Damage User Manual
Contents
1. E Horiz Adj 5 0 Horiz Adi Shift Linear v Noisy Sawtooth Wave WaveMotion fluence E Comb Filt Level 0 Comb Filt Level scanning two fields of horizontal lines each field made up of every other line in the image usually referred to as Upper Lower Odd Even or even A B to make each frame of video is both a form of analog video compression and the reason why interlaced video motion looks smoother than pro gressive video or film motion This effect will be particularly useful for instances when you want to specifically portray inexpensive television receiv ers stereotypical industrial video camera signals or even night vision Each field s attributes can be 9 handled individually with parameters labeled E for the even field and O for the odd field Parameters Fields Setup Set the vertical size for each field here A very effective way to utilize this parameter is to set one field for a height of one and set its Lumi nance setting relatively dark creating the border between the scanlines while using the other field for your picture content with a size setting of 2 4 While the Source Blend value controls the overall ratio between the unaffected source image vs the effect processed image the Process Input controls how aggressively the source image gets processed in each of the two pipelines one for E and one for O This v2. increasing this value will zoom into the source image to allow for more movement without the edges becoming visible Zoom Factor Scale the zoom movement in volved in the shake using the zoom factor a value of 1 represents a variance of approximately 10 and incresing this value will allow a larger range of variance Channel Separation The Channel Separate value defines how much separation you allow between the Red Green and Blue channels The Frequency Amplitude and Phase controls be havior is defined in the general notes above At smaller values the effect can simulate chromatic aberrations in lenses Advanced theThere are circumstances where the aggregate Erratic values across all the parameters can introduce huge spikes into the modulation oscillations The Erratic Adjustment parameters 100 0 100 in percent can be used to tame these into a limited range By default we set these at 100 percent At zero chaos effects will be mini mized At negative values modulation waveforms are inverted It s like being a really edgy come dian guest starring on a children s show with puppets Erratic Since the effect s self animation engine 15 digieffects Sm Effect Controls v fx DE_OverExpose Animation Presets None gt Digieffects ource Blend None w None N Lower Only Upper Only Merge Gamma B v Bloom Control loom
3. gt Digieffects Source Blend None v None Lower Only Upper Only Merge B Adjust v Motion Control Horizontal Max Horiz Freq Horiz Amp Horiz Phase vertical Max t Freq am Factor im Freq m Amp im Phase im Erratic ation Max ation Freq effects laced progressive output This is useful for ex ample when the source or the input to the effect is interlaced and the fast motion of objects cause jagged edges to appear and cause undesirable artifacts The following modes are available None Does not deinterlace the effect input Lower Upper Only Only uses either field i e half a frame worth of information to create a whole progressive frame Merge Create a progressive frame based on each field then combine them This is most useful for introducing a filmic look to an interlaced composi tion containing slowly moving objects Various host applications offer built in deinterlacers often on a per clip basis For example After Effects Interpret Footageallows fields to be separated if se lected There are a number of reasons why this should or should not be selected If the host s deinterlacer is engaged and or the effect s input is no longer inter laced select None in this section Color Control There are three sepa rate values for adjusting the alpha composite when the Enable Alpha Composite is checked one each for the red green and blue channels The R
4. C Bloom Bloom Free obability H Probability V Gammai G st GammalB vw Advanced O Chi OverExpose OverExpose is an excellent way to add a sense of dynamic to otherwise stable and predictable foot age Using the effect in a practical way can result in a feeling of a sort of focus hunt and iris hunt that happens with consumer camcorders when they are constantly trying to adjust to changing composition Combining OverExpose with De stabilize holds real possibilities for taking a solid steady shot and making it look hand held and amateurish With higher frequency settings the contemporary treatment of an image flickering randomly is very easy to create without the hassle of keyframing Pre Color Correct The controls in this section affect your source clip prior to the primary effect of OverExpose operat ing on it Deinterlace control offers a simple method for eliminating fields by interpolating one of the two fields or both to create a non inter laced progressive output This is useful for ex ample when the source or the input to the effect is interlaced and the fast motion of objects cause jagged edges to appear and cause undesirable artifacts The following modes are available None Does not deinterlace the effect input Lower Upper Only Only uses either field i e half a frame worth of information to create a whole progressive frame Merge Create a progressive frame for e
5. Digieffects rce Blend andom Seed r Color Tint Color Noise Tempo stortion tortion Min tion Max Tempo Min Tempo Max Amplitude 1 Amplitude 2 Y Glow Bar Height 9 Bar Ripple Freq Bar Darkness v Vertical Hold 5 Roll Probability Roll Length RollSpeed viewer might call static vertical and horizontal hold issues and more We ve taken all this a bit beyond simple tape playback malfunction and we ve added enough properties to allow you to use Skew to create effects reminiscent of a range of analog badness from weak analog antenna sig nals to consumer VCR tracking hopelessness Parameters Color Using the eyedropper or by click ing on the color swatch you can set a color value to tint your video Setting the value to white will have no discernible effect on your image as that is the zero state of this property Moving the color value toward gray or a saturated color will have a visible effect on the image Slide this property into positive values to brighten your image and create spots of bright loss of detail in increasing amount or into negative values to darken your image and darker spots This control creates the range of deviation in the Brightness Lift value over time More variability the range is from 0 100 will cre ate more widely varied light and dark fluctuations in your image with that range centered on the Brightness Lift value
6. G and B Adjust values differ from the source blend control not only in the fact that the color channels are handled separately but that the values range from 100 to 100 the negative values effectively subtracting the color channel information from the composited image This when used with the Channel Separation controls can create effects that would be reminiscent of certain decades spent by certain people ingesting certain sub stances Motion Control Many Motion Control param eters have separate adjustments for Horizontal Vertical Zoom Rotation Phase Frequency Ampli tude or Channel Separation self animated func tions When your intention is to imitate camera shake on a full screen video clip keep in mind that zooming the clip is necessary to create enough real estate for the frame to wander without re vealing the edge of the video frame Maximum Setting the maximum value dete mines the highest amount of change the param eter will generate The unit scale is based on per centage of the image dimension therefore a value of 100 means the image will move 100 of its full width height In the case of rotation the value is in degrees of rotation Frequency Frequency controls how often the os cillation of the effect happens in a given period of time Frequency values are in Hertz or the number of times per second A value of 1 denotes one full cycle per second 2 is twice per second etc When the frequ
7. Seed values do not scale on any sort of continuum so much as introduce a different factor to calculate from Experimentation with different values until you see what you want is probably the best ad vice for this control digieffects n ff Effect Controls fx DE Artifact Animation Presets gt Digieffects Normal v Normal Burst Mode JPG noise Blackout Recolor Shifter fact Amount fact Frequency rage Duration ezing nRes Factor rpolate Res Lo Fi Color v None Horizontal iN Horizontal Vertic Source Blend Control how much unaffected target layer you see mixing with the effect Artifact Artifact is an effect designed to simulate digital image decode or transmission errors usually as sociated with dropped data from satellite trans missions or digital video playback errors and it does so very convincingly It s usually good to warn the client before previewing the effects as they may question your technical quality control MPEG errors such as hanging frames and blacked out frames data packet loss and DCT Discrete Cosine Transform which means uh well let s just say it s the blocks blocks misplaced in the image and missing color information all contrib ute to an effect that will have many uses not the least of which might be just driving your favorite digital video engineer nuts Parameters Operation Type There are six different opera tions to choose from inside of A
8. more erratic any motion seems Stutter Duration The duration controls the length of the segments that stutter out place dur ing each occurrence The higher the value the longer the stutter segment duration This value represents the number of frames of stutter dura tion but note that it is affected by the Random Seed Stutter Recurrence and Stutter Duration Variance values Stutter Dur Variance Predictable patterns of any of these properties are best avoided to bet ter sell the effect as a defect Variations in the 7 duration of the Stutter property can help sell the effect Increasing this value will vary the Stutter segment Duration in increasing amounts as the value increases Timing The Timing parameters control the tem poral properties of the blocks in Blockade Blockiness Recurrence Recurrence controls how frequently blocks will appear A higher value here will result in more frequent blocks in your affected clip More frequent and intense blocks might represent a more aggressively compressed video source or a more primitive camera system Blockiness Duration The duration controls the length of each occurrence of blockiness The higher the value the longer each block occur rence is on screen This value represents the num ber of frames of stutter duration but note that it is affected by the Random Seed Blockiness Recur rence and Blockiness Duration Variance values Blockiness Dur
9. simply moves image content out of place into the affected areas to create a somewhat more subtle but still discon certing image problem Codec Artifacting Use the properties under this 5 heading to set the intensity frequency and dura tion of the defective episodes and to choose the amount of freezing frame stutter or some might call it a frame dropping look Artifact Amount Surprisingly this property controls how intensely the amount the defect is generated on your clip The scale is 0 100 with zero disabling the effect altogether Extended range of 0 200 is available by typing in the value or dragging the value field If you adjust this property to a very low value your effect may not be visible in the frame you have paused It s best to scrub or preview the clip to ensure you have the effect you want Artifact Frequency Another surprise this prop erty controls how often the defect repeats itself Again value range is 0 100 with 0 being never repeating and 100 and above being never uh not repeating Average Duration Adjusting Average Duration values affects how long each repeating defect attack actually lasts on average 0 100 range running from no duration at all to a nearly solid constant stream of the effect Freezing Often if a digital transmission is fail ing in some fashion the receiving device will just hold frames in a frame buffer until it can again resume receiving p
10. that can be used to simulate symptoms like transmission delay or field dominance reversal Linear applies linearly varying amounts of shift from the top of the screen to the bottom of the screen introducing a diagonal error through the field Noisy mode is very random such that each scan line is translated left right by erratic and changing values Sawtooth mode applies a sawtooth wave to vary the amount of left right shifting of scanline con tent Wave mode is similar to Sawtooth except that the waveform creates a more rounded or curved displacement Horiz Adj Controls the extent of left right modulation as defined by the mode above High values here combined with high Influence result in the greatest distortion Note when a scanline is distorted and shifted outside the screen area the result is that scanline becomes black in the area left behind by the movement of the scanline Influence Influence affects the Horizonal shift digieffects ing as defined above but depends on the Distor tion Mode At zero there will be no shifting at all Low Influence values mean the modulation effect will be subtle even if the Horizontal Adjustment values are high In some of these modes you can think of Influence as the Coarse value control with Horizontal Adjustment being the Fine control In Shift Distortion mode Influence amplifies the Horizontal Adjustment value so a low value her
11. The Contrast value setting is similar to contrast settings in other software you have prob ably encountered The range is 50 to 50 with positive values increasing contrast and negative values decreasing the contrast As with other Variance con trols in the Skew effect this will determine the amount of variation in the contrast value allowed over time The more color and brightness change is introduced in this section the more it affects the color flickering of the effect effects Controls cont d Noise Visual image noise is one of the typical symptoms of a defective analog video signal There are a variety of noise generators in Skew that are capable of very convincing results Noise Max Introducing noise into your image can be used to portray maladjusted VCR track ing or a weak analog tuner signal Higher values create more noise The maximum value of 100 will create an image that appears to be faintly show ing through video snow Noise Variance When the Noise Max setting is above zero the Noise Variance control will create fluctuations in the value of the Noise Max value over time adding significant credibility to the ef fect Micro Noise This control differs from the Noise Max control in that the noise generated from this control will not form into bands Micro noise will generate noise across the image evenly Noise Width Noise Width can be used to intro duce horizontal smearing
12. Variance Variability of all the factors inside the Blockade effect help to portray the results as unintended defects Increase this value to increase the fluctuation in length of each occurrence of blockiness Blockiness Speed Blockiness Speed controls how quickly the blocks change form This effect tends to look more like a cel phone PDA or web camera when the speed is set for relatively fast changes Sizing These parameters have control over the size of the blocks and the size of the size of the groupings Block Amount The Block Amount parameter controls the amount of picture affected by the Blockade effect For a simulation of crude palettes evident in aggressively compressed video from hand held devices a very high value which covers the entire frame works very well Block Size This parameter controls the vertical digieffects Controls cont d size of the blocks in your image Striping The Striping parameters control the horizontal aspect of the block artifacts in your image Stripe Length The Stripe Length parameters control the horizontal size of the block artifacts in your image Stripe Len Variance Increasing this value will vary the Stripe Length from occurrence to occurrence in increasing amounts as the value increases Coloring The Coloring parameters control the color properties of the Blockade effect All the parameters are interdependent and the possible combinations of s
13. a boutique after they ve tried Espresso for the first time predict able not so much Bloom Chaos Probability H V Chaos reduces the predictability probability controls the likelihood of the unpredictability we re working on making that more confusing stand by The Chaos Probability control goes from 0 100 scaled such that at lower values the oscil lations are predictable and uniform i e sinuous while at higher values the oscillations become unpredictable and noisy depending on how high Bloom Chaos values are set Chaos Prob ability essentially specifies how often the oscilla tions become corrupted over the duration of the composition Saturation Frequency By controlling the fre quency of the saturation parameter you change how often it happens This controls the general pace and duration of the effect as it cycles Low er values mean a slower occurrence of the ef fect but also create a longer duration with each instance Saturation Amplitude The Saturation Ampli tude value controls the amount of modulation function that will determine the amount of base line change behind your self animating satura tion values dicieffects Controls cont d Saturation Phase If you think of the Saturation Frequency value as generating a sine wave that controls the cycling of the effect parameters the phase controls the synchronization with that wave values range from 360 to 360 Satura
14. ach field then combine the both This is most use ful for introducing a filmic look to an interlaced composition containing slowly moving objects Various host applications offer built in deinterlacers often on a per clip basis For example After Effects Interpret Footage allows fields to be separated if se lected There are a number of reasons why this should or should not be selected If the host s deinterlacer is engaged and or the effect s input is no longer inter laced select None in this section There are three separate values for effects adjusting the Gamma values of the clip one each for the red green and blue channels The R G and B Gamma values affect the mid range luma scale of each color channel and the adjustments made here will affect how OverExpose works on the image further down as the values being fed into the effect will be changed Bloom Control Many parameters have both a vertical V and a horizontal H control Intensity H V The Bloom Intensity parameter controls how much image smear happens in each direc tion during the blooming effect Saturation This parameter controls how much color saturation is added or subtracted from the image content within the bloom effect The con trol range runs from 100 complete desaturation of the bloom affected areas to 100 maximum added color saturation to the bloom affected areas Note adding excessive color saturat
15. ackets This results in what appears to be intermittent freeze frames in the midst of all these other failures Adjusting the Freezing property controls how often the clip freezes as if it has lost its connection Downgrader These controls mimic the lower resolution images that can occur when video is only partially decoded or was simply sent at a very low resolution and scaled up in some less than pristine fashion DownRes Factor This control will decrease the apparent resolution of your footage Details will digieffects become less distinct and the quality of the im age will be affected in proportion to the value you choose between 1 and 32 A value of 1 will not affect the image much at all and a value of 32 would be similar to viewing your television through a bottle of castor oil that hasn t been dusted in some time As your footage loses resolution and detail some devices will attempt to smooth the remaining detail so the jagged blocks are less objectionable A setting of None will do no smoothing Horizontal will not smooth vertical edges and Horizontal Vertical will smooth in both directions Many forms of digital compression store some color channel signals as lower resolu tion samples that are processed separately and often errors in playback and decoding can affect different parts of the file in different ways The color precision of your image will get increasingly inaccurate and crude
16. alue influences the luminance level of each field independently Setting the two fields for different values will accentuate the scan line look of your results Check the box to Tint your video to help create effects like simulated night vision Pick the color of your Tint using the eyedropper or pick from the palette from clicking on the color swatch Noise Add noise to the each field sepa rately with this value Check the Chroma Noise box to add color to the noise generated for each field Decay Amount controls the number of re processing or feedback loops of the effect Higher value here means the processed im age gets its color values dirtied even further with more of the information in the mid to hirange getting lost Imagine running a photocopy of a effects Controls cont d photocopy again and again or possibly a VHS dub of a dub The effect is highly dependent on source footage but usually causes some blooming of mid and highlights Smear When Distortion is present see the Modulation section it is fed back into the re pro cessing loop The effect gets especially interesting when there are subtle varying amounts of distor tion at medium to high Decay Amount values Modulation Distortion Method There are several modes of distortion that can be assigned to each field inde pendently Shift translates the entire field as defined by your E and O settings to the right
17. as you increase this setting from 0 8 Blockade Blockade s main role is simulating low fidelity camera feeds from maybe a cel phone or PDA The effect places random blocks of slightly tinted color around your image which creates the im pression that these areas are not being faithfully color sampled which is a common occurrence in many of the low resolution video cameras in phones as the video has to be highly compressed to be transmitted over the cellular phone and then stored in as small a file as is practical Parameters Freeze The Freeze properties affect how the processed clip will infrequently hang on a frame simulating a possible interruption in data trans effects fa Effect Controls v fx DE_Blockade Animation Presets None gt Digieffects om Seed eze Recurrence Duration Freeze Duration Variance tter Recurrence tutter Duration tter Dur Variance ess Recurrence uration tripe Length tripe Len Variance sparent Blocks Don t Pre v Don t Preserve Alpha Mostly Preserve Alpha Compeletly Preserve Alpha Alpha Handling mission Recurrence controls how frequently the video will freeze A higher value here will result in less moving video in your af fected clip and a greater amount of time spent hanging on a frame More frequent freezes might represent a less reliable video source or a more distant or strained transmission The duration controls how lon
18. digieffects Damage User Manual Contents 3 Installation 4 Controls 6 Controls cont d 8 Controls cont d 10 Controls cont d 12 Controls cont d 14 Controls cont d 16 Controls cont d 18 Controls cont d 20 Troubleshooting digieffects Damage 2 0 Deface Defile Dis mantle Destroy Isn t it time for more Visual Devastation for your hard earned dollar Damage sets the industry standard for simulating visual analog and electronic image defects in your footage Now Damage 2 0 adds more effects and 64 bit native operation and 32 bit per channel processing You do good work we can fix that Installation System Requirements Damage 2 0 is a plugin for Adobe After Effects Premiere Pro CS4 and CS5 Final Cut Pro Autodesk Combustion Boris Red and Grass Valley Edius It has been tested with Snow Leopard and Windows 7 Arang Locate the Install file 3 Double click the installation program and follow the in structions 3 The first time you attempt to run FreeForm you will be asked for your serial number 777 gt 000 0000 For more information visit http www digieffects com support installation_guide 3 Resources Check out project techniques from DigiUsers just like you gt View video tutorials See what others are saying about DE s latest releases plugin effects and more ALMUICW Margera ZBrust artbeats aron Rabinowitz Digital Tutors After Ef
19. e counteracts Horizontal Adjustment value while a high value exaggerates it Similarly in Linear Dis tortion mode Influence adjusts the slope of the diagonal stretching by interacting with the Hori zontal Adjustment value Also in Noisy Distortion mode Influence tends to exaggerate the hori zontal shifting by complementing the Horizontal Adjustment value In Wave and Sawtooth Distor tion modes Influence controls the modulation of the waves Comb Filter Level In signal processing a comb filter is typically employed to combine a visual signal with a delayed version of itself to maximize perceived image quality through the construc tion of the two versions of the image while the destructive interference caused by the combining of the two tend to smooth out some details that aren t always deemed visually desirable The effect of the comb filters in Interference are controlled by this value To maximize the horizontal scanline look try to run one field s comb filter at max value 20 and the other field at minimum 0 Skew This effect takes its name from the control on many professional video tape recorders from dis tant memory which would affect the tensioning of the ribbon of tape that wraps around the playback heads Altering the skew control during playback of video would cause various undesirable artifacts including im hearing visual noi rwh ff Effect Controls fx DE_Skew Animation Presets None gt
20. ency values differ across the individual adjustments for each of the axes of movement the overall effect gets more randomly erratic Amplitude The amplitude values control the amount of modulation used to form the engine behind your self animating properties This value multiplies the Maximum value An Amplitude value of 5 would diminish the max value by half a value of 2 would double it etc Phase Phase is the timing of the the modulation of the sine wave used to generate the oscillation for that property to achieve the most random looking effect vary the horizontal vertical and zoom phase values Keep in mind that 720 360 0 and 360 720 are effectively the same values The phase values across all the individual adjust ments will create a fairly predictable movement cycle creating subtle differences across these values will create a bit more randomness and therefore a bit more believability in the camera shake aesthetic is driven by sine wave generators having those changes become predictable in its cycling be havior can diminish the credibility of the effect as it starts to feel rather mechanical Erratic ness might be characterized as the bucket of marbles dumped out in front of the marching band of an orderly modulating sine wave Zoom Base To keep the image from shaking itself out of the video overlay which really torpe dos the idea of the aesthetic of a camera shake
21. ettings is nearly infinite How ever note that often more subtle parameter set tings creates the most realistic effect Block Color The color palette here defines the color of mosaicing color blocking You can pick a color from a palette or eyedropper a color from your target layer To what degree the color cho sen here influences theblocks in your clip is con trolled by the Color Conformance s slider Color Conformance At the highest Color Con formance values the blocks take on the color that is set in the Block Color parameter At the lower settings that color influences the content in your target layer without obscuring it This is one pa rameter where often less is more Color Change The Color Change parameter determines whether the blocks take more of the source colors at the lowest Color Change values or randomly deviate from the colors present in the target layer High values here will produce vi brant colors that seem to be less associated with the picture content as you increase the value again a case where often less is more digieffects Color Change Weight The Color Change Weight parameter at lower values allow the blocks to have a mixture of source image colors and colors that deviate from the target layer s palette On the other hand high Color Change Weight values causeless of the original source image to modu late the block colors so the effect looks like solid color blocks from ano
22. fect John Dickingangaetk gt Read the reviews DE software and plugins in action Search view and download the latest presets and videos or submit your own gt Visit project gallery digieffects Controls The Damage plugin simulates video malfunction For all effects About Reset and Animation Presets function in the same manner Reset Resets the parameters to their factory default Options Use this link to bring up the registration dialog and enter your key code After you re registered this shows information about Digieffects and the Damage 2 0 plugin version About Shows information about Digieffects and the Damage plugin version Animation Presets Contain groups of parameter settings you would like to keep for future use The list is empty until you save a group of parameters as a Preset Some Common Parameters There are a few parameters that you will see in nearly all of the effects in Damage 2 0 These parameters function in the same way in each instance Random Seed The mathematical engine that drives the chaotic and erratic parameter fluctua tions over time are all starting with this value It s important to note that this value does not increase the randomness as the number gets larger Various values cause different mathemati cal routines and because the result is also de pendent on how the parameter values in the rest of the controls are set up these Random
23. g the Brightness and Contrast controls back to normal Higher these settings are the more striking and random the flickering Check out the our online section for more product resources and tips Need Assistance Take a moment and fill out our online and we ll get back to you as soon as possible Or visit us online at User Forum Have questions Get the answers on our expert where you ll find the latest user tips product update info software sales and more 21 Address 27 N Front Street Ste 200 Wilmington NC 28401 Business Hours 9 AM 5 PM EST Toll Free 1 888 DIGI EFX 344 4339 Email effects digieffects 27 N Front Street Ste 200 Wilmington NC 28401 For more information check out www digieffects com 2010 Digieffects LLC All rights reserved
24. g the video stays frozen during each occur rence The higher the value the longer the freeze duration The frame that would normally occur during the freeze will not be shown the video will continue at the point it resumes playback as if the data was lost as opposed to being paused This value represents the number of frames of freeze duration but note that it is affected by the Random Seed Freeze Recurrence and Freeze Duration Variance values Freeze Duration Variance A completely pre dictable pattern of freeze occurrence and dura tion doesn t look like a defect so much as a video strobe which wasn t the most compelling effect even in the late 1980 s when for some reason it was inexplicably popular so some variation can help sell the defectiveness of the effect Increas ing this value will vary the Freeze Duration in increasing amounts as the value increases Stutter Stutter properties make your clip seem to jump around in time as if some data was lost and the clip is trying to go back and play a small bit over again or is skipping over some temporal data that is lost making the video jump ahead in time Stutter Recurrence Recurrence controls how frequently the video will stutter A higher value here will result in more skipping around moving video in your affected clip and a greater amount of time spent out of order relative to smooth playback The more frequently stutter recurs the
25. ion to this effect can produce image color values that exceed legal conven tional broadcast limits Color Click on the color swatch to bring up a color picker dialogue or use the eyedropper to pick a color directly from your image to tint the bloom effect Bloom Frequency H V By controlling the frequency of the bloom you change how often it happens Frequency values are in Hertz or the number of times per second This controls the general pace and duration of the effect as it cycles lower values mean a slower occurrence of the ef fect but also create a longer duration with each instance Bloom Amplitude H V The Bloom Amplitude value controls the base intensity behind your self animating bloom values The amplitude values are in 0 100 percent At 100 percent up to the maximum Intensity values are 17 applied to these oscillations Bloom Phase H V If you think of the Bloom Frequency value as generating a sine wave that controls the cycling of the effect parameters the phase controls the synchronization with that wave values range from 360 to 360 degrees For example H and V waves can be precisely alternating when they are 180 degrees apart Bloom Chaos H V Again thinking about the cycling of the effect parameters being driven by a sine wave predictability can be pretty obvi ous Introducing chaos into the equation is like turning small children loose in
26. lity to present an effect with many small bars lines really in the picture very close together The higher the frequency value the smaller and closer spaced the lines become Bar Darkness This controls how dark the bar is Larger values make a darker bar Vertical Hold This simulates a malfunctioning vertical hold because of a weak signal or a malad justed monitor or the loss of a vertical sync due to electromagnetic interference Roll Probability This defines the chance per frame that a vertical hold malfunction roll will oc cur If it occurs Roll Length defines the maximum number of frames that the vertical hold malfunc tion will last Roll Length Defines the maximum duration of a vertical hold malfunction expressed in frames Roll Speed This defines the maximum speed that a the vertical hold will roll Destabilize Destabilize is an effect that is useful for emulat ing a practical camera shake or a more conceptual effect for motion graphics work involving separate color channel alpha compositing and color chan nel separation By causing a shot to be less steady you can add tension or energy to what may other wise be a rather straightforward and obvious shot Deinterlace Deinterlace control offers a simple method for eliminating fields by interpolating one of the two fields or both to create a non inter digieffects fa Effect Controls r fx DE_Destabilize Animation Presets None
27. or scratching type of noise defects usually seen on old analog VTRs Noise Tempo This is how often the noise will change Larger numbers will cause the noise pat terning to change LESS often more frames be tween noise changes Distortion There are 2 components to the dis tortion which are combined together to give a single horizontal displacement value The first component is defined by Max Distortion and the Tempo parameters The second component is defined using 2 sine waves added together with a random value added in These second compo nents are controlled by the Amplitude Frequency Speed and Offset Variance parameters Distortion Min This defines the minimum amount of horizontal distortion allowed Larger number create more left right distortions Distortion Max Similarly the maximum amount cdicieffects is just that NOTE the difference between the minimum and maximum value specifies the range of horizontal distortion al lowed Which means if the two are identical then the distortion will be very uniform and static If the two are very different then the distortions allowed can be any values in between to create a more natural effect Tempo Min This is the minimum number of frames to hold a distortion phase The distortion changes its value after a randomly selected num ber of frames between Min Tempo and Max Tempo Larger values hold the distortion for a longer amoun
28. rtifact Normal This mode uses all the operations avail able inside Artifact in combination to create an effect similar to a digital VTR with dirty heads or a failing digital feed of some kind Burst Mode Burst uses the same combination of operations as Normal mode but applies them in much higher density Using keyframing within your host application you can use burst mode to bring a clip in from complete digital distortion or keyframe the effect in at the end of a clip to represent a lost digital feed JPG Noise JPG Noise consists of visual artifacts made up solely of multi color blocks with vary ing detail inside of them simulating improperly decoded picture information being replaced by insufficient error correction This operation can be used to simulate MPEG 2 macroblock glitches such as those seen when a scratched DVD is played Blackout Choosing Blackout will make the areas of the image affected by Artifact be simply black There will be no colors or detail inside the af fected areas only black When data is lost in many kinds of digital feeds the blocks may simply come up as black Recolor Recolor creates affected areas with sim ply random color change The defects will show only as tinted areas over the existing image Shifter Shifter is useful for creating the look of a digital video decode failingwithout having as busy a pattern as you might have when you use Normal or JPG Noise modes Shifter
29. t 3 ghost patterns and you can define the maximum sway with the Ghost Offset parameters The Weight parameters define the opacity of the particular ghost image Note that it s possible to over weight the ghost images which will make the image brighter than the origi nal Ghost Offset 1 Defines the maximum horizontal movement per frame of this ghost image Ghost Offset 2 Defines the maximum horizontal movement per frame of this ghost image Ghost Offset 3 Defines the maximum horizontal movement per frame of this ghost image Primary Weight This is the opacity of the source un ghosted signal Ghost 1 Weight Controls the opacity of this ghost image Ghost 2 Weight Controls the opacity of this ghost image Ghost 3 Weight Controls the opacity of this ghost image Bar This creates a set of dark bars that run verti cally on an image when the transmission system has electrical interference from power clocked at a slightly different frequency than the video or you are using a video camera and recording a display that is refreshing at a different rate You can see the real world effect we modeled this attribute after by recording a computer video monitor that 13 is scanning at a non television scanning rate with a video camera Bar Height Control the vertical size of your bars with this control Bar Ripple Frequency The bars of distortion or black that roll through you footage have the abi
30. t of time Max Tempo This is the maximum number of frames to hold a distortion phase The distor tion changes its value after a randomly selected number of frames between Min Tempo and Max Tempo Larger values hold the distortion for a lon ger amount of time Amplitude 1 This controls the amplitude of the first sine wave generator Amplitude 2 This controls the amplitude of the second sine wave generator Frequency 1 This controls the frequency of the first sine wave generator Frequency 2 This controls the frequency of the second sine wave generator Speed 1 This controls the speed of the first sin ewave generator Speed 2 This controls the speed of the second sine wave generator Offset Variance This adds a random value to the sine wave amplitude Glow Glow is intended to create a glow pattern around the video noise after it has been distorted which often occurs on older television receivers Glow Size This defines the radius of the glow Glow Intensity This controls the brightness of the glow Glow Threshold This controls the minimum luminance value a pixel must have before it will begin to glow Higher values prevent the darker portions of the image from glowing Ghosting Ghosting creates a horizontal visual echo that simulates delayed reflections and interference patterns of electromagnetic energy as it is transmitted through space to its reception point There are at mos
31. the parameters in all of the effects in Damage 2 0 work in combination with other parameters and the effect is often visible only in motion Q I ve read your guide on using the Presets and created my own preset files but for some reason the Preset Recall won t load my favorite color pink A Sorry the Preset functions are unable to store the color information at this time but it will be implemented in a future release even for pink Q How come I get solid colored blocks even though I ve assigned my favorite color pink in the Block Color A Either you ve chosen a low Color Conformance value or chosen a terrible color Interference Troubleshooting FAQ Q My image has gone way too dark or pitch black What happened A It might be due to a few things 1 Brightness digieffects Featured Products Simulate 3D scenes from 2D stills or video footage Camera Mapp Realistically create the illusion that a still image is fully di mensional moving footage Learn More Try It Free Trial Version gt Order Now US 79 00 boost is negative 2 Modulation section of the effect had shifted your image outside the screen area 3 the image is being tinted to a dark color Skew Troubleshooting FAQ Q My image has turned to white A Some options to check 1 Check Brightness Lift 2 Check Glow Threshold to see if it s too low Q The effect flickers too much in brightness A Try settin
32. ther planet have invaded the clip replacing the source Transparent Blocks This parameter controls the balance between square opaque areas of mosaic and more rectangular bands of rectangles At minimum values the effect is mostly mosaic while higher values result in layering of more transparently colored blocks Alpha Handling Don t Preserve Alpha Blockade will affect the entire frame without regard for any alpha channel transparency information Mostly Preserve Alpha Blockade will use the alpha channel as input for its computation but will not necessarily confine its operation to the Opacity defined by the alpha channel Completely Preserve Alpha Blockade will only function where the affected clip is opaque and blocks will appear at a transparency level that cor responds to the target clip s alpha transparency value will vary the Blockiness Duration from occurrence to occurrence in increasing amounts as the value increases Interference Interference is a unique effect inside Digief fectsDamage because of its ability to give the impression that your video clip is interlaced and being displayed on a Cathode Ray Tube moni tor Most television signals used in broadcasting have traditionally been interlaced This system of Effect Controls 259 DE Interference Animation Presets None urce Blend Random Seed v Fields 0 Tint Tint Color w Noise Y Modul 5 0 Distortion Method
33. tion Chaos As in the case of Bloom fre quency and chaos the cycling of the effect pa rameters are driven by a sine wave Chaos is the hammer to predictability s um finger Satura tion Chaos Probability Chaos reduces the predict ability probability controls the liklihood of the unpredictability the unpredictability increases the chaos chaos reduces the Why yes we are having fun thanks for asking Post Color Correct Post Gamma R G B Adjust the Gamma of the clip downstream from the Bloom effect pro cess Advanced Sometimes the combined chaos values of multiple parameters can introduce huge spikes into the modulation oscillations The Chaos Adjustment control 100 0 100 in percent can tame these into a limited range By default we set these at 100 percent At zero chaos effects will be minimized At negative values modulation waveforms are inverted After you went to all that trouble to create all that insanity we give you a nice jacket with the sleeves in the back digieffects digieffects Troubleshooting FAQ for Damage Artifact Troubleshooting FAQ Q My clip has stopped all of a sudden but my host application says it s moving or rendering What s going on A Most likely the Freeze parameters are high causing an image to be still for a long time Q The parameter named doesn t seem to be affecting anything on the preview window What s wrong A Many of
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