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euphoria Manual 1.5

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1. Snow Storm creates a realistic simulation of a winter storm with complete control It also simulates gusts of wind and you can have the flakes land and stick to a logo Snow Storm is another of the particle systems that handles a single task very well and very easily If you just let the default settings render with Effect Only selected in Apply Mode you will see a beautiful example of what the snow plug in can do The snow plug in has been designed so that the snow drifts in a particular direction but also includes a great deal of semi chaotic motion The Snow particle system determines the quantity size distribution and other behaviors for the individual snow flakes The Wind Gravity Lilt area controls the characteristics of the overall direction and fall pattern of the snow flakes Image Mode Apply Mode Use Source Mode Composite Mode Alpha Threshold Alpha Weight Random Seed Blend With Original Generate From Integrate Over Time Generate Layer Generate Threshold Snow Point Controls in this section are described in the Using the Plug ins section starting on page 13 of this manual Refer to that section 80 o APPLY MODE USE SOURCE MODE COMPOSITE MODE DEAR Detault preset PREVIEW BRN WY Teer Ji N SEO COCCOUE for instructions on how to use these parameters amp Pile Up Mode Don t Pile Up mon When selected Don t Pile Up will allow the
2. Day for Night came to us after many many requests from users who had been using the CineLook day for night preset We had an overwhelming bundle of requests to design a plug in that had some control over the effect and was easy to use Here it is We think the presets included will handle a majority of the uses of Day for Night but like all of our presets we suggest that you use them as good Starting points for your own experiments Preview LUT When preview is on the source image layer is not shown In its place is the gradient that is being used to create the effect This can be very useful in revealing where the position of the colors in the gradient are located Alpha transparency will show as a checkered black and white region TIP When learning how the various controls affect an image turn this on or hold down the option key Seeing the effect without the layer AND with immediate feedback makes it much easier to understand what is taking place when the plug in is creating the Day for Night look Pixel Mode This determines how the gradient will be blended into the source image By default it is set to multiply with the Start Color black and the End Color white These colors and composite mode create a useful starting point for the effect 36 SSS B Ei Be PREVIEW Add Add combines the color values of the layer with the underlying colors The resulting color is lighter than the original Screen Screen multiplie
3. OOO U UUU I 2 One of my favorite features of this plug in is the ability to animate a particle over the sine waves Pick PARTICLE SHAPE DOT and check the box labeled USE SPACING You VH 1 types will undoubtedly love this feature as it will make nice layers in your motion graphics work Try using huge STARTING SIZE and ENDING SIZE and varying the PARTICLE COMPOSITE MODES I like Screen amp Blend Then you ll see SPACING PHASE and SPACING DISTANCE parameters These are the main controls for making these DOTS move Leaving the PHASE of the sine waves fairly slow try animating the SPACING PHASE parameters to get the dots rolling 3 was really excited when found large particles look really cool with the right Spacing and composite mode Try using only 3 6 waves with large particles moving slow If you set the frequency and amplitude just right you can create something which resembles a winding dna strand The plug in can create interesting 3D like twisting images which wave and twist like landscapes from dreams 4 Some particle composite modes can really give the illusion of 3 dimensionality found that the Rings particle and Multiply particle composites look very 3d When you animate with these settings the results can have a beautiful feel with 3d textural flavor Smoke 1 Generally speaking smoke is a very layered phenomenon and I ve said it before so I ll say it again using multiple layers and instances of plug i
4. You can determine where the rain will fall from Generate From and if the drops will splash off of anything using Splash Via You can also control the amount size and opacity of the droplets Wind Gravity and Gusts control the rains behavior from the time it falls until the time it hits something or disappears from the source image area Gravity Wind and Gusts can all have an impact on the path of the raindrops Image Mode Apply Mode Use Source Mode Composite Mode Alpha Threshold Alpha Weight Random Seed Blend Original Preroll Frames Generate From Generate Layer Generate Threshold 50 a B PREVIEW Inner ela Celi Generate Point Controls in this section are described in the Using the Plug ins section starting on page 13 of this manual Refer to that section for instructions on how to use these parameters Splash Mode Splash Mode determines if and how the rain drops will splash in the footage Don t Splash When selected there will be no splashing of the rain drops anywhere in the footage 2A i 61 e Via Vert Hegn A or Luminance TAA Via ZD ot or Luminance Via ZD Mas Splash On Bottom When selected Splash on Bottom will make the rain drops splash as they hit the bottom of the layer to which the effect is applied Splash on Alpha gt Threshold via Vert Height This will cause the rain to splash on the first vertical pixel IN THE ALPHA CHANNEL detected The
5. Random Seed to 11 You may want to check other values to see what looks best 10 Turn up the Min Opacity to make the fire effect more intense 11 To create more flames let s increase the Fire Generate to 160 This will create more fire particles 12 Change the Source Alpha Mode to Effect Behind to place the flames behind the text 13 Adjust the Alpha Threshold to 150 which will remove the darker areas of the flames making them more transparent 14 Since it is more transparent let s increase the amount of flames by moving forward in Time to 30 15 Still not enough so let s add more particles by setting the Fire Generate to 200 16 Let s save it as a preset Tutorial Fire by clicking on the Preset 17 This looks good so let s apply it to the layer by clicking OK ff 9 u TUTORIAL Advanced Text Effects 1 Launch Photoshop amp Open the Astronaut jpg image 2 Click on the Text tool and create a block of text that reads SnowFall 96 point type Place the text towards the bottom of the screen 3 Rasterize the type which turns the vector font into pixels by selecting menu Layer gt Rasterize gt Type NOTE This command may be different in your version of Photoshop 4 Apply the Fire filter by selecting Filter gt DigiEffects Web Euphoria gt Snow Storm Zoom out to 50 for a faster preview 6 Change the Pileup Mode to Pile on Alpha gt Threshold
6. and gives it a wispy appearance Turb V Speed determines the speed of the displacement field Turb Size Turb Size determines the detail that is generated with the turbulence The higher the number the greater the details visible from the turbulence in the fire as 4 Tr J NOTE We create the Fire plug in to do one thing really well create flames But in exchange for simplicity we left out the ability to change the flame color To change the color of flames use the built in After Effects color correction tools like HLS Balance or use Thermograph Fire generated from a single point FOGBANK FogBank simulates a rolling bank of fog or smoke You have full control over three separate banks of smoke or fog and each bank can have a different seed scale position blend and brightness value The banks are labeled thus Closest Further and Furthest The inspiration for this effect comes from Dan Prochazka the ex product manager for Final Effects and the former marketing and sales director for DigiEffects The control you will be adjusting most of the time when using this effect is the Bank Offset control This controls the position of each bank Setting the bank Brightness to a lighter setting higher number will create a fog effect and darker will create a smoke effect Fog looks better for night shots and smoke looks best for daytime scenes If you would like to create an multilayered fog effect apply FogBank twi
7. via 2D This will cause the SnowStorm plug in to begin doing collision detection with the alpha channel of the text block and the particles of snow You should now be able to see the snow flakes landing on the UI text block 7 Increase the Snow Amount to 100 This will cause the snow to increase in volume 8 The edges of the flakes are rather dark so increase the Alpha Threshold to 50 and decrease the Alpha Weight to 128 This will make the dark areas of the particle less intense 9 Zoom to 100 to see the effect Use the Hand to pan around the image 10 The snow should be very apparent now Save this preset 10 RT B as Snow Tutorial by clicking the Preset button 11 Click OK to apply the effect You may want to experiment with different Apply Modes and transfer modes within Photoshop to composite the effect over the image For example to completely remove the black areas of the snow do the following Post Compositing Effects with Photoshop 1 Create a text layer duplicate it and render one of the layers You will have 2 identical layers one rendered and one with active text We will now apply Snow Storm with effect only so we can use the Photoshop tools to perform the compositing of the effect over the text 2 Apply and Adjust the effect as in the previous tutorial Steps 4 through 8 3 Before Applying select the Source Alpha Mode Effect Only This will apply just the ef
8. all time This is probably why there are so many fire plug ins available and even more tutorials on how to create fire with general purpose particle systems The fire style is a raging inferno type of fire with flames flicking upwards from the burning object This can make a nice torch burning effect The fire effect is a particle based algorithm in contrast to other fire effects with are based on procedural noise like the FogBank plug in This Fire plug in has a much more organic and realistic appearance due to the particle system simulation This will give you additional levels of fire with the same general look but the various layers of fire will each have individual characteristics TIP Sometimes blending both an organic particle based fire like this one with a procedural fire plug in use FogBank with Thermograph Fire preset can make an even more realistic fire effect Image Mode Apply Mode Use Source Mode Composite Mode Particle Composite Mode Alpha Threshold 42 Tree B APPLY MODE se50urce x ALPHA THRESHOLD PRESET Default Preset bi ar ALPHA WEIGHT SRC ALPHA MODE Efect in Fr GENERATE MODE g 400 un u MAX SIZE MAX OPAGI COMPOSITE MODE et i i i F Tama Alpha Weight Random Seed Blend Original Generate From Integrate Over Time Generate Source Generate Threshold Dust Point Time Fire generated
9. by 5 000K each time you receive out of memory messages The recommended partition size for Photoshop is 64mb 64 000K for web based images We recommend at least 256mb 256 000K for print documents but this may not be enough for some documents You will need to quit Photoshop to change this setting Most effects are limited to use on images that are less than 2000 x 2000 pixels Most of the images on the internet are much smaller than that If your document is larger apply the effect to a smaller section that is less than 2000 x 2000 in pixels using the selection Cd tools Use the Piggy Plug ins Patch if you keep receiving out of memory messages The Piggy Plug in will allow more memory from Photoshop to be used by the plug ins This plug in can be found on the original Photoshop installer Piggy Plug Ins Patch CD please do a search Photoshop automatically reserves more than 80 of the memory Space to itself during start up This memory is not available for use by the Web Euphoria plug ins The Piggy Plug in alleviates this problem by allowing a little more memory to be available for use by the Web Euphoria plug ins Other host packages handle memory allocation in a more efficient manner so this piggy plug in is not necessary or available in other host applications Adobe Photoshop 5 5 Info Adobe Photoshope 55 Adobe Photoshop 5 5 Get Info command I from Finder Kind application progra
10. distance that the shake causes the image to travel So in the case of Camera Shake Amplitude is distance 7 df jit L Frequency Frequency is defined as how often i e how frequent something occurs In the case of Visual Harmonizer frequency determines the number of waves in each harmonizer Frequency Set to 5 In the case of Camera Shake Shakiness Frequency determines how often the camera will shake i e frequency determines when amplitude determines how far Phase Phase determines where some portion of the effect will occur The easiest way to see this is to look at two examples Phase set to 35 Phase set to 0 Notice how the position of the wave has moved between the two phase values The position of the wave on the harmonizer is determined by Phase 18 Ld jrrr B Some of the plug ins have a begin and end value for each of these The plug in will interpolate between these two values to give interesting results So by setting all of these parameters to different beginning and ending values you can create visually stunning imagery Channel Operations amp Composite Modes Channel operations are the methods by which two images are mixed together For example the Add operation simply mathematically adds the red green and blue pixel values The Composite Mode is the specific channel operation that is used to blend or composite the effect with the source image The Particle C
11. maximum distance that the lilt will move the flake Min Lilt Frequency Min Lilt Frequency determines the minimum speed at which the snow flake will move due to the lilt Max Lilt Frequency Max Lilt Frequency determines the maximum speed at which the snow flake will move due to the lilt NOTE Amount determines how far frequency determines how fast Gravity Gravity determines how quickly the snow will fall The higher this is set the faster that the snow will fall Wind Horiz Wind Horiz determines how much horizontal push can be applied to the snow to give the appearance of horizontal wind 84 SSS o Wind Vert Wind Vert increases or decreases the vertical speed of the snow This can be used to increase the initial speed which in many cases starts at zero Gust A gust is a sudden brief rushing or driving of wind Gust Probability Gust Probability defines the likelihood that a gust of wind will occur at any given time in the 40 composition Gust Max Duration Gust Max Duration determines the greatest number of frames that a gust can last NOTE This does not dictate a fixed number of frames that all gusts will last It only determines the maximum amount of time that it can last Gust Max Speed Gust Max Speed determines the maximum amount that the gust can push the snow when a gust does occur si 85 SPECULAR LIGHTING Specular Lighting simulates a single colored light source shining on the imag
12. smoke Apply Mode Composite with the source or use effect only Use Source Mode Controls compositing mode Composite Mode If Use Source Mode is a composite mode this is the procedure 76 SSS o ge Derat reset 5 USE SOURCE MODE COLOR WARLATION RANDOM SEED 119 COMPOSITE MODE PREVIEW used to composite the effect and source images Alpha Threshold This sets the threshold for the alpha of the source image Size Alpha Weight time gt This is the compositing weight for a a os the overall effect Se pies Generate From si 77 u Chooses how the particle system will generate Min and Max Opacity Sets limits on the darkest and lightest smoke Generate Threshold Simple threshold to control generate layer higher numbers brighter values Smoke Point Point from which particle will eminate if using Point Generate mode Smoke Color Controls tinting of the smoke via dropper Color Variation Allows for changing tint within a selected range Random Seed Creates similar but different looks Generating smoke from the alpha Smoke from a point Blend This control will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected image Time How much the particle system will run before rendering final image si 78 SNOW STORM
13. snow to disappear as it hits the bottom of the layer gt Via ZD Pile Up On Bottom amp on Luminance Via ZD Mack When selected Pile Up On Bottom will stick and pile up as it hits the bottom of the layer oka u Pile Up on Alpha gt Threshold via Vert Height This will cause the snow to pile up on the first vertical pixel IN THE ALPHA CHANNEL detected The threshold control will determine the minimum opacity of a pixel in the alpha channel to pile up on Pile on RGB gt Threshold via Vert Height This will cause the snow to pileup on the first vertical pixel in the image detected The threshold control will determine the minimum brightness level of the pixels in the image as the first pixel to pile up on Pile on Alpha gt Threshold via 2D Pile on RGB gt Threshold via 2D creates a mask that works in all directions to define areas of the layer that snow will stick and pile up over Pile Up Threshold Threshold cuts off the darker parts as areas that the snow can pile upon The higher this number is set the lighter the pixels must be to allow the snow to pile up NOTE The objects mask or pixels that the snow falls onto cannot be moving If it is the snow buildup information will become confused The snow will not stick to moving objects Time This control allows for the start of the effect before the first frame of the clip This control is designed to give you the ability to have the effect already generating s
14. the gradients on the right Preview LUT Look Up Table provides the ability to look at the colors that will be used to replace the existing colors in the image When this is checked on the colors will be shown along with Red Green Blue and Gray color ramps so that it is possible to judge what color will be replaced with the LUT color Gradient Mode Controls the interpolation method used between the gradient color positions Linear Straight line interpolation Curved Smooth curving Sine Wave Repeating pattern Circle Increasing Half interpolated Gradient Color This determines the color of the location within the gradient 2 SS o Linear Ylinear Linear Linear GRADIENT POSITION SE GRADIENT POSITION 6 PREVIEW sind Gradient Position Determines the position of the Gradient color on the gradient relative to the Start Color and End Color TIP A good way to see the results of this is to set this to red and slide the control left and right Notice that as you approach 100 that the bottom or end color of the gradient gives a very hard red line This is how bias works As you get to 100 the entire interior of the layer turns red This is because you have completely removed the End Color As additional gradient colors are selected in the Multigradient pop up the Gradients 2 to 10 controls are made functional Each of these si 93 u works in the same manner as the Gradient 1 controls with each additiona
15. were multiplied Soft Light Soft light darkens or lightens the resulting colors depending on the layer color If the underlying color is lighter than 50 gray the layer lightens If the underlying color is darker than 50 gray the layer darkens Minimum Minimum uses the mathematical minimum color values to replace the original image This is a modified version of Lighter Maximum Maximum uses the mathematical maximum color value to replace the original footage This is a modified version of Darker Bitwise OR Bitwise AND Bitwise XOR Each of these settings do similar but slightly different operations to the channels Exactly what they do is hard to explain without using mathematical formulas and even then they would not easily translate into a few descriptive adjectives We suggest that you just try them out from time to time Generally they will give very odd looks that reshuffle the colors through different color bands si 39 u Start Color Start Color is the first color of the gradient that is used to create the Day for Night Effect This color will begin at the top of the layer Start Alpha Start Alpha defines the transparency of the Start Color This can be used to scale back or lessen the effect of the Start Color End Color End Alpha defines the transparency of the End Color This can be used to scale back or lessen the effect of the End Color End Color is the last or bottom color of the gradient This c
16. ATIER Sabbatier is a photographic process simulation for creating the look of double exposed photographic paper that forces the silver salts to gather around areas that have contrast This gives a solarized or Sabbatier look TIP Slide the Contrast and Rotate sliders especially Rotate back and forth and you will find a setting that works well with your image Invert Applies the Sabbatier effect to the layer after the layer to which the effect has been applied has been inverted i e dark pixels become light and light pixels become dark in the inversion process then the solarize effect is applied Rotate Rotate controls the appearance of the solarizing effect Sabbatier can have drastically different appearances that are defined by the subject matter Work with this control to define the basic look that is being created Contrast This adjusts the tonal range of the image before the Sabbatier Effect is applied When these numbers are high the difference between light and dark becomes exaggerated Small between 5 and 35 amounts of contrast will often enhance the solarize effect Solar Grain This feature adds a filmic grain pattern to the image 70 SSS o PREVIEW NOTE If you have a portion of the image that appears to be posterizing after applying the Sabbatier effect it is probably from the grain settings Try turning the grain to zero and see if the posterization is still visible Blend Original Will ble
17. Alternate Dist Uses a different smoother look Gray Convert Controls whether or not the line should be converted to gray Time Vary Par This changes the look of the distortions Blend This will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage oe 97 VISUAL HARMONIZER Visual Harmonizer creates stunning geometrical images based on a series of sine waves which are rendered as particles or as illuminated lines Each of these harmonizer shapes are controlled by the frequency how close together the waves occur amplitude how high each wave will go and phase determines the position of the peaks and valleys of the waves in the Harmonizers Keyframe the start and end controls for each of these settings to determine moving wave patterns and experiment with differing numbers for the start and end values This effect was inspired by Nick Philip nphilip best com http www best com nphilip astrisk Image Mode Apply Mode Use Source Mode Image Composite Mode Particle Composite Mode Blend Original Alpha Threshold Alpha Weight Controls in this section are described in the Using the Plug ins section starting on page 13 of this manual Refer to that section for instructions on how to use these parameters 38 a o PREVIEW Number of Frequencies Number of Harmonizers defines how many
18. Be sure Web Euphoria is installed and you have the layer selected before applying the filter If it asks for your Master CD insert it in your CD ROM drive e keep getting out of memory messages Increase the memory partition for Photoshop or reduce the size of the images you are using or reduce the quality draft mode e d like to see a faster preview You can drop the resolution by clicking on the mountains in the preview window By doing this you can increase preview speeds by up to 800 This is useful to see to overall effect quickly or to try out animated parameter settings Grain will look different but all other aspects are previewable e d like to see real time previews of the effect Hold down the option key while moving any slider e can t run the filter on my computer You will need a PowerPC G3 or better with at least 128mb of RAM applied to Photoshop e Web Euphoria is asking for the Master CD You must keep the master CD in the drive the first time you use a Euphoria plug in After that you do not need to use the Web Euphoria Master CD The Master CD acts like a hardware key and authorizes you to use the software Ol oO B Ti ps and Tricks Visual Harmonizer 1 First tip is this animating the PHASE controls is essential to getting this plug in going Moving the sine waves OUT OF PHASE means having the START PHASE and END PHASE moving in opposite directions and think this can look very dynamic
19. User Manual FEIGRRERTIITE 6U air ll www digieffects com iEffects Dig Web Euphoria User Manual MacOS publisher DigiEffects Austin Republic of Texas United States digits 512 306 1310 Fax e mail info digieffects com tech support support digieffects com website www digieffects com 1999 2000 DigiEffects amp Chris Athanas All rights reserved Web Euphoria Version 1 0 for MacOS software Chris Athanas Andrew Bell Gunnar Proppe written Kendall Anders Chris Athanas special thanks Jeff Taylor Texas Day All our patient Beta sites edited JoAnne Milette created Austin Texas amp San Francisco California Web Euphoria AgedFilm Day For Night FogBank Grayscaler LightBlast Rain Fall Retinal Bloom Selective RGB Posterize ShadowType Snow Storm Specular Lighting Starfield Thermograph VideoLook Visual Harmonizer DigiEffects and the DigiEffects Logo are trademarks of DigiEffects and Chris Athanas All rights reserved The DigiEffects software is furnished under a license agreement which can be printed when the software is first installed This manual as well as the software described in it is furnished under license and may only be used or copied in accordance with the terms of such license The information in this manual is furnished for informational use only and is subject to change without notice and should not be construed as a commitment guarantee or contract by Chris Athanas or DigiEf
20. ain drops Gusts interject chaotic movement increasing the realism of the simulation Gravity Gravity determines how fast the rain will fall The higher this number the faster the raindrops will fall and become longer due to motion blur applied to the rain drops Wind Horiz Wind Horiz determines the speed at which the rain drops will move to the sides When this number is positive the rain will fall from left to right When the numbers are negative the rain will fall from right to left 240 Wind Vert Wind Vert increases or decreases the vertical speed of the rainfall This can be used to increase the initial speed which in many cases starts at zero NOTE Gusts are blasts of wind that move the rain horizontally for short periods of time Gust Probability Gust Probability determines the likelihood of a gust occurring at any given time Gust Max Duration Gust Max Duration determines how long the gusts will last once they do occur Gust Max Speed Gust Max Speed determines how far the gust will move the raindrops horizontally RETINAL BLOOM Retinal Bloom simulates an all over lens flare effect It is primarily designed for night time scenes but can be used for day scenes You have full control over the shape of the bloom or lens iris shape the size of the bloom the threshold for the blooming the brightness of the bloom the amount of blur and the amount to blend with the original image Due to the natu
21. ate From control is set to Generate from Point This control will set the point where the particles are created Time This control allows you to render the effect at different times This is useful for controlling the age of the effect This control gives you the ability to make the effect generate particles at any point in time If you did not have this ability you would not be able to control the amount of particles in the effect PLUG IN CONTROLS J B PLUG IN GONTROLS General The controls always actively update the preview image If your machine is too slow turn off the preview by clicking on the red preview button A low resolution preview is shown first followed by a higher resolution image The option key can be used as a toggle to turn the low res preview on or off while changing a single parameter You can also click to interrupt the render at any time Preview Window You can drag the window around the screen by clicking and dragging on the Web Euphoria title You can get information about the plug in by clicking on the DigiEffects logo in the lower left corner Color Picker Use to choose colors Click on dropper and select a color anywhere on the screen not just the image area Use to select a single choice or mode from a list of possible modes Click and hold to select from a menu of choices Roller Use to quickly enter numerical values Mouse down on the sp
22. ated sensitivity of the the film which is determined by the size of the grain which gives a brightness pattern Transparency This is essentially the same thing as Alpha This defines the opacity of the pixel When alpha is zero the pixel is completely transpar ent When the alpha is 255 the pixel is opaque Threshold A level or value at which something will occur Example if a pixel has a brightness value of 128 50 gray a threshold value of 64 38 C jp B would be exceeded by the 128 value of the pixel Therefore in the case of a particle system a particle may be generated at that point If the pixel value was O black then no particle would be generated Warp Center Vanishing point of origin for the stars or the distant heading of the viewer si 33 u AGED FILM AgedFilm simulates an aged old photo look with grain dust hair scratches luminance distortion and tinting You can make your image as new or old as you want If you are looking for a realistic animated film simulation check out another DigiEffects product called CineLook CineLook was designed to realistically simulate the look of film for video and non film images Parameters Film Response Grain Amount Dust Size Dust Amount Dust Color Hair Size Hair Amount Hair Color Scratch Amount Scratch Velocity Scratch Lifespan This lets you control the light gain of the image to be closer to the light response cur
23. bars are created with the Visual Harmonizer The more Harmonizers created the slower the render Particle Shape Particle Shape defines the basic look or appearance of the bars created with Visual Harmonizer Each of these particle shapes gives a significantly different look especially when Use Spacing below is checked on si 98 u Start Point End Point These points define the left side and right side of the effect TIP If you want the Harmonizer to run top to bottom instead of side to side use Effect Only in the Apply Mode pop up Then rotate the Rotation control under the Transform menu NOTE The Transform controls are available within Photoshop Start Color Start Color is the color of the first frequency or wave End Color End Color is the color of the last frequency Start Size Start Size is the thickness of the first or start frequency End Size End Size is the thickness of the last frequency Each of the frequencies in between will vary in width in a linear manner between the start and end size Start Opacity Start Opacity determines the transparency or opacity of the first frequency End Opacity End Opacity determines the transparency or opacity of the first frequency 100 Ta Ze B Start Amplitude Ale Amplitude determines the height of the first frequency End Amplitude End Amplitude determines the height of the last frequency NOTE Load the preset Simple Waves Notice that the star
24. cccccuxacsudsaseaecesnancaswessesraeeiesacsewsotels 74 F Fe J i r f A I i for f Contents cont d B E B D PLUG IN DESCRIPTIONS CONT O SNOW SOIM ee ae nee een 80 C Specular LISTEN see ee eat 86 Star FIOlO N ee ae een rer 90 THE NOS D A ee et 92 VideoLook Looe cece ccc ccc ccc cece cccecccceccsccccccceccscescess 96 Visual Harmonizer cece ccc cece ccc cccccccccsccececcecs 98 FAQ s Tips and Support Frequently Asked Questions ccccescecccesccesceecces 103 WS ad Tricks ee ee 107 Troubleshooting Support ccc cee eee cece ceeeeeees 109 GETTING STARTED INTRODUCTION DigiEffects is proud to introduce Web Euphoria for Photoshop Macintosh These plugins are new to this environment and have been proven useful by video professionals the world over All 20 originated in the various DigiEffects plug in sets Aurorix 2 Berserk Cinemotion and Delirium for Adobe After Effects and other hosts Many of our After Effects users are Photoshop users The idea had been posed as a what if and a wouldn t it be nice sort of suggestion many times since the effects were introduced So we thought it would be useful to bring these same dynamic effects to the high res photographic environment of Photoshop for use on the Web and in digital design Never before have digital artists been given this level of creative control over images Web Euphoria contains 20 special effects plug in
25. ce and adjust the Blend settings for each bank With a little bit of experimentation you can create some amazing and realistic looking fog This manual will only describe a single bank as all bank controls are the same Parameters Bank Blend Controls the opacity of the bank Bank Brightness Controls the brightness of the bank Bank Offset Controls the position of the bank Bank Seed Controls the overall look value for the bank Bank Horz Scale Horizontal stretch of the fog bank Bank Vert Scale Vertical stretch of the fog bank a8 9 BE o Diagram showing how layers are com posited to achieve effect oe 48 e GRAYSCALER GrayScaler converts color images into grayscale images with a customizable luminance channel control You can get some amazing looks by blending different amounts of the Red Green and Blue color channels together to create a grayscale image Grayscaler gives control over the process of going from Color to Grayscale The key here is that it allows for adding varying amounts of each of the red green and blue color channels Additionally for each of these channels brightness and contrast may be worked with independently TIP When first looking at source images it can be helpful to look at each of the color channels independently and without any changes made to the contrast or brightness of the channels To do this load each of the following presets sequentially so that you can see the channel
26. ction amount si 87 Bump Map Style To apply a bumpy looking surface to the image select a bump map type other than None The different shapes curve the surface differently None No bump map applied wae Linear Slanted tr Logarithmic A plateau look ee ae Sine Smoothly curving straight in the middle Spherical Completely smoothly curved no straight lines NOTE These settings must be experimented with as they are difficult to describe succinctly with words Bumpmap Depth Determines the deepness of the bump map effect Bumpmap Smoothness Determines the softness of the bump map effect Blend This control will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected image 88 o 1s i j F j w ihes Weird looks are available STARFIELD StarField creates a simulation of flying through a field of stars You have full control over the number of stars speed warp center perspective streak amount distant cutoff maximum size random color color stars minimum and maximum color for the stars and blending with the original image Increase the streak amount for star wars light speed jump effects Hint For amore convincing effect render a single frame with no streaks and lots of stars Use this single frame as a background for the star speed effect Number of Stars Con
27. d footage 5e si 53 u LASER Laser creates a laser ray style beam You have control over the type of beam the start and end point for the beam start and end color start and end size and spacing controls Of course you can also blend with the source image The spacing control lets you create star wars style stun gun effects where the beam is spaced out according to the spacing control You can control the laser type from four types of beams High Energy creates a fat and bright beam Pistol creates a smaller beam Thin Laser creates a very small line and Stun uses small ovals The laser effect brightens the image The colors should be set rather dark to keep the color saturation of the laser effect If you make the color too bright you will create a white only laser and all color will be washed out You can also create blast type explosions To create a blast set the Start and End locations close together and manipulate the Size controls to get the desired size and effect Beam Type Controls the shape of the laser beam Start Point Starting location for the laser Start Color Start color for the laser Start Size Starting size for the laser End Point Ending location for the laser End Color Ending color of the laser End Size Ending size of the laser Use Spacing When checked the laser pulses are spaced evenly using the spacing control SSS o PREVIEW Spacin
28. d with the any new parameter settings Cancel Will cancel plug in operation and return IN control back to Photoshop OK Will apply current settings to current layer oO B Pop Ups These menus allow you to select a single item from a list of choices Option Key By pressing this before changing any parameters you will be able to turn off the low res preview and view only what the effect will look like after the effect is complete TIP To make previews faster here are a few tips 1 Zoom out to less than 50 2 Turn preview off while adjusting multiple parameters 3 Interrupt the preview render by clicking on another parameter or just clicking anywhere on the window LIST OF TERMS Alpha This is an extra channel of information for each pixel that determines the opacity of the pixel Ambient Existing or present on all sides overall lighting Amplitude Amplitude determines the height of the wave form The higher this number the more deviation from a zero value Bias Bias is the weighting of one value over another Bias gives prefer ence to one over the other of paired values Bump Map Distortion of image base on protuberance of the surface Comb Mask Simulates the color shield on a television Screen Decay To decrease gradually in quality and or quantity Dispersion This controls the dissipation of the particles Low dispersion gives closer groupings and high dispersion gives wider gro
29. der If they are and still don t appear it is because Photoshop does not always check to see if there are new plug ins in the Plug ins folder every time Photoshop is launched This is done to make launching Photoshop faster To fix this you need to force Photoshop to look at the plug ins folder for new plug ins To do this tell Photoshop the plug ins folder is in a different place then switch it back The steps seem a bit crazy but this is the way it goes 1 Launch Photoshop 2 Open the File Menu gt Preferences gt Plug ins dialog 3 Set the plug ins folder to any other folder outside the Photoshop folder IMPORTANT Do NOT choose a folder inside the Photoshop folder Click OK A Quit Photoshop and then immediately Launch Photoshop again 5 Open the File Menu gt Preferences gt Plug ins dialog 6 Set the plug ins folder back to the normal plug ins folder which is usually in the same folder as Photoshop 7 Quit Photoshop and then Launch Photoshop again The plug ins should now appear si 195 Trouble Shooting e How can I make Web Euphoria render faster 1 Reduce any Smoothness parameter to the lowest possible setting 2 Adjust parameter when zoomed out e can t find Web Euphoria in the Effects menu Be sure that you installed the filter into the correct plug ins folder It should be in the same folder as your copy of the Photoshop application e can t apply a Web Euphoria effect to a layer
30. e as if it were a piece of plastic The effect s light source can simply shine on the surface or you can automatically create a bump map of the source image Then the plug in will simulate hills and valleys over the image You can control the smoothness and depth of the bumpiness Control the surface look is done via the Materials sliders These will determine the Ambient Specular Highlight and Diffuse Lighting parameters These control how the surface material interacts with the light source You can make the surface look glossy flat or anything in between Light Type Determines the Light modeling mode Point Light Light comes from a point close to the surface Directional Light is reflected at an angle from a light source infinitely far away Light Color Determines the color of the light source Light Intensity Controls the overall brightness level of the light source Position Height Determines the height of the light source above the surface of the image Position X Defines the horizontal light location Position Y Determines the vertical light location Direction Height Determines the outward direction of the light Direction X Determines the horizontal direction of the light Direction Y Determines the vertical direction of the light 86 SS o AEI Default Preset ri l PREVIEW Material Diffuse This controls the diffuse light reflection amount Material Ambient This controls the ambient light refle
31. er of particles used to create the effect Tint Color The color to tint the texture Min and Max Size The smallest and largest size of any pearl particle Min and Max Brightness The lightest and darkest setting for any pearl particle Min and Max Speed Horz The slowest and fastest horizontal speed for any pearl particle Negative values move left and positive values more right Speed is in pixels per time step Min and Max Speed Vert The slowest and fastest vertical speed for any pearl particle Negative values move up and positive values move down Speed is in pixels per time step 58 SSS B PFearis PRESET jca PREVIEW Include Source Allows you to include the source image as a part of the effect Seed Value The starting random seed Time Controls the frame to render Blend This control will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected image si 59 u RAINFALL RainFall simulates a summer rainstorm It automatically simulates the movement of rain and the individual drops can fall on the edges of the source image Rainfall is a particle system that easily and elegantly handles rain effects through a realistic rain simulation You can bounce and splash rain off objects The bounce areas can be defined using the alpha of the source image or by the luminance of the source image
32. fect and will not include the source image A Click OK to apply the effect to the source image 5 Using the Photoshop transfer Mode tools you can composite the effect and text layers and get rid of the black areas using Screen or Color Dodge This completes the tutorial section See the web Euphoria CD ROM for the completed tutorial images enh L TERED 8 USING THE PLUG INS Ja B USING THE PLUG INS A Few Words About the Plug ins We think it would be helpful to tell you some of the basic ideas behind how these plug ins operate some specific information about how they work and a discussion of some terminology This section is a general explanation of many underlying concepts that drive Web Euphoria Particle Systems Web Euphoria has a number of different effect plug ins including a collection of particle systems Particle systems are a general purpose technique to create realistic natural phenomenon and artistic effects These particle systems simulate certain specific effects For example effects like Snow Rain and Fire are specialized particle systems There are many other effects in Web Euphoria that are also based on this particle system idea and therefore the discussion of how these particle systems work is also useful for these plug ins Most other commercial particle systems are general purpose and users have a difficult time creating a desired effect Web Euphoria addresses the roo
33. fects DigiEffects and Chris Athanas assume no responsibility or liability for any errors or inaccuracies that may appear in this document or the software it describes Information in this document is subject to change without notice No part of this document may be reproduced or transmitted in any form or by any means electronic or mechanical for any purpose without the express written permission of DigiEffects After Effects Photoshop and Premiere are registered trademarks of Adobe Systems Inc Apple MacOS Macintosh and QuickTime are trademarks of Apple Computer Inc All other trademarks are the property of their respective owners j j Contents o o GETING STARTED es 322 200 00 area 01 WET OOUGUION ee ee one 02 System Requirements ssssessseessoesscessceesceesoeesee 03 WAS CAMA ON EE EE E E E AE E 06 TULON ee ee EE 08 USING PLUG INS essen sans ee ea 13 A Few Words About the Plug ins eee cece eee e eee 14 PLUG IN CONTOU een 25 COT TO erenn ee ee 30 PLUG IN DESCRIPTIONS ASEAFTUN an ee era 34 Day FOF NIONU a een re 36 PIO ern EEE 42 FOSBaNK ee EEE EE EERE en 48 Grayscale Dane r eked arere UEP EORPU ESEON CETIS EPEY 50 Ei Ol E E E E E E E EEEE E RER RN 54 Begis i E ee EEE EEEE E 56 PANS T E E E E E A 58 Ra FU een EEE EEEE A S 60 PRO UA EEE T 66 DADDAUICK S so0cenesceceencewesess vaste ersurehesateeree A 70 Selective PosteriZe sesoesessessesoesoesoesessesoesoes 72 SNACOW Ty De
34. from alpha of source image 43 Controls in this section are described in the Using the Plug ins section starting on page 13 of this manual Refer to that section for instructions on how to use these parameters TIP Fire particle system and the turbulence together determine the character of the flames Use these controls together to determine the overall look of your fire TIP Using the Generate from Layer Alpha gt Threshold is the best way to generate fire from text or a company logo that has an alpha channel See the tutorial for details Fire Amount Fire Amount controls the total number of flames that are generated per frame Vert Speed Vert Speed controls the rate at which the flames rise once they have been emitted Flame Lifetime Flame Lifetime controls how many frames the flames will last once they are emitted Min Size Min Size determines the smallest size flame that will be emitted Max Size Max Size determines the largest size flame that will be emitted NOTE Most flames will be of a size in between the Min and Max Min and Max size only determine the outside boundaries of the potential size of the individual flames TIP Min size and Max size do not completely determine the size of the fire Mostly they determine the style of the fire Use fire amount to determine the size of the overall fire and size min and max to give the fire character Min Opacity Min Opacity controls the minima
35. g Controls the distance for the spacing of the pulses Blend This controls the overall blend of the effect with the underlying layer si 55 LIGHTBLAST LightBlast creates a zooming misty or motion blurred lighting effect The effect can zoom towards the viewer The source of the light can also be controlled as well as the brightness of the source light Blast Amount Controls the amount of zooming The larger zoom the longer it takes to render Brightness Brightness of the light source Light Center Center point of the light source Moving this location will give the appearance of a light moving and sending beams of light through the lighted object Blend This control will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected image 56 SS PREVIEW ak 100 si 57 PEARLS Pearls creates a beautiful flowing texture Pearls uses a particle system to create its effect You can control the number of Pearl Nodules particles the starting seed value size of the nodules brightness of the nodules and the speed of travel of the nodules You can then tint the resulting Pearl texture with a color and also blend the texture with the source image You can also execute the effect over the source image Pearls is a great effect for creating a texture map for use as backgrounds Number of Nodules The numb
36. here and roll left and right to change values Click on the left arrow to decrease value by 1 and click on the right to increase Click on the white box with blue arrow to change values manually XY Control Use to select horizontal and vertical location for effect parameters Once selected you can choose the location in the preview window by clicking in the image You can also click in the X and Y white boxes to change values manually The X and Y location for the current XY control will appear only when the XY control is selected X is horizontal and Y is vertical Check Box Click to toggle turn off and on the current setting CONVERT TO GRAY Preview Controls Click Preview to turn active preview PREVIEW on and off You can also use the option key to temporarily turn this feature on or off LY 27 8 Zooming amp Panning Click the small mountain to zoom out and the large mountain to zoom in Click the Hand to pan around the image gaj Detaultpreset f Presets The little up and down arrows scroll through the presets The popup gives direct access to the preset The will add the ee 3 current parameters to a new preset and the will delete the current preset Progress While the effect is rendering a green bar will grow on the right side of the preview box You may click at any time to interrupt this and the render will resume after 1 2 secon
37. is being applied to OU U VDUU Jh If you have low memory error messages please increase the memory partition for Photoshop by 5 000K each time you receive out of memory messages The recommended partition size for Photoshop is 64mb 64 000K for web based images We recommend at least 256mb 256 000K for print documents but this may not be enough for some documents You will need to quit Photoshop to change this setting Most effects are limited to use on images that are less than 2000 x 2000 pixels Most of the images on the internet are much smaller than that though If your document is larger apply the effect to a smaller section that is less than 2000 x 2000 in pixels using the selection tools Use the Piggy Plug ins Patch if you keep receiving out of memory messages The Piggy Plug in will allow more memory from Photoshop to be used by the plug ins This plug in can be found on the original Photoshop installer CD please do a search Photoshop automatically reserves more than 80 of the memory space to itself during start up This memory is not available for use by the Web Euphoria plug ins The Piggy Plug in alleviates this problem by allowing a little more memory to be available for use by the Web Euphoria plug ins 104 PROBLEMS WITH INSTALLATION The most common problem with installation is that the plug ins do not show up First be sure that the plug ins are indeed in your plug ins fol
38. l amount of how opaque the flames can be When this number is set low many of the flames will be transparent When set high you will not be able to see through the flames much at all Max Opacity Max Opacity controls the maximum amount of how opaque the flames can be When this is set low you will be able to see through the fire to the layer to which Fire is applied Horiz Dispersion Horiz Dispersion controls how much the flames will be dispersed along the horizontal axis from their generation location Qe ee Ss Wind Horiz Wind Horizontal controls how much sideways force there is on the fire si 45 Wind Vert Wind Vert gives you control over how fast the flames rise This can be used in conjunction with Vert Speed to determine the overall flame speed RER TIP Use Vert Speed when you want the Weim overall speed of the fire to stay constant Distort but you need to keyframe vertically se oa ae accelerated bursts of fire Flow kien Turbulence Turbulence is the wispy appearance that is seen in the flames Turbulence stretches the flames to create realism and cohesion in the flames Turb Amount Turb Amount determines how much of an effect turbulence will have on the fire TIP The higher the Turb Amount the slower the render For Example if this is set at 12 it will take approximately 20 longer than if it was set at 5 Turb V Speed Turbulence moves faster then the flames that is what stretches it
39. l color being added at their respective positions in the gradient Pixel Mode This allows for the application of the thermograph effect to a single channel only or to all three RGB at once Color Mode Defines how the colors are interpolated RGB Modes interpolate along a straight line using the Red Green and Blue channels HSB modes interpolate through the colors as if they were a rainbow Start Color Defines the color that will replace the darkest colors in the footage End Color Defines the color that will replace the brightest colors in the footage Multi Gradient This pop up determines how many colors will be in the gradient The colors will always fall in between the start and end colors For Example S gt 1 gt E will provide for a 3 color gradient starting with the start color transitioning to the Grad 1 Color and ending with the End Color Bias Controls the balance of color or the quantity of color between the a SS o start and end colors in the gradient When this is shifted to the right the end color will be more dominant in the gradient when it is shifted to the left the start color will be more dominant Blend This will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage 95 E VIDEOLOOK VideoLook simulates TV interference and video screen snow This is a great filter for
40. lend to composite the effect with the source layer Like Add or Screen Composite Effect Behind Composite Effect Behind composites the Effect with the layer ONLY when Subtract and Difference are selected in the Composite Mode pop up Because of the subtractive nature of those two composite modes the results will be different than the results of Composite Effect in Front zZ ee B Composite Modes Composite Mode determines how the effect will combine with the source layer This is similar to the Photoshop Transfer Modes but we have built them into the plug in so that presets can be made with specific composite modes Add Add combines the color values of the layers The resulting color is always brighter than the original Screen Screen multiplies the inverse brightness values of the colors in the layers The resulting color is never darker than the original Subtract Subtract uses the effect to reduce the brightness of the source layer but does not roll over beyond zero like difference so the extreme colors do not occur The resulting color is always darker Difference Difference subtracts the color values of the Effect and Source Layer displays the absolute value of the result Colors can look psychedelic Blend Performs a simple Blend Blend Using Alpha Blend using Alpha uses the alpha of the effect as a weight to blend the effect with the Source Layer f J 8 Multiply Multiply mathematica
41. llation is that the plug ins do not show up First be sure that the plug ins are indeed in your plug ins folder If they are and still don t appear it is because Photoshop does not always check to see if there are new plug ins in the Plug ins folder every time Photoshop is launched This is done to make launching Photoshop faster To fix this you need to force Photoshop to look at the plug ins folder for new plug ins To do this you need to tell Photoshop the plug ins folder is in a different place then switch it back The instructions seem a bit crazy but this is the way it goes until Adobe fixes the problem 1 Launch Photoshop 2 Open the File Menu gt Preferences gt Plug ins dialog 3 Set the plug ins folder to any other folder outside the Photoshop folder IMPORTANT Do NOT choose a folder inside the Photoshop folder Click OK 4 Quit Photoshop and then immediately Launch Photoshop again Open the File Menu gt Preferences gt Plug ins dialog 6 Set the plug ins folder back to the normal plug ins folder which is usually in the same folder as Photoshop 7 Quit Photoshop and then Launch Photoshop again The plug ins should now appear Ol TUTORIAL This tutorial will explain how to apply a Web Euphoria effect within Photoshop Your application may differ slightly but the overall concepts will be the same Applying Effects Basics Launch Photoshop amp Open the Astronaut jpg image 2 Select the
42. lly combines the Source Layer and Effect color values in the layers and divides the result by 255 The resulting color is never brighter than the original Lighter Lighter compares the channel values of the underlying and layer colors and displays the lighter of the two Darker Darker compares the channel values of the underlying and layer colors and displays the darker of the two Scales This is a special case composite mode to be used on an experimental basis It causes extreme color distortions Overlay This mode will multiply or screen the colors depending on the source color Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color Hard Light Hard Light multiplies or screens the resulting color depending on the source layer color If the underlying color is lighter than 50 gray the layer lightens as if it were screened If the underlying color is darker than 50 gray the layer darkens as if it were multiplied Soft Light p90 ee se B Soft light darkens or lightens the resulting colors depending on the layer color If the underlying color is lighter than 50 gray the layer lightens If the underlying color is darker than 50 gray the layer darkens Minimum Minimum uses the mathematical minimum of the Effect and Source Images color values to replace the original image This is a modified version of Lighter Maximum Maximum uses the mathematical maximum colo
43. m _ Memory Requirements Suggested Size 236 K Minimum Size 19341 K Preferred Sive 173637 K Note Memory requirements will decrease by 7 053 K if virtual memory is turned on Adobe Ph ato Shope 5 5 L Locked INSTALLATION INSTALLATION 1 Locate your Photoshop or Photoshop plug in compatible application directory Inside that folder there will be a Plug ins folder Open this folder gt Adobe Photoshop gt Plug ins Find the Install Euphoria folder on the Euphoria CD Find the Euphoria Installer program inside that folder Double click it Follow the instructions in the installer Install the plug ins in this folder gt Adobe Photoshop gt Plug ins This will install all the Euphoria plug ins If your Photoshop application is running quit it now and restart the application You can check proper installation of the plug ins by doing the following Launch your Photoshop application create a New document click on the Filters menu you should see the DigiEffects Euphoria sub menu select it and check to see if there are any plug ins in the menu If you do not see any plug ins see the next section Problems with Installation NOTE The most recent version of the manual is on the CD ROM that came with Web Euphoria Please check it if you are having problems that are not addressed in this manual PROBLEMS WITH INSTALLATION The most common problem with insta
44. menu Filters gt DigiEffects Web Euphoria gt Sabbatier 3 Adjust the Rotate and Contrast parameters to alter the image 4 Click the Zoom icons small and large mountains to magnify the image By zooming out the effect will render much faster making experimentation easier 5 Click on the Preset button to save a preset Call the preset Test and click Save 7 Click OK to apply the effect to the Astronaut image On Text Effects Basics 1 Launch Photoshop amp Open the Astronaut jpg image 2 Click on the Text tool and create a block of text that reads Euphoria 36 point type 3 Rasterize the type which turns the vector font into pixels by selecting Layer gt Rasterize gt Type NOTE This command may be different in your version of Photoshop A Apply the Fire filter by selecting Filter gt DigiEffects Web Euphoria gt Fire s 0 QI o 5 Set the Generate Mode to Generate Layer Alpha gt Threshold This tells the Fire plug in to generate particles only where the Alpha transparency exceeds a certain value determined by the Generate Threshold control 6 Set Turbulence to 1 This decreases the wispiness and makes rendering faster 7 Set Turbulence Size to 10 This will make the wisp area more compact 8 Set Min Size to 40 and Max Size to 150 This adjusts the size of the individual fire particles This will increase detail 9 Adjust the
45. music videos games and creating interesting looks for video art Gets you that ultra grungy deconstructed dirty future technology look Use it for video phones interstellar transmissions infrared goggles and anywhere you need a cheap video look Even and Odd Brightness Size Noise Distortion Blend Gray Tint Color Comb Mask Decay Amount Colorize Noise Distortion Mode Shift Linear Noisy Sawtooth Wave The filter uses two alternating scan lines even and odd The two lines are controlled independently Controls the brightness of the line Controls the size of the line s thickness This allows you to set the quantity of graininess that you want Horizontal offset distortion for sine wave or random line offsets Blends back in with source image Great for reducing the distortion Determines the color to tint the line if converted to gray Set the kind of comb or horizontal skipping of pixels Controls the amount of decay or number of times that the effect repeats itself You will want to experiment with this Creates colored snow Shifts the line to the left or right Moves it left or right on the diagonal Shifts left and right by a random amount per line Similar to linear shifts left or right then snaps back Does a sine wave horizontal distortion s8 zT ee ee J E VideoLook 2 13 4 j Default Preset PREVIEW TIME VARY PARAMETER BLEND 0 Je
46. nd in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage NTs 71 SELECTIVE POSTERIZE This effect allows you to add posterization also known as color banding of an image through the Red Green and Blue channels independently Since the concepts are the same for Red Green Blue and Alpha channel controls we will describe the controls once Red Green or Blue Levels Controls the number of levels within the selected channel Use Red Green or Blue Channel This toggle alows you to turn off or on the selected channel Blend This will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage Tied To The Red Green and Blue channels use the same values as the red channel 7z a PREVIEW nm IUCNCC I DigiEffects oS EA SHADOW TYPE Shadow Type allows you use the Shadow and Glow features in a very simple and easy to control environment Font You can choose from any fonts that you have loaded in the System Folder Fonts folder Font Hue Allows shifting of the chosen color either left or right on the spectrum This will make sense as soon as you try it Font Color Choose the font s color with the dropper tool Font Lightness Controls the amount of white in the color Font Sa
47. now before the clip shows If you did not have this ability the effect would have to start with no snow By pre rolling you can have the effect already generating snow from the first frame in the layer The value corresponds to the number of frames before the first frame that the effect Starts generating the snow BB SS B Snow Generate Snow Generate determines how many snow particles will be created per time step Min Size Min Size determines the size of the smallest flakes created by the Snow plug in Max Size Max Size determines the size of the largest flakes created by the Snow plug in Min Opacity Min Opacity determines the most transparent any part of any flake can be Max Opacity Max Opacity determines the most opaque any part of any flake can be Lilt Gravity Wind Gusts Lilt is the random motion that individual snow flakes have While snow AA 83 8 tends to fall all in a single direction the individual flakes have a chaotic motion that allows them to move randomly sometime with the general direction of the snow sometimes against it This individual flake motion is defined as lilt While this is a global setting it is applied to each flake individually Arandom number between the min and max amounts will be picked and applied to each flake Min Lilt Amount Min Lilt Amount determines the minimal distance that the lilt will move the flake Max Lilt Amount Max Lilt Amount determines the
48. ns give you the most realism Since smoke in nature is a dynamic turbulent system its important for those who want natural looking smoke to approach creating it this way 44 Jw L Although the DigiEffects Smoke plug in is one of the best plug ins available for creating smoke effects you should try to use at least two instances of it to create the illusion of nature 2 In addition to using multiple layers I ve found that the most natural looking smoke also has a kind of edge density phenomenon which can be approximated by employing the AE plug in Find Edges combined with gaussian Blur If you use blur then find edges check invert box in Find Edges in duplicates of a layer and use transfer functions and layer opacity you will find that the smoke takes on a new type of look Something a bit more like the long tendrils of a smoldering cigarette Be sure that within the smoke plug in that EFFECT ONLY is activated as the APPLY MODE see first parameter This will make multiple instances composite a little better when using certain transfer modes 3 Another trick like to use involves duplicating a layer multiple times and then editing the smoke on each layer using different RANDOM SEEDS When you change the random seed number the way the smoke is generated varies in that instance of the plug in What like about this feature is that you can basically start with all of the parameters exactly matching When you vary a small amoun
49. olor will begin at the bottom of the layer End Alpha End Alpha defines the transparency of the End Color This can be used to scale back or lessen the effect of the End Color Bias Bias defines the weight or distribution of the Start and End colors The lower this number is the more dominant the Start Color Opposite with the end colors Blend Original Blend Original will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage a 9 er o Gradient Colors These colors defines the number of additional colors that will be used to create the gradient color for the Day for Night effect This pop up allows for the addition of colors between the Start and End Colors up to a maximum of 4 additional colors 6 total including the start and end colors Gradient 1 Color This is the color for the Filter 1 parameter Alpha 1 Alpha 1 controls how transparent or opaque the color will be that is selected under Filter 1 Color The higher this number the more opaque the color Filter 1 Pos Filter 1 Pos controls the position of color one in the gradient that is causing the Day for Night Effect It is similar to Bias for the start and end colors FIRE This effect creates a fire effect based on the transparency or luminance of an image or from the bottom or from a point Fire has to be one of our most requested plug ins of
50. omposite Mode handles how the particles that make up the effect will blend with EACH OTHER before they are composited with the source layer Composite modes control how the colors of the Effect interact with the colors of the source layer also called image There are at most two different composite modes that can be used The first is the Image Composite Mode which defines how the entire effect will be mixed with the entire source image Apply Mode Use Source Use source composites the effect over the layer that it is applied Effect Only Effect Only will hide the source image that the plug in is applied to f i df 717 8 and show you only the Effect This is very useful if you want to see just what the effect is creating You can also apply an effect and use Effect Only to retain the effect s alpha information for use in composition using Photoshop s tools Use Source Mode Effect in Front Effect in front places the effect directly in front of the layer to which the plug in is applied Effect Behind Effect behind places the effect behind the layer to which the effect is applied TIP This setting is most easily seen when applied to a layer that has an alpha channel The effect will appear from behind the layer Composite Effect in Front This works exactly like Effect in Front except that it enables the Composite Mode controls below Use this setting when you want to use a composite mode other than B
51. r value to replace the original footage This is a modified version of Darker Bit wise OR Bit wise AND Bit wise XOR Each of these settings do similar but slightly different operations to the color channels Exactly what they do is hard to explain without using mathematical formulas and even then they would not easily translate into a few descriptive adjectives We suggest that you just try them out and see what they do Generally they will give very odd looks that reshuffle the colors through different color bands Alpha Threshold Alpha Threshold defines a transparency or alpha for the particles based on the luminance value of the image used to define the particles By increasing this number less of the particle will be visible The opacity of the particle will be clipped starting at the darker colors then transitioning to the lighter colors It effectively eats away at the darker areas first and works its way to the lighter colors using this information to define the opacity transparency of the particle image ers L Alpha Weisht Alpha Weisht defines the overall opacity of the particles Larger values will make the particle appear more opaque harder to see through The lower the value the more transparent the particle will become Random Seed Random Seed is the seed value think of it as a start point for any random values generated within the plug in TIP This is often used to reshuffle the overall look of the effec
52. ram correctly searches for plug ins in subfolders subdirectories and shows them in a hierarchical menu Execution speed of some plug ins is slower than in Photoshop possibly due to disk caching differences DeBabelizer MacOS All plug ins work correctly Set preferences to the folder directory in which the Photoshop filters are stored Sub folders sub directories are NOT searched for plug ins but Mac aliases are followed The menu lists plug ins alphabetically under Other CorelDraw amp Painter MacOS A user has reported that the Tool Kit plug ins do not work in older versions of these programs although some other Photoshop plug ins do function We have no test data ff 8 8 on the most recent versions of either program both of which claim to fully support Photoshop plug ins and therefore should function with the plug ins PhotoDeluxe Mac All plug ins work correctly under Mac System 7 x 8 x and 9 Because all images are treated as color multilayer arrays the plug ins operate more slowly than in Photoshop IMPORTANT INFORMATION THAT WILL SAVE YOU SEVERAL HEADACHES MEMORY REQUIREMENTS All of Web Euphoria s effects must render within the RAM space of Photoshop and are intended for web sized and digital camera images Some effects require 2 3 times the amount of RAM used by the layer that the effect is being applied to If you have low memory error messages please increase the memory partition for Photoshop
53. re of the processing for this effect render times can be rather long for large and bright images Zoom out while experimenting with settings for faster previews Threshold Min and Max Brightness value or sensitivity for the effect to apply the bloom shape Lower darker parts of the image and higher brighter parts Size Min and Max These set the limits for the random sizes of the blooms Park Bright Color Color Use Single Color When checked the effect will use the color in the Single Color for the color of the blooms Single Color This is the Picker for choosing a color if the Use Single Color box is checked 56 p o ge betau Preset ervecr ony IJ T PREVIEW Angle Min and Max These set the limits of random displacement angles between the source image and blooms Trans Min and Max The upper and lower levels of the bloom transparencies higher number more opacity and lower numbers more transparency oe D Quality Low Gives a low resolution preview Normal Gives a medium level effect High Gives a per pixel effect can be slow Effect Only When this box is checked the rendered image will contain only the effect and no source image Bloom Shape Determines the shape of the effect u Effect Only Based on luminance Min Threshold 250 Max 255 58 Tree B Soft amp Bright Oval Hexagonal Rounded Star 63 SABB
54. s Red Neutral Green Neutral and Blue Neutral Weight is the amount of color that is contributed from each channel The sum total of all three channels should equal 255 as this is the standard amount of channel contribution in a normal image For example It would be the same amount of luminance as a Standard Convert to Gray would be in an application like Adobe Photoshop If the sum total is greater than 255 it will brighten or blow out the footage which may be an interesting effect 50 4 os o GREEN WEIGHT Te BLU BLUE WEIGHT m 77 BLUE BRIGHTNESS a PREVIEW Weight Red Green Blue Weight determines the contribution of the channel to the final grayscale image Contrast Red Green Blue Contrast controls the amount of contrast in the channel This allows for increasing or decreasing the contrast levels in the channel before it is used in the blending of the red green and blue channel to create the grayscale footage si 51 e Brightness Red Green Blue Brightness controls the amount of brightness in the channel This allows for increasing or decreasing the brightness levels in the channel before it is used in the blending of the red green and blue channel to create the grayscale footage Blend Blend Original will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affecte
55. s for Photoshop includes tools for creating artistic effect as well as naturalistic phenomenon with particle based fire smoke and rain These aren t your typical particle only simulations these effects are enhanced with built in organic processing to create highly realistic simulations without resorting to complex 3D programs You can also create old movie effects noisy video transmissions light blasts posterizations laser beams text effects and much more Each plug in has a custom user interface that is easy to use There are many presets and you can even save your own Fully interactive preview allows changes to be made quickly Web Euphoria may be used with Premiere but the parameters and effects are not animatable If you require animated versions please look into our After Effects packages Cd SYSTEM REQUIREMENTS HOST APPLICATION Web Euphoria was design with Photoshop in mind but it will work with many applications that accept Photoshop plug ins Here is a partial list of compatible hosts Photoshop MacOS Plug ins perform correctly in Photoshop 2 5 3 4 5 and 6 under Mac System 7 8 and 9 ImageReady MacOS All plug ins work correctly under Mac System 8 x and 9 Director MacOS All plug ins work correctly under Mac System 8 x and 9 Canvas MacOS All plug ins work correctly Set preferences to direct Canvas to the Photoshop directory where your filters are Stored like Photoshop the prog
56. s the inverse brightness values of the colors in all layers The resulting color is never darker than the original Subtract Subtract uses the effect layer to reduce the brightness of the original layer but does not roll over beyond zero so the extreme colors do not appear and ar clipped to black si I Difference Difference subtracts the channel values of the layer and the underlying colors and displays the absolute value of the result Blend Using Alpha Blend using Alpha uses the alpha s weight to blend the effect with the original footage Multiply Multiply multiplies the color values in the layers and divides the result by 255 The resulting color is never brighter than the original Day for Night Simulation Lighter Lighter compares the channel values of the underlying and layer colors and displays the lighter of the two Darker Darker compares the channel values of the underlying and layer colors and displays the darker of the two Overlay Overlay multiplies or screens the colors depending on the base color Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color 38 o Hard Light Hard Light multiplies or screens the resulting color depending on the original layer color If the underlying color is lighter than 50 gray the layer lightens as if it were screened If the underlying color is darker than 50 gray the layer darkens as if it
57. t without changing the parameters Blend Original Also just Blend Blend Original will blend in the unaffected original source layer with the effect The higher this number the more of the original layer will be blended in with the affected footage Particle System Generators Generate From This sets the locations the particles of the particle system will be created from You can choose the particles to be generated from the Top or Bottom of the layer from a point based on the brightness of an image or based on the alpha channel of an image Bottom Top of Layer Bottom of Layer will generate particles from the bottom of the layer to which the effect has been applied Top will generate from the top pp a a es Ze B Generate Layer Alpha gt Threshold This is used to generate particles from an image that has an alpha When this is selected the particles will be generated in areas that are inside the alpha mask Generate Threshold defines the area inside the alpha mask that can generate particles When the Generate Threshold slider below is set to zero all areas will generate particles As this number increases the more transparent areas of the alpha will no longer be able to produce particles TIP This is the best way to generate particles from text or a company logo that has an alpha channel Generate Layer Luminance gt Threshold Generate Layer Luminance gt Threshold is used to genera
58. t and end amplitudes are different and that that is generating variations on the height of the frequencies Also note that while start amplitude is set to zero there are still waves in the harmonizer Start Frequency NN Start Frequency determines how often the start 7 frequency goes up and down in a wave form The higher this number the greater the number of wave forms End Frequency End Frequency determines how often the end frequency goes up and down in a wave form si 10 u Start Phase lt Start Phase determines the alignment of the waves of the first frequency End Phase End Phase determines the alignment of the waves of the last frequency Use Spacing When this is checked Use Spacing breaks the frequencies from solid lines into individual dots depending on the Particle Shape Spacing Distance Spacing Distance is only valid when the Use Spacing box is checked When it is checked this determines the amount of space between the individual particles that make up the frequencies Spacing Phase Spacing Phase determines the location of the particles that make up the frequencies 102 Tee FAQ s TiPs AND SUPPORT si 103 Frequently Asked Questions MEMORY REQUIREMENTS All of Web Euphoria s effects must render within the RAM space of Photoshop and are intended for web sized and digital camera images Some effects require 2 3 times the amount of RAM used by the layer that the effect
59. t in each layer and use transfer modes to blend the layers together you get a very nice interaction between the individual layers 108 a Troubleshooting S Support Most questions we receive are easily found in the documentation Please read it all the way through and your question will probably be answered But if we ve over looked something or you have found a reproducible crashing error the fastest way to find out is to check the web site for a possible updated version or workaround FAQ on site www digieffects com After that please feel free to contact us at the following addresses Please have this information available for us when you send the message Machine Model Processor speed Mhz Processor Type Operating System Mac Windows Operating system version Amount of installed RAM Application you re using Photoshop ImageReady etc 8 Amount Mem applied to Application if applicable 9 Amount of hard disk space 10 Your Name Company amp Phone Num NO oR WYN e Mail This is the best way to get a thorough answer support digieffects com world wide web BEST CHOICE www digieffects com fax phone 512 306 1310 fax 512 306 0779 si 199 u 110 a B
60. t of this problem by creating plug ins that are specific to a certain effect For example the Fire plug in makes a great looking fire effect as soon as it s applied to a layer In contrast it would be difficult to make snow with the Fire plug in This is what we mean by designed for a specific effect Web Euphoria delivers a set of particle based effects that are designed to handle specific tasks extremely well while continuing to be easy to use It used to be that creating effects like realistic snow 14 R 2SJ A B with particles that look like snow would take hours to look good Control or Parameter Naming Conventions In many cases the controls also called parameters in Web Euphoria are named with terms used in mathematics We realize that this is in many cases not very user friendly but we also recognize that these terms are generally the most accurate and applicable across many plug ins For the sake of consistency we have kept the mathematical terms At the same time we will use some images to help define some of those terms Amplitude Often height could be substituted for Amplitude Generally this determines how extreme the swings are in the effect For Visual Harmonizer you can see below what low and high Amplitude will create Amplitude Set to 40 Amplitude Set to 100 But in cases like Camera Shake the effect does not easily translate to height In this case Amplitude really is more the
61. te particles from the lighter areas of an image The Generate Threshold slider below controls which areas of the image can generate particles When this slider is set to zero all areas of an image can generate particles As the Generate Threshold number gets higher darker areas of the image will no longer generate particles The Generate Threshold eliminates potential particle producing areas from darker areas up to the brighter areas Larger threshold values mean only bright areas will produce Bites Bright particles Generate Point Also Bubble Point Fire Point etc This mode uses the generate point control below to define a point in the layer where the particles will be created J 8 Generate Threshold Generate Threshold becomes active when Generate Layer Alpha gt Threshold or Generate Layer Luminance gt Threshold is selected in the Generate From pop up menu When one of these generate methods is selected this slider controls the level at which particles will be generated When this is set to zero any luminance level or alpha level can generate particles When this is set high only the brightest luminance levels or most opaque alpha levels will generate particles i e this will make it so that darker or more transparent areas cannot generate particles Generate Point Also Bubble Point Fire Point Snow Point etc This control becomes enabled when the Gener
62. threshold control will determine which pixels in the alpha channel will be detected as the first pixel to pile up on a means alpha Splash on RGB gt Threshold via Vert Height This will cause the rain to splash on the first vertical pixel in the image detected The threshold control will determine which pixels in the image will be detected as the first pixel to splash on Splash on Alpha gt Threshold via 2D Splash on RGB gt Threshold via 2D creates a mask that works in all directions to define areas of the layer where the rain will splash 52e o Splash Threshold This defines the minimum value for a pixel in order for a droplet to splash on the source image or Splash Via Layer image Rain Generate Rain Generate determines how much rain will fall be generated per time step This could be considered the volume control Min Size Min Size determines the smallest possible size for a rain drop Max Size Max Size determines the largest possible size for a rain drop NOTE Min Size and Max size are the outer limits for the size of the rain drops The drops will be a size in between these extremes Min Opacity Min Opacity determines the amount of transparency that the drops can have The lower this number the more transparent or see through gt 63 u Max Opacity Max Opacity determines how opaque non see throush that the rain drops can be Wind Gravity Gusts Wind creates movement within the r
63. trols the total number of stars in the image Streak Amount This controls the length of the streaks of the Stars Star Shape Shape of the star to render Use single dot to speed up rendering Speed The speed controls how fast you travel through space Time Controls the render location in time Warp Center The warp center controls the point where the stars will eminate Minimum Maximum Size This controls the minimum and maximum size of the stars s0 a o PRESET Default Preset 7 E Er i 4 3 ZZ 1 PREVIEW BUDS Wy maT coli N UA Birth Fade Up Controls the num of frames to fade up new Stars Bigger slower Random Seed Creates similar but different looks Star Color The color range of the stars Blend This will blend in the unaffected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage 2A i 9 u THERMOGRAPH Thermograph is an extremely flexible color remapping effect The basic idea is that you can take any color in the image and replace it with any other color based on a color gradient When in Preview Mode the gradient on the left is the source colors The gradient on the right is the colors that will be replace the source colors In other words the colors in the source layer are represented by the gradients on the left and these colors are all replaced by the colors in
64. turation Determines the font s color intensity Font Leading Leading is the distance between two lines of text separated by returns Font Size Adjusts the font s size in 1 point increments Font Spacing Controls the distance between letters Also known as kerning Font Style Allows for bolding italisizing or both If both boxes are unchecked font is regular Text Location This tool can either place the font via the cursor or with x amp y coordinates au SSS a rom gt mo i Shadow Color Choose the shadow s color with the dropper tool Shadow Saturation Determines the shadow s color intensity Shadow Lightness Controls the amount of white in the color Shadow Offset This tool can either place the shadow via the cursor or with x amp y coordinates TT y 75 SMOKE This effect generates smoke from a point the bottom of a layer or an alpha channel Tip When previewing the effect let the render finish before making changes to your settings The final effect will be slightly different than during the preview render NOTE See the front section for a detail explanation of the smoke creation parameters Smoke Amount Sets the total smoke of the rendered effect Vert Speed Vertical speed of smoke higher faster upward Horiz Dispersion Varies the starting location and horizontal speed Wind Horiz and Vert Controls direction of wind s effect on the
65. upings Frequency Frequency determines how often the value goes up and down in a wave form The higher this number the greater the number of wave forms 30 6 RR B Gust A sudden brief rush of wind or an increase in the wind speed that occurs randomly Lifespan This refers to the length of time that a particle will stay active The lower the value the shorter the particle will exist Lilt A springy buoyant movement usually side to side Linear Having a graph that is a line and especially a straight line You will be able to expect a predictable change with any linear value changes LUT Look Up Table A table of color values that corespond to a different set of color values Nodule A small mass of rounded or irregular shape Phase Phase determines frequency alignment of the waves Posterize Posterizing narrows the range of colors in an image This term is also known as banding Render ________ _ 3 L To process the image producing a desired result Seed as in Random Seed The initial number used as the starting point in a random number generating algorithm Sine Curve This is the classic wave form The graph in rectangular coordinates of the equation y a sin bx where a and b are constants Solar Grain Double exposed photographic paper forces the silver salts to gath er around areas that have contrast This gives a solarized or Sabbatier Solor Grain controls the simul
66. ve of film This is allows you to set the quantity of graininess that you want This is the maximum size of the dust particles Smaller dust particles will be generated as well This is the maximum number of dust particles on the image This allows you to define the color of the dust This is the maximum length of your hairs on the film This is the maximum number of hairs in a single frame This allows you to define the color of the hair This is the maximum number of scratches on your film Controls the horizontal speed of travel across the frame for your scratches Controls how long the scratches will stay before disappearing 34 SS J it Film PRESET H Default Preset Th vs gt om S SCRATCH VELOCITY CONVERT To mn PREVIEW Scratch Opacity This is the maximum opacity for the scratches Convert to Gray Allows AgedFilm to convert the color to B amp W Gray Tint Value The color to tint the film when Convert to Gray is on choose 50 gray if you do not want any color added Random Seed Start point for random values in the effect Blend This controls the opacity of the original image and the treated image e 7 0 B DAY For NIGHT Day For Night simulates the standard photographic method of shooting night scenes It uses a gradient tint over the image to make a daylight scene look moonlit Day for Night allows you to create standard film filter gradients with easy access to presets

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