks Blur and Composite Modes View Mode This menu allows you to isolate different aspects ee ee of Channel Composite Each mode modifies the source Layer render output and the available controls so
62. e color of the light source Light Intensity Controls the overall brightness level of the light source Light Pos X Determines the horizontal light location Light Pos Y Determines the vertical light loca tion Light Pos Z Determines the height of the light source above the surface of the image Light Dir X Determines the horizontal direction of the light source Light Dir Y Determines the vertical direction of the light source Light Dir Z Determines the outward direction of the light source Material The material parameters define the kind of ma terial of which the surface is made allowing the effect to determine the reflective properties of the surface Mater Amb Norm Determines the ambient light reflection amount Material Diff Norm Determines the diffuse light reflection amount cicieffects Specular Lighting Material Mater Diff Env Determines the diffuse light envelope amount Mater Spec Env Determines the specular reflection envelope amount This controls the amount of bright specks in the high parts of the image Mater High Env Determines the highlight en velope amount This controls the reflectiveness of the highlight areas just below the specular areas Bump Map Bump Map Type None No bump map applied Logarithmic A plateau look Sine Smoothly curving straight in the middle Spherical Smoothly curved no straight lines Linear Slanted Bump Map Depth D
63. e forward or backward measured in whole frames Determines the center point of a layer by which all movement is oriented Controls the position of a layer rela tive to the anchor point provides uniform and nonuniform scal ing of the layer measured in percentage effects both horizontal and ver tical scale uniformly Rotates the layer relative to the an chor point Will cause the layer to stretch along either the horizontal or vertical axis measured in percentage Can be applied individually and through master controls n Controls whether blur is applied uniformly across both the X and Y axis Scales all individual channel transformations towards the master settings This is very helpful to transition in and out of Channel Offset controls how areas outside the layer are handled Areas outside of the layer area will be rendered black transparent will infinitely repeat the layer in all directions extends the pixels on the edge of the layer out to infinity most often creating a solid or streaking effect l repeats the image infinitely in all directions but flips the image with each repeat effects iy Effect Controls Channel Offset ChannelOffset e Channel Offset STs DE Channeloffset View Mode P Master 7 Red Red Mode ime Offset 5 Anchor Point Position Composite F p Ch T v Uniform Scale Scale Ta 5 Rotation Shear X gt Shear Y Blu
64. e matte to further control where color is applied The Mask group is only active when a valid path is chosen and all paths must be closed Whether the mask is active or not is indicated by the word On or Off next to the mask group name Mask Mode The default mask mode is Multiply Path To specify a mask select the desired path from which produces the most commonly expected result this menu However you can use any other mode to subtract herwise aff he Ch with th k Use All Paths With this option it is not necessary to add or otherwise affect the Channel with the mas explicitly select a path Instead all available closed Opacity Controls how much the mask affects the paths are used while open paths will be ignored channel Uniform Feather Ensures that mask feathering will be equal in the horizontal and vertical directions Feather This slider controls the size of the feathering in pixels Invert Renders the mask inverted digieffects Color Composite v Enable Mask I1 T Use All Paths 7 Uniform Feather G Feather ii Inwert 5 Mask Mode Multiply Opacity Alpha 5 Use for Alpha Alpha invert Premultipry With Alpha 5 Composite Mode Add Preserve Transparency Premultiply Output Blend With Origi g 37 Color Composite Controls Alpha Sometimes when applying color to a layer you may also need to change the opacity of the layer You can use the alpha group controls to c
65. e the alpha channel Ignore Alpha The alpha channel is replaced with full alpha Clip To Alpha The alpha channel is used as a mask Alpha is not affected Use Brush s Alpha The alpha channel is replaced with the alpha channel of the brush Brush Type Type of brush to use Randomize Per Frame Randomizes the brush strokes for every frame Random Seed If randomize per frame is yes this controls the seed for the effect Horiz Size This is horizontal size of the brush stroke Vert Size This is vertical size of the brush stroke Number of Strokes This is the number of strokes applied to the image Blend This controls the overall blend of the ef fect with the underlying layer Hint To create a smoothly animated effect over time when Randomize Per Frame is checked use this method 1 Render out the movie at half the speed that you will want the final animation 2 Import the new movie into a new comp 3 Render out the movie at twice the speed but be sure to turn on Enable Frame Blending in the comp time layout 104 cicieffects This plug in creates stunning animated images based on a series of sine waves which are rendered as a series of particles or simple lines Each of the harmonizer shapes are controlled by the frequency amplitude and phase Keyframe the start and end controls for each of these set tings to determine moving wave patterns and experiment with differing n
66. ec ond channel with the first in order to build more complex operations Whether the compound channel controls next page are available depends on whether or not this box is checked dicieffects 7 Levels Off gt Input Blac Input Whit Gamma O Output Bla O Output Wh 7 Mask On O v Enable Path Mask 6 6 Use All Paths 5 v Uniform Feather Feather 5 Invert gt Mask Mod Multiply O Mask Opa Compound Channel D v Enable b Source 2 O Composite M Normal Composite Behind b Opacity Destination Chan Grayscale v Advanced Output Options Comp With Ex Enable Composite M Add b Opacity b Blend With Origi Compound Channel Options The Source 2 group provides the sec ond input source for Channel Composite j Controls how Source 1 and Source 2 channels are combined Reverses the composite order of Source 1 and Source 2 Controls the amount to which Source 2 is composited with Source 1 tina The result of Channel Composite is output to the channel specified by this control Advanced Output Options This will allow you to composite the output of Channel Composite with the destination channel If this checkbox is off then Channel Composite will simply replace the destination channel Sets the mode to use in combining the new channel created by Channel Composite with the Destination Channel Controls how much the output is com posited over the destination chan
67. ed channel Combine with Original The new channel will be multiplied with the layer s current alpha rather than just replacing it Blend with Original Used to blend the re sult of the effect with the original input layer If Blend With Original is set to 100 the effect will not render cicieffects Bubbles will easily create any type of bubble effect from a fizzy drink to bubbles trailing a shark Bubble System Use the bubble system to control how the indi vidual bubbles will appear including speed size and amount as well as the overall motion of the bubbles Harsh edge droop textured sphere high contrast sohere low contrast and dark texture are all bubble types This gives control over the number of bubbles that the effect produces per frame Controls how fast the bubbles will rise This is an average speed Controls how fast the bubbles will rise before popping Controls the minimum size of any bubble on the layer Controls the maximum size of any bubbles on the layer Controls the minimal amount of opacity of a bubble Controls the maximum amount of opacity of a bubble Controls how much the bated will randomly float horizontally Controls how much the bubbles can be pushed left or right by wind Controls the vertical speed of the bubbles effects Dark Texture Bubbles Drooping bubbles Harsh Edge Bubbles SIT DE Bubbles Apply Mode Use Source F Us
68. erating snow before the clip shows The value corresponds to the number of frames before the first frame that the effect starts generating the snow Determines how much snow will be created per frame Determines the size of the smallest flakes created by the plug in effects SnowStorm Controls Determines the size of the largest flakes created by the plug in Determines the most transparent that any part of any flake can be Determines the most opaque that any part of any flake can be The random motion of individual snow flakes Determines the minimal dis tance that the lilt will move the flake Determines the maximum distance that the lilt will move the flake Determines the minimum speed at which the snow flake will move due to the lilt Determines the maximum speed at which the snow flake will move due to the lilt Determines how quickly the snow will fall The higher the value the faster the snow will fall Determines how much horizontal push can be applied to the snow to give the ap pearance of horizontal wind Increases or decreases the vertical speed of the snow Defines the likelihood that a gust of wind will occur at any given time in the composition Determines the greatest nimbe of frames that a gust can last Determines the maximum at which a gust can push the snow when a gust does occur effects Varying types of snow Solarize This plug in is a photographic process s
69. es and channels The degree of obscuration is controlled by the Opacity effects DE REEL O2 Vimeo DE REEL 02 _Vimeo mp4 Output Wh T Mask On Using 1 Enable v Use All Paths V Uniform Feather 5 Feather oO Invert D Mask Mod Multiply gt Mask Ona Obscuration Layer D 7 Enable Layer None Channel e E i Premultioly With Alpi Luminance a a Blur Off gt Levels Off Composite M Opacity Wrap Blur Qualit Multiply amp Burn Automatic Uniform Wrap Size O Wrap Size 5 Intensity 0 00 Falloff Bias Composite Mode Opacity Add To help see what the Obscuration Layer is doing it is help ful to use the Light Stencil and Obscuration Layer View Modes 18 DE REEL O2 Vimeo DE REEL 02 _Vimeo mp4 Output Wh T Mask On Using 1 a Enable v Use All Paths w Uniform Feather 5 Feather Invert 5 Mask Mod Mask Opa Obscuration Layer ey v Enable Layer None Channel Luminance 5 v Invert Multiply Blur Off b Levels Off Composite M Opacity Wrap Blur Qualit Multiply amp Burn Automatic V Uniform Wrap Size 5 Wrap Size Intensity 0 00 Fallotf Bias Composite Mode Add gt Opacity Blend With Origi Premultioly With Alpe Light Wrap Controls You can choose from Fast Blur or Gaussian When set to Automatic the ef fect will render Gaussian Blur for best quality and Fast Blur f
70. etermines the depth of the bump map effect Bump Map Smooth Determines the softness of the bump map effect Bump Map Stretch The source bump map image can be stretched if the size of the source image and the bump map image are different Don t Stretch This will clip the bump map layer to the upper right of its image to match the size of the source image Stretch This will stretch or will squish the bump map layer to fit the size of the source image cicieffects Environment Map It is possible to use another image as a color look up table for an environment mapping ef fect and it can be chosen here Environment Layer The layer selected here is used as a 2 dimensional spherical color lookup table for the environment mapping effect This plug in simulates the slit scan process used in the stargate sequence of the classic movie 2001 A Space Odyssey View Mode So urce Laye r This displays the unaltered i source layer If none is selected the layer on De pth M ap which the effect is applied will be used ee ee Use this mode to see the depth Fi nal Ou tp ut map rendered by itself The depth map will have an alpha channel and will be rendered in color Render the complete effect using this mode Only in this mode will all effect con View Mode Final Output Source Laver trols be available 5 Display Mode Both Planes 5 Position Pn Stargate Controls Specifies the input layer for Star 7 Slit Sca
71. f Layer will generate the effect from either the bottom or top of the layer Generate Layer Alpha Threshold is used to generate particles from an image that has an aloha When this is selected the particles will be generated in areas that are inside the alpha mask When the Generate Threshold slider next page is set to zero all areas will generate particles As this number increases the more transparent areas of the alpha will no longer be able to produce particles Generate Layer Luminance Threshold is used to generate particles from the lighter areas of an image The Generate Threshold slider below controls which areas of the image can generate particles When this slider is set to zero all area s of an image can generate particles As the Generate Threshold number gets higher 10 darker areas of the image will no longer gener ate particles Integrate Over Time should only be checked if you plan on key framing any of the controls If you are not keyframing any of the parameters leave this box unchecked and rendering time will decrease Generate Source defines the layer that will be used to generate particles It allows for the use of another layers image or alpha channel to con trol the generation of particles Generate Threshold becomes active when Generate Layer Alpha gt Threshold or Gener ate Layer Luminance gt Threshold is selected in the Generate From pop up menu
72. f white pixels As the value is decreased the brightness of the image increases until the whole image becomes white Gamma Values less than 1 0 bias the gray levels towards black creating a darker image When the gamma value is greater than 1 0 the gray values are pushed towards white brightening the image Output Black Limits the maximum darkness of the channel Output White limits the maximum brightness of the channel Render Order Levels First allows you to control whether levels are applied to the glow before or after its blur is computed Mask Layer masks can be used to control to what areas of the image glow is applied The mask group is only active when a valid path is chosen and paths must be closed Path To specify a mask select the desired path from this menu Only closed paths are valid Use All Paths All available closed paths are used The paths used are indicated by number in the name of the mask group control Uniform Feather Mask feathering will be equal in the horizontal and vertical directions Feather Controls the size of the feathering in pixels You can turn off Uniform Feather in order to control the feathering amount independently on the X and Y axis Invert The mask will be rendered inverted Rather than color being filled inside the path shape it will fill all areas outside the closed path Mask Mode The default mask mode is Multiply which produces the most commonl
73. for a pixel in order for a droplet to splash on the source image or Splash Via Layer image Rain Generate Determines how much rain will fall per frame This could be considered the volume control Min Size Determines the smallest possible size for a rain drop Max Size Determines the largest possible size for a rain drop Min Opacity Determines the amount of trans parency that the drops can have The lower the value the more transparent the drops cicieffects Varying types of rain fall Max Opacity Determines how opaque the rain drops can be Gravity Determines how fast the rain will fall The higher the value the faster the raindrops will fall and become longer due to a motion blur applied to the rain drops Wind Horiz Determines the speed at which the rain drops will move to the sides When the value is positive the rain will fall from left to right Wind Vert Increases or decreases the vertical speed of the rainfall This can be used to increase the initial soeed which starts at zero in many cases Gust Probability Determines the likelihood of a gust occurring at any given time Gust Max Duration Determines how long the gusts will last once they do occur Gust Max Speed Determines how far the gust will move the raindrops horizontally Schematic Grids This plug in is used to create dual resolution grids that can be subdivided have broken lines and have objects placed on their inte
74. ha Tool Bubbles Channel Composite Channel Lighting Channel Noise Channel Offset Channel Range Channel Viewer Color Composite Color Fill Color Space Colorize Composite Crazy Stripes Crystallizer Edgex Electrical Arcs Fairy Dust Fire Fireworks Fog Factory Glow Glower Gradient Designer Grayscaler Hyper Harmonizer Light Wrap MultiGradient Muzzle Flash Newsprint Nexus Nightbloom 13 15 17 20 24 27 30 33 34 38 39 41 42 46 AS 49 50 53 55 57 61 63 66 67 71 73 74 79 81 82 83 85 Plugin Descriptions Cont d Perspectron Rainfall Schematic Grids Smoke Snowstorm Solarize Sparks Specular Lighting Stargate Super Histogram VanGoughist Visual Harmonizer Wave Displace 86 87 89 90 92 94 95 98 100 102 104 105 107 digieffects Delirium v2 Welcome to Delirium V2 the amazing package of special effects plugins for Adobe After Effects Adobe Premiere Pro Apple Final Cut Pro Autodesk Com bustion Boris RED and Grass Valley Edius With the Delirium v2 plugin you can create multitudes of animated imagery through the use of a wide range of effects including natural forces special effects elements color amp style filters patterns amp distortions lighting amp glow effects and compositing tools Le _s fs E E lt i Many of the effects are set up to get you started with a cer tain look in mind For example Fire will look great as soon as you apply it
75. hange the layer s transparency Use for Alpha Choose a channel to replace the current alpha channel This new channel will become the transparency of the layer Invert Turn this checkbox on to invert the channel specified by Use for Alpha Premultiply with Alpha The channel in Use for Alpha will be multiplied with the source layer s original alpha channel This may be helpful when you want the channel values to accommodate for the transparency of the layer Note that Premultiply With Alpha does not premultiply the whole effect but only modifies the Use for Alpha channel Composite Mode Using composite modes when applying color greatly increases flexibility and ultimately allows you to create many differ ent types of color effects Opacity Controls the amount of color applied Preserve Transparency Keeps transparency from being affected otherwise the alpha channel will be modified wherever color is applied Premultiply Output The rendered output of Color Composite will be opaque matted over black This is often useful when creating control mattes that do not need an alpha channel Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to 100 the effect will not render cicieffects Color Fill This plug in provides a quick way to fill a layer with a solid color and is an efficient replacement for solid layers 2 Bb Effect C
76. he Delirium Snow plug in the solution is simple and virtually immediate This AutoAnimation idea is at the core of every particle system that simulates a natural force bubbles fire smoke rain fireworks etc With a basic understanding of how these plug ins work great looking effects can be created in record time In addition to the natural force related particle systems many other effects within Delirium v2 are particle based As an example Electri cal Arcs Visual Harmonizer Hyper Harmonizer Nexus Sparks and many others are also particle based effects Although some of these effects do not auto animate they still function as parti cle effects and many of the parameters function similarly cicieffects Channel Operations are the meth ods by which two images are mixed together Composite Modes are channel operations that are used to blend the effect with the source layer Particle Composite Mode handles how the particles that make up the effect will blend with each other before they are composited with the source layer Alpha Threshold Alpha Weight provide con trol over the opacity of various particles These parameters change the luminance of a particle system in terms of opacity or transparency Effect Systems Effect Systems define the motion and overall visual characteristics of an effect For example Electrical Arcs within the Electrical System has control for the length of an arc specific nu
77. he alpha and will lose any preex isting alpha If you need to preserve the alpha premultiply the layer and reintroduce the trans parency after Color Space is used cicieffects ch Wes Sse me To 2 2 i x aes ES oGffect Controls MVI 6202 MOV ColorSpace MVI 6202 MO0V Color Model ab i Reverse Premultiply With Alpha Composite View L alb A b 5 Blend With Original Color Space Color Space Controls XYZ The XYZ Color Model is a CIE system based on human vision The Y component defines luminance while X and Z are respectively the red yellow and blue yellow representations This color model is most often used as a transitional model to other color spaces xyY Represents colors as coordinates within the Chromaticity Diagram The channels X and Y are the coordinates with Y representing lumi nance YUV This is the analog standard color space used in the PAL video format Y is luminance while U and V are the color components YIQ This is the analog standard color space used in the NTSC video format Y is luminance while and Q are the color components Lab This is another CIE color system based on the XYZ color space Luminance is measured by L while a and b represent the red blue and yellow blue components Luv The Luv Color Model is also a CIE color sys tem based on XYZ L defines Luminance while u and v define chrominance Reverse Determines whether Color Space is
78. he bar that touches Circle 2 green TIP By making Phase 1 and Phase 2 opposites you can have the bar spinning around itself TIP By animating the bar size it is possible to create the illu sion that the bars are moving towards you Nexus Nexus Controls Start Color Determines the color of the first or lead bar Start Alpha Determines the transparency of the first or lead bar End Color Determines the color of the last bar End Alpha Determines the transparency of the last bar Glow Radius Determines how far any glow that the bars have will extend from the bars Glow Intensity Determines how strongly the bars will glow Glow Inner Color Determines the color of the glow closest to the bars Glow Outer Color Determines the color of the glow at the glows edges Color Bias Determines the position or balance of the inner and outer colors in the glow The lower the value the more the inner glow color will dominate the glow Glow Mode Screen multiplies the inverse brightness values of the colors in all layers The resulting color is never darker than the original NOTE Glow Radius and Glow Intensity work together If either Add Combines the color values of the layer and the of them is set to zero you will not generate any glow underlying colors The resulting color is lighter than the original NOTE The glows blend and add to each other where they overlap and can quickly become pure
79. herical and geometrical Allows the particles to ro tate around the explosion point after they have been pushed from the explosion This could be described as a pinwheel effect When selected no rotation or pinwheel effect occurs When selected there is a random but uniform amount of rotation applied to the particles The effect looks like a pin wheel When selected there is a nonuniform amount of rotation applied to the particles within the explosion The particles seem to fly randomly in all directions When selected the post explosion particles will waver back and forth as they explode Determines the minimum amount of particles that will be a part of the firework explosion Determines the maximum amount of particles that will be a part of the firework explosion Controls the slowest rate at which the particles will move away from the fireworks explosion point Controls the fastest rate at which the particles will move away from the fireworks explosion point Determines the minimal amount of transparency or opacity in the firework explo sion effects Squiggle Rotation Varying Rotation Fireworks Explosion System Max Opacity Determines the maximum amount of transparency or opacity in the fire work explosion Birth Color Determines the color of the fire work when it initially explodes Mid Color Determines the color of the firework in the middle of its life Death Color Determ
80. ill render out the internal light wrap layer This can be useful if you wish to composite the light wrap separately or simply see what the light looks like alone Note that you may need to turn off the background layer to see the light wrap correctly This view mode can be used to inspect the affected regions of the light wrap It will show in grayscale the area the light is cover ing This view mode is especially useful when setting up the obscuration layer When enabled this view mode can be used to see the obscuration layer directly View the final output of Light Wrap in this mode Only in this mode will all of the ef fect controls be available effects Light Wrap Controls Specifies the background light that will be wrapped around the foreground object Use this menu to choose the source layer for Light Wrap If None is selected then the layer on which the effect is applied will be used Enable this in order to invert the color channels of the layer This can be useful in conjunction with certain composite modes This invert the alpha channel of the layer when enabled Invert is calculated be fore ional With Alpha Enabling this will pre multiply the color channels of the layer with the alpha channel This effectively pre renders the layer over black Used to soften the background light which helps to diffuse the light more and reduce visible edges Choose from Fast Blur or Gauss ian When set to Auto
81. imulation for creating the look of double exposed photo graphic paper Solarize Controls Invert Applies the solarize effect to the layer af ter the layer to which the effect has been applied has been inverted Tint Color Allows for color tinting of this gray scale effect When this is set to white the effect will strictly be a grayscale effect Contrast Adjusts the tonal range of the image before Solarize is applied When these values are high the difference between light and dark becomes exaggerated Small between 5 and 35 amounts of contrast will often enhance the solarize effect Rotate Controls the appearance of the solarize effect Solar Grain Adds a grain pattern to the foot age Ifa portion of the image appears to be posterizing after applying Solarize it is probably due to the grain settings Try turning the grain to zero and see if the posterization is still visibile Blend Original This will blend the unaffected Original layer with the affected layer The higher this value the more the original layer will be blended with the affected footage TIP This effect is typically fast enough to hold down the option key during adjustment in order to see real time updates 94 cicieffects This plug in performs a complete physics simulation of sparks The sparks plug in controls how the sparks will be cast from where and what they will look like once cast This effect can be used to cast sparks fro
82. ines the final color of the firework before it completely fades away Min Lifetime Determines the shortest amount of time that any individual particles that make up a firework will last Max Lifetime Determines the longest amount of time that any individual particles that make up a firework will last Mass The factor that defines how much gravity air resistance and wind affect the particle Min Mass Determines the least amount of mass that can be assigned to each of the fire works particles Mass is the factor that defines how much gravity air resistance and wind affect the particle Max Mass Determines the greatest amount of mass that can be assigned to each of the fire works particles Sparkler System Generate Determines how many sparkle par ticles will be generated per frame Velocity Controls maximum speed of the spar kler particles Opacity Determines the transparency of the sparkle particles 60 Color Determines the color of the Sparkler system particles Lifetime Determines the maximum lifetime for each of the sparkler particles Gravity Controls how quickly the firework par ticles will fall once exploded Wind Horiz Controls the ability to make the fireworks drift to the right or left Wind Vert Increases or decreases the vertical speed of the fireworks This can be used to simu late wind blowing from the ground Air Resist Decelerates the particles as they are tra
83. ity Min Lilt Amount 5 Max Lilt Amount Min Lilt Frequency Max Lilt Frequency Gravity Wind Horiz gt Wind Vert 5 Gust Probability Gust Max Duration Gust Max Speed Snow will not stick to moving objects 92 The snow plug in has been designed so that the snow drifts in a particular direction but also includes a great deal of chaotic motion SnowStorm Controls When selected this will allow the snow to disappear as it hits the bottom of the layer When selected the snow will stick and pile up as it hits the bottom of the layer This will cause the snow to pile up on the first vertical pixel detected in the alpha channel The threshold control will determine the minimum brightness level of the pixels in the image as the first pixel on which to pile up This will cause the snow to pileup on the first vertical pixel detected in the image The threshold control will de termine the minimum brightness level of the pixels in the image as the first pixel on which to pile up Creates a mask that works in all directions to define areas of the layer that snow will stick and pile up over Cuts off the darker parts as areas that the snow can pile upon The higher this value the lighter the pixels must be to allow the snow to pile up Allows for the start of the effect before the first frame of the clip This control is designed to give you the ability to have the effect already gen
84. ize 5 Intensity 0 00 Falloff Bias Composite Mode Add Opacity Blend With Origi Light Wrap Controls As the Input Black is increased the layer becomes darker The Input Black and Input White values can be moved closer together to create contrast As the value is decreased the brightness of the image increases until the whole image becomes white Gamma values less than 1 0 bias the gray levels towards black creating a darker image When the Gamma value is greater than 1 0 the gray values are pushed towards white brightening the image Limits the maximum darkness of any pixel measured in bits per pixel tput Limits the maximum brightness of the layer Layer masks can be helpful in isolating or excluding areas of the light layer The Mask group is only active when a valid path is chosen and paths must be closed To specify a mask select the desired path from this menu With this option it is not neces sary to explicitly select a path Instead all avail able closed paths are used The paths used are indicated by number in the name of the mask group control Enabling this function means that mask feathering will be equal in the hori zontal and vertical directions This slider controls the size of the feathering in pixels Turn off Uniform Feather in order to control the feathering amount indepen dently on the X and Y axis effects Light Wrap Controls When enabled the
85. l axis Stretch H Far Stretches the furthest fog bank longer along the horizontal axis Stretch V Close Stretches the closest fog layer along the vertical axis making the fog look tall and thin Stretch V Far Stretches the farthest fog layer along the vertical axis Opacity Close Determines the transparency or Opacity of the closest fog layer Opacity Far Determines the transparency or Opacity of the furthest fog layer Bright Close Determines the brightness value of the closest layer of fog Bright Far Determines the brightness value of the farthest layer of fog Contrast Close Determines the contrast value of the closest layer of fog Contrast Far Determines the contrast value of the farthest layer of fog Random Seed The seed value start point for any randomization that occurs in the plug in Blend Original This will blend in the unaf fected original layer with the affected layer The higher this number the more the original layer will be blended cicieffects This effect is an advanced plug in for generating beautiful blooms and glowing regions DE REEL O27 Vimeo DE REEL O02 Vimeo mp4 T f DE Glow Animation Presets None 5 View Mode v Glow Layer Layer None Composite Selection Met Match Color Key Match Color Matching Tol Matching Feat 2 Invert A Premultiply With Alpha Y Levels Off 5 Input Blac Input Whit 6 Gamma gt Output Bla Output
86. ll become Speed Controls the automatic animation of Stargate and controls how fast the image is pass ing by Motion blur can be used to help smooth out fast motion Offset Controls the starting point of the scan along the direction vector Taper Increasing Taper will deepen the per spective and distort the image more Curvature Works in conjunction with Taper to produce an arc to the shape of the planes Nega tive values will give the planes a concave feeling while positive values will bend the planes out ward and away Upper Offset amp Lower Offset These controls effectively move the position of the slit scan to different points on the image to produce differ ent results Edge Behavior Controls how the layer behaves when the edges are reached Depth Map To further aid in the illusion of perspective and depth Depth Map can produce a fog like effect Size Controls how far from the horizon the map covers Bias Used in conjunction with Size to produce a more gradual falloff of the depth map cicieffects Apply To Alpha Depth Map will be rendered directly to the transparency of the layer and will not affect the color channels Color Determines the color of the depth map Composite Mode Determines how the depth map is combined with Stargate Preserve Transparency When enabled the depth map will not modify the alpha channel of the layer Opacity The final affect of the depth map
87. m a cutting tool create fountain style fireworks or even simulate the eruption of a volcano Sparks Controls Gives the appearance that the particles can bounce off of other objects When selected the particles will fall through the bottom of the layer When selected if the sparks reach the bottom they will bounce off of it When this is selected the sparks will be bounced in areas that are inside the alpha or mask As the value increases more transparent areas of the alpha will no longer be able to bounce sparks When selected the sparks will be bounced in areas that are brighter than the threshold setting As the value increases darker areas of the image will no longer be able to bounce sparks This bases where the sparks bounce on the mask values This bases where the sparks bounce on the RGB values Can be used to assign a dif ferent image for the bounce controls values When the value is low any luminance level or alpha level can bounce sparks As the value increases only the brightest luminance levels or alpha levels bounce sparks The effect will generate sparks before the first frame in the layer This value corresponds to the number of frames before the first frame of the clip to start generating the Sparks effects Animation Presets None Apply Mode Use Source Y Use Source Mode Composite Effect In Composite Mode Blend Random Seed b Blend Original O Generate F
88. matic the effect will render Gaussian Blur for best quality and Fast Blur for draft quality This controls whether Blur is ap plied equally in the horizontal and vertical direc tions Applying blur before or after Levels can produce dramatically different results This checkbox provides choice in the rendering order to allow maximum flexibility in using the blurring and levels features The light layer can be adjusted using the levels controls effects REEL O02 Vimeo DE REEL O2_ Vimeo mp4 f amp DE LightWrap Animation Presets None View Mode ry Light Layer Layer ta Composite None Invert Color Invert Alpha Premultiply With Alpha T slur Blur Qualit Automatic vV Uniform Blur Render Or Blur After Levels 7 Levels OFF Input Blac Input Whit Gamma Output Bla 5 Output Wh 7 Mask On Using 1 ie Enable Use All Paths Uniform Feather 5 Feather Invert Mask Mod Mask Opa 7 Obscuration Layer Multiply Enable 6 REEL O2 Vimeo DE REEL 02 _ Vimeo mp4 5 Output Wh T Mask On Using 1 Enable v Use All Paths a v Uniform Feather Feather Invert Mask Mod Multiply Mask Opa Obscuration Layer a 7 Enable Layer None 6 Channel Luminance e v Invert Premultiply With Alpha Blur Off b Levels Off O Composite M Multiply amp Burn b Opacity Wrap Blur Qualit Automatic v Uniform Wrap Size O Wrap S
89. mber of arcs color length and frequency of branches and subdivisions etc The Effect Systems more than any other part of the plug in define the characteristics of the effect Using the Plug ins AutoAnimation Effects A key feature in Delirium v2 is the ability to automatically animate an effect without setting keyframes For example when the Snowstorm effect is applied to a composition snow is being automatically generated from the first frame The pre roll frame setting is set to 20 by default Amplitude set to 40 so in actuality the effect has begun 20 frames before the beginning of the composition s time line Individual parameters can still be adjusted as with other effects however these effects can also be rendered without any adjustment of the parameters Parameter Naming Conventions Amplitude set to 100 Amplitude refers to the specific wave height of an effect In effects such as Visual Harmonizer amplitude refers to the height of the curve Frequency is defined as how often an effect oc curs In the case of Visual Harmonizer frequency refers to how often the wave occurs in a given amount of time Frequency set to 20 6 cicieffects Using the Plug ins Parameter Naming Conventions Cont d Phase determines where a specific portion of an effect will occur In the example to the right it is apparent that setting different phase parameters allows a different portion of the wavelength to
90. n Controls i Sas gate If none is selected then the layer on which the effect is applied will be used If using a large source layer it is most efficient to apply Stargate 5 Width l l aN to a solid that is the same size as the composi Speed pixels second tion and use the source layer menu to select the e Offset pixels Satan larger image ESETRE Controls what portion of the ef Upper Offset i E laer Olle fect is rendered E ee airy Each plane has independent offset con Soe Beh trols but share the same horizon E 7 Enable gt 5 Size Using this mode will cause only Bates the top portion of the effect to render This can be use foes Talaka ful if you want to build the Stargate effect in pieces to s e create more elaborate effects Composite Made Add This mode will render only the 5 Preserve Transparency lower pl ane Opacity o Determines the center of the Stargate 7 Advanced horizon Motion Blur Samples Controls the angle of the horizon Determines which direction the slit scan traverses over the image The default direc tion is top to bottom 100 effects Stargate Stargate Controls Width Controls the apparent size of the upper and lower planes Larger values will create more distortion and will appear to make the perspec tive more dramatic Length Controls how much the image is stretched from the horizon The larger the value the more streaky the effect wi
91. nce The wispy appearance that is seen in the flames Turbulence stretches the flames to create realism and cohesion Turb Amount Determines how much of an ef fect turbulence will have on the fire Turb V Speed Determines the speed of the displacement field related to the turbulence Turb Size Determines the detail that is generat ed with the turbulence The higher the value the greater the details visible from the turbulence in the fire digieffects This plug in simulates large scale fireworks displays Fireworks is a particle system effect aimed at creating motion sequences that are difficult to handle with a general purpose particle system It is therefore broken down into 3 stages Launch System Explosion System and Sparkler System The controls how the firework shell rockets will fly up how quickly how many at what speed and at what point they will ex plode into the main firework The what happens after the firework explodes The colors speed and direc tion of the exploded parts how long the explo sion lasts and how fast it drops is handled from this control The adds small particles to the explosion system particles This creates a realistic Sparkling effect Comp 1 Black Solid 1 ey DE FireWorks 5 Apply Mode Use Source Mode Composite Mode Particle Composite Mode gt Random Seed 5 Blend Original Streak Level 5 Streak Decay Integrate Over Time H Preroll Frames
92. nel Blends the result of the effect with the original input layer sieffects Channel Lighting Channel Lighting is an alternative approach to 3D lighting and offers compositors the ability to control 3D lighting within Delirium Creating the Diffuse Pass The first render pass required by Channel Light ing is a fully ambient color pass Typically you can set this up in 3D by turning off all your scene lights and setting ambient light to 100 In some programs the ambient may be built into global controls and in others you may need to create a new light object The end result should be full illumination everywhere with no shadows or unlit areas Creating the Lighting Pass The lighting must be isolated from the scene colors by giving all of the objects in the scene a matte white color with no textures For the best lighting results be sure to leave on bump and displacement texture maps as they affect how the light interacts with surfaces In order for Channel Lighting to be most ef fective you also want to separate lighting into groups that can be treated as individual lights For example if you were creating an outdoor scene you may have separate keys for sunlight reflected light from the ground and general light from the sky The following tips will help you create good lighting passes quickly Light Range Make sure there are no blown out hot spots large voids or completely black areas Shadow Quality The
93. nelRange Paint_13 mov 3 DE ChannelRange_ View Made Range Input Layer None Channel Luminance o Invert v Premultiply V Range Controls Range Curve 5 Fade In amp Out Cycle b Advanced Options Pe i Invert Range 31 Range Controls The Control Bar is at the top of the interface The gray text in the upper left corner of the interface tells you the names of each con trol The first button on 1 the control bar toggles between displaying the histogram in black or as a gradient The middle button on the control bar will reset the cycle value to 0 centering the curve in the range view t fault Positions The button furthest to the right resets all of the range controls to default shows the distribution of grayscale values within the input channel This allows you to see where channel data starts and ends and in what areas the channel is most dense Use this slider to zoom in and see smaller histogram details Plotted in red over the histogram this depicts what range of the channel is being selected Represented as a green line specifies at what point the range curve becomes 100 The In point can never be greater than Out Represented as a red line this is the begin ning of the end of the range curve Represented as a blue line Fade In specifies the starting point of the curve By default the Fade Out control is mirrored to the Fade In control
94. nt Integrate Over Time v Integrate Params Ov Generate Layer None Generate Layer Thresho Smoke Point S Smoke Color Color Variation Preroll Frames 5 Smoke Amount Hor Speed O Vert Speed Start Size O Min Grow Speed b Max Grow Speed Fade Up Speed Fade Out Speed Min Opacity 5 Max Opacity Min Rotate Speed Max Rotate Speed Dispersion 5 Wind Horiz Wind Vert 90 Smoke Controls Determines the color of the smoke Varies the brightness of the color of the smoke Determines how much smoke will be generated per frame Determines the rate at which the smoke rises The higher the value the faster the speed of the smoke Negative numbers will make the smoke rise and positive numbers will make the smoke fall Determines the slowest speed at which the smoke can grow Determines the fastest speed at which any of the smoke can grow Determines the rate at which the smoke changes from completely transparent to its maximum opacity Determines the rate at which the smoke changes from its maximum opacity to completely transparent Smoke life is deter mined by the sum of Fade Up Speed and Fade Out Speed Determines the slowest rate at which the smoke will rotate Determines the fastest rate at which the smoke will rotate Determines the minimum trans parency of the smoke Determines the maximum opac ity of the smoke effects
95. nt tool or describes a control when the mouse moves over it Channel Toggle Switches Allow image chan nels to be viewed in isolation or in custom com binations The names of each switch change cicieffects Super Histogram based on the Color Model selected When view ing more than one channel simultaneously the histogram always favors the largest channel value You may view a single channel in solo mode by holding the control key while clicking on the channel toggle switch Super Histogram Controls Selection Tool Provides a way of interacting with the histogram data Click on the histo gram to select individual data columns or click and drag to select a range of data When data is selected information regarding the selection is shown in the control bar Also if Render Out put is enabled the selected pixels in the image become visible Selection Color Open the system color picker allowing selection of the color in which selected data and pixels are displayed Color Display Provides the option to view the histogram in full color or as solid black When displaying the histogram in color the alpha channel is colored inversely to the background color of the display and is shown superimposed over the color channels as a series of black dots or lines The display colors are designed to maxi mize visibility of all channels Reset Single Click Automatically scales the view both horizontally and vertically to fit
96. number of colors including alpha MultiGradient can be used to create many differ ent effects including sunset skies aloha masks border and backgrounds MultiGradient Controls When enabled the Comp window will show the basic gradient that is be ing used to create the effect This includes radial square cone one way cone match up linear linear mir rored Allows for the rendering of only the red green or blue parts of the gradients Defines how the colors are inter polated RGB Modes interpolate linearly using RGB channels HSB modes interpolate through a full spectrum of colors Defines how the gradient ramp will repeat S Start E End Several different composite modes can be used which have different effects on the gradients Basic Gradient Defines the location of the begin ning of the gradient Defines the color that will be used by Start Point in the gradient Determines the transparency or Opacity of the start color in the gradient Defines the location of the end of the gradient Defines the color that will be used effects a Effect Controls Dark Gray Solid 1 Comp 1 Dark Gray Solid 1 A DE MultiGradient ik i Preview Gradient v Preview Gradient Gradient Type Linear Pixel Mode RGE 7 Color Mode RGE Start to End Repeat Mode None Composite Mode Screen Blend Original 5 Start Point Start Color Start Alpha End Point End Colo
97. o nizer Controls the size of the particles when particle shape is other than Line This is the starting phase of the drawing Animate this to get a drawing it now animated look effects HyperHarmonizer A Shape A End Draw This is the end drawing point Use this in conjunction with Begin Draw to animate the actual drawing of the path The harmonizer is created using 3 sine wave generators By defining different values to this bank of parameters various interesting effects can be created A Radius 1 3 amplitude This controls the maximum radius of this part of the harmonizer function A Freq 1 3 This controls the frequency of this part of the harmonizer function A Phase 1 3 This controls the phase of this part of the harmonizer function B Shape These parameters are identical to A Shape The B shape is the bottom shape when interpolating between more than 1 harmoniczer Glow Radius Determines how far the glow will spread If this value is set high the glow will ex tend for a large distance around the image If it is set low the glow will be concentrated closely around the image Glow Intensity Determines how brightly the image will glow Glow Own Colors When enabled the glow will be the same as the color of the particles Glow Inner Color When Glow Own Colors is unchecked this determines the interior color of the glow Glow Outer Color This determines the exterior color
98. o soften the grain measured in pixels O View Mode Composite Uniform Blur both horizontal and vertical blur will be affected uniformly Use Prerendered Noise Composite Mode How the noise interacts with BAM GEEALG Siu hE eel the source footage is determined by the com atest ae posite mode set for each channel This flexibility is invaluable for accurately matching film grains and controlling how the noise affects the source whether brightening darkening or both Randomize Each Frame Causes Channel Noise to render a unique noise pattern for each frame rendered Random Seed Adds further control over how random each frame is Position Defines the center of the noise in regard to how the noise scales Opacity This value is multiplied with the opac ity value of each channel group and acts as a master opacity control At a value of 0 Channel Noise will effectively render no noise and simply pass through the source layer If the View Mode is set to noise only this slider becomes inactive cicieffects Channel Offset is used for creating interesting designs and effects by transforming the red green blue and alpha channels of a layer separately Source Layer Red Channel Green Channel Blue Channel Alpha Channel Composite sy Efed Controls Channel Offset ChannelOffset Channel Offset GTE DE ChannelOffset View Mode b Master wv Red Red Mode b Time Offset 5 Anchor Point
99. of arcs to one hold down the option key and slide the sliders up and down to receive quick feedback and get a better feel for the controls 50 Electrical Arcs is designed to generate arcs of electricity similar to what you see with a Jacobs Ladder While it was designed to generate arcs this plug in is also quite good at generating lightning bolts Electrical Arcs Controls Includes soft and bright harsh falloff dot rounded star oval Controls the number of arcs that will be generated between the Start Point and End Point Controls how frequently the many con trols below will be recalculated The higher this number the more the electrical arcs will twitch and move Same as random seed chang ing this value will create different looks The left side point on the arc at the default setting where the beginning of the arcs are generated The right side point on the arc at the default setting Determines how many times the electrical arcs will break or change directions between the start point and the end point Determines how far from the center line an imaginary line drawn directly between the start point and end point each of the seg ments can travel The larger this value becomes the further away from a straight line the arc will become Determines the number of times the main segments will be subdivided As the value increases the segments will appear more broken effects Electrical Arcs
100. of the glow Color Bias Determines the balance between inner and outer glow cicieffects This plug in helps to integrate composite elements by glowing background light around fore ground objects DE REEL 02 Vimeo DE REEL 02 Vimeo mp4 v fr DE LightWrap Animation Presets None View Mode r Ught Layer Layer Composite None Invert Color Invert Alpha Premultiply With Alph 7 Blur S Blur Qualit Se Uniform Blur Automatic Blur Render Or Blur After Levels 7 Levels Off gt 5 Input Blac b Input Whit 6 Gamma t Output Bla Output Wh wv Mask On Using 1 is V Enable V Use All Paths Uniform Feather Feather ae Invert O Mask Mod Multiply Mask Opa 4 In the real world concentrated light tends to scatter creating a blooming effect that is partic ularly noticeable at the edges of objects Light Wrap simulates this effect digitally providing advanced features for precisely controlling how and where the light is applied To use Light Wrap apply it to the foreground layer Because Light Wrap is based on the layer s alpha channel the layer must have transparency Then specify which layer to use as the back ground light source View Mode Use this view mode to see the source of the light This mode will render the light layer with masks levels and blur applied If you are using a mask on the light layer use this mode to view the mask by itself This view mode w
101. olor is critical 102 this plug in can be a very handy tool for check ing the work and preventing wasted time and money caused by filming out incorrectly ren dered sequences Super Histogram can help to determine whether an image has 16 bit data if gradients are smooth and what the high and low ranges of each channel are It can be used in conjunction with other color correction tools to more clearly see how adjustments are affecting the color range Super Histogram Controls Color Model Super Histogram allows viewing the channel data of all major color models in cluding RGB HLS CMYK and many others Each color model provides its own unique view into the image providing more insight into decisions on using particular filters or color corrections Render Output When enabled Super Histo gram will render the image through the color model filter and render the highlighted selection into the image Histogram The main histogram is a custom user interface with the ability to zoom pan and select individual or ranges of data columns Histogram View The histogram graph repre sents a count of pixels for each grayscale value of each component channel The color depth your project is set to For a regular 8 bit image there are 256 levels of gray so the histogram would measure from 0 to 255 from left to right Fora 16 bit image it would measure from 0 to 32768 Control Bar Displays useful information about the curre
102. ontrols 0008 Water Textures 1 3 mov ColorFill 0008 Water Textures 1 3 mov Color Color Sliders Gray RGB PLS Hav I emv fo OOMS ORM MOLL Opacity Use for Alpha Luminance t Invert Colorize Blend With Original 38 Color Fill Controls Color The user specified color fully replaces the Original colors of the layer Opacity can be used to control how much the color is blended with the source Color Sliders These sliders offer an easy in teractive way to select a color Unlike using the standard color picker this interface updates the plug in immediately to provide live feedback as you change the color Opacity Controls the amount of color applied to the layer A value of 100 will fully replace the original layer colors with the specified color With values between 0 and 100 the color is blended with the original layer colors Use For Alpha Map Color To This popup menu allows you to choose any channel as the transparency matte making color fill useful as a replacement for solid layers When enabled this control will be renamed to Map Color To and the selected channel will be used as a guide for tinting Invert The selected channel for Use For Alpha will be inverted Colorize Will tint the layers without affecting transparency Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to
103. or draft quality When enabled the light wrap will be equal in size in both the horizontal and vertical directions The size of the wrap is controlled by this slider The larger the value the more the background light will overtake the foreground Light Stencil view mode can be used to see this clearly The Intensity is multiplied with the light wrap as a way to increase or decrease the effect of the light Increase intensity to make the light wrap more prominent Controls the contrast of the light stencil and can be used to keep the light closer to or farther from the center of the foreground layer Lower values will wash out the light wrap creat ing overall light while higher values will shrink the light wrap towards the edges Controls the gamma of the light wrap Lower values will shrink the light wrap while larger values will grow the light wrap Most often the add mode is great for lighting but other composite modes such as Luma Out amp Add can provide excellent results without over exposing the foreground Controls how much Light Wrap affects the _ it is applied on Use to blend the result of the effect with the Original input layer If Blend With Original is set to 100 the effect will not render ieffects This plug in provides the ultimate tool for creating and animating color gradients MulitGradient allows control over the type of gradient how it is to be blended into the foot age and the
104. r End Alpha b Bias m ik Cycle 5 Multi Gradient Start gt End Grad 1 Color Grad 1 Alpha 5 Grad 1 Pos 5 Grad 2 Color Grad 2 Alpha Grad 2 Pos 5 Grad 3 Color H Grad 3 Alpha he 6 Grad 3 Pos 5 Grad 4 Color Grad 4 Alpha Grad 4 Pos 5 Grad 5 Color b Grad 5 Alpha b Grad 5 Pos ik Grad 6 Color Grad 6 Alpha b Grad 6 Pos ik ih ik Grad 7 Color Grad 7 Alpha Grad 7 Pos Grad 8 Color Grad 8 Alpha b Grad amp Pos f ik Grad 9 Color Grad 9 Alpha Grad 9 Pos MultiGradient 80 by the End Point in the gradient End Alpha Determines the transparency or Opacity of the end color in the gradient Bias Defines the weight or distribution of the start and end colors The lower this value the more dominant the start color Cycle This allows the location of the start and end colors in the gradient to be shifted The best way to see this is to check Preview Gradients hold down the option key and rotate the cycle control Keyframing this control is an excellent way to create a dreamy effect Multi Gradient Multi Gradient This pop up determines how many colors will be in the gradient The colors will always fall in between the start and end colors For Example S gt 1 gt E will provide for a 3 color gradient beginning with Start Color tran sitioning to Grad 1 Color and ending with End Color
105. r E Uniform Blur e Blur Green 7 Blue Blue Mode Time Offset Anchor Point Position Enable Offset v Uniform Scale Uniform Blur e Green Blue Blue Mode Time Offset Anchor Point Position v Scale 6 v Uniform Scale zh E m i ie e 5 Scale To 6 Rotation v Uniform Blur b Blur b Alpha gt Blend With Original 0 29 Offset Controls Cont d allows you to decide what type of blur is used this value determines how many samples are used in the blur enables transformation of the channel 3 renders the channel value but will not modify it in any way effectively turns the channel off and will render it solid black ha There are special modes for the alpha channel since it is inherently treated differ ently than the RGB channels Enabl Enables transformation of the channel Pass 1 Renders the original alpha channel unmodified Splits the alpha proportionally among the RGB channels producing a very natural looking separation Premultiplies the channels with the alpha value of the layer If you do not need the result of Channel Offset to be transparent the premultiply mode is most likely the best choice 3 The alpha will be duplicated for each e When the channels converge the alpha will be brighter than the original f Turning the Alpha Mode off will simply render out solid white for the alpha h blend the result of
106. rent color and that color is extracted from the RGB channels and placed into the alpha channel ignore The Ignore mode removes the alpha channel of a layer by filling the alpha fully opaque while leaving the RGB channels un changed Non Zero Alpha Prevents Delirium from throwing away color information for pixels with no alpha value Set Matte Allows the alpha channel to be set using another layer source cicieffects Alpha Tool BE b Efed Controls Paint i6 mow hatool Paint_16 mov i DE AlphaTool Alpha Mode Unmultiply Black Blend With Original 14 Options Each Alpha Mode provides a different set of controls If there are no controls for the selected mode then the Options group name will change to No Options Available Background Color Specifies the background color for the effect Key Tolerance Used to increase or decrease the effect of the color key Only available with Un multiply Color Key Matte Layer In Set Matte mode this control specifies the source layer to pull the new matte from Channel The selected channel is extracted from the Matte Layer and used as the current layer s new alpha Invert This checkbox will invert the selected channel but will not affect color channels or the layer s original alpha Premultiply with Alpha Pre multiplies the matte layer This is helpful if the matte layer has transparency that needs to be included with the select
107. rol the feathering amount independently on the X and Y axis When on the mask will be inverted The default mask mode is Multiply which produces the most commonly expected result However you can use any other mode to subtract add or otherwise affect the layer with the mask Controls how much the mask affects the layer in terms of percentage Specifies the layer to com posite over the background Layer effects Composite Composite Controls 7 Mask On Using 1 _ Alpha Mode Composite provides a number of C Ename different options for handling the compositing i Paaa of alpha channels z Uniform Feather Normal Composites all values together 5 Feather Alpha only Limits the operation of Composite to just the alpha channels of the layers without affecting the T Invert color channels of the background layer l l O Mask Mod Multiply Luma to Alpha Composites the luminance of the 5 Mask O foreground layer into the alpha channel of the iassa background layer D Alpha Mode Normal A Camnarcita Kinde Add Same As RGB Composites the alpha channel using T Lan pes ie MOLE MAn the same composite mode as the color channels gt Composite Order Reverse Preserve Transparency Preserves the alpha Opacity channel of the background layer leaving it unaffected by the alpha channel of the foreground layer Composite Modes Alpha Add Adds the alpha channel values together 3 This mode is useful
108. rom Point T Integrate Over Ti Integrate Params Over Ti Generate Layer None 7 Generate Thresh Generate Point Bounce Mode Dont Bounce Bounce via Layer None Bounce Threshol gt Preroll Frames gt Spark Generate Min Thrust Max Thrust gt amp Min Opacity O Max Opacity Birth Color a Death Color a b 5 Min Lifetime gt Max Lifetime v Jet Angle Jet Width Gravity b Wind Horiz Wind Vert e Air Resist 6 Glow Radius Glow Intensity Glow Own Colors Glow Own Colors Glow inner Color a Glow Outer Colo 5 Color Bias 5 Glow Mode Screens 96 Sparks Controls Determines the number of sparks that are to be generated per frame Determines the speed of the slow est sparks that are generated Determines the speed of the fast est sparks Determines the least opaque most transparent that a spark can be Determines the most opaque that a spark can be Determines the color of the spark when it is first created Determines the color of the sparks just before they disappear The spark colors will transition from birth to death color Determines the shortest amount of time that a spark can exist Determines the longest time that a spark will exist jle Determines the general direction of the flow of sparks 3 Determines how far from the jet angle that the particles can be projected Pulls the
109. rsections aia n mm T menma a ee C image Composite Mode Blend Original a ee ene ee ia Rang TI peed E a T O Umsett O Main Spacing a t O Main Broken ay F Pa S fus q Fi L ril g F hl gt a Rote Aleka A is ent Apia L SUBOIVISIONS Subdiv Color Subdiv Alpha Intersect Prob Intersect Shape O Intersect Size O Intersect Color Intersect Alphi Intersect Composite E i ra Po i ke Fa E i Glo i Radi d3 Grid Parameters Offset Determines the location of the grid in the composition Animating this parameter al lows for moving the position of the grid across the layer Main Spacing Determines the space between the lines in the grid The higher the value the greater the amount of space between the lines in the grid Main Broken Gives a probability that any given segment in the main grid pattern will be missing Main Color Determines the color of the main grid pattern Main Alpha Determines the transparency of the lines that make up the main grid Subdivisions Determines the number of lines that will be generated between each line in the main grid This number is always a whole number Do not animate this value as it will cause popping Instead animate the main spac ing Subdiv Color Determines the color of the sub division lines Subdiv Alpha Determines the transparency of the subdivision lines cicieffects Schematic Grid Intersections
110. rsion increases the area in which the particles will be generated cicieffects Fairy dust can follow a point leaving a trail i P aF E i Fairy dust from the alpha channel of a logo TIP By keyframing Dispersion you can have particles start ina small area and grow to a much larger area This will work bet ter than Generate Threshold since that requires certain values to be in the image before it will be a valid area to generate particles Dispersion uniformly grows the area in which it will generate particles 54 Fairy Dust Controls Controls how much the dust can be pushed left or right by the force of wind This directional force will interact with the dusts tendency to go in different directions and is based on averages Positive numbers will make the particles drift right while negative numbers will make the particles drift to the left Controls a force that can make the dust particles drift up or down As above this is an average and will affect the whole but individ ual particles are able to drift in any direction Use high negative numbers for Wind Vert and Generate From Bottom of Layer to give the appearance of a curtain of dust rising up from the ground effects Fire This plug in creates a raging inferno type of fire with flames flicking upwards from the burning object In contrast to other fire effects the Delirium Fire effect is a particle based algorithm Delirium
111. s Additionally brightness and contrast may be worked with independently for each of these channels Grayscaler Controls Weight is the amount of color that is contributed from each channel The sum of all three channels should equal 100 as this is the standard amount of channel contribution in a normal image Red Green Blue Weight Determines the con tribution of the red green and blue channels to the final grayscale image Red Green Blue Contrast Controls the amount of contrast in the red green and blue channels This allows for increasing or decreas ing contrast levels in the channel before it is blended Red Green Blue Brightness Controls the amount of brightness in the red green and blue channels This allows for increasing or decreas ing brightness levels in the channel before it is blended Blend Original Will blend the unaffected origi nal layer with the affected layer The higher the value the more the original layer will be blended with the affected footage cicieffects This plug in is used to create incredibly mesmerizing geometric images 12 a Effect Controls Dark Gray Solid 1 Comp 1 Dark Gray Solid 1 BPA De Hypertiarmonizer Apply Mode Use Source Mode Image Composite Mode Particle Composite Mode Blend Original Alpha Threshold Alpha Weight Num Harmonizers Particle Shape Use Spacing Spacing Distance Spacing Phase A Center Point
112. se texture Prerender Setup Prerendering noise is an easy way to cut down on a rendering time while maintaining some flexibility It is important to turn off all other layers so the comp is only rendering the noise When the rendering is done import the noise render into the project You can then enable Use Prerendered Noise and select the rendered noise layer Tip You can save more time by rendering a short sequence of noise like 30 frames and looping it You can set footage loop ing in the Interpret Footage options from the File menu Noise Type Generally Point noise is the best choice for pro ducing great looking grain at smaller scales The other options are available for special cases and creating interesting effects Point This type produces noise that is rectan gular in shape For smaller noise this is the most optimal choice for rendering speed and quality Smooth Produces a smoother noise field with no noticeable edges Point Fractal Samples the noise to produce varying levels of complexity Smooth Fractal Samples smooth noise to pro duce a complex soft fractal noise cicieffects am p OSI Composite Nose Only Prerender Setu Noise Type Smooth Fractal Y Fractal Settings 7 Detail 1 Offset 0 00 iat 5 Freg UEncy Channel Noise Fractal Settings Detail specifies the number of iterations the noise is sampled at Smaller values result in faster render times but co
113. sets are a great start ing point When a preset is chosen the transform controls will be changed but the mode switches are not affected Anchor Specifies the center point of the layer can be placed anywhere to act as the hinging point for the transformations Position The position of Crazy Stripes can be set just like any layer Orientation Choosing an orientation changes the mapping of the length and width param eters and will change the direction of the stripes Length Controls the stretching of the stripes in the long direction 46 Width Always controls the stripes in the direc tion opposite of length The Width affects the ap parent size of the stripes Rotation Can make stripes travel at any angle relative to the anchor point Shear Skews the layer perpendicular to the orientation Spin Moves the image through the stripes creating a flowing effect Like Rotation one full revolution of Spin returns to the same position Spin Rate In order to create an automatically animating effect Spin Rate is used to specify how much the spin changes over time mea sured in cycles per second Drift Allows automated motion for the anchor measured in pixels relative to the source This creates flowing stripes that do not spin Edge Behavior Controls how areas outside the layer are handled Can be used to create infinite ly repeating stripes None Areas outside the layer will be rendered black
114. t that it enables the Compos ite Mode controls below Use this setting when you want to use a composite mode other than Blend to composite the effect with the source layer Composite Effect Behind composites the ef fect with the layer ONLY when Subtract and Difference are selected in the Composite Mode pop up Because of the subtractive nature of those two composite modes the results will be different than the results of Composite Effect in Front Composite Mode Add combines the color values of the layers The resulting color is always brighter than the origi nal Screen multiplies the inverse brightness values of the colors in the layers The resulting color is never darker than the original Difference subtracts the color values of the ef fect and source layer and displays the absolute value of the result Colors can look psychedelic Subtract uses the effect to reduce the bright ness of the source layer but does not roll over beyond zero like difference so the extreme colors do not occur The resulting color is always darker Blend performs a simple blend Blend Using Alpha uses the alpha of the effect as a weight to blend the effect with the source layer cicieffects Using the Plug ins Composite Mode Cont d Multiply mathematically combines the Source Layer and Effect color values in the layers and divides the result by 255 The resulting color is never brighter than the original Lighter comp
115. thout using mathematical formulas and even then they would not easily translate into a few descriptive adjectives We suggest that you just try them out and see what they do Generally they will give very odd looks that re shuffle the colors through different color bands Alpha Threshold Alpha Threshold defines a transparency or alpha for the particles based on the luminance value of the image used to define the particles By increasing this number less of the particle will be visible The opacity of the particle will be clipped starting at the darker colors then transi tioning to the lighter colors Alpha Weight Alpha Weight defines the overall opacity of the particles Larger values will make the particle will appear more opaque The lower the value the more transparent the particle will become Using the Plug ins Random Seed Random Seed is the seed value think of it as a start point for any random values generated within the plug in Do not animate this as it will cause the effect to jump or randomly change parameter values every frame and the animation will not look smooth Blend Original Blend Original will blend in the unaffected Original source layer with the effect The higher this number the more of the original layer will be blended in with the affected footage Particle System Generators Generate From sets the locations the particles of the particle system will be created from Bottom Top o
116. umbers for the start and end values Visual Harmonizer Controls Defines how many bars are created with Visual Harmonizer Defines the basic look or ap pearance of the bars created with Visual Har monizer Each of these particle shapes gives a significantly different look especially when Use Spacing is enabled Defines the left side and right side of the effect To run the harmo nizer top to bottom use Effect Only in the Apply Mode pop up then rotate the rotation control under the Layer gt Transform menu The color of the first frequency or wave The color of the last frequency Start Size The thickness of the first or start fre quency The thickness of the last frequency Determines the transparency or opacity of the first frequency Determines the transparency or Opacity of the last frequency Determines the height of the first frequency Determines the height of the last frequency effects wes DE VisualHarmonizer Animation Presets 5 Apply Mode Use Source Mode Image Composite M Particle Composite gt Blend Original 5 Alpha Threshold 5 Alpha Weight Num Harmonizers Particle Shape Left Side Right Side Start Color End Color Start Size 5 End Size Start Opacity End Opacity b Start Amplitude End Amplitude Start Frequency gt End Frequency 5 Start Phase i End Phase Use Spacing Spacing Distance b Spacing Phase Glow
117. ust 1 color remains Color Picker To select a color simply click on it The selected color is indicated by a connection line in blue Changes made to the color picker will directly affect the selected color To set the Gradient Interface ae of a color use the alpha slider at the Space Positions Evenly The current order of Cycle The Color Bank lists all of the color con colors will be maintained but the spaces be trols used by Gradient Designer Rather than tween will be evenly spread out encapsulating all of the controls into a single Histogram Gradient View If Layer Mapisbe parameter individual controls store the data to ing used a histogram of the channel map will provide maximum flexibility in animating You be displayed superimposed with the gradient If can enable animation for any of the controls in Basic Shape is being used the viewing area will the color bank by clicking on the standard stop display a full gradient watch icon Cycle Can be interactively set in the gradient Color Bank The color bank is carefully man interface by dragging anywhere in the main aged by Gradient Designer and will add and viewing area The cursor will change to the hand remove colors as needed Unused colors will be as an indication disabled gray dicieffects Gradient Designer Render Mode Render Mode gives a few different render output options Gradient Map This mode will render the gray scale gradient map without color
118. veling This is equivalent to setting brakes on the particles Glow Radius Determines how far the glow that is set in Glow Intensity will spread Glow Intensity Determines how brightly the particles will glow Glow Own Colors When selected the glow will be the same as the color of the particles Glow Inner Color This determines the interior color of the glow Glow Outer Color This determines the color of the exterior glow Color Bias Allows for control over which color between Glow Inner Color and Glow Outer Color will be more dominant cicieffects This plug in creates a flowing fog effect that offers depth of field simulation and automatically moves without keyframing Fog Factory Controls All of the controls that have a close and far con trol will scale the results between the closest and aie furthest layer Large differences in these values ee a will give a large depth of field effect to the mo Project U Effect Controls MVI 6206 MOV tion fogfactary MVI_6206 MOV nly When selected only the fog factory Jia DE FogFactory effect will be seen while the original source foot Effet Onl ffect Only Effect Only Effect Only age will be removed b Num Layers File Edit Composition Layer Effect Animation Vie Determines the number of fog lay ers that are placed onto the footage T Move Direction Determines the direction in Speed Close which the fog will pass by Speed
119. vels Off Input Blac b Input Whit b Gamma Output Bla b Output Wh 7 Mask On a v Enable Path Maski my Use All Paths w Uniform Feather Feather G Invert Mask Mod Mask Opa 7 Compound Channel Enable Source 2 Multiply Composite M Normal at Composite Behind Opacity Destin lon Chan ravscal Channel Composite Controls The Source 1 group is the basic input into Channel Composite This provides the basis for building more complex operations Specifies the input layer for Source 1 If None is selected then the layer on which the effect is applied will be used When choosing a layer set View Mode to Source 1 Layer in order to see it directly The selected channel will be extracted from the layer Because Channel Composite only works with single channels there is no option to work with full RGB the selected channel will be inverted In vert is calculated before Pre multiply With Alpha Renders the channel pre railed with its aloha channel This op tion is generally used for layers that have trans parency Provides blurring for the Source 1 channel Determines the type of blur used Controls whether the blur is ap plied equally i in the horizontal and vertical direc tions ter Levels Allows you to choose the rendering order to have maximum flexibility in using the blurring and levels features Used to modify the grayscale v
120. when you are combining images Enabie that are meant to match up perfectly 5 Composite M Add Replace Works similarly to Preserve Transparency 5 Opacity 2 but preserves the alpha of the foreground 7 layer instead of the background a E Enable Composite Mode This is the final composite mode used to apply the foreground and back 5 Blend With Origi ground layers together 0 Composite Order Reverse The background and foreground layers are swapped during com positing which can save time Opacity Controls how much the foreground layer is composited over the background Extra Composite Modes It is not uncommon when compositing to apply the same layer mul tiple times This effect allows you stack up to 3 composite modes Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to 100 the ef fect will not render cicieffects Crazy Stripes This a great plug in for creating abstract backgrounds and styles capable of taking any still image or movie and quickly making abstract stripes from it r fx DE CrazyStripes Presets Choose a Preset T 5 Anchor Position Orientation Horizontal w r Length 0 00 200 00 Width 0 00 Rotation Spin Rate Cycles per Seco Drift Pixels per Second Mirror T Automatic Edge Behavior 5 Sampling Mode Crazy Stripes Controls Presets These built in pre
121. white 84 cicieffects Nightbloom This plug in simulates a depth of field effect The Nightbloom effect is primarily designed for nighttime scenes but can be used for day scenes as well Full control is given over the shape of the bloom or lens iris shape the size of the bloom the threshold of the blooming the brightness of the bloom the amount of blur and the amount of blend with the original image Nightbloom Controls Bloom Shape Style of lens aperture Bloom Size Size of the bloom flare Bloom Threshold Brightness threshold value to render the bloom shape A lower threshold corresponds to the darker parts of the image Bloom Brightness Brightness value of bloom shapes Blur Amount Amount to blur the underlying source image TIP While experimenting with settings lower the image resolu tion for faster previews cicieffects Perspectron This plug in creates a unique warping effect Perspectron simulates mapping an image ona rubber sheet and stretching the sheet using a series of control points Perspectron Controls Upper Left Controls the upper left corner of the warp Upper Right Controls the upper right corner of the warp Lower Left Controls the lower left corner of the warp Lower Right Controls the lower right corner of the warp include Source Shows the source image un derneath the effect Wrap Around Allows the effect to wrap around to the opposite si
122. y expected result However you can use any other mode to subtract add or otherwise affect the matte with Glow the mask Opacity Controls how much the mask affects the matte Colorize When creating a glow you can use the original input colors of the Glow Layer or you can use the following controls to tint and color ize the effect Enable To enable Colorize this checkbox must be on Color Presets A collection of built in presets make easy work out of colorizing and provides great starting points Number of Colors Colorize supports either 3 or 5 colors When set to 3 colors the Mid Shadow and Mid Highlight controls become disabled Color Controls Each color targets its respective range of the image The shadow color for exam ple is mapped to the darkest areas of the image while the highlights are mapped to the bright est With Glow the darker areas are transparent and will have less effect Colorize Opacity At a value of 0 no color is applied to the glow while at 100 the color is fully applied Cycle Mode Determines how values are han dled beyond the normal value range when the Cycle is used Cycle This cycles the grayscale gradient wrap ping it around The cycle mode can be used to determine how the values are wrapped Size Controls how much the glow is bloomed Size is used in conjunction with Intensity to con trol the visible amount of glow Quality Allows you to decide what t
123. ype of blur is used for computing the size When set to Au tomatic the effect will render Gaussian Blur for best quality and Fast Blur for draft quality Uniform Blur Controls whether the glow is ap plied equally in the horizontal and vertical direc tions 65 Preserve Transparency When enabled the alpha channel of the original layer is preserved Otherwise the glow region has it s own alpha and may extend beyond the edges of the origi nal alpha Composite Mode This is the final composite mode used to apply the glow over the original layer Opacity The final glow opacity is controlled by this slider If set to 0 Glow will have no effect on the original layer Blend With Original Use this slider to blend the result of the effect with the original input layer If Blend With Original is set to 100 the ef fect will not render Colorize v Enable Choose a Preset T Color Presets 5 Number of Col aah O Shadows E O Midtones Highlights Colorize Opa 5 Cycle Mode Cycle Wrap Automatic Quality v Uniform Size ty Size Intensity Composite Mode b Opacity a Preserve Transparency H Blend With Origi Add digieffects Glower This plug in allows for a wide variety of glowing effects Glower Controls Glow Radius Determines how many pixels away from the source pixel every pixel that falls within Threshold Min and Threshol

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