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1. 66 Setting Fiber Direction 67 Adjusting Growth Patterns 68 Using Noise Maps with KPT FiberOptix 69 Setting Fiber Surface Properties 70 Lighting Fibers 72 Using Masks with KPT FiberOptix 72 KPT FIBEROPTIX 65 KPT FIBEROPTIX Overview KPT FiberOptix grows bers that look like real hair or fur Each ber is rendered separately and can have its own color and tint The KPT FiberOptix panels let you control the growth color and lighting of bers Using a mask you can make bers grow in a speci c shape For example you can make hair grow out of text Previewing your Fibers The preview in the Fiber Controls panel can be used to control the Main Preview The preview in the panel displays a thumbnail of your entire image The rectangle inside this preview represents the portion of the image displayed in the Main Preview window You can drag this rectangle to change the portion of your image displayed in the Main Preview Use the Fiber Controls preview to control the Main Preview display 66 Creating Fibers Fibers are automatically generated when you enter the lter Every time you
2. 131 Adding an Environment Map to your Shape 131 Blending an Environment Map 132 Using a Tint Color 132 Applying Glass Refraction 133 Setting Internal Reflections 133 Previewing Your Shape 133 ix TABLE OF CONTENTS KPT SMOOTHIE Overview 135 A Little History 135 Previewing your KPT Smoothie Effect 135 Smoothing an Image 136 Working with Outer Edges 138 Working with Inner Edges 138 10 Welcome to KPT 5 Kai s Power Tools is a collection of image lters that let you alter images from a host application With Kai s Power Tools you ll produce incredible effects in seconds What s New The new version of KPT is a collection of new lters that can turn any image into a work of art You ll nd lters that make fractals lters that provide vast improvements over standard image processing effects and all new lter that explore technology you just won t nd anywhere else Listed below are descriptions of just some of the lters you ll nd in KPT 5 KPT ShapeShifter KPT ShapeShifter creates shapes and
3. 11 Conventions 11 Modifier Keys 11 Customer Support 11 Web Support 11 Phone Support 12 Who Is MetaCreations 12 For More Information 12 Installing KPT 5 13 Windows 95 98 NT 4 Installation 13 Power Macintosh Installation 14 Installing KPT 5 with Painter 5 15 A LITTLE THEORY What are Masks 16 Masks and Alpha Channels 17 Creating Masks 17 Using Masks in Painter 5 17 What are Fractals 18 Fractal Types 18 KPT BASICS Accessing Filters 20 The KPT Workspace 20 Setting Workspace Size 21 Setting KPT 5 Options 22 Setting Global Options 22 Setting Filter Options 22 Usin
4. 121 Bevel Modes 121 Using Bevel Masking 124 Setting Bevel Scale 124 Setting Bevel Height 124 Lighting your Shape 125 Adding Texture to your Shape 125 Importing a Bump Map 125 Setting Bump Scale 126 Setting Bump Height 126 Adding a Glow 127 Setting Glow Color 127 Setting Transparency 128 Setting Glow Size 128 Setting Glow Position 128 Working with Shadows 128 Setting Shadow Color 129 Setting Shadow Position 129 Setting Shadow Size 129 Setting Shadow Transparency 129 Adding an Embossing Layer to your Shape 130 Using a Tint Color with the Top Mask 130 Noise Masking 130 Adjusting Transparency 131 Emboss Scale 131 Emboss Height
5. 80 Setting Gamma 80 Setting Intensity 80 Setting Preset Rendering Options 80 Setting Custom Rendering Options 81 KPT KPT FRAXPLORER Overview 83 Exploring Fractals 83 Exploring Julia Variations 84 Exploring Polar Variations 84 Exploring M Julia Polar Variations 85 Using the Universe Mapper 85 Navigating in a Fractal 86 Using Navigation Controls 86 Setting Fractal Detail 87 Setting Preview Options 88 Setting Preview Size 88 Coloring a Fractal 88 Setting the Inside Color 89 Using a Gradient 89 Using Coloring Modes 89 Rendering Your Fractal 95 Previewing Output 95 KPT FRAX4D Overview 97 Creating a KPT Frax4D Object 97 4D vs 3D Fra
6. To help you get the most out of KPT there are two topics you should know a little bit about Masks and Fractals Many of the lters in KPT use masks extensively to determine how the lter is applied to your image So to get the most out of these lters you should know how to create and apply masks Several of the lters deal exclusively with Fractals These are the lters with Frax in their title Knowing something about what fractals are and how they work will help you when you re using these lters What are Masks Basically a mask is a black and white image that de nes which areas of your image can be changed and which areas can t Masks are usually used to protect areas of your image while editing In this case any changes you make to your image are applied everywhere except the area inside the mask Masks can also be used to de ne the area where an image effect is applied When you use it this way the mask actually protects everything outside the mask area An image and its mask A mask used to protect an area and to limit an effect 17 A LITTLE THEORY In KPT masks are used to create shapes and to de ne which areas of your image are affected by the lter Masks and Alpha Channels An alpha channel is an additional channel in an image i e in addition to the RGB channels that stores a mask or a selection In KPT you can use the alpha channel to create a selection before entering a
7. 59 Setting Motion Blur Radius 60 Setting Blur Direction 60 Spin Blur 60 Setting Blur Radius 60 Zoom Blur 61 Setting Blur Radius 61 Spiral Blur 61 Setting Blur Radius 61 Setting Spiral Rotation Angle 62 Gaussian Weave Blur 62 Setting Blur Radius 62 Spiral Weave Blur 62 Setting Blur Radius 63 Setting Spiral Rotation Angle 63 KPT FIBEROPTIX Overview 65 Previewing your Fibers 65 Creating Fibers 66 Setting Fiber Density 66 Setting Fiber Length 66 Adjusting Fiber Tapering 67 Setting Fiber Flatness 67 Setting Fiber Direction 67 Setting Direction Angle 67 Setting Direction Inte
8. lter or make a mask image out of the alpha channel and then import it into a lter Creating Masks Creating a mask can be as easy as creating a 32 bit black and white image However in most cases you ll want to create a mask from an existing image Most image editing applications let you convert selections into masks and then store them as an additional channel with the le Creating Masks in Painter 5 In Painter you can save a selection using the Save Selection button in the Objects Mask List palette Refer to the Painter 5 User Guide for more information on creating masks Using Masks in Painter 5 Masks work differently in Painter than they do in Photoshop In Painter the white areas are considered the background while the black areas are used to de ne the shape Since KPT uses the white areas to create shapes and de ne areas you ll need to invert the mask before entering a KPT lter To invert a grayscale image in Painter 1 Load the mask image into Painter 2 Choose Effects menu gt Tonal Control gt Negative A mask used with two of the KPT 5 lters 18 What are Fractals Fractals are mathematical equations that result in incredibly beautiful patterns when they re mapped out on a computer One of the distinguishing features of a fractal is self similarity this means that reduced versions of the fractal appear throughout a fractal s pattern Most fractals are in nitely detailed
9. 48 Lesson 3 Setting Sphere Properties You can control the size and number of orbs generated in your sphere eld using the controls on the Orb Controls panel By adjusting a few parameters you can create vastly different effects Example 1 1 In the Orb Controls panel set Average Size 4 2 Set Size Variance 6 3 Set Packing Density 90 4 Set Z Spread 80 Example 2 1 In the Orb Controls panel set Average Size 17 2 Set Size Variance 25 3 Set Orb Packing Density 90 4 Set Z Spread 75 Example 3 1 In the Orb Controls panel set Average Size 2 8 2 Set Size Variance 3 3 Set Packing Density 75 4 Set Z Spread 80 The image after you apply Orb Controls settings The image after you apply Orb Controls settings The image after you apply Orb Controls settings 49 KPT TUTORIALS Lesson 4 Lighting Spheres Since spheres are 3D objects they can be highlighted using a variety of light sources and colors To set up 3D lighting Using the 3D Lighting panel add position and color your lights to match those shown below Your final image should look like the one shown KPT FiberOptix Tutorial Welcome to KPT FiberOptix the lter that lets you create amazingly realistic bers on any image You can use KPT FiberOptix to make hair fur rugs or even really creepy vines In this tutorial you ll learn the basics of setting up KPT Fiber
10. Diagonal mode 123 KPT SHAPESHIFTER Think of the graph as a side view of the bevel A straight line results in a at bevel An arc results in a rounded bevel A pro le shaped like a wave results in a bevel with grooves in it and so on To edit the bevel pro le 1 In the Main Shape panel click the User De ned button The panel preview displays the current bevel 2 Drag any point on the graph up or down 3 Once you have a shape you like use the smoothing tools to soften the curve Sharp points in the graph produce hard ridges in the bevel The Smoothing option lets you make the bevel more rounded while maintaining the ridges you created As you adjust the graph your changes are applied to the shape in the Main Preview window so you can see what it looks like To smooth a user de ned bevel Press the Option Alt key while your bevel is displayed in the Main Shape preview window The longer you hold down the key the more smoothing is applied To magnetize the bevel curve Shift click a point on the curve to draw the curve to the point where clicked A bevel created using a user de ned pro le Drag inside the preview to change the bevel pro le 124 To reset the bevel curve Control drag to reset the curve to a at line Using Bevel Masking The Bevel masking options let you control how the bevel is applied to the object in relation to the original mask Normally KPT ShapeShifter us
11. KPT FRAXPLORER Setting Thread Color The Color dot lets you choose a color for the threads using the Color Picker Rendering Your Fractal KPT FraxPlorer has three output modes that let you control the quality of your nal rendered fractal KPT FraxPlorer uses anti aliasing to enhance fractal elements The three modes let you turn anti aliasing off apply it selectively or apply it to all renders Anti Aliasing Off This option disables anti aliasing Anti Aliasing Adaptive When this option is enabled anti aliasing is only applied when you re using one of the following coloring modes Potential Rendering Binary Decomposition Twist Thorns Ribbons Bubbles Applying anti aliasing to the other modes increases rendering time Anti Aliasing On Always When this option is enabled anti aliasing is applied to all renders regardless of the coloring mode selected Adding anti aliasing to some of the more complicated coloring modes can greatly increase rendering time Previewing Output You can preview your nal output in one of two ways By viewing it in a small window using the Preview Apply option By viewing at full screen size using the Preview Full Screen option When you select the Preview Apply option KPT FraxPlorer renders a version of your nal fractal with anti aliasing and displays it in a window Rendering your fractal at full screen size also appl
12. Preview Against Black mode KPT Blurrrrr using the Preview Against White mode KPT Blurrrr using the Preview Against Checkerboard mode KPT Blurrrr using the Preview Against Dark Checkerboard mode 27 KPT BASICS Preview Against Gradient The background is replaced by a grayscale gradient Working with Panels All of the controls for a lter are divided into panels These panels oat over the lter window and can be repositioned to best suit the way you work Setting Panel States Each panel has four states collapsed preview only standard and expanded The states are designed to help you focus on a task by hiding unrecquired controls Collapsed State A Collapsed panel appears as a small black bar with the name of the control This is the state you ll use to store controls you re not currently using To collapse a panel Double click the panel s title bar Preview Only State In Preview Only state the panel displays a preview thumbnail of any imported images masks or presets you re currently using The name of the le appears below the preview KPT Blurrrr using the Preview Against Gradient mode KPT lter panels in their Collapsed state A KPT panel in Preview Only state 28 Standard State In the Standard state the panel displays a preview of any imported images as well as any parameter controls available Expanded State In the Expanded state a panel displays two controls
13. User Guide for Windows and Macintosh Trademarks MetaCreations and the MetaCreations logo are trademarks of MetaCreations Corporation Kai s Power Tools and KPT are trademarks of MetaCreations Corporation Core Flame fractal technology 1998 Scott Draves http www cs cmu edu spot Windows is a registered trademark of Microsoft Corporation Pentium is a registered trademark and i486 is a trademark of Intel Corporation Macintosh is a registered trademark of Apple Computer Incorporated Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated All other product names mentioned in the manual and other documentation are used for identi cation purposes only and may be trademarks or registered trademarks of their respective companies Registered and unregistered trademarks used herein are the exclusive property of their respective owners MetaCreations Corporation makes no claim to any such marks nor willingly or knowingly misused or misapplied such marks Copyright 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 Program 1998 MetaCreations Corporation including the look and feel of the product MetaCreations KPT 5 User Guide 1998 MetaCreations Corporation No part of this guide may be reproduced in any form or by any means withou
14. an environment map image 1 In the Environment panel click the preview window The Open dialog appears You can also click the arrow icon at the top of the panel and choose Load from the options menu 2 Locate the le you want to use and click OK A preview of the image appears in the panel Blending an Environment Map The Mix Environment control on the panel controls how much the environment map affects the surface of your object At high settings the image is completely visible in any re ection At lower settings the image appears faded Tinting an Environment Map A tint shifts all the colors in an image toward a uniform color For example if you use blue as a tint color the more tint you apply the more blue you ll see in your image until the entire image is just shades of blue The Mix Tinting Color value controls how much tint is applied to your image The higher the tint value the more the image shifts towards the tint color At 100 the image is completely made up of shades of the tint color The Environment panel TiPS 35 KPT BASICS To choose a tint color Click the color dot on the panel The Color Picker appears While holding down the mouse button drag over the color you want to use from the center bar When you release the mouse button the color is selected Adding a Metallic Surface When you enable the Metallic Surface option the re ections from the surface of your objects are ti
15. change a parameter new bers are rendered The Fiber Controls panel lets you control how bers grow You can control their length the direction in which they grow and the amount of bers generated Setting Fiber Density The Fiber Density slider controls the amount of bers generated At high density values the entire image is lled with bers creating a furry look At lower settings you ll be able to see individual bers Setting Fiber Length Fiber Length controls the length of the bers that grow from your image or mask Higher length values take longer to render The Fiber Controls panel High and low Fiber Density settings 67 KPT FIBEROPTIX Longer bers are also affected more by the Direction setting Adjusting Fiber Tapering The Tapering setting de nes where along the length of the ber it starts to become transparent The value of the setting de nes how much of the ber is solid and when the transparency begins to take affect For example at 60 sixty percent of the ber is solid and forty is transparent The setting becomes more important when you re using a gradient to color your bers You ll be able to see more of the gradient colors the higher the Tapering value since there s ber to color Setting Fiber Flatness Flatness controls the depth of the bers At higher settings bers grow out in all three dimensions At lower values bers grow more two dime
16. for more on this panel Adding Texture to your Shape By default your shape has a smooth surface That may be ne for some purposes but you can create much more interesting effects by adding some texture to your shape s surface Texture can be added in one of two ways By using a noise algorithm which creates a texture by applying mathematically generated bumps and dents Algorithmic noise creates a more grainy surface with random bump patterns By using a bump map which adds bumps and dents to a surface based on the light and dark values in the map image Maps are good for creating speci c patterns on your object To choose a preset noise as a bump map In the Bump Map panel click the text label beneath the preview window and choose a noise from the menu that appears Importing a Bump Map A bump map is a black and white image that is used as a height map to create bumps in the surface of your shape A height map creates bumps based on the light and dark values in an image Light values create bumps and dark values create dents To import a bump map 1 In the Bump Map panel click the triangle icon in the title bar to open the options menu and choose Load Mask or Click the thumbnail preview window 2 Locate the le you want to use as a map and click OK The image appears in the preview window You can also use the Load Preset option to load a preset mask Refer to Working with the Presets
17. of Whorls mode 69 KPT FIBEROPTIX Loop The Loop option works like the Natural option bers grow towards areas of light but the effect is more severe creating pools of bers Using Noise Maps with KPT FiberOptix A noise map is a mathematically generated pattern of turbulence that disrupts the growth pattern of bers When you apply a noise map you get wavy tendrils instead of hair like bers A noise map can either be a large random pattern or a speci c pattern Since the noise affects how bers grow you can design a speci c noise map image to create a unique effect Example of Loop mode In this example a very speci c noise map image was used to create the growth pattern shown The dark areas in and around the arrow cause the arrow bers to grow more toward the center 70 Loading a Noise Map A noise map can be any black and white image However noise works better when its a randomly generated pattern The algorithmic noise presets provide excellent patterns for creating various types of bers To load algorithmic noise Click the title below the preview window and choose a noise from the menu To load a noise map 1 In the Noise panel click the thumbnail preview The Open dialog appears 2 Locate the image you want to use as a noise map and click Open You can also use the panel s Option menu to load a map Scaling a Noise Map The scale of your noise map determines how oft
18. show a 1 1 portion of the effect Hi Speed Blur applied horizontally X axis and vertically Y axis 57 KPT BLURRRR Kraussian Blur The Kraussian Blur works like a standard Gaussian blur The difference is that the Kraussian Blur applies a dithering technique that makes colors blend smoothly This results in a higher quality blur that retains many of the artifacts from the original image Setting Blur Radius The Blur Radius slider controls the intensity of the effect The higher the setting the more blur is applied Setting Kraussian Options The six options available for the Kraussian Blur give you complete control over how it s applied You can enable or disable any or all of the following options Fading the Blur The Fade option lets you fade the blur effect so that more of the original image shows through Wrapping the Blur The Wrap option lets you create seamless blurs When the option is enabled the blur effect bleeds off the edges of the image Using a Mask with the Blur The Alpha option uses the alpha channel from the original image to modify the effect of the blur Setting Dithering Attributes The Dither option lets you control how the color in the original image is dithered to produce the blur effect When the option is enabled you ll get a higher quality blur as colors blend more smoothly Before and after a Kraussian Blur 58 Apply the Blur Horizontally or Vertically When the X Onl
19. text label The Add Preset dialog appears 4 Enter a name for the new preset and click OK The new preset appears at the end of the category To add a new preset from a panel Open the panel options menu and choose Save Preset The current image in the preview window is saved as a preset To add a new category in the Presets Library 1 In the Presets Library click the options menu icon and choose Add New Category The Add Category dialog appears 2 Enter a name for the category and click OK To delete a preset 1 In the Presets Library choose the category and preset you want to delete 2 Click the Delete Preset text label The preset is removed from the library NoTe 40 Editing Preset Information You can edit the name of any preset or change the comments attached to an image To edit a preset s title or comment 1 Click the preset you want to edit Click the title and a text eld appears 2 Enter a new name or comment Importing and Exporting Presets You can import images to use as components in a lter or export completed effects as complete images The Import command lets you choose a le to import from any location on your system The images you import must be RGB Black and White or Grayscale The Export command lets you export any of the presets in the library as images To import a preset 1 If you want to import the image into a speci c category click the catego
20. the Color Picker Setting Shadow Position The Shadow X Offset and Y Offset let you control the drop shadow s position along the X and Y planes You can also position the shadow by dragging inside the panel s preview window If you hold down Shift there s a 1 1 correlation between your movements in the preview and the position of the shadow in the Main Preview window If you move your shadow 5 pixels in the preview the glow in the Main Preview also moves 5 pixels Setting Shadow Size The Shadow Softness slider lets you control the size of the shadow Higher values increase the radius of the shadow making it more blurred Lower values decrease its size Setting Shadow Transparency The Shadow Transparency control sets how opaque your shadow appears Lower values make your shadow more transparent Shadow properties are controlled by the Shadow panel TiPS 130 Adding an Embossing Layer to your Shape KPT ShapeShifter lets you add a second layer to your shape that can be used to create an engraving effect Using this second layer called the Top Mask you can add shapes on top of your shape or text onto a button The embossing effects can make your second layer look like it s been engraved into the shape To turn the top mask on off In the Top Mask panel click the eye icon When the eye s open the top mask is enabled To load a top mask 1 In the Top Mask panel click the preview window The Open dia
21. to Working with the Presets Library on page 38 for more on using the library If you make a selection before entering the lter the bers will grow out of the selection To use a mask with KPT FiberOptix 1 In the Mask panel click the preview The Open dialog appears 2 Locate the image you want to use and click Open Setting Bevel Width The Mask Bevel Width setting adds height to the bers Higher bevel settings bend bers creating a dome like effect A mask and the bers grown out of the mask The Mask panel TiP 73 KPT FIBEROPTIX Setting Background Surface Properties Fibers grow out of an imaginary surface like hair growing out of skin The Mask Rendering options control this surface s appearance When you re working with a mask the surface is the size of the mask In this case the rendering options control how the mask itself is colored When you re working with just the image the rendering options apply to the imaginary skin layer that covers the entire image It s easier to see how the Mask Rendering options affect your image when the bers are sparse To set surface properties Click the text label beneath the Mask panel s preview and choose an option from the menu A checkmark appears next to the currently active option Shaded When the Shaded option is active a shaded gradient is applied to the surface The Mask Rendering Material option applied to an ima
22. window displaying a combination of RGB and Alpha noise 107 KPT NOIZE Generating Alpha Noise When this component is enabled KPT Noize generates alpha noise that creates transparency in the noise pattern To generate alpha noise 1 Click the Alpha Noise preview 2 Use the Mutator to generate a noise pattern Setting Alpha Noise Opacity Like RGB Noise you can control how much the alpha noise affects the image by setting is transparency Setting Alpha Noise Opacity to 0 is like turning alpha noise off The RGB Noise you generated is completely opaque T he Noise Component panel expands when you enable the Using Alpha Noise option 108 What s in this Section Overview 109 Creating Orbs 109 Lighting Orbs 111 Setting Up Orb Surfaces 111 Adding an Environment Map 113 KPT ORB IT 109 KPT ORB IT Overview KPT Orb It creates a eld of 3D orbs over a background image Each orb is an individual object with its own surface properties and position in space Since the spheres exist in 3D space they appear to have depth As well they can be lit from any direction using various light sources S
23. you nd one you like When you ve decided on a speci c fractal you can explore your choice further by repositioning your view or zooming into different areas After all that s done you can set rendering options and that s it you have a ame fractal Choosing a Style The Style palette lists seven different ame fractal styles These styles are only a very small subset of the types of ame fractals that exist but they re a good starting point for exploration Styles are mutually exclusive so you can only use one style at a time The KPT FraxFlame Style panel 78 To choose a style In the Style palette click the fractal style you want to use Mutating a Flame The Mutator lets you randomize a ame fractal within a speci c set So once you ve selected a style you can use the Mutator to see other fractals within the set Flame fractals are generated using complex mathematical equations with a wide number of parameters These parameters are like genes that go into making the nal fractal You can change the pattern of the fractal through genetic mutation i e mutating parameters The preview at the center of the Mutator palette represents the parent fractal and the smaller windows that surround it are derivatives or cousins of the parent Every time you mutate the Examples of the different ame styles Linear Sinusodial Spherical Polar Horseshoe Swirl An example of a am
24. 2D Slice of 4D Space panel A graphic representation of the R I preview 99 KPT FRAX4D Choosing J and K parameters The J and K Slice Coordinate sliders control the position of the J K slice This plane is roughly vertical As you change the position the preview shows you a vertical slice of the fractal object Viewing your Fractal using a W Slice Since you can t actually display a four dimensional fractal on a computer 4D fractals are sliced along their origin either horizontally or vertically to produce a three dimensional object that you can see on screen The Slicing Offset W slider controls how the slice is taken from the 4D fractal This control is only available when you re working with a 4D fractal Setting Fractal Complexity Fractals in KPT Frax4D are actually volume renders As the lter renders it moves through 3D space rendering your fractal as it goes The Complexity parameter tells the lter how many steps to take for a render The more steps the lter takes the more detail it will encounter which in turn results in a higher quality object If you nd that your fractal has some unwanted noise in it increase the Complexity value A graphic representation of the J K preview A graphic representation of the W slice 4D Space W Slice 100 Exploring your 4D Fractal Once you have a fractal you re happy with you can explore its patterns to see if there are any areas of the fractal
25. 42 KPT Orb It Tutorial 46 KPT FiberOptix Tutorial 49 KPT 5 TUTORIALS 42 Welcome The tutorials in this section lead you through the basic features and functions you ll need to get the most out of the KPT 5 lters The techniques you ll learn in these tutorials can be applied to other lters since they share some of the same controls KPT ShapeShifter Tutorial Welcome to KPT ShapeShifter the lter that makes 3D shapes from masks In this tutorial you ll learn how to import components and set controls to make a 3D button Getting Started Begin by loading the background image for your shape To load the tutorial le 1 Choose File menu gt Open and locate the le Tutorial Shapeshifter ShapeShifter Tutorial PSD on the KPT 5 CD ROM 2 There are two ways to use this image If you want to start with a plain background make sure the background layer is active If you want to start with a discreet shape like you would for buttons make sure the Zuni layer is active Lesson 1 Creating a Shape First you ll load a mask to create a shape from the background image To load a shape mask 1 In the Main Shape panel click the preview window The Open dialog appears 2 Locate the le Tutorial Shapeshifter ZuniMask on the KPT 5 CD ROM and click Open The background ima
26. Library on page 38 for more on presets Texture is controlled using the Bump Map panel 126 Setting Bump Scale The scale of your bump map can greatly alter the texture you nally create A larger bump map creates a smoother texture A smaller map creates a very grainy texture since the map is repeated more frequently to cover the surface of your shape Setting Bump Height The Bump Height slider determines how pronounced the bumps in the bump map appear on the shape s surface Positive values create bumps Negative values create dents Texture created using a low Bump Scale value and the bump map used to create the texture Texture created using a high Bump Height value and the bump map used to create the texture 127 KPT SHAPESHIFTER Adding a Glow The Glow controls let you place a colored highlight around your shape This feature is great for creating highlight states on buttons To turn the glow on off In the Glow panel click the eye icon When the eye s open the glow is enabled Setting Glow Color You can pick a glow color using the Color Picker The color you choose won t affect the color of the shape but it should compliment it Refer to Using the Color Picker on page 29 for more on choosing colors To choose a glow color In the Glow panel click the Glow Color dot and choose a color from the Color Picker A shape with a glow applied Glow properties are controlled using the G
27. Optix parameters and working with the images and mask Getting Started Begin by loading the background image for your shape To load the tutorial le 1 Choose File menu gt Open and locate the le Tutorial FiberOptix Fiberoptix tutorial PSD on the KPT 5 CD ROM The 3D lighting panel The nished image The background image 50 2 Access KPT FiberOptix from your host application Lesson 1 Adding a Mask You ll notice that the minute you enter KPT FiberOptix it generates a number of bers and applies them your image This is the type of effect you d want if you were creating a rug However one of the most unique things about the lter is its ability to apply bers to a speci c part of an image Speci c areas are de ned using masks To add a mask to your image 1 In the Mask panel click the preview window An Open dialog appears 2 Locate the le Tutorial FiberOptix TeddyMask JPG on the KPT 5 CD ROM and click Open The image appears in the panel Notice that the fibers now grow out of the teddy s body and not the entire image To set mask parameters 1 Set Bevel Width 75 The mask image The effect applied to the masked image 51 KPT TUTORIALS 2 Set Blend Noise to Mask 88 Lesson 2 Setting Fiber Parameters Now that you ve got the bers growing where you want you re ready to adjust the parameters of the bers themselves The Fiber Controls pa
28. Texture to a Shape 45 KPT Orb It Tutorial 46 Getting Started 46 Lesson 1 Setting Orb Material 47 Lesson 2 Applying an Environment Map 47 Lesson 3 Setting Sphere Properties 48 Lesson 4 Lighting Spheres 49 KPT FiberOptix Tutorial 49 Getting Started 49 Lesson 1 Adding a Mask 50 Lesson 2 Setting Fiber Parameters 51 Lesson 3 Coloring Fibers 51 KPT BLURRRR Overview 55 Switching between Blurs 55 Previewing Blurs 55 Hi Speed Blur 56 Setting Hi Speed Blur Radius 56 Kraussian Blur 57 Setting Blur Radius 57 Setting Kraussian Options 57 Camera Optics 58 Setting Blur Radius 59 v TABLE OF CONTENTS Controlling the Blow Out Effect 59 Motion Blur
29. a fractal you re happy with click the OK button The new fractal appears in the Main Preview window Navigating in a Fractal Since fractals have in nite detail the default preview of a fractal is not all there is to see When you explore the in nite patterns within the fractal you ll see what makes fractals really unique The Main Preview window acts like a large view nder allowing you to zoom in and out of different parts of the fractal Using Navigation Controls The controls along the bottom of the Main Preview window control the speed and direction of your zoom as well as provide controls for rotating color cycling and fractal detail In general you can start zooming by clicking anywhere in the Main Preview window During a zoom you can change direction by dragging the cursor in the direction you want to move Drag the location icon to explore different variations Location Icon Use the controls in the Main Preview window to explore your fractal 87 KPT FRAXPLORER When you click one of the tools an expanded slider appears that lets you set the zoom or rotate value precisely Setting Fractal Detail The Details control sets how many times KPT FraxPlorer loops through the fractal equation Each time it loops through it calculates more of the fractal So the higher the Detail setting the more detail you ll see in the fractal When you click a control the expanded slider appears Resets the vi
30. acket To reposition the bracket Click the center of the bracket and drag to the left or right To cut and paste parts of a gradient 1 Make sure the part of the gradient you want to copy is within the Gradient bracket 2 Click the triangle icon at the top of the panel and choose Copy from the menu 3 Reposition the bracket and choose Paste from the menu To ip a gradient Choose Flip from the Gradient panel options menu KPT ips everything within the Gradient bracket Gradient Modi ers There are eight tweaking controls you can use to modify the colors and other parameters of your gradient or a portion of your gradient To use a modi er Drag over the text label for the control you want to use The Gradient bracket 37 KPT BASICS Drag to the right to increase a modifier s effect or to the left to decrease it As you drag the expanded slider appears to help you set the modifier values precisely Hue This control rotates the hues for your gradient Each hue occupies a unique spot on a virtual color wheel As you rotate your hues all of the colors within your gradient rotate allowing you to cycle through all of the possible colors in the spectrum but maintaining each color s relative distance from every other color Saturation This control is used to modify the saturation or intensity of the colors within your gradient Brightness This control determines the brightnes
31. ag to the right to increase highlight brightness or left to decrease it Setting Ambient Glow When there are no speci c light sources selected the 3D lighting panel lets you control the brightness of the ambient light Unlike light cast from a light source ambient light comes from all directions To set ambient glow 1 Make sure there are no lights selected 2 Drag the Ambient Glow slider Use these sliders to set light properties 34 Environment Panel The Environment panel lets you load images that are used as environment re ection maps An environment map image is re ected in an object s surface Because of the way KPT maps images onto an object it s not necessary to create large environment map images for larger objects Your environment map should be no larger than 512 x 512 pixels In fact a 256 x 256 pixel image will work ne in most cases This panel appears in any lter that renders 3D objects with a surface like KPT ShapeShifter and KPT Frax4D It may have additional controls that are unique to a particular lter This section describes the common controls For descriptions of unique panel controls see the sections on speci c lters Loading an Environment Map Image An environment map image can be any RGB or grayscale image stored on your system If you want a more natural looking effect use a photo realistic image You can also load presets from the Environment library To load
32. ages you can use as backgrounds environment maps masks bump maps and more Presets are divided into categories Each category contains 24 presets Presets are displayed as thumbnail images The currently selected preset appears in a larger preview at the top of the library Its name and description appears across the top of the library You can add or delete categories and import or export presets The library is a great way of saving your own images for later use in other lters Global vs Component Presets Depending on how you access the Presets Library it will display global presets for the entire lter or component presets for a speci c panel If you access the Presets Library from the main KPT Workspace the library contains Global presets which when loaded set the values in all the lter s panels and load all the images necessary to reproduce the preset exactly For example if you load a global preset for KPT ShapeShifter all the masks background images bump maps and environment maps that make up the shape are automatically loaded Also all the values and options needed to recreate the preset are also loaded in the various panels If you access the Presets Library from a panel it displays presets speci cally suited to that control For example if you access the Presets Library from the Bump Map panel a series of bump map images are displayed The Presets Library window Click this icon to open t
33. aps for re ections and bump maps for surface texture One of KPT ShapeShifter s most impressive features is its ability to make hundreds of objects simultaneously For example if you load a mask that looks like swiss cheese each hole forms it s own shape Each shape has exactly the same settings Using this feature you can load a mask that has shapes for each letter in a font set and instantly turn them all into 3D objects or you can load a mask with all shapes for each of the buttons in your website and instantly create all the 3D buttons you ll need Creating a Shape KPT ShapeShifter makes 3D shapes from masks It takes the outline of the mask and adds a bevel making it look 3D The mask can be either an imported mask or a selection created in the host application If you use a mask image it has to be black and white The black areas of the mask are considered the background while the white areas are used to make the shape KPT ShapeShifter creates an object for each discrete shape in the mask So if you use a mask with two circles in it you ll get two objects Shapes created from a single mask all have exactly the same properties A mask and the object created using KPT ShapeShifter A mask with three discrete shapes and the objects created using KPT ShapeShifter 121 KPT SHAPESHIFTER If you re using a selection your 3D object is the same shape as the selection To import a shape mask 1 In th
34. at your nal effect will look like To choose a render preview mode Click the arrow icon at the top of the Main Preview window and choose a mode from the options menu An example of the Material option A yellow material color was used An example of the Transparent option 76 What s in this Section Overview 77 Setting up a Flame Fractal 77 Viewing your Flame Fractal 79 Coloring your Fractal 80 Rendering your Fractal 80 KPT FRAXFLAME 77 KPT FRAXFLAME Overview Flame fractals have been around for quite some time but have never been used in a lter These exquisite fractals look like real natural phenomena but unlike anything you ve ever seen They re fractals but not like those in KPT Frax4D They are sort of ethereal like crystal clouds KPT FraxFlame lets you explore these fractals and render them as images Setting up a Flame Fractal KPT FraxFlame is basically an exploratory lter It lets you explore the in nite variety of fractals by random generation of fractal patterns The setup process is rather straight forward First you select a ame fractal style and then you randomly mutate the pattern until
35. ate the image in real time The slider sets the angle in degrees Different X Center values TiP Different Y Center settings 119 KPT SHAPESHIFTER What s in this section Overview 120 Creating a Shape 120 Working with Bevels 121 Lighting your Shape 125 Adding Texture to your Shape 125 Adding a Glow 127 Working with Shadows 128 Adding an Embossing Layer to your Shape 130 Adding an Environment Map to your Shape 131 Previewing Your Shape 133 KPT SHAPESHIFTER 120 Overview KPT ShapeShifter is the ideal tool for creating text effects Web or software buttons and 3D artwork By applying bevels to your shape KPT ShapeShifter gives it that 3D look The lter provides incredible control over the shape and size of the bevels You can even design your own bevel pro le The lter also lets you add a second layer to a shape for adding things like graphics or text In addition you can add environment m
36. atform the Macintosh modi er is listed rst followed by a slash and the Windows modi er key Option Alt means Macintosh users press the Option key and Windows users press Alt Who Is MetaCreations MetaCreations is a major force in 2D and 3D graphic software developing and marketing next generation products that unite traditional art and design techniques with digital technology MetaCreations products are engineered to deliver real time interaction intuitive functionality and creativity to design professionals graphics hobbyists and consumers who work on desktop computers MetaCreations focus is maintained by three product values Faithfully replicate Natural Media and real world looks in the digital medium Facilitate and extend the range of creativity by allowing artists to do things they couldn t do before Capture human expression and allow the artist s perspective and intent to show through For More Information For more information about MetaCreations products see our Web site on the Internet http www metacreations com 13 INSTALLATION Installing KPT 5 Kai s Power Tools 5 requires a host application to run The host application can be any program that fully supports Adobe Photoshop compatible plug ins KPT 5 must be installed in the same folder where your host application looks for plug ins In the case of Photoshop this is the Plug ins fo
37. click the small fractal icon The Color Picker appears 2 Choose a color grayscale value or transparency setting Refer to Using the Color Picker on page 29 for more on using the Color Picker Using a Gradient Each of the coloring modes available in the Frax Style panel uses gradients to apply colors to a fractal Gradients are drawn from the Gradient panel Refer to Color Gradient Panel on page 35 for more on designing gradients You can quickly scroll through gradient presets using Command Ctrl Left and Right arrow keys Drag over the panel s title bar while you re selecting colors to select nothing Using Coloring Modes The fractals in KPT FraxPlorer are pure mathematical objects often in four or higher dimensions KPT FraxPlorer displays two dimensional slices of these objects which are in essence just shapes with a well de ned inside and outside The inside component is called the set This region is usually shown in black Points outside the set but in the general vicinity are affected by its presence analogous to the way an airplane creates turbulence in the air ow around it The different Coloring modes in KPT FraxPlorer are just different representations of this turbulence effect much as there are several ways to represent the ow of air over an airplane wing For mathematical reasons Newton based fractals only work with the following modes Normal Decomposition Mosaic and Threa
38. ctals 97 Using the 2D Slice of 4D Space Panel 98 Choosing R and I Parameters 98 vii TABLE OF CONTENTS Choosing J and K parameters 99 Viewing your Fractal using a W Slice 99 Setting Fractal Complexity 99 Exploring your 4D Fractal 100 Zooming into a Fractal 100 Viewing a Fractal in the Main Preview window 100 Setting Fractal Iterations 100 Adding an Environment Map 100 Setting Up Lighting 100 Rendering your Fractal 100 Extremely Technical Notes 101 KPT NOIZE Overview 103 Generating Noise 103 Using the Noise Mutator 104 Scaling Noise 105 Setting Up Noise Components 105 Generating RGB Noise 106 Using a Gradient 106 Generating Alpha Noise 107 KPT ORB IT Overview 109 Creating Orbs 109 Setting Orb Pack
39. ds Also when zooming a special high precision algorithm kicks in and only the basic Potential Rendering coloring mode is supported To choose a coloring mode In the Fractal Style panel click the coloring mode circle or click the text label under the circle and choose a mode from the menu Click the icon to set a fractal s inside color TiPS NoTe 90 Potential Rendering Potential rendering is the simplest coloring mode to compute which is why it s become the standard for drawing fractals If you think of the inside of the set black area as being electrically charged this coloring mode would represent the electrostatic potential of the surrounding electromagnetic eld Dendrite Rendering This mode uses a single pixel line to trace the edges of the fractal It tends to bring out the detail of the fractal that may be obscured by color noise An example of a fractal colored using Potential Rendering An example of a fractal colored using Dendrite Rendering 91 KPT FRAXPLORER Distance This mode uses a special algorithm to compute an approximate distance from each point to the boundary of the set Though Distance seems similar to Potential Rendering it can actually produce a very different visual feel and is often less noisy than the Potential Rendering near the set Try cranking up the gradient frequency and see what happens Binary Decomposition This mode exploits a computational artifact o
40. e s plenty to see The base fractals are only three of the twelve fractal spaces you can explore with KPT FraxPlorer For each base fractal you can explore three other spaces Julia Variations M Polar variations and Julia Polar variations h Examples of the three main fractal types Mandelbrot Mandelcube Newtonbrot h Exploring a Newtonbrot set 84 Exploring Julia Variations A Julia Set fractal exists at every point in a base fractal Julia Set fractals are simpler than Mandelbrot or Newtonbrot fractals but there are an in nite number of Julia Sets while there is only one Mandelbrot As you move around the general base fractal for example a Mandelbrot you ll nd the Julia Set that exists at that point Since one derives from the other there s a visual correspondence between the base fractal and the Julia variation For example when you move to a black area of the base fractal the Julia will have a black center and so forth Exploring Polar Variations To generate a polar variation KPT FraxPlorer takes a point on the base fractal and turns it inside out So if you move to a point on the base fractal where the inside is black and the outside is colored the polar variation will have color in the inside and black on the outside h Exploring the Julia Set variations in a Mandelbrot fractal h Exploring the M Polar set variations in a Mandelcube fractal 85 KPT FRAXPLORER E
41. e controls available change as you switch to different blurs The Main Preview window automatically updates as you change settings to provide you with a real time preview of your blur effect Blurs are applied to any image or selection you have currently selected in the host application Switching between Blurs The Blur Types palette lists all the available blurs and lets you switch between them with the click of a mouse As you switch blurs the controls in the Parameters palette change Previewing Blurs The thumbnail preview window of the Parameters palette shows you a 1 1 representation i e actual size of a portion of your image The rectangular area in the Main Preview window lets The Blur Types palette 56 you change the area displayed in the palette preview You can use this feature to see the effects of the blur on different parts of your image Hi Speed Blur The Hi Speed Blur works just like the standard blur in your host application like the Blur lter in Photoshop except that this blur is much faster and its blur effect leaves more of the original image intact Hi Speed Blur works just as fast on the 2 x 2 inch image as it does on a 300 x 300 image Setting Hi Speed Blur Radius Using the X Radius and Y Radius sliders in the Parameters palette you can apply the blur either horizontally vertically or in both directions As you drag the rectangle in the Main Preview window the palette preview changes to
42. e Main Shape panel click the triangle icon in the title bar to open the options menu and choose Load Mask or Click the thumbnail preview window 2 Locate the le you want to use as a mask and click OK The mask appears in the preview window as a 3D shape You can also use the Load Preset option to load a preset mask Refer to Working with the Presets Library on page 38 for more on the Presets Library Working with Bevels A bevel is the pro le of your shape It s what makes it look 3D The size of the bevel determines how thick your shape is while the shape of the bevel can produce ridges and creases in the shape s surface Bevels are controlled using the Main Shape panel Bevel Modes KPT ShapeShifter has three bevel modes you can use when applying a bevel to your shapes The rst two Arc and Diagonal are presets while the third lets you create your own bevel pro le Use the Main Shape panel to import a shape mask or set up bevels 122 To switch Bevel Modes In the Main Shape panel enable one of the bevel options Arc When you use the Arc pro le your shapes have a smooth rounded edge Diagonal This pro le creates smooth angled plateaus along the edges of your shape User De ned Pro le This bevel option lets you create your own bevel pro le by editing the graphic representation of a bevel Bevel option buttons A bevel created using Arc mode A bevel created using
43. e Rendering panel menu are designed to give you the highest quality render without making rendering too slow The Rendering panel 81 KPT FRAXFLAME The rendering options are divided into two groups The Sparse group options are designed to improve the quality of cloudy disperse or pixelated ame fractals like Sinusodial fractals The Sharp rendering presets are designed to improve the quality of fractals with well de ned elements that are tightly packed like Linear fractals The two groups are mutually exclusive so you should apply the group that best suits the fractal type you select Setting Custom Rendering Options The Custom render option lets you setup your own rendering settings using Sample Density Oversampling and Filter Radius values Adjust these settings in small increments Some controls can greatly increase rendering time Large adjustments may result in an extremely long wait when you apply the fractal Setting Sample Density Sample Density controls the complexity of the fractal At higher settings you ll be a able to see more detail in the fractal However more detail requires more rendering time Use this setting carefully or you may end up waiting a long time for an image Setting Oversampling Oversampling sets how many times a fractal is sampled to generate each pixel in your image High values of this setting can greatly increase the quality of the nal render However your fractal ta
44. e icon at the top of the Main Preview window and choose an option from the menu An example of Glass Refraction An example of Internal Re ections 134 What s in this Section Overview 135 Smoothing an Image 136 Working with Outer Edges 138 Working with Inner Edges 138 KPT SMOOTHIE 135 KPT SMOOTHIE Overview The KPT Smoothie lter lets you blur the edges of any image and then clip it giving the nal image a smooth edged rounded look The smoothing effect is created by applying a Gaussian Blur to the edges of the mask and then clipping it to make the edges cleaner A Little History KPT Smoothie is the evolution of a tip Kai wrote a couple of years back called How to Clean Up a Fax or a Scan In it he described how to x up a badly scanned image in Photoshop The process went something like this First you take the image and apply a Gaussian Blur This makes the image appear smoother which also results in anti aliased edges Then you go into the Levels dialog and adjust the grayscale values to x up any shading that may have been eliminated when the image was faxed You also use Levels to clean up the edges Well KPT Smoothie does all that and
45. e no open applications There are NO applications running in the background This includes anti virus crash monitoring software or system diagnostic software 14 Troubleshooting Win 95 98 Closing applications running in the background is very important for a successful install To make sure all background programs are closed 1 Press Ctrl Alt Delete once Don t press the key combination twice in a row as this will reboot your computer The Close Program window appears The basic Windows 95 components are Explorer and Systray All other items you see on the list are the result of installing hardware or software 2 You can close all unnecessary background programs by selecting one item at a time and clicking the End Task button This does not change any settings on your system If you reboot your machine all the programs will return Don t select Explorer or Systray if you see it on the list Don t hit the Shut Down button as this will reboot your system Once you close an item the Close Program window disappears You ll have to hit Ctrl Alt Delete again to get it back A dialog that says This program is not responding It may be busy may appear Press the End Task button to finish closing the program By design you should be able to close all background applications this way However your system may reboot when you press End Task or a program may not clos
46. e style Bent 79 KPT FRAXFLAME parent you generate different derivatives The Genetic Mutation slider controls how closely related the new derivatives are to the parent fractal To mutate a fractal 1 Click the preview in the center of the Mutator until you see a ame pattern you like 2 Click the small preview of the pattern you want to explore Your selection becomes the parent fractal and is displayed in the center of the Mutator 3 Adjust the position of the Genetic Mutation slider At high values the derivatives are more random At lower settings the derivatives look more like the parent fractal 4 Click the center preview again to generate derivatives of the selected ame 5 Continue clicking the Mutator and selecting derivatives until you get the look you want Viewing your Flame Fractal Once you generate the ame you want you can explore it further by changing your view of the fractal The Pan Zoom and Reset controls on the Main Preview window let you move to different parts of the fractal and explore its in nite detail If you notice that the preview slows dramatically when you switch your preview to Large increase the amount of memory allocated to the application The KPT FraxFlame Mutator The Main Preview window NoTe 80 Repositioning your View The Pan control lets you move your view of the fractal along the X and Y axes To pan your fractal 1 Click the Pan text lab
47. e the way it should If this happens try leaving it on the Close Program list and install anyway Win NT 4 Closing applications running in the background is very important for a successful install To make sure all background programs are closed 1 Press Ctrl Alt Delete and choose the Task Manager Do not hit this key combination two times in a row as this will reboot your computer 2 You can you can close all unnecessary back ground programs by clicking the Applications tab selecting all the items on the list and then clicking the End Task button This does not change any settings on your system If you reboot your machine all the programs will return A dialog that says This program is not responding It may be busy may appear Press the End Task button to finish closing the program Power Macintosh Installation System Requirements The following requirements are needed to run KPT 5 on your Macintosh PowerPC based Macintosh MacOS 7 6 1 or later 15 INSTALLATION Photoshop 3 4 5 or 100 compatible host 32MB RAM 64MB host application RAM or greater recommended 50MB hard disk space 24 bit color video color monitor CD ROM drive Installation Installing KPT 5 1 Insert the Kai s Power Tools 5 CD into your CD ROM drive 2 Double click the Kai s Power Tools 5 Installer icon 3 The installer prompts you to locate your Plug ins folde
48. eb Button The symbol lets you jump to the Kai s Power Tools Web page on the MetaCreations Website MetaCreations Logo Accesses the on line documentation for the current lter Presets The heart shaped button at the bottom of the workspace lets you access the Presets Library Refer to Working with the Presets Library on page 38 for more on using presets Cancel OK The checkmark at the bottom of the workspace is the OK button The X is the Cancel button Memory Dots The memory dots that appear on the main workspace let you store the positions of the lter panels and all the values in a lter i e all the values in all the panels Refer to Using Memory Dots on page 23 for more on memory dots Setting Workspace Size You can control the size of the KPT 5 workspace using the keyboard keys If you make the workspace smaller than your display you ll be able to see your desktop Resize to 640 x 480 Ctrl Command 1 Resize to 800 x 600 Ctrl Command 2 Resize to 1024 x 768 Ctrl Command 3 Resize to 1152 x 870 Ctrl Command 4 Resize to 1280 x 1024 Ctrl Command 5 Resize to Full Screen Ctrl Command 0 22 Setting KPT 5 Options KPT 5 lets you set several options that control how all the KPT 5 lters appears as well as providing options that only affect speci c lters Setting Global Options The Global Options control how the appearance of the KPT Workspace These option
49. el 2 Drag inside the Main Preview window or the text label itself Click Reset to restore the view to its default position Zooming into your Fractal The Zoom control lets you enlarge an area of your fractal to see more detail Since the ame fractal is in nitely detailed you can zoom continuously to see more patterns To zoom in out of your fractal 1 Click the Zoom text label 2 Drag inside the Main Preview window Drag right to zoom in or left to zoom out You can also drag on the text label to zoom Click Reset to restore the view to its default position Coloring your Fractal Flame fractals are colored using gradients of color Gradients are drawn from the Gradient palette Refer to Color Gradient Panel on page 35 for more on designing gradients Rendering your Fractal The Render palette lets you adjust the ame image for the nal rendering process Many of these controls work just like the image enhancing features found in most host applications Setting Gamma The Gamma control lets you adjust the tonal range of your image At higher values colors appear more saturated At lower values colors appear washed out Setting Intensity The Intensity slider lets you adjust the intensity of the colors in the ame Higher values make the ame brighter and more vibrant Lower values make the ame look faded Setting Preset Rendering Options The six preset rendering options available on th
50. en the noise pattern is repeated within a map A map that s scaled down creates more turbulence since it repeats more often within the map A larger noise map produces less turbulence Blending Noise Maps The Blend Noise to Mask slider in the Mask panel controls how much of the noise is applied to the bers The higher the value the more turbulence is added to the growth pattern Setting Fiber Surface Properties Normally bers take their color from the original background image An individual ber takes its color from the pixels directly beneath it in the original image However you can enhance or replace this color using the controls on the Fiber Color panel The Noise panel The Fiber Color panel 71 KPT FIBEROPTIX Using a Gradient as a Tint When you apply a tint using a gradient each ber is colored using the colors in the Gradient panel Use the controls on the Gradient panel to choose colors and set up a gradient Refer to Color Gradient Panel on page 35 for more on designing a gradient To apply a gradient to your bers In the Fiber Color panel drag the Mix Gradient Color slider Using a Tint Color When you apply a tint the colors in the image shift towards a speci c uniform color For example if you choose Blue as your tint color the more tint you apply the more blue is added to the background image To choose a tint color In the Fiber Color panel click the tint color dot a
51. es the mask to generate the bevel contour Depending on your Bevel Pro le and Size settings the bevel may extend outside the area of the original mask This helps create a smoother drop off However when you enable the Bevel Masking option the nal 3D shape will be exactly the same size as the mask You ll want to enable this option if you re creating a shape that s going to be composited precisely with another image You ll also want to enable masking when you re designing elements on a web page that need to be an exact size Setting Bevel Scale The scale of the bevel determines your shape s 3D depth The larger the bevel the smaller the at plateau on the top of your shape and the more 3D it looks Setting Bevel Height The Bevel Height control determines the sharpness of the bevel angle The higher the setting the more pronounced the bevel becomes Drag inside the preview to change the bevel pro le The effects of low and high Bevel Scale settings Low and high Bevel Height values 125 KPT SHAPESHIFTER Lighting your Shape Since the shapes created by the lter are 3D they can be lit from any angle You can have as many lights as your system s memory allows Each light can be positioned separately and can have its own color The lighting you apply to the object can greatly enhance its 3D look Lighting is controlled using the 3D Lighting panel Refer to 3D Lighting Panel on page 30
52. ew Enables animated color cycling Cycles through gradient colors Zooms out of a location quickly Zooms out of a location at a slower rate Zooms out of the location one click at a time Drag a selection area to zoom out of a speci c area Suspends zooming When zooming stops you can drag inside the preview window to pan your fractal Zooms in to a location one click at a time Drag a selection area to zoom into a speci c area Zooms in to a location at a slower rate Zooms in to a location quickly Rotates fractal Click the tool then drag in the Main Preview window 88 If you nd blank areas in your fractal it s probably because KPT FraxPlorer is not calculating the fractal at that point this usually happens when you zoom in really far Try increasing the Detail value After a few calculations you ll be able to see the portion of the fractal that exists at the current location Setting Preview Options KPT FraxPlorer s Main Preview window has two preview options that let you control the quality of the rendered preview The options are mutually exclusive You can use one or the other not both Smoother Zooming When this option is enabled the zooming animation in the Main Preview window is smoother However the fractal display is slightly decayed Use this option while you re exploring the entire fractal When it s disabled the fractal rendering in the window is more precise resulti
53. f the Potential Rendering which splits up the outside area into separate squarish shapes The sharp lines in these renderings de ne a sort of polar coordinate system for the set Setting Decomposition Amount The Decomposition amount controls the difference in coloration between adjacent squares An example of a fractal colored using Distance An example of a fractal colored using Binary Decomposition 92 Twist If you think of a map of the North Pole with latitude lines in circles and longitude lines leading away from the pole then the standard Potential Rendering colors the set according to latitude only circular lines The Twist style computes both latitude and longitude for each point and colors the outside of the set with a combination yielding swirly or twisty results This mode works best when you re zoomed out looking at the whole set When you zoom in too far it ends up looking just like the Potential Rendering though it computes slower Switch back to the standard rendering mode for deep zooms Thorns Ribbons Bubbles If you think of coloring modes as turbulence representation each pixel is computed by following its trajectory until it gets to a certain safe distance away from the set These three coloring modes operate by placing barriers in the path of the air ow and coloring points differently depending on which barriers they hit on their way to escaping Thorns uses long lines as barriers Ribbon
54. face Adding an Environment Map to your Shape An environment map is used to create a pattern in the re ections of your shape To understand how an environment map works imagine that your shape is made out of a shiny material It would re ect everything around it So if it was in the middle of a park you Environment maps are controlled by the Environment panel 132 would be able to see a re ected view of the trees and grass The environment map simulates this effect It s used to project a surrounding environment onto the surface of your shape You can load any RGB or grayscale image as an environment map or you can use a preset from the library Refer to Working with the Presets Library on page 38 for more on presets Once you ve loaded an environment map you can control how much it affects the shape by using the Mix Environment slider To load an environment map 1 Click the thumbnail preview window The Open dialog appears 2 Locate an image you want to use as a map and click Open Choose a photo realistic image if you want to reflect a natural environment Blending an Environment Map The Mix Environment slider lets you control how much of the map is visible in the shape s re ection The higher the setting the more of the map you can see At lower settings the map appears faded Using a Tint Color Tint applies a uniform color to the shape This color is in addition to any color the s
55. g Common Controls 23 Using Memory Dots 23 Working with the Main Preview Window 24 Working with Preview Modes 25 iv Working with Panels 27 Using the Color Picker 29 Using Common Panels 30 3D Lighting Panel 30 Environment Panel 34 Color Gradient Panel 35 Working with the Presets Library 38 Loading Presets 39 Adding and Deleting Presets 39 Editing Preset Information 40 Importing and Exporting Presets 40 Applying KPT Effects 40 Applying KPT Effects to Layers 40 KPT 5 TUTORIALS Welcome 42 KPT ShapeShifter Tutorial 42 Getting Started 42 Lesson 1 Creating a Shape 42 Lesson 2 Adjusting Bevels 43 Lesson 3 Adding a Top Mask 43 Lesson 4 Adding an Environment Map 44 Lesson 5 Adding
56. ge The mask image 43 KPT TUTORIALS If you make a selection before entering the lter the selected area becomes the mask Lesson 2 Adjusting Bevels The Bevel controls let you adjust the size and severity of the bevel along the edges of the shape The bevel is what makes your shape look 3D To set bevel scale In the Main Shape panel set the Bevel Scale slider to 30 Lesson 3 Adding a Top Mask A top mask lets you add other shapes on top of the main shape These new shapes can have an embossed look To add a top mask 1 In the Top Mask panel click the preview window The Open dialog appears 2 Locate the le Tutorial Shapeshifter Zuni Arrow on the KPT 5 CD ROM and click Open To set top mask properties 1 In the Top Mask panel set Transparency 60 2 Set Emboss Scale 12 3 Set Emboss Height 50 The shape created after you apply a bevel TiPS The top mask image 44 4 Click the color dot and choose a green color from the Color Picker Lesson 4 Adding an Environment Map An environment map is an image that s projected onto your shape to create re ections To add an environment map 1 In the Environment panel click the preview window The Open dialog appears 2 Locate the le Tutorial Shapeshifter Cool Kitchen on the KPT 5 CD ROM and click Open To set environment properties 1 In the Environment panel click the Tint color dot and choose a blue co
57. ge without a mask and the same setting applied to an image using a mask An example of the Shaded option and the original image 74 Dark When the Dark option is active the surface acts like a Darken channel operation The result is a surface colored using the darkest colors in the original image Ambient The Ambient option does not apply any special properties to the surface Fibers appear to grow out of the background image White When you use this option the background is white Black When you use this option the background is black An example of the Dark option An example of the Ambient option An example of the White option An example of the Black option 75 KPT FIBEROPTIX Material The Material option sets the background to the material color You can choose a material color using the color dot Transparent When this option is active the image is transparent so in the nal render all you ll see are the bers Previewing Fibers KPT FiberOptix has three preview options that control how your ber preview is rendered Fast Edge Render This mode renders the least amount of ber detail However it is very fast Use it when you re experimenting with settings Average Edge Render This mode produces a good quality render of your image and is faster than Accurate Edge Accurate Edge Render This is the slowest render but the most precise Use it when you want to see wh
58. ges of the image Outer Edge Size Outer Edge Size sets how much of the outer edge of the image is trimmed Use this control after you ve set the Smoothing Amount That way you can see how much of the smoothing effect you re clipping Working with Inner Edges The Inner Edge controls let you apply the KPT Smoothie effect to the inside edges of your image These are the controls you ll use to clean up images with thin lines The smoothing process can distort or eliminate lines the Inner Edge size can help you rede ne them Low and high settings of Outer Edge Smoothing The effects of using the Inner Edge controls to rede ne lines within the image 139 KPT SMOOTHIE Inner Edge Smoothing Inner Edge Smoothing sets how much smoothing is applied to the inside edges of the image If you use Inner Edge Size to hollow out the shape this setting applies smoothing to the inside of the shape Inner Edge Size Inner Edge Size sets how much of the image s interior is trimmed This can clean up inside edges distorted by Inner Edge Smoothing The higher the setting the more hollow the image appears Inner Edge Size is great for creating outlines out of solid shapes An example of Inner Edge Smoothing Low and high settings of Inner Edge Size An outline created by applying Inner Edge Size TiPS
59. hape picked up from a background image When you apply a metallic surface to your shape the tint color is used to color all the re ections that come off its surface Once you have a tint color you can control how much it affects the base color of your shape The higher the tint value the more the colors shift toward the tint color To choose a tint color Click the color dot and choose a color from the Color Picker Refer to Using the Color Picker on page 29 for more on choosing colors To set tint value Drag the Mix Tinting Color slider At higher values you ll see more of the tint color and less of the base colors An object before and after an environment map was applied Before After 133 KPT SHAPESHIFTER Applying Glass Refraction The Glass Refraction control can be used to create a glass type effect When you apply refraction the shape s surface bends light causing distortions in the re ections The control can have both positive and negative values Setting Internal Re ections Internal Re ections cause the inside of the object to re ect light making it look brighter Previewing Your Shape The render options in the Main Preview window let you control the quality and speed of the preview The options are a trade off between speed and quality Faster previews have lower quality and higher quality previews take longer to render To choose a render preview option Click the triangl
60. he Presets Library Accessing the Presets Library from a panel s Options menu 39 KPT BASICS Loading Presets Loading either a global or a component preset is only a matter of locating the preset you want to use and clicking its thumbnail To load a preset 1 Click the heart shaped icon in the KPT Workspace to load a global preset To load a component preset click the triangle icon at the top of a panel and choose Load Preset from the options menu The Presets Library appears 2 Click on a category name on the right side of the library A set of 24 thumbnails appears 3 Click the preset you want to use 4 Click the OK icon Adding and Deleting Presets As with loading presets you can save global presets by accessing the Presets Library from the KPT workspace or you can save a speci c component by accessing the library from a panel The library lets you save any les into a speci c category or you can create your own You can only save 24 presets in a category If there are no open spots in a speci c category you ll have to save your new preset to another category or create a new category When you add les you can also add a title and comments to each image This information appears every time you click the preset To add a global preset 1 Click the heart shaped button The Presets Library appears 2 Click the category where you want to add the preset 3 Click the Add Preset
61. he host application load the le s alpha channel as a selection Refer to your host application s User Guide for instructions 3 Access the KPT Orb it lter from your host application When the filter appears it automatically generates an orb field The background image The background image with a selection created using the alpha channel The default orb eld generated when rst access the lter 47 KPT TUTORIALS Lesson 1 Setting Orb Material Since each orb is a 3D object you can change its material properties to create different looks To set sphere color using the background In the Orb Color panel set Tint to Background 100 When you use this setting orb color is picked up from the background image At 100 the orbs are colored entirely using colors in the image Lesson 2 Applying an Environment Map You can make the surface of your sphere re ective by importing an Environment map The map is projected onto the surface of each sphere to create re ections To add an environment map 1 In the Orb Color panel click the preview window The Open dialog appears 2 Locate the le Tutorial Orb It Cool Kitchen JPG on the KPT 5 CD ROM and click Open To set environment properties 1 In the Orb Color panel set Mix Environment 60 The orb eld colored using the colors in the background image The environment map image The image after you apply an environment map
62. ial panel click the Plastic button The option is disabled when the button is labeled Plastic Adding an Environment Map An environment map is an image that s projected onto the surface of your spheres to produce realistic re ections The map is applied to each sphere separately so you can see the re ection again and again The effect of setting Tint to Background to 100 An image applied as an environment map 114 Blending the Environment Map with the Orbs The Mix Environment slider lets you control how much the environment map affects the surface of an orb At lower settings the environment map appears faded At higher settings the map is completely visible 115 KPT RADWARP What s in this Section Overview 116 Setting Warp Parameters 116 Adjusting Warp Center 118 KPT RADWARP 116 Overview KPT RadWarp simulates a camera effect known as a barrel distortion The distortion causes the edges of your image to become warped as if you were looking through a sh eyed lens This lter can be used both to correct a barrel distortion and to create it KPT RadWarp is a quick way of creating cool text effects Setting Warp Parameters The KPT RadWarp effect is created by adding mathematically calculated dist
63. ick the color dot The Color Picker appears While pressing the mouse button drag over the color you want to use When you release the mouse button the color is selected Drag the circles to reposition lights TiPS Front Back light button Light color dot 33 KPT BASICS Setting Light Brightness The overall brightness of a light is controlled by the brightness of the light itself as well as the brightness and size of the highlight The Light Brightness slider controls the intensity of the light The Highlight Spread slider controls the size of the highlight that appears on objects The Highlight Sheen slider controls the intensity of the highlight By combining these three settings you can completely control how a light affects your objects For example larger highlights combined with higher Brightness values can make your objects appear very bright You can also create different types of effects with these controls For example small bright highlights can make your objects look very shiney or metallic To set light brightness 1 Click a light source 2 Drag the Light Brightness slider Drag to the right to increase brightness or left to decrease it To set highlight size 1 Click a light source 2 Drag the Highlight Spread slider Drag to the right to increase highlight size or left to decrease it To set highlight brightness 1 Click a light source 2 Drag the Highlight Sheen slider Dr
64. ider controls the amount of blurring applied to the image Setting Blur Direction The Direction slider sets the angle of the color bleed Basically you re setting the direction of the motion Spin Blur The Spin Blur works just like a radial blur All the colors in the image bleed together in a radial pattern The result looks like you placed your image on a record player Unlike most radial blurs KPT s Spin Blur draws in color from all over the image including the edges f Setting Blur Radius The Blur Radius slider controls the intensity of the effect At higher values the color bleed is more severe making it harder to see the original image A pattern created using a Motion Blur image Before and after a Spin Blur 61 KPT BLURRRR Zoom Blur The Zoom Blur simulates the look you d get if you zoomed in on an area while taking a picture All the colors in the original image bleed together at a single point Setting Blur Radius The Blur Radius slider controls the intensity of the zoom effect At higher values more color is sucked into the middle of the image Spiral Blur The Spiral Blur works like a radial blur except that it has an extra control that lets you bleed colors together at an angle The result is that your image looks like it s being sucked towards a single point Setting Blur Radius As with the other blurs the Blur Radius slider controls the intensity of the spiral effect The more blu
65. ies anti aliasing 96 What s in this Section Overview 97 Creating a KPT Frax4D Object 97 Exploring your 4D Fractal 100 Adding an Environment Map 100 Setting Up Lighting 100 KPT FRAX4D 97 KPT FRAX4D Overview KPT Frax4D is a beautiful new way to look at fractals It creates 3D sculptures out of fractal space at the click of a mouse These sculptures can then be wrapped with any environment map In other words you can make 3D fractal sculptures out of gold silver green gel or whatever you come up with Creating a KPT Frax4D Object KPT Frax4D lets you create a 3D object by choosing a number of parameters or dragging in the Frax4D preview windows As you change these parameters you re actually exploring fractal space encountering different fractal patterns as you go The fractals you nd are displayed in the Main Preview window Once you have a fractal you like you can rotate it add an environment map to it and nally render it as an image 4D vs 3D Fractals KPT Frax4D has two modes The rst mode called Cogiternion lets you explore 3D fractal space by combining three parameters The other mode called Quaternion lets yo
66. ights A negative light source draws light out of an object The amount of light drawn out is determined by the light s brightness settings A negative light s color draws out a speci c color leaving its spectral opposite in its place To set a light as negative or positive 1 Click on a light 2 Click the Positive Negative toggle button Add Light icon Highlight type toggle Positive Negative light toggle 32 Positioning Lights The graphic in the center of the control represents your object in three dimensional space The balls surrounding the large graphic in the center represent light sources By dragging these light sources to different positions around the ball you can adjust the lighting angle on your object You can also drag the large sphere to reposition all the lights at once Sending Lights to the Back or Front of an Object The Front Back button lets you quickly move the light to the front or the back of your object To send a light to the back of an object 1 Click on a light 2 Click the Front Back button Setting Light Color A light s color can tint the color of all the objects you re working with Light color appears in object highlights You can also mix light colors For example if you have a blue light source and a yellow light your objects will have a greenish highlight To change a light s color 1 Click one of the light sources in the light control 2 Cl
67. ing Density 109 Setting Orb Size 110 Size Variation 110 Setting Z Axis Distribution 110 Controlling Orb Density using Alpha Information 111 Lighting Orbs 111 Setting Up Orb Surfaces 111 Using a Tint Color 112 Setting the Tint Amount 112 Tint to Background 113 Using Glass Refraction 113 Turning Metallic Reflections On Off 113 Adding an Environment Map 113 Blending the Environment Map with the Orbs 114 viii KPT RADWARP Overview 116 Setting Warp Parameters 116 Setting Warp Alpha Controls 117 Setting Warp Beta Controls 117 Adjusting Warp Center 118 Setting Horizontal Center 118 Setting Vertical Center 118 Rotating your Image 118 KPT SHAPESHIFTER Overview 120 Creating a Shape 120 Working with Bevels
68. ious KPT lters Using Memory Dots Memory dots let you store and recall values with a single click of your mouse There are three types of memory dots in KPT Layout Recall and panel dots The Layout memory dots that appear on the KPT workspace store the state of the interface You can use them to setup different working environments For example you could have all the advanced controls for a lter displayed so that you don t have to expand each control individually The Recall memory dots let you retrieve all the values for all the panels in the lter You can quickly set up all your panels by just clicking a dot You can also use the Recall dots to store the various stages of your effect as you change settings Each panel also has a set of memory dots that let you store values for an individual control You can use these dots to return to different stages of an effect To store interface positions in a memory dot 1 Set up the interface the you want it Click the cycler icon to move between panel states Layout dots Recall dots Memory dots on a panel 24 2 Click an empty Layout dot Empty dots are grey To store all lter values in a memory dot 1 Set up the values in each of the panels you want to store 2 Click an empty Recall dot Empty dots are grey To store a panel s values 1 Enter the values you want to store in the panel 2 Click an empty dot on the panel To recall a memor
69. ium and Large The different sizes are designed to let you see the largest possible preview within your display The options menu can also contain output options or rendering options Refer to Applying KPT Effects on page 40 for more on output options To set Main Preview window size Click the triangle icon at the top of the Main Preview window and choose either Small Medium or Large from the menu Working with Preview Modes Usually when you enter a lter the lter effect is previewed on top of the background image For some of the more complex lters this can slow down preview render time To help you speed up your preview some lters have preview modes that can replace the background image with at patterns or colors that make previewing faster Preview modes do not affect the nal render only the preview of the effect To choose a preview mode Click the triangle icon at the top of the Main Preview window and choose a mode from the menu NoTe The Preview Option menu on the Main Preview window NoTe 26 Preview Against Black The lter effect is displayed on a solid black background Preview Against White The lter effect is displayed on a solid white background Preview Against Checkerboard The background image is replaced by a pattern of gray squares Preview Against Dark Checkerboard The background is replaced by a pattern of dark gray squares KPT Blurrrrr using the
70. k with 102 What s in this Section Overview 103 Generating Noise 103 Setting Up Noise Components 105 KPT NOIZE 103 KPT NOIZE Overview The KPT Noize lter lets you explore a wide variety of noise patterns Noise patterns are mathematically generated turbulence Noise can be used as textures patterns or as noise maps in one of the other KPT lters like KPT FiberOptix Generating Noise The KPT Noize lter is set up like an explorer utility Noise is divided into a number of families listed in the Style panel After you select a noise family you can explore its many variations using the Mutator When you ve got a noise you like you can use one of the apply options to add it to your image To choose a noise family Click a family name in the Style panel Choose Random if you want to randomize the families themselves The KPT Noize Style panel Examples of different noise families 104 Using the Noise Mutator Noise is generated using complex mathematical equations with a wide number of parameters These parameters are like genes that go into making the nal noise You can change the noise pattern through genetic mutation i e mutating parameters The preview at the center of the Mutator represents the pare
71. kes much longer to render Setting Filter Radius The Filter Radius control blurs the edges of the bers in a ame fractal The higher the radius the fuzzier the edges appear NoTe 82 What s in this Section Overview 83 Exploring Fractals 83 Navigating in a Fractal 86 Coloring a Fractal 88 KPT FRAXPLORER 83 KPT FRAXPLORER Overview KPT FraxPlorer is the next generation of the Fractal Explorer from KPT 2 1 It adds new fractal algorithms and coloring styles We ve also broken entirely new ground in the world of fractal mathematics by coming up with a new way to do near in nite zooms This isn t possible anywhere else If you want a little background on fractals refer to What are Fractals on page 18 Exploring Fractals KPT FraxPlorer lets you explore fractal space using the Universe Mapper panel You begin exploring by choosing from one of three base fractal families Mandelbrot Mandelcube and Newtonbrot These three fractal types are fairly common and unvaried You can explore them by moving to different points in the fractal or by zooming in and out of different areas Like all fractals they all have in nite detail so ther
72. lder within the Photoshop application folder Windows 95 98 NT 4 Installation System Requirements The following are necessary to run KPT 5 on your PC Pentium 166 MHz or compatible or faster Pentium 266 MHz or faster recommended Windows 95 98 NT4 Photoshop 3 4 5 or 100 compatible host 32MB RAM 64MB or greater recommended 50MB free hard disk space 24 bit color video color monitor CD ROM drive Installation Installing Kai s Power Tools 1 Insert the Kai s Power Tools 5 CD into your CD ROM drive 2 Choose Start menu gt Run 3 Type the letter that corresponds to your CD ROM drive followed by setup For example if your CD ROM drive is drive D type d setup 4 Click OK and follow the instructions displayed 5 The installer prompts you to locate your Adobe Photoshop Plug ins folder This folder can be a part of the Photoshop application or any application that accepts 100 compatible Photoshop plug ins 6 Click Install When the install is complete you can access the plug ins from within the host application Installation Tips Make sure that Your operating system is Win95 98 NT 4 Kai s Power Tools will not run in Win 3 x or NT 3 x x Your display is set to a minimum of 24 bit color true color You are using a Pentium processor or Pentium class processor Kai s Power Tools will not run on a 486 There ar
73. log appears 2 Locate the mask you want to use and click Open You can also load a mask from the Presets Library Refer to Working with the Presets Library on page 38 for more on presets To position the top mask Shift drag the mask in the Main Preview window Using a Tint Color with the Top Mask Tint applies a uniform color to the shape This tint color only affects the shapes on the top mask To choose a tint color Click the color dot and choose a color from the Color Picker Refer to Using the Color Picker on page 29 for more on choosing colors Noise Masking Noise masking protects your top mask from the texture below it This helps make text more readable since it won t have any texture applied to it To turn noise masking on In the Top Mask panel click the Noise Masking toggle button The second layer is controlled by the Top Mask panel 131 KPT SHAPESHIFTER Adjusting Transparency The Transparency control lets you set the opacity of the second layer The higher the setting the more transparent the layer To adjust transparency In the Top Mask panel drag the Transparency slider Emboss Scale Emboss Scale controls the radius of the embossing effect The higher the value the softer the effect Emboss Height The Emboss Height slider controls the intensity of the embossing effect Positive values create bumps in the shape of the mask Negative values create dents in the sur
74. lor 2 Set Mix Tinting Color 20 3 Set Mix Environment 35 The shape with a top mask applied The environment map image The shape after you apply an environment map 45 KPT TUTORIALS Lesson 5 Adding Texture to a Shape You can use a bump map to add texture to the surface of your shape To add a bump map 1 In the Bump Map panel click the text label beneath the preview window and choose Perlin from the menu You can also import your own noise map by clicking the panel s preview window To set bump map properties 1 In the Bump Map panel set Bump Scale 25 2 Set Bump Height 3 Your button is complete For a complete description of KPT ShapeShifter refer to KPT ShapeShifter on page 119 The noise map used to create texture on the shape s surface TiPS The completed button 46 KPT Orb It Tutorial Welcome to KPT Orb it the lter that makes 3D spheres over your background image In this tutorial you ll learn how to import components and set controls to put a number of orbs over an image Getting Started First you ll need to load a background image To load the tutorial le 1 Choose File menu gt Open and locate the le Tutorial Orb it Orb it Tutorial PSD on the KPT 5 CD ROM Usually you would just apply the orbs to the entire image However you can create much more interesting Orb It effects by applying the orbs to a specific selection 2 In t
75. low panel 128 Setting Transparency The Transparency slider controls how opaque your glow appears The higher the setting the stronger the glow effect Setting Glow Size The Glow Softness slider controls the size of the glow around the shape Higher settings make the glow grow larger and fuzzier Setting Glow Position The Glow X Offset and Y Offset let you control the glow s position along the X and Y planes You can also position the glow by dragging inside the panel s preview window If you hold down Shift there s a 1 1 correlation between your movements in the preview and the position of the glow in the Main Preview window If you move your glow 5 pixels in the preview the glow in the Main Preview also moves 5 pixels Working with Shadows The Shadow controls let you set the attributes for the shape s drop shadow Using these controls you can set the shadow s position size and opacity Shadows are controlled using the Shadow panel To turn a shadow on off In the Shadow panel click the eye icon When the eye s open the shadow is enabled TiPS A shape with a shadow 129 KPT SHAPESHIFTER Setting Shadow Color You can pick a shadow color using the Color Picker The color you choose only applies to the shadow Refer to Using the Color Picker on page 29 for more on choosing colors To choose a shadow color In the Shadow panel click the Shadow Color dot and choose a color from
76. lpha noise creates transparency within the source image Noise is only applied in opaque areas Noise using low and high Frequency values RGB noise colored using a gradient An image with both RGB and Alpha noise 106 If you use RGB noise combined with a gradient and alpha noise you ll get a noise that not only has mathematically generated turbulence but also a wide variety of colors and transparency patterns as well The Main Preview window displays the nal noise If you re combining noise types the window shows the nal result If you turn off RGB the window shows how the alpha noise combines with the background image To choose noise components Click the arrow icon at the top of the Noise Component panel and choose a component from the menu Generating RGB Noise By default KPT Noize generates RGB noise The Mutator sets the type of noise you generate Setting RGB Noise Opacity The Opacity slider lets you control how much the generated noise affects the background image The more transparent the noise the less it affects the image Setting RGB Noise Opacity to 0 is like turning the noise off Using a Gradient When this component is enabled the RGB noise is colored using the colors in the Gradient panel The Gradient panel appears when you select this component Use the panel to choose and mix colors Refer to Color Gradient Panel on page 35 for more on creating gradients The Main Preview
77. more You don t have to go to a variety of dialogs and apply different effects It s all in one place What s more KPT Smoothie goes further than simply consolidating controls it provides a way to x up speci c edges Not only does KPT Smoothie simplify the touch up process but it can also be used to make special effects like outlines and rounded rectangles Previewing your KPT Smoothie Effect The thumbnail preview window in the Edges panel shows you a 1 1 representation i e actual size of a portion of your image The rectangular area in the Main Preview window lets you change the area displayed in the panel preview You can use this feature to see the effects of the smoothing on different parts of your image As you drag the rectangle in the Main Preview window the panel preview changes to show a 1 1 portion of the effect 136 Smoothing an Image Before you start working with the speci c edges in your image you should apply the smoothing effect to the whole image Then you can use the Inner and Outer Edge controls to re ne the effect Smoothing Amount Smoothing Amount controls how much smoothing is applied to the entire image This control has the same affect as adding a Gaussian blur to your image except that you can control how the blur is applied in real time Applying a high Smoothing Amount to a solid square is a quick way of making a rounded rectangle The Edges panel controls all the settings fo
78. n change the render quality of the fractal before you turn it into an image The KPT Frax4D Main Preview window 101 KPT FRAX4D 4D fractals can be rendered using the High Quality option which uses enhanced raytracing to produce a cleaner image To choose a render mode Click the option arrow at the top of the 2D Slice of 4D Space panel and choose either Quaternion Normal or Quaternion High Quality from the menu Extremely Technical Notes The general description provided earlier in this chapter explains how KPT Frax4D works in laymen s terms What follows is a more technically accurate description Be fore warned the paragraphs that follow provide information that won t really enhance your use of the lter but it may give you a mild headache KPT Frax4D lets you choose parameters that de ne a point in 4D space What you re seeing in the preview windows is the fractal that exists at that point As you change parameters you re exploring either 3D or 4D space locating either more of the same fractal or completely new fractals When you re working with a 3D fractal you re de ning a point in 3D space using R I and J parameters which result in a 3D object When you re working with a 4D fractal you re de ning a point in 4D space using R I J and K The W slice parameter is then used to x the L parameter This results in a R I and J object which can then be converted into a 3D object you can wor
79. nd choose a color from the Color Picker To apply a tint color The Mix Flat Color slider lets you gradually apply the tint color to the original image The higher the value the more the image colors shift toward the tint color Setting Luma Variance The Luma Variance slider controls the color variance between bers At low values the bers are colored using the same color value At higher values color values vary more between bers Setting Fiber Transparency The Fiber Transparency slider controls the opacity of your bers At high settings bers appear almost invisible At lower settings bers are opaque An image with colored bers and the gradient used to create it The tint color dot 72 Lighting Fibers Fibers are three dimensional objects meaning that you can light them from any angle The 3D Lighting panel contains all the controls you ll need to set light color and angles Refer to 3D Lighting Panel on page 30 for more on using the panel Using Masks with KPT FiberOptix When you apply a mask to your image the bers grow out of the mask The origin of each ber is directly affected by the shape of the mask Fibers grow to match the contours of the mask The mask you use can be the same shape as the background image or it can be a completely different shape A mask can be any black and white image on your system You can also use one of the presets in the Presets Library Refer
80. nel lets you set everything from the length of the bers to the direction in which they grow To set ber parameters 1 In the Fiber Controls panel set Fiber Density 89 7 2 Set Length 8 3 Set Direction Angle 314 4 Set Intensity 15 To set ber noise parameters 1 In the Noise panel set Noise Scale 0 Lesson 3 Coloring Fibers Fibers can be colored by a number of sources Their color usually comes from the background image However that color can be affected by the light color a tint color It can also be replaced altogether by a gradient The results of adjusting Mask parameters The results of adjusting ber and noise parameters 52 To color bers using light sources In the 3D Lighting panel set up your lights as shown If you don t know how to use the 3D Lighting panel refer to 3D Lighting Panel on page 30 for instructions To color bers using a gradient In the Gradient panel choose the colors shown If you don t know how to use the Gradient panel refer to Color Gradient Panel on page 35 for instructions To apply a gradient In the Fiber Color panel set Mix Gradient Color 20 Your 3D Lighting panel should look like the one shown Your Gradient panel should look like the one shown The results of adjusting Fiber Color parameters 53 KPT TUTORIALS From here you can use the techniques you ve just learned to add other parts
81. ng in an image with smoother edges However zooming animation is more staggered Large Cursors When this option is enabled the cursor the main preview window changes to indicate the direction of the zoom Setting Preview Size The Main Preview window can be set to three different sizes These size settings are different from those commonly used in KPT lters The sizes in KPT FraxPlorer are designed to let you achieve the best possible preview for your system KPT FraxPlorer s preview sizes are as follows Small 320 x 240 pixels Medium 400 x 300 pixels Large 512 x 384 pixels X Large 640 x 480 pixels Coloring a Fractal Fractals are colored using Coloring modes The mode you choose can greatly alter the look and feel of your fractal A lot of the fun of exploring fractals is seeing how the Coloring mode changes the patterns inside a fractal The various large cursors The controls on the panel change as you switch coloring modes 89 KPT FRAXPLORER Setting the Inside Color The interior of a fractal is the dead space where no patterns exist This area is usually colored black However you can create different visual effects by changing its color You can choose a color that compliments one of the Coloring modes or pick a color that makes it easier to see the fractal s pattern The inside color can also have transparency To choose an inside color 1 In the Frax Style palette
82. nsionally Setting Fiber Direction As the bers grow you can apply a direction effect to alter their growth patterns The direction setting pushes bers in a speci c angle as if they were being blown by the wind Setting Direction Angle The Direction Angle sets the general direction for ber growth Direction angle is set in degrees For example at 45 the bers tend to grow up and to the right Low and high Fiber Length settings Direction settings on the Fiber Control panel Examples of different Direction Angle settings 68 Setting Direction Intensity The Direction Intensity slider controls the intensity of the direction effect It s like setting wind strength The higher the Intensity setting the stronger the wind and the more the bers bend toward the wind direction Adjusting Growth Patterns The Flow Styles let you control the direction of the ber growth pattern There are three styles you can use Natural Whorls and Loop To change growth pattern modes In the Fiber Controls panel click the arrow icon next to the Flow Style text label beneath the panel preview window and choose a style from the menu Natural When the Natural option is enabled bers grow towards areas of light in the image Whorls When the Whorls option is enabled bers bend as they grow creating whirling patterns The Flow Style setting on the Fiber Control panel Example of Natural mode Example
83. nsity 68 Adjusting Growth Patterns 68 Using Noise Maps with KPT FiberOptix 69 Loading a Noise Map 70 Scaling a Noise Map 70 Blending Noise Maps 70 Setting Fiber Surface Properties 70 Using a Gradient as a Tint 71 Using a Tint Color 71 Setting Luma Variance 71 Setting Fiber Transparency 71 Lighting Fibers 72 Using Masks with KPT FiberOptix 72 Setting Bevel Width 72 Setting Background Surface Properties 73 Previewing Fibers 75 vi KPT FRAXFLAME Overview 77 Setting up a Flame Fractal 77 Choosing a Style 77 Mutating a Flame 78 Viewing your Flame Fractal 79 Repositioning your View 80 Zooming into your Fractal 80 Coloring your Fractal 80 Rendering your Fractal
84. nt noise and the smaller windows that surround it are derivatives or cousins of the parent Every time you mutate the parent you generate different derivatives To mutate a noise pattern 1 In the Noise Mutation panel click the center preview until you see a noise pattern you like 2 Click the small preview of the noise you want to explore Your selection becomes the parent noise and is displayed in the center of the Mutator 3 Click the center preview again to generate derivatives of the selected noise 4 Continue clicking the Mutator and selecting derivatives until you get the look you want The noise in the center is the parent noise The smaller previews display derivatives Examples of mutated noise 105 KPT NOIZE Scaling Noise The Frequency slider controls how many times the noise is repeated within an image Higher scale values create more turbulence in the noise pattern Setting Up Noise Components Noise can have different components depending on the contents of the source image If your source image is at i e without layers KPT Noize can generate RGB noise that can be colored using a gradient If your source image has more than one layer KPT Noize can generate both RGB noise and Alpha noise RGB noise can be colored either randomly or using a gradient It can also be transparent or opaque When you turn it off any alpha noise you generated is combined with the source image A
85. nted with the Tint color giving them a metallic look When it s disabled re ections look dull like those made by a plastic surface To give objects a metallic surface Click the Metallic Surface toggle button When Plastic is displayed on the button metallic surface is disabled Adding Refraction to a Surface When Refraction is applied to an object s surface it distorts the re ections giving it a glass like look To add refraction to a surface Adjust the position of the Glass Refraction slider The higher the refraction value the more distorted the re ections appear Color Gradient Panel The Color Gradient panel lets you design color gradients Gradients can be used to color many of the objects generated by the lters such as bers in KPT FiberOptix or fractals in KPT FraxPlorer and KPT Frax4D With the Color Gradient panel you can create blends of up to 512 colors including 256 levels of opacity The current gradient is displayed in the bar at the center of the panel As you choose different colors the bar updates to show the new gradient You can also load gradient presets to use in the panel or you can save the contents of the panel as a new preset To increase the size of the panel Click the triangle icon at the top of the panel and choose Large Gradient Bar from the menu Choosing Colors for a Gradient The bar that appears at the top of the panel called the Gradient bar is where yo
86. ntrols that are unique to a lter 3D Lighting Panel The 3D Lighting panel lets you position light sources in 3D space and set their colors and brightness The panel appears in any lter that renders objects in 3D like KPT Orb It and KPT Frax4D The 3D Lighting panel 31 KPT BASICS Adding and Deleting Lights When you rst access the 3D Lighting panel it has a number of lights You can add more lights to illuminate the image from a number of different angles or to mix light colors on the surface of your object To add a light source Click the Add Light icon To delete a light source 1 Select a light source in the light preview 2 Press Option Alt and click the Add Light icon or press Delete Setting Up Light Properties KPT s light model not only lets you add a light source but it also offers different types of lights that can be used to create a much more complex lighting effect Your lights can be either Soft or Sharp Positive or Negative Highlight Types The two Highlight types determine how your light source casts light Soft Highlights cast soft edged or fuzzy highlights on your objects Sharp Highlights cast hard edged highlights To set a light type 1 Click on a light 2 Click the Sharp Soft toggle button Positive and Negative Lights The Positive Negative toggle button lets you control a light s behavior A positive light source projects regular light that produces highl
87. objects with refracting glass edges 3D light sources on beveled metallic surfaces soft curved and lit Web buttons and text Resulting elements carry their masks with them which makes compositing a snap Refer to KPT ShapeShifter on page 119 for a complete explanation of this lter KPT Orb It KPT Orb It explodes a source image into thousands of spheres with variations in size density and realistic 3D lighting Produce elds of bubbles raindrops and giant lenses incredible text effects and mind boggling distortions Refer to KPT ORB IT on page 108 for a complete explanation of this lter KPT FiberOptix KPT FiberOptix creates anything from furry text green shag carpet pink plastic silly string to lush creeping vines Every strand and ber is a true 3D object Masks are generated from the 3D data enabling easy compositing Refer to KPT FiberOptix on page 64 for a complete explanation of this lter KPT Blurrrr KPT Blurrrr is a professional suite of lters including the classic zoom spin and other indispensable blurs updated with real time previews pro precision 64 bit color and 128 bit math with new algorithms and variations Refer to KPT Blurrrr on page 54 for a complete explanation of this lter KPT FraxPlorer KPT FraxPlorer is the new de nitive Fractal Explorer featuring real time y throughs 1000 larger pre
88. ortions to your image The two parameters control variables in equations used to calculate the effect All you have to know to use this effect is that adjusting the parameter values creates a completely different distortion effect Different X Center values TiP The Warp Parameters panel 117 KPT RADWARP Setting Warp Alpha Controls The Alpha slider controls how much of an alpha curve is added to your image The net result is that you should continue adjusting this control until you get the effect you want Setting Warp Beta Controls The Beta slider controls how much of a beta curve is added to your image Again experimentation is the key to using this lter effectively Adjust the position of the slider until you get the effect you want An example of a high Alpha setting An example of a high Beta setting 118 Adjusting Warp Center The KPT RadWarp lter can reposition the center of your image so that the center of the warping effect appears on different parts of your image By trying different center positions you can add a kind of perspective warp to the image Setting Horizontal Center The X Center slider lets you control the horizontal center of the warping effect You can also adjust the center by dragging inside the Main Preview window Setting Vertical Center The Y Center slider lets you position the center of the effect vertically Rotating your Image The Rotation slider lets you rot
89. ow and high Orb Z Spread values 111 KPT ORB IT Controlling Orb Density using Alpha Information The Alpha Maksing option lets you use the grayscale values of an image to control orb density When the option is enabled larger orbs appear in areas of light and smaller orbs appears in dark areas To enable disable the Alpha Maksing option In the Orb Controls panel click the Alpha Maksing label When the checkmark appears the option is enabled Lighting Orbs Since the spheres created by the lter are 3D they can be lit from any angle You can have as many lights as your system s memory allows Each light can be positioned separately and it can have its own color Lights are controlled by the 3D Lighting panel Refer to 3D Lighting Panel on page 30 for more on using this control Setting Up Orb Surfaces An orb s surface is made up of several properties Its material color which is drawn from the background image its tint color which can be used to alter the material color and create metallic An orb eld with Alpha Masking disabled and enabled The Alpha Masking label The effect of different lighting angles 112 effects its refraction setting which can make a surface look like glass and nally its environment map which can create a realistic looking re ective surface Using a Tint Color The base color of spheres comes from either the original background image or the Tint Color Us
90. pheres can be colored using lights tint colors or by picking up color from a background image Creating Orbs A sphere eld is automatically generated the minute you enter KPT Orb It Every time you change a parameter a new eld is created The Orb Controls panel lets you control how that eld is generated The panel s controls let you set the size of individual spheres as well as the density of the sphere eld Setting Orb Packing Density Packing Density controls how many spheres are produced Low values produce an orb eld with few orbs spaced farther apart High values have the opposite affect The Orb Controls palette Examples of high and low Packing Density values 110 Setting Orb Size Orb Average Size controls the relative size of spheres High values produce larger spheres while low values produce smaller ones Size Variation Orb Size Variance controls the amount of difference in sphere sizes Higher values result in spheres that range from very large to very small Lower values result in orbs that are all closer in size Setting Z Axis Distribution Orb Z Spread controls the depth of the sphere eld What the control does is adjust the position of spheres along the Z plane Higher values result in spheres that are more spread out along the plane creating a sense of depth Lower values result in a atter looking sphere eld Examples of low and high Orb Average Size values Examples of l
91. r This folder can be a part of the Photoshop application or any application that accepts 100 Photoshop compatible plug ins 4 Click Install When the install s done you can access the plug ins from within the host application Installation Tips Make sure that Your operating system is System 7 6 1 or higher Your display is set to minimum of 24 bit color true color You re not running Virtual Memory or any RAM enhancing programs like RAM Doubler Troubleshooting If you re having problems installing you may be having an extension con ict Try installing with a limited extension set Try using only the extensions you need for your CD ROM Then go back to your regular extension set after the install Installing KPT 5 with Painter 5 If you want to use KPT 5 with Painter 5 you have 2 choices If you ve already installed KPT 5 in the Photoshop Plug ins folder you can direct Painter to look to this folder for plug ins Refer to page 37 of the Painter 5 User Guide for instructions If you want to install KPT 5 for use with Painter 5 only you should make a new folder before beginning the install Give the folder a unique name and place it wherever it s convenient If you want to make it a sub folder of Painter make sure you give it a unique name like raster plugins Don t install KPT 5 to the Other Plugins or Plugin Brushes folders NoTe 16 A Little Theory
92. r KPT Smoothie Smoothing Amount at low and high settings A rounded rectangle created using a high Smoothing Amount TiPS 137 KPT SMOOTHIE You can really see the effects of Smoothing Amount when you apply it to an image with sharp edges On closer inspection you can see how the edges are rounded as you apply more smoothing Grayscale Inversion This control adjusts the balance between the light and dark grayscale values in your image just like the Levels dialog in Photoshop Again the advantage here is that you can see your adjustments in real time Grayscale Inversion can smooth out the transitions between grayscale values to make edges cleaner or it can eliminate unwanted elements from your image If you re trying to x a speci c edge use the rectangle in the preview area to display it in the Edge panel That way you can see if your settings are making the edge cleaner Extremely high values of Grayscale Inversion actually invert the shades in the image so that what was light is now dark and vice versa The effects of applying Smoothing to a sharp edged image Original Image Smoothed Image A completely inverted image TiPS 138 Working with Outer Edges As their names suggest the Outer Edge controls let you apply the KPT Smoothie effect speci cally to the outside edges of your image Outer Edge Smoothing Outer Edge Smoothing determines how much smoothing is applied to the outside ed
93. r Picker lets you set a color for an object If you see a color dot next to an item in a panel it means that you can set the item s color using the Color Picker The picker appears as three oating bars The top bar displays shades of gray from black to white The center bar displays a spectrum of colors and shades The bottom bar displays opacity settings The grayscale bar is divided into two sections The top area of the sections is broken down into increments of grayscale values to make it easier to choose precise grayscale shades The bottom of the bar is a continuous blend of grays Click the numerical display on the extended slider to enter a value manually The KPT Color Picker The two sections of the grayscale bar 30 To choose a color Click a color dot on a panel The Color Picker appears While holding down the mouse button drag over the color you want to use from the center bar When you release the mouse button the color is selected As you move over the colors the color dot shows you both the new color and the original color To choose a shade of gray Drag the cursor along the top bar in the Color Picker To choose an opacity setting Drag your cursor along the bottom bar in the Color Picker Using Common Panels Several of the panels in KPT are common to several lters For the most part these panels work the same wherever they appear In some cases a panel may have one or two extra co
94. r you apply the more the colors bleed together Before and after a Zoom Blur Before and after a Spiral Blur 62 Setting Spiral Rotation Angle The Rotation Angle slider lets you control the severity of the spiral Gaussian Weave Blur The Gaussian Weave blur works just like a regular Gaussian blur except that it s applied both horizontally and vertically and then generates a weave effect Setting Blur Radius As with the other blurs the Blur Radius slider controls the intensity of the Gaussian effect The more blur you apply the more the colors bleed together The weave effect also becomes more apparent at higher settings Spiral Weave Blur The Spiral Weave blur works much like the spiral blur except that once it s applied it generates a weave effect The result is an image that contains overlapping spiral patterns Before and after a Gaussian Weave blur Before and after a Spiral Weave blur 63 KPT BLURRRR Setting Blur Radius As with the other blurs the Blur Radius slider controls the intensity of the blurring effect The more blur you apply the more the colors bleed together Setting Spiral Rotation Angle The Spiral Rotation Angle slider lets you control the severity of the spiral The weave effect becomes more apparent at higher Angle settings 64 What s in this Section Overview 65 Creating Fibers
95. ry name to make it active 2 Click an empty spot in the category 3 Click the Import text label at the bottom of the library An Open dialog appears 4 Locate the le you want to import and click Open 5 The image appears in the selected spot To export a preset 1 Click the category for the preset you want to export 2 Click the preset s thumbnail 3 Click the Export text label at the bottom of the library A Save dialog appears 4 Select a name and location for the preset and click Save Applying KPT Effects By default KPT 5 lters are applied to the background image If you made a selection before entering the lter than the effect is applied only to the selection Applying KPT Effects to Layers KPT ShapeShifter KPT FiberOptix and KPT Orb It have different output options that control how KPT applies the results of a lter to a layer Composite in Layer The result of the filter is added to the other elements in the layer Clear Layer before Render The results of the filter replace all the other elements in the layer To choose an output option Click the arrow icon at the top of the Main Preview window and choose an option from the menu that appears NoTe 41 KPT TUTORIALS What s in this Section Welcome 42 KPT ShapeShifter Tutorial
96. s affect all the lters in KPT 5 Black Out Screen This option lets you black out the desktop of your operating system Smileys This option toggles between Cancel OK buttons When the option is enabled Cancel is represented by a sad face and OK is a happy face cute no When disabled the standard checkmark and X icons appear About KPT 5 This option displays the KPT 5 About box Setting Filter Options The Filter Option menu lets you control how a lter s panels behave in the workspace These options only affect the current lter Panel Auto Popup When this option is enabled panels automatically expand as you pass your cursor over them When you move the cursor to a different location the panel automatically collapses to its Preview Only state Click the KPT 5 title to access the Global Options menu Click the lter title to access the Filter Options menu 23 KPT BASICS Panel Manual Popup When this option is enabled panels only expand and contract when you click them A cycler icon appears that lets you cycle through the panel states Panel Solo Mode When this option is enabled only the panel you re currently working with expands All the other panels are collapsed This helps you isolate the controls you re working with Using Common Controls Although each KPT lter is unique they all share similar controls This section describes some of the controls you ll nd in the var
97. s of your colors i e how much white is mixed with each color Pressing on this control and dragging to the right will increase the brightness while dragging to the left will decrease the brightness Contrast This control works by comparing the color values of individual pixels with the color values of neighboring pixels Increasing the contrast exaggerates the differences between colors Decreasing the contrast homogenizes your colors You can actually reduce the contrast to the point where your entire gradient would be a uniform gray Blur This control increase or decreases the blurriness of your gradient Increasing the blurriness of a gradient effectively smudges the edges of your colors Squeeze Dragging over this control squeezes your gradient to one side or the other The squeeze always starts at the center of the Gradient bracket and moves to either end If you want to squeeze your gradient starting from somewhere other than the center you have to do it manually hold down Option Alt and drag within the Gradient bar itself Cycle Dragging over this control lets you reposition the entire gradient so that colors appear in different locations Frequency This control sets how many iterations of the gradient appear within the gradient itself Colors repositioned using the Cycle control A gradient with a high Frequency setting 38 Working with the Presets Library The KPT Presets Library stores preset im
98. s uses concentric rings and Bubbles uses spherical shapes The sliders control various properties of these barriers which can affect the nal rendering in unexpected ways Play around who knows what you ll nd An example of a fractal colored using Twist 93 KPT FRAXPLORER Mosaic This mode is loosely based on the Binary Decomposition but draws smooth pyramid shapes instead of solid color squares Setting Mosaic Bevel The Mosaic Bevel slider controls the bevel width on the edge of each pyramid An example of a fractal colored using Thorns Ribbons and Bubbles An example of a fractal colored using Mosaic 94 Cilia This mode is another Binary Decomposition spin off Pick a tile and see how far you can follow it in Setting Cilia Bevel Amount The Cilia Bevel slider controls the bevel width on the edge of each tile Plasma Threads This mode simulates a plasma ball effect by tracing out the electrical paths of least resistance in the Potential rendering This mode requires more memory than the other modes Be sure to allocate lots of memory to the host application before you try to render really huge fractals Setting Thread Density The Thread Density parameter controls the number of threads that are calculated Setting Thread Angle The Thread Angle parameter controls thread twistiness An example of a fractal colored using Cilia An example of a fractal colored using Plasma Threads 95
99. so you can zoom in closer and closer to see more detail As you zoom you ll see the same patterns recurring KPT s fractal lters like KPT FraxPlorer are designed to help you see these repeating patterns The lter lets you explore fractals by zooming into their pattern The further in you go the more patterns you ll see Normally this requires a large number of calculations that takes a long time to process but with KPT you can zoom into any fractal in real time Fractal Types Over the years several brilliant mathematicians and scientists have studied fractals and have advanced the knowledge of these patterns Several of these pioneers created their own formulas for generating fractals which resulted in different fractal types A Mandelbrot fractal A zoomed in view of the fractal Notice that the pattern here is similar to the larger view 19 A LITTLE THEORY For example Benoit B Mandelbrot sometimes called the father of fractals created a formula that generated fractals with bulb like patterns The Julia Set of fractals are produced by a speci c type of chaotic function named after Gaston Julia for his work in this eld Besides these two there are several other types of fractals Each creates a breath taking array of in nite patterns A Mandelbrot and Julia Set fractal 20 KPT Basics This section provides basic information you ll need to use all the lters It covers the general proced
100. t the prior written permission of MetaCreations Corporation Notice Before using this software or reading this user guide make sure you have read understood and agreed to the license contained in the back of the KPT Quick Reference Card Credits Kai s Power Tools was conceived by Kai Krause Engineering by Todd Bogdan Michael Herf Moe Doucet Josh Bates Ben Weiss Andrew Bearsley Ken Musgrave Matt Fox Wilson and Scott Draves User Interface Design by Kai Krause with additional contributions from Chris Livingston Quality Assurance testing by Steve Yatson Meredith Keiser Fernando Corrado Kevin Prendergast and Brian Romero Product Management by Chris Livingston and Stuart Torzewski The KPT 5 User Guide was written by Erick Vera edited by Stuart Torzewski Chris Livingston and Vicki Wong project management by Erick Vera illustrated by Jackson Ting and Erick Vera Photos provided by PhotoSpin Inc and PhotoDisc iii TABLE OF CONTENTS WELCOME TO KPT 5 Welcome to KPT 5 10 What s New 10 KPT ShapeShifter 10 KPT Orb It 10 KPT FiberOptix 10 KPT Blurrrr 10 KPT FraxPlorer 10 About Your User Guide
101. that let you set precise values for each control in the panel The vertical ruler acts a precise slider It lets you adjust the value of a control in minute increments The small ghosted arrow indicates the last value you entered To adjust a control in small increments 1 Click the control you want to set 2 Drag the marker up or down The ticks on the ruler let you see the amount of adjustment you re applying A KPT panel in its Standard state A KPT panel in its Expanded state 29 KPT BASICS The numerical value act as a text entry eld You can type any value you want to replace the displayed numbers To enter numerical values for a control 1 Click the control you want to set 2 Click the number displayed on the panel 3 Enter the desired value Setting Panel Options Each panel has an Options menu The contents of the menu vary from panel to panel However there are several options that are common to all panels Load When this option appears you can use it to load a le into the panel For example in the Environment panel you can load an image to use as an environment map Load Preset This option let you load a le from the Presets Library Refer to Working with the Presets Library on page 38 for more on the library Save Preset This option lets you save the image or object currently in the panel s preview window to the Presets Library Using the Color Picker The Colo
102. to the teddy You can also use other lters like KPT ShapeShifter to add more elements to the image This nal teddy was created by using another mask to make different colored hair then using KPT ShapeShifter to make the eyes and nose 54 What s in this Section Overview 55 Hi Speed Blur 56 Kraussian Blur 57 Camera Optics 58 Motion Blur 59 Spin Blur 60 Zoom Blur 61 Spiral Blur 61 Gaussian Weave Blur 62 Spiral Weave Blur 62 KPT BLURRRR 55 KPT BLURRRR Overview KPT Blurrrr is a collection of blur effects Some of the blurs work like those found in many host applications but they ve been greatly enhanced Others are effects you can t nd anywhere else All the blurs are controlled by the same set of palettes Th
103. u ll choose colors and edit your gradient Metallic Surface toggle button The Color Gradient panel 36 When selecting a new color for your gradient remember that you re not just selecting a color for the gradient but also its position within the blend If you add a color on the far left side of the Gradient bar you re setting the color for the beginning of your gradient If you press on the far right side of the bar you are setting the color for the end of your gradient To select a color 1 Click a point on the Gradient bar and drag the cursor over the color you want In addition to the colors in the Color Picker you can also drag the cursor over any color visible on your monitor and select that as your color Editing a Gradient The Gradient bracket located above the Gradient bar can be used to isolate an area of your gradient for editing Any changes you make to a gradient only affect the area within the bracket You can use this feature to create more complex gradients For example you can create several smaller gradients within a gradient By default the bracket encompasses the entire gradient but you can resize it and move it to work with a smaller portion of your gradient To resize the bracket Drag either end of the bracket If you drag one end of the bracket past the other end it pivots leaving one end exactly where it began To reset the bracket Double click on the center of the br
104. u explore 4D fractal space The point you re exploring is de ned by setting four parameters The nal 3D object is created by taking a 3D slice of a 4D fractal The number of parameters available in the Control panel depends on the type of fractal you re creating To switch modes Click the 3D 4D toggle button in the center of the 2D Slice of 4D Space panel Examples of 3D and 4D fractals Click the 3D 4D toggle button to switch between 4D and 3D fractals 98 Using the 2D Slice of 4D Space Panel The 2D Slice of 4D Space panel lets you view your fractal by taking slices of it and displaying them in 2D previews Basically what you re seeing is the inside of the object The sliders on the panel let you adjust the coordinates of the fractal slices You can also explore the fractal by dragging inside the panel s preview windows As you drag you re adjusting two parameters at once The number of controls available depends on the type of fractal you re creating For a 3D fractal you ll have R I and J controls For a 4D fractal you ll have R I J and K controls plus a W slice control Choosing R and I Parameters The R and I Coef cient controls let you set the position of the R and I slice of your fractal The R I slice is a roughly horizontal plane cutting through 3D or 4D space As you adjust the coef cients the preview shows you a horizontal slice of the fractal object you re exploring The
105. ually a sphere s color is picked up from the image beneath it However if there is no color the sphere s color is the Tint color This is rarely the case more often the Tint color is used to wash all the orbs in a uniform color To set the tint color In the Material panel click the color dot and choose a color from the Color Picker Refer to Using the Color Picker on page 29 for more on using the Color Picker Setting the Tint Amount The Mix Tinting Color slider in the Orb Color panel controls how much of the tint color is applied to the orbs Higher values shift all orb colors closer to the tint color Orb surface properties are controlled by the Orb Color panel High and low Mix Tinting Color values 113 KPT ORB IT Tint to Background The Tint to Background slider controls how much of an orb s surface color is taken from the pixel directly below it At high values orb color is taken more from the background image At lower settings orbs are colored more by the light and tint colors Using Glass Refraction When you apply Glass refraction the orbs refract light causing distortions in any re ection coming off their surface Distortions appear when the orbs are refracting parts of the background image Turning Metallic Re ections On Off The Metallic Render option lets you tint orb re ections using the material color giving them a metallic look To turn Metallic Render on off In the Mater
106. ure for using the controls you ll nd in the various lters as well as suggestions on how to get the most out of Kai s Power Tools Accessing Filters KPT lters can be applied to any selection or layer of your image le KPT only works with RGB images To apply a lter 1 In the host application open the image you want to apply the lter to If you want to apply the lter to the entire image make sure nothing is selected If you want to apply the lter to a speci c area make a selection If you want to apply the lter to a speci c layer select it 2 From the Filter menu choose the KPT 5 sub menu and then the effect you want to use When you select a filter its window appears The KPT Workspace All the KPT 5 lters are based on the same user interface There s a main workspace with panels that oat over it The workspace has a number of controls that you can use in any lter KPT 5 Title The KPT logo accesses global options that let you change how the workspace looks You can also open the About box NoTe The KPT workspace Mem Dots Presets Filter Options Web Button Cancel OK Help Main Preview Panels Global Options 21 KPT BASICS Filter Title The title of each lter lets you access options for the current lter These options only affect the active lter The types of preferences available vary between lters W
107. views and never before seen fractal styles Refer to KPT KPT FraxPlorer on page 82 for a complete explanation of this lter WELCOME TO KPT 5 11 WELCOME TO KPT 5 About Your User Guide This guide provides all the information you ll need to get the most out of Kai s Power Tools It will help you learn the application and serve as a reference as you attempt more sophisticated techniques This guide assumes you are already familiar with basic Macintosh and Windows concepts menus dialogs and mouse operations such as clicking and dragging If you need more information on these subjects or on the Macintosh Finder or the Windows desktop refer to the Macintosh User s Manual or the Microsoft Windows User s Guide respectively Conventions The KPT Users Guide is for both Macintosh and Windows By convention Macintosh commands precede Windows commands in the text For example Command Ctrl I is equivalent to the Macintosh Command I and the Windows Ctrl I For simplicity the term folder refers to directories as well as folders The KPT interface for Macintosh and Windows platforms is identical unless otherwise speci ed There are also several conventions used to identify paths to certain tools and controls The convention to a menu follows the rules of the menu name gt menu item Modi er Keys When a modi er key differs between the Macintosh and Windows pl
108. xploring M Julia Polar Variations To generate M Julia Polar variations KPT FraxPlorer nds the Julia Set at the point on the base fractal and then turns it inside out So for every point on the base fractal you ll get an inverted Julia Set fractal Using the Universe Mapper The top portion of the Universe Mapper panel lets you choose one of the three base fractal types The top preview window is both a preview and a locator The locator icon tells you the current source of the Julia variation displayed in the bottom preview The bottom portion of the panel displays the variations The three icons along the left let you choose which variation of the base fractal you want to explore h Exploring the Julia Polar set variations in a Newtonbrot fractal Julia Variation at the same point When you rst access the Universe Mapper only the top portion is visible When you click the arrow icon the bottom portion appears 86 To choose a fractal type 1 Click one of the three base fractal types If you want to explore the base fractal further click the OK button and use the Navigator controls to zoom into the fractal 2 Click the arrow icon at the bottom of the panel to display the variations 3 Click one of the three variation types The new variation appears in the bottom preview window 4 Drag the location icon over the base fractal in the top portion of the panel to explore the variations 5 When you have
109. y dot setting 1 Click on a full dot Full dots appear green 2 The selected dot turns yellow To clear a memory dot Option Alt click a full memory dot It turns grey to indicate that it s empty Restoring Panels to Default The memory dots on a panel have a reset button The dot in the center lets you reset all the values in the panel to their factory default values To restore a panel to default Click the center memory dot The recall dot has a black dot in the middle Working with the Main Preview Window The Main Preview window is the area that displays the results of the lter As you change settings the preview window updates to show you the results The behavior of the Main Preview window changes from one lter to another In most cases it displays a preview of the effect However in some lters you can click and drag inside the Main Preview window to change your view of the effect or rotate an object These unique behaviors are explained in the lter sections The bar across the bottom of the window can contain navigation controls like those found in KPT FraxPlorer Refer to Using Navigation Controls on page 86 for more on these controls The Main Preview window in different lters 25 KPT BASICS To reposition the Main Preview window Drag the window s title bar to any position on the screen Preview Window Options The Main Preview window has three size options Small Med
110. y option is enabled the blur is only applied horizontally When the Y Only option is enabled the blur is only applied vertically If you turn both options off the blur is applied in both directions Camera Optics The Camera Optics blur simulates the look you get when you take a picture that s out of focus By using selections to apply the Camera Optics blur to speci c areas you can create depth of eld effects Before and after a Camera Optics blur An example of a depth of eld effect created using Camera Optics TiPS 59 KPT BLURRRR Setting Blur Radius The Blur Radius slider sets the intensity of the camera blur Higher settings make the image more blurry Controlling the Blow Out Effect The Blow Out setting highlights the light areas of the image creating the type of fuzzy bright spots you see in an out of focus photo Motion Blur Motion Blur is a gaussian directional wrapping blur This means that unlike standard motion blurs KPT s blur effect extends off the edges of the image So if you use a Motion Blurred image as a pattern it would appear seamless If you create a pattern out of the nal Motion Blur image you ll see how the blur extends outside the image creating a seamless pattern Refer to your host application s User Guide for more on creating patterns Blow Out at low and high settings Before and after a Motion Blur 60 Setting Motion Blur Radius The Radius sl
111. you want to render as the nal image Zooming into a Fractal Like other fractals a 4D fractal is in nitely detailed The Zoom control lets you enlarge a portion of your fractal so you can see more detail Viewing a Fractal in the Main Preview window The Main Preview window lets you rotate your rendered sculpture by dragging it in any direction The Reset control lets you clear all the rotations you ve applied to the fractal so that it appears in its default position Setting Fractal Iterations The Detail control sets the sharpness of the fractal Lower values produce smoother edged fractals Higher values produce more jaggy edged fractals As well the higher the detail value the longer the fractal takes to render Adding an Environment Map An environment map is an image that is projected onto your fractal to create re ections It can be used to simulate different surfaces like gold or silver The map is controlled using the Environment panel Refer to Environment Panel on page 34 for instructions on loading environment maps Setting Up Lighting KPT Frax4D sculptures are three dimensional objects which means that you can light them from any angle The 3D Lighting panel contains all the controls you ll need to set light color and angles Refer to 3D Lighting Panel on page 30 for more on using the panel Rendering your Fractal Depending on whether you re working with a 3D or 4D fractal you ca

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