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1. Integrate Over Ti Integrate Params Over Ti b 5 Turb Amount a t Fire from a logo Burn from the bottom TIP Add additional Organic Layers to increase realism but balance that with the additional render times TIP Sometimes blending both an organic particle based fire like this one with a procedural fire plug in there are several available can make an even more real istic fire effect Image Mode Apply Mode Use Source Mode Composite Mode Particle Composite Mode Alpha Threshold Alpha Weight Random Seed Blend Original Generate From Integrate Over Time Generate Source Generate Threshold Dust Point Preroll Frames 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 Fire System TIP Fire System and Turbulence together determine the character of the flames Fh 7 Fire Use these controls together to deter mine the overall look of your fire Organic Level Fire composites several slightly differ ent layers of the fire effect to give a more natural and organic appearance to the fire Organic Level also deter mines the number of repetitions of the effect that will be generated NOTE More Organic Layers will look more complex but will also slow down render times Values between 3 and 5 will look best for most uses TIP Using the Generate
2. wv Red Weight 25 0 ae 300 0 w Green Weight 25 0 0 0 300 0 gt Blue Weight 20 0 gt 5 Red Contrast g w Green Contrast 0 li7 127 ee pe p 5 Blue Contrast 0 sz Red Brightness o 255 255 es el Green Brightness o 55 255 b 5 Blue Brightness 0 v Blend Original o 4 255 gp A 9 p TERE EORR wee AT a a T ste eneke i z it RRR T m y _ Grayscaler allows for different grayscale images based on the Red Green and Blue color channels Weight is the amount of color that is contributed from each channel The sum total of all three channels should equal 100 as this is the standard amount of channel contribution in a normal image i e 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 100 it will brighten or blow out the footage Red Weight Red Weight determines the contribution of the red channel to the final grayscale image Green Weight Green Weight determines the contribution of the green channel to the final gray scale image Blue Weight Blue Weight determines the contribution of the blue channel to the final gray scale image Red Contrast Red Contrast controls the amount of contrast in the red channel This allows for increasing or decreasing the contrast levels in the channel before it is used in the blending of
3. Grayscale Image Grayscale Image will turn the source footage gray before it applies the thermo graph effect Pixel Mode The Pixel Mode pop up allows for the application of the thermograph effect to a single channel only or to all three 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 Softness Softness blurs the underlying image to create smoother transitions between col Ors Start Color Start Color defines the color that will replace the darkest colors in the footage End Color End Color defines the color that will replace the brightest colors in the footage Bias Bias controls the balance of color or the quantity of color between the 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 180 Thermograph Cycle Cycle allows for rotating the LUT look up table that is used to replace colors in the footage This makes it possible to cycle a few colors through your footage repeatedly 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 MultiGradient Multi Gradi
4. 49 Electrical Arcs Lower numbers will give a slower movement to the arcs TIP If you are trying to create lightning bolts set this control to zero Lightning does not move it occurs as a bolt strikes and disappears Variation Seed Same as Random Seed see page 13 for details Start Point Start Point is the left side point on the lightning at the default setting It is where the beginning of the arcs are generated All controls that specify start point vs end point will use this point as the start point End Point End Point is the right side point on the lightning at the default setting All con trols that specify end point will use this point as the end point Segments Segments determines how many times the electrical arcs will break or change directions between the start point and the end point There are major changes between start and end points Subsegments below can further break these main segments Distortion Distortion determines how far from the center line an imaginary line drawn directly between the start point and end point each of the segments can trav el The larger this number becomes the larger the length of each segment and the further away from a straight line the arc will become Sub Segments Sub Segments determines the number of times that the main segments will be subdivided When this is set to one each of the Segments will be straight When this goes above one the segments will l
5. Glow Radial Glow Radial selects the gradient to use to define the Radial color of the glow ring This describes the colors of the rings radiating as circles out from the cen ter of the glow Glow Angle Glow Angle selects the gradient to use to define the Rotational color of the glow ring This describes the colors of the angular rays that sweep around the center of the glow Glow Angle Size Glow Angle Size selects the gradient to use to define the Angular Radius dis tance of the glow ring This essentially controls the shape of the overall glow Glow Size Glow Size controls the overall size of the Glow Larger numbers make the glow larger Glow Rotate Glow Rotate controls the rotation of the Glow Glow Hue Glow Hue allows for the shift of the hue of the glow gradient used to describe the overall color of the glow d 112 Lens Flares Ray Settings Ray Opacity Ray Opacity controls the transparency of the ray Set this to zero to turn off the ray component Ray Composite Ray Composite is the composite mode to use when compositing this element ray with the other elements flare and glow See the Image Settings for description of these composite modes Ray Radial Ray Radial selects the gradient to use to define the Radial color of the ray ring This describes the colors of the rings radiating as circles out from the center of the rays Ray Angle Ray Angle select
6. Importing Footage 3 Import your footage command l as you normally would In this example we are using the file DE Logo Alpha 0 found in the Delirium Projects folder on the g Tutorial Delirium CD Importing Footage is an important step and requires that you have some infor mation about the particular video hardware Avid Media 100 etc that was used to digitize your footage You will need to know which field the clip starts on Upper Lower or Odd Even 4 Drag and drop your footage into the composition Comp 1 The Composition should now be the top most window Locate the footage in the Time Layout window 5 Resize the DE Logo Alpha o layer by clicking on the layer in the composition window and selecting Scale from the submenu Geometrics from the menu Layer Width 100 0 of source Height 100 100 0 Units of source H Preserve Current Aspect Ratio xy Applying a Delirium Effect to a Layer 6 Choose DE Fire from the Filters Menu under the DigiEffects Delirium sub menu The Delirium Fire effect will then be applied to that layer Allow it to render the initial effect Choosing a Preset sp 7 Pick a preset by clicking on the Preset Pop up from the Presets swatch For this example choose the Burn From Bottom preset We will then modify this preset to burn the logo Effect Animation View Window Help 7 Ef
7. Multiply Multiply multiplies the 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 Overlay Overlay multiplies or screens the colors depending on the base color Patterns or colors overlay the existing pixels while preserving the high lights and shadows of the base color 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 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 dark ens as po 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 dif
8. User Delirium User Manual Digieffects LLC 201 N Front Street Ste 305 Wilmington NC 28401 888 DIGI EFX 344 4339 e mail info digieffects com tech support support digieffects com website www digieffects com Digieffects is a registered trademark of Digieffects LLC The DigiEffects sotfware 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 accor dance with the terms of such license The information in this manual is furnished for informational use only and is subject to change without notice and should not be construed as a commitment guarantee or contract by Digieffects Digieffects and assumes no responsibility or liability for any errors or inaccuracies that may appear in this document or the software it describes Information in this document is subject to change without notice No part of this document may be reproduced or transmited in any form or by any means elec tronic or mechanical for any purpose without the express writtin permission of DigiEffects After Effects Photoshop Premiere are registered trademarks of Adobe Systems Inc Apple MacOS Macintosh Apple and Quicktime are trademarks of Apple Computer Inc All other trademarks are the property of thier respective owners
9. eee lt lt arate Pl a Re E Night time scenes are easy to create Day for night is a specialized gradient tint trols effect an image turn this on and hold down the option key Seeing the effect without the layer AND with immediate feedback makes it much clearer what is taking place when the plug in is creating the Day for Night look Composite Mode Composite Mode determines how the gradient that is created with this effect will be blended into the footage to which it is applied By default it is set to mul tiply with the Start Color black and the End Color white These colors and com posite mode makes the black darken the footage and the white transparent one way of making a day shot look like a night shot Add Add combines the color values of the layer with the underlying colors The resulting color is lighter than the original Screen Screen multiplies the inverse brightness values of the colors in all lay ers 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 occur Difference 4 yy Day For Night 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
10. t Anala u d ammm 167 Sparks from a point spun around animating Jet Cool sparkler effects angle Apply Mode Use Source Mode Composite Mode Random Seed Blend Original Generate From Generate Layer Generate Threshold Generate Point Controls in this section are described in the Using the Plug ins section starting on page 13 of this man al Refer to that section for instructions on how to use these parameters Spark System Bounce Mode The Bounce Mode pop up provides the capability to give the appearance that the particles can bounce off of other objects This pop up provides several methods for bouncing the particles Don t Bounce When selected the particles will fall through the bottom of the layer Bounce on Bottom 8 amp 00004 168 Sparks When selected if the sparks reach the bottom they will bounce off of it Bounce on Alpha gt Threshold via Vert Height This is used to bounce the sparks from an image that has an alpha When this is selected the sparks will be bounced in areas that are inside the alpha or mask Threshold defines the capability to lower the amount of area inside the mask that can bounce sparks When the Generate Threshold slider below is set to zero all areas will bounce sparks As this number increases more transparent areas of the alpha will no longer be able to bounce sparks Bounce on RGB gt Threshold via Vert Height Bounce on RGB gt Thre
11. Image Mode Apply Mode Use Source Mode Composite Mode Alpha Threshold Alpha Weight Random Seed Blend Original Controls in this section are described in the Using the Plug ins section at Starting on page 13 of this manual Refer to that section for instructions on how to use these parameters Firing System Muzzle Type vv Image Mode Apply Mode Use Source _ Use Source Mode Composite Mode Blend J gt Alpha Threshold 0 gt Alpha Weight 255 gt 5 Random Seed 10 5 Blend Original 0 v Firing System Muzzle Type Flash Point 618 5 Gun Butt E 494 8 477 0 Automatic Angle Auto Angle Flash Angle Ox 90 0 Pull Trigger W Pull Trigger Auto Fire Fire Automatically Burst Count 100 Flash Lifetime al Fire Spacing 3 Flash Color gt Flash Size 128 gt Min Opacity 240 D Max Opacity 255 123 b Each muzzle type will create a different type of muzzle flash Flash Point Flash point determines where the beginning of the flash will occur This is where the muzzle tip should align Te CREE TIP It is also possible to track the muzzle and assign the tracking information to this control Gun Butt Gun Butt only functions when Auto Angle is checked on When it is checked on the angle of the flash point will be determined by this control A straight line passing through the gun butt and flash
12. point will determine the flash angle Automatic Angle When this is checked on the angle of the muzzle flash is deter mined by a straight line passing through the flash point and gun butt When this is unchecked the flash angle is determined by the flash angle control below Flash Angle Flash Angle only works when Auto Angle is unchecked When Auto Angle is unchecked Flash Angle determines the angle of the flash 00 00 05 00005 124 Muzzle Flash Pull Trigger Pull trigger determines when the flash begins Keyframe this control if you want the flash to begin after the first frame Start with it keyframed off and then keyframe it on at the frame where you want the firing to begin If AutoFire is not checked Pull Trigger will simply turn the flash on and off Auto Fire When this is checked Muzzle Flash will keep firing based on the Burst Count Flash Lifetime and Firing Space without having to keyframe Pull Trigger When this is checked Pull Trigger will control the display of the flash Burst Count Burst count will determine how many times the muzzle flash will occur Flash Lifetime Flash Lifetime determines the number of frames that a flash will last Firing Space Firing spacing determines the number of frames between each of the bursts This control only applies if the Burst Count is greater than 1 Flash Color Flash Color determines the color of the muzzle flash Flash Size Flash Size determine
13. precise You control the overall opacity of the strokes with the Brush Opacity controls You can modify the color of the stroke with the Color controls You can modify the red green blue hue brightness and saturation variability with these con trols This will give a more organic look with larger variations Sketchist can paint over a solid color or the source image Sketchist allows you to select a background color as a canvas Sketchist paints in layers from the bottom to the top If there is only one layer only the top layer is used For more than two layers Sketchist will linearly interpolate the values between the Top and Bottom layer sets of param eters For example if the Top Brush Size was 100 and the Bottom Brush Size was 50 the middle layers brush size would be 75 Rendering and Artistic Tips e Render only with Num Strokes at 1 or less to speed up rendering for checking out the size and color of brush strokes e Turn on Preview Grid and modify the Num Strokes Grid Size and 150 151 Sketchist Threshold values to achieve an even and not too popu lated grid e Set the size of the brush strokes lower in order to speed rendering e The trick is to get the fewest number of strokes ren dered while creating enough coverage in order to have enough brush strokes to cover the entire image e Start with 1 layer and experiment only with the To
14. 0 0 b gt 5 End Phase ox 100 0 191 b Visual Harmonizer images are vibrant Smooth swooping effects for backgrounds Harmonizer System Number of Harmonizers Number of Harmonizers defines how many 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 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 Layer gt Transform menu NOTE The Transform controls are After Effects controls and are available on the After Effects Time Line Select the layer that has Visual Harmonizer applied and press the R key to access the rotation controls easily 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 192 193 Visual Harmonizer 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 Sta
15. 1 This controls the speed of the first sine wave 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 pat tern around the video noise after it has been distorted which often occurs 187 b on older television receivers Size This defines the radius of the glow Intensity This conrols the brightness of the 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 echo that simulates reflections and interference patterns of electromagnetic energy as it is transmitted through space to its reception point There are at most 3 ghost patterns and you can define the maximum sway with the Ghost Offset param eters The Weight parameters define the opacity of the particu lar ghost image It is possible to over weight the ghost images which will make the image brighter than the original 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 Video Malfunction This is the opacity of the
16. 19 Using the Plug ins Composite Effect in Front 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 Blend to compos ite 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 Composite Modes Composite Mode controls how the effect will combine withthe source layer This is similar to the After Effects Transfer Controls 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 lay ers 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 col ors 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 ps
17. Alpha Threshold Alpha Weight Random Seed Controls in this section are described in the Using the Plug ins section start ing on page 13 of this manual Refer to that section for instructions on how to use these parameters Comp 1 office psd w About Apply Mode Use Source Use Source Mode Composite Effect In Fr 5 Image Composit Particle Composi Blend _ _ si gt 5 Blend Original O b 5 Random Seed 1 gt 5 Alpha Threshold O p 5 Alpha Weight 255 Segment Shape Soft amp Bright v7 Electrical System b 5 Num Arcs 3 gt Speed 88 0 Start Point 86 6 477 0 End Point 1150 4 477 0 b gt 5 Segments 8 p 5 Distortion 60 p 5 Sub Segments 5 p Sub Distortion 30 b Branch Prob 30 9 gt Branch Segments 5 gt 5 Branch Length 6 0 b 5 Branch Angle 180 Lightning Color gt 5 Alpha 150 be Begin Draw gt 5 End Draw Electricity can be green Glow is built in Segment Shape Soft amp Bright Harsh Falloff Dot Rounded Star Oval Electrical System Num Arcs Num Arcs is the number of arcs that will be generated between the Start Point and End Point below TIP When trying to create a lightning bolt usually 2 or 3 is all that is necessary Speed Speed controls how frequently or how often the many controls below will be recalcu lated The higher this number the more that the electrical arcs will twitch and move
18. Alpha will show the alpha only RGB No Alpha shows the Red Green and Blue channels without the alpha 147 Red Channel Green Channel Alpha Channel Showing each of the four modes for the channels 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 148 Sketchist Ao C The underlying idea of Sketchist is based on the concept of human paint ing Sketchist creates it s effect by applying thousands of curved brush strokes that each follow the contours of the source image This mimics the way humans see objects and the results are simply stunning We must note that Sketchist is a rather slow effect because it s doing a tre mendous amount of work It s applying tens of thousands of individual brush strokes over the image This takes time to process So we will give you a few tips on getting faster previews so you can get the exact effect you want with the least trouble Sketchist generates a placement grid based on the perceptual differences in the image structure Sketchist uses a human vision perceptual model to define where the brush strokes will be placed You can control the over all density of the grid the perceptual threshold and the total number of strokes applied to the grid It then begins to render each brush following the contours
19. Frames This control allows you to start the effect before the first frame of the clip This control gives you the ability to make the effect begin generating particles before the clip starts on the timeline If you did not have this ability the effect would begin with zero particles By pre rolling you can have the effect generating particles in the first frame of the composition The value corresponds to the number of frames before the first frame that the effect starts generating particles Using the Plug ins Presets The Presets user interface provides a way to load and save parameter settings for this plug in DPreset Name Here Included with the installation are over 100 presets designed by DigiEffects It is possible to save additional presets by setting the controls of the effect and then clicking the Save button The next time that the presets pop up is selected that preset will be in the list To remove a preset load the preset and click the Erase button A dialog confirm ing the erase operation will appear click OK to remove the preset permanently You can also over write replace an existing preset by saving it with the same name You will be asked to confirm the replacement as a safety measure TIP All presets are saved into the System Preferences folder If you want to pass them along to someone else just pull out the preset file and put it into their pre sets folder The exact path is Hard Disk S
20. Source Mode Particle Composite M Blend ss gt 5 Blend Original ia b 5 Alpha Threshold i b 5 Alpha Weight 259 Bar Shape w Motion Bar System Preview Paths b 5 Num Echos 10 Center 1 247 4 477 0 Center 2 865 9 667 8 gt 5 Radius 1 20 0 p 5 Radius 2 40 0 p 5 Speed 1 20 0 gt Speed 2 2 0 gt Phase 1 Ox 0 0 gt 5 Phase 2 Ox 90 0 gt rc Bar 1 Size 2 0 b 5 Bar 2 Size 50 Start Color b 5 Start Alpha 53 End Color 127 b Nexus creates great motion graphics elements Use as a mezmerizer to attract attention Bar Shape Soft Soft Medium Hard Bar System Preview Paths When this box is checked the motion path circles that form the basis of the effect can be seen This is an excellent way to pre visualize how the bars will move Num Echoes Num Echoes determines how many bars will appear in your footage Center 1 Center 1 determines the location of the center of the first circle When preview paths is on it is the red circle Center 2 Center 2 determines the location of the center of the sec ond circle When preview paths is on it is the green circle Nexus Radius 1 Radius 1 determines the radius of the first or red circle that determines one end of the bars Radius 2 Radius 2 determines the radius of the second or green circle that determines one end of the bars Speed 1 Speed 1 determines the
21. TENTS A GETTING STARTED 66 56 660646 5 cnan isi rnnr 486 RCo EA Introduction p44 45 e00 on peo ews ote toes ds System requirements 06 InStallaniOns 2 066 i604 040s eevee ka apene MULOMIAN 6 6 4 4 544 65 654 0659 495 685 RGSS USING THE PLUG INS cccccccccccccsscvcccccssccccecs PLUG IN DESCRIPTIONS Bubbles cc ccc cece ccc cece eee N sy Channel Delay 2 eee COP BlGhs 65 020008o en seuc eens cone anaes Day for Night cece eevee Gr Ey aN N T Sy 19 Pd aN lt 7 zy M TA RJ at S A A S O RJ m A A gt Q A Pe J 2 5 lt Framing Gradients 06 GIOWGN i264 440 064005044065 620466444m00 GrayscCaler ss6s seis cseae es 60 6064 84488 HLS Displace ciccscscede vn eawaes en cuna di This symbol means the plug in is a AutoAnimation plug in Camera Shake 2ccccccceces Electrical Arcs ccccccccccccceces Fairy DUS ic acne cess eee eri weesad iw een Film Flash ccc ccc ccc ccc ccee FOG FACUOlrY 0 6 64 sei dae sos tati kena CONTENTS CONT D Hyper Harmonizer cece ccc ccces 103 Lens Flares 2 cccc cece ccc cece cccsccces 109 N TN gt 2 LooseSprockets 66 6666 24 ccc se sees siawetedaeses 117 MultiGradient cc
22. Vertical or Y axis TIP H Scale and V Scale allow for global changes to the look of the distortion without having to change each of the parameters the same percentage 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 200 b
23. can control the type of gradient how you want it blended into your foot age and the number of colors including apia A E Pixel Mode You can use MultiGradient to create Sep enipe a ae Santena O many different effects including sun Aa mii set skies alpha masks border and b Blend Original 0 backgrounds Use the Sketchist HLS i a adele Displace and other plug ins to distort en and modify the gradient image Start Point Start Color You can use the bias controls and Grad bo M End Point J 618 5 954 0 Position controls to locate exactly RAER w where in the gradient your colors will b End Alpha 255 be located A ane b Cycle Ox 0 0 seco ea Preview Gradient When this box is checked the Comp window will show the basic gradient that is being used to create the effect This gives you the opportunity to see what the components of the effect are e JA without having to see it composited with your footage 119 Nice artistic effects and backgrounds All kionds of cool animation choices Gradient Type 22 Radial Cone one way Square Cone Matchup Linear Linear Mirrored Pixel Mode Pixel Mode allows for the rendering of only the red green or blue parts of the gradients Color Mode Defines how the colors are interpolated RGB Modes interpolate linearly using 120 MultiGradient the Red Green and Blue channels HSB modes interpolate through the colo
24. color is lighter than the original s p Fairy Dust Fairy Dust is a fun plug in that can be used to follow a magic wand or zip around the screen like a comet You can even generate particles from a logo to create scintilating animated images Image Mode Apply Mode Use Source Mode Composite Mode Particle Composite Mode Alpha Threshold Alpha Weight Random Seed Blend Original Generate From Integrate Over Time Generate Source Generate Threshold Dust Point Preroll Frames Controls in this section are described in the Using the Plug ins section start ing on page 13 of this manual Refer to that section for instructions on how to use these parameters Comp 1 office psd Dee Reset Opt ions me Aba out Ease AS Animation Presets None w7 About Apply Mode Use Source Mode Composite Effect in 5 Composite Mode Scree 5 Particle Composi lt 9 p 5 Alpha Threshold b 5 Alpha Weight b 5 Random Seed b 5 Blend Original w Fairy System 200 g g O Dust Type Q te nerate From Dust Point b 5 Preroll Frames gt 5 Dust Amount b 5 Max Speed b 5 Dust Lifetime Dust Color b 5 Bright Variance 6 Min Size H Max Size 5 Min Opacity Max Opacity Max Dispersion 5 Wind Horiz 5 Wind Vert h Ch ch ick p p p p p pr pg H H Ch o Q 19 ss p bs i f k 83 y ae
25. colors that will be used to cre ate 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 addi tional colors 6 total including the start and end colors Filter 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 47 Electrical Arcs ax Wy Electrical Arcs is designed to gener ate arcs of electricity similar to what you see with a Jacobs Ladder While it was designed to generate Arcs it is also quite good at generating lightning bolts Look at the preset Bolt to see a quick example You will find tips below for creating lightning TIP This effect is very fast when there is only a single arc To test how the controls work set the number of arcs to one hold down the option key and Slide the sliders up and down This will give you very fast feedback and help you understand what the controls For more information on Jacob s Ladder visit this web site http www spacesearch com Image Mode Apply Mode Use Source Mode Image Composite Mode Particle Composite Mode Blend Original
26. determines the vertical location of the explosions in conjunction with the Explode Height selector below Whatever vertical height this is set to will deter mine at what height all rock ets will explode Explode at Speed When this is selected te rockets will explode when they reach the speed that is selected in the Explode Speed Slider below Explode Height Explode Height determines the alti tude or how high up the screen the fireworks will explode when Explode at Height is selected in the Explode Mode pop up Explode Speed When Explode at Speed is selected in the Explode Mode pop up Explode Speed will determine the rate at which rockets must be moving before they will explode into Fireworks NOTE If this is a negative number the rocket must be moving down to explode The rocket will hit the peak of how high it can go according to thrust and speed and then start to fall When it falls at a speed equal to the number in the slider it will explode Note that this is only if it is a negative number Rocket Opacity Rocket Opacity controls how transpar ent or opaque the rockets are on their way up to deliver the fireworks explo sion The higher this number rises the more that the rocket will be visible Explosion System Explosion Shape Explosion shape defines the general direction of the particles 20 Explosive Geometrical Explosive Oval and Spherical look like naturally occurring
27. firework effects The Geometrical shape can create some unusual looking fireworks Rotation Variation Rotation Variation can allow the particles to rotate around the explosion point after they have been pushed from the explosion This could be described as a pin wheel effect None When selected no rotation or pinwheel effect occurs Constant When selected there is a randombut uniform amount of rotation applied to the particles The effect looks like a pin wheel lsa Fireworks Varying When selected there is a non unform amount of rotation applied to the particles within the explosion The particles seem to fly every which way Squiggle When this is checked on the pos explosion particles will waver back and forth as they explode Min Generate Min Generate determines the minimum amount of particles that will be a part of the Firework i e how many particles will launch out of the explosion Max Generate Max Generate determines the maximum amount of particles that will be a part of the Firework explosion Min Velocity Min Velocity controls the slowest rate at which the particles will move away from the fireworks explosion point Max Velocity Max Velocity controls the fastest rate at which the particles will move away from the fireworks explosion point Min Opacity Min opacity determines the minimal amount of transparency or opacity in the firework explosion Max Opacity Max Opacity determines the maxi
28. flow distortion based on the pixel values in the footage that is being distorted The source footage is displaced by the target footage in the first half of the distortion from zero to the maximum amount of distortion and then it switches and the target footage is dis placed by the source image down to zero Darker colors will move relatively little and lighter colors will move further Horiz and Vert Horizontal and Vertical distorts with the same sort of distortion as Outward and Inward but it does this distortion transition along a 45 degree angle Direction Mode The Direction Mode pop up is only applicable if the Distortion Mode is set to Horizontal and Vertical Horiz amp Vert Distort Independent Horiz amp Vert Independent allows for control over the Horizontal and Vertical distortion amounts individually with the controls below Horiz amp Vert Distort Linked Horiz amp Vert Linked will link the Vertical Distortion to the Horizontal Distortion slider ___________________________4 g Flow Motion Edge Mode Edge mode determines how the pixels will be filled along the edges of the image when the distortion moves the footage such that the footage below or background color can be viewed By using one of these methods the footage below will not show through Repeat Edge Pixels Repeat Edge Pixels will repeat the pixel closest to the uncovered area This will give a stretched look from the edge of the distorted f
29. for this effect Simply adjust the parameters and allow the plug in to animate through them There are three methods to control the brightness and contrast over time These three methods can be used simultaneously The first method uses amplitudes of two sine waves to control the amount of brightness and contrast to use The two waves amplitudes are added together to create a master wave which can both brighten and darken the image The second method is to add Comp 1 office psd v Fe eureka Reset Options 7 About Use Bright Use Bright b Bri Freg A 10 p 5 Bri Freq B 45 b 5 Bri Amp A 19 gt 5 Bri Amp B 29 Bri Use Strobe Use Strobe gt Bri Strobe Skip 25 p 5 Bri Strobe Hold 25 p 5 Bri Strobe Amp 25 v7 Contrast Controls 5 Use Contrast b 5 Con Freq A 43 gt Con Freq E 5 p 5 Con Amp A 45 b 5 Con Amp B 25 Con Use Strobe Use Strobe b amp Con Strobe Skip 25 gt 5 Random Seed 30 gt 5 Blend Original 30 s lt Oe Intermittent brightness and contrast that will make the scene appear to flicker as if lit by a waving candlelight Use this plug in to simulate arc welding fireworks or explosions The third method is to add strobe effects that will create the stroboscopic effect that repeats over time This is the common disco effect that you ve probably seen For Intermittent and Strobe you can hold the bri
30. noise changes 186 Video Malfunction Distortion There are 2 components to the distor tion 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 components are con trolled by the Amplitude Frequency Speed and Offset Variance param eters Max Distortion This defines the maximum amount of horizontal distortion allowed Larger number create more left right distor tions Min Tempo This is the minimum 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 longer amount of time Max Tempo This is the maximum number of frames to hold a distortion phase The distortion changes its value after a randomly selected number of frames between Min Tempo and Max Tempo Larger values hold the distor tion for a longer amount of time Amplitude 1 This controls the amplitude of the first sine wave generator Amplitude 2 This controls the amplitude of the sec ond sine wave generator Frequency 1 This controls the frequency of the first sine wave generator Frequency 2 This controls the frequency of the sec ond sine wave generator Speed
31. of the darker Comp 1 office psd vw i Animation Presets db w About p p Ww 5 Glow Radius 3 0 Threshold Min 0 5 Threshold Max 53 r 255 es 5 Glow Mode Se ra reen 5 Use Original Colors Original Colors we wv Glow Intensity 23 0 0 0 100 0 es pe amp Color Bias 20 0 100 ee eee Dark Color C Bright Color m 5 Blend Original 0 b lt lt Qa Glower creates a nice glowing effect areas If you want to use this effect to increase and soften highlights set the controls to only affect the light colors Set the min to somewhere around 200 and the max to 255 and only the light er shades in the footage will glow Glow Mode Use Original Colors When this box is checked the glow colors will be determined by the col ors in the footage When this is not checked the glow will be based on the Dark Color and Bright color controls Glow Intensity Glow Intensity determines how bright ly the effect will glow on the pixels that the threshold will let the effect occur on NOTE Color Bias Dark Color and Bright Color controls only modify the j S leey cae yt ie a Artistic efec with Cower effect if the Use Original Color is not checked Color Bias Color Bias determines the dominance between Dark Color and Bright Color Dark Color This is the color of the darkest part of the glow when Use Original Colors is NOT ch
32. of the image the path of the stroke until it finds a pixel in the source image that is too far out of color range from the point where the stroke was first started You can control the maximum number of ral DE Sketchist a Abou Animation Presets None I dB w About b 5 Alpha Threshold gt 5 Alpha Weight p 6 Blend Original w Painting System Ta SAER E b 5 Num Layers Preview Grid p 5 Top Num Strokes b 5 Bot Num Strokes gt 5 Top Grid Size b 5 Bot Grid Size b 5 Top Threshold b 5 Bot Threshold b 5 Top Brush Size b 5 Bot Brush Size b 5 Var Brush Size b 5 Top Stroke Length bp 5 Bot Stroke Length b 5 Var Stroke Length gt 5 Top Stroke Speed gt 5 Bot Stroke Speed Bo 7 War ftenko Snood 149 b use sketchist to create animated backgrounds Great for E opener and bumpers steps each stroke takes along it s path using the Stroke Length parameters You can control how fast each stroke moves which can give a more precise or more sketchy look using the Stroke Speed parameters You can control how curvy the stroke is with the Curviness parameter You can also control the maximum size of the stroke from which a random size is selected Some sets of parameters have a Var parameter which sets the maximum amount of randomness for that parameter The higher this value the more scat tered and organic the effect will be A smaller value will look more uniform and
33. require you to set several keyframes before they do anything interesting With Delirium many of the plug ins create ani mated effects without setting keyframes We call this feature AutoAnimation For example when you apply the SnowStorm effect to a composition it will automatically begin generating snow from the first frame The effect actually begins before the layer starts on the composition time line By default the pre roll frames is set to 20 so you are seeing the results of the SnowStorm after 20 frames In fact we created plug ins with default settings to be used without ANY tweaking of the controls This is a benefit that will make your job of animating these effects much easier Control or Parameter Naming Conventions In many cases the controls also called parameters in Delirium are named with terms used in mathematics We realize that this is in many cases not very user friendly But we also recognized that these terms are generally the most accurate and applicable across many plug ins The concepts are pretty simple but the words can be a little scary In many cases we could have used different terms like height instead of amplitude in Visual Harmonizer but in many cases that would not have been an acceptable substitu tion 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 Using the Plug ins Amplitude Of
34. selects the gradient to use to control the maximum size of the indi vidual flare elements The actual size of the flare elements will not exceed the brightness value of the gradient Use the Flare Size to control the overall size of the flare elements Flare Probability Flare Probability selects the gradient to use to define the probability of a flare appearing along the spread The brighter the gradient color at that point the greater the probability that a flare element will appear there d 114 Lens Flares Flare Size Flare Size controls the largest potential radius of the flares Flare Element Angle Flare Element Angle controls the angle of the individual flare elements This allows for the twisting of the flare elements Flare Hue Flare Hue allows for the tinting of the flare by rotating the hue of the flare ele ments Flare Num Flares Flare Num Flares is the number of flare elements to create Flare Shape Flare Shape defines the shape of the flare elements either spherical or polygo nal If in Polygon mode you can define the number of sides of the polygon with the Flare Num Sides parameter Flare Num Sides Flare Num Sides describes the number of sides the polygon should have For tri angles this number is 3 For squares 4 For Pentagons 5 For Hexagons 6 115 b Flare Seed Flare Seed is the random number seed for the flare elements Change this to alter the overall look and arrangem
35. softer edge End Color End Color is the interior color of the gradient In most cases you will want this to be white If it is any other color it will tint the entire interior the area where the end color affects in the gradient of your layer End Alpha End Alpha determines the transparency of the end color of the gradient Bias Bias controls the balance of color or the quantity of color between the 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 TIP A great basic framing gradient look can easily be created with just the 6 controls above Multi Gradient Multi Gradient This pop up determines how many colors will be in the gradient The colors will always fall in between the start and end colors For Example S gt 1 gt E will provide for a 3 color gradient starting with the Start Color transitioning to the Grad 1 Color and ending with the End Color Grad 1 Color When a Multi Gradient is selected in the Multi Gradient pop up this will deter mine the color of the Grad 1 gradient 32 Grad 1 Alpha Grad 1 Alpha determines the transparency of the Grad 1 color Grad 1 Position Grad 1 Position determines the position of the Grad 1 color on the gradient rela tive to the Start Color and End Color A good way to see the results of this is to set this to red and sli
36. the After Effects manual for details Comp 1 11 vi 0 00 00 00 alai controts wf o E Saving a Preset Once your settings are dialed in and you are happy with them you will want to save it as a preset A Preset contains all the parameters of the Delirium Fire plug sp in Saving a preset is very easy to do with Delirium F DE Fire 7 About 10 From the After Effects user interface click on save in the Preset swatch 11 Name it Tutorial Preset and press OK This has saved the current state of the parameters as a preset Rendering a Movie Now that you have modified the CineLook parameters to your liking and saved your preset you will want to render out a movie to see how it looks 12 Choose Make Movie from the Composition menu in After Effects 13 Name the new movie Delirium Tutorial Movie Click save 14 The Render Queue will now be the top most window Click on the Render Settings option 15 Set the render settings to the following Quality Current Settings Frame Blending Current Settings Field Render Depends on your video card Upper Odd Lower Even 3 2 Pulldown Off Frame Rate 29 97 or 30 depends on video card 16 Set the Output Module to be appropriate for your digital video card Check the Output Module section of the After Effects user manual for more information on what each parameter
37. the light source above the surface of the image Light Dir X Light Direction X determines the horizontal direction of the light source Light Dir Y Light Direction Y determines the vertical direction of the light source Light Dir Z Light Direction Z determines the outward direction of the light source Material The material parameters define the kind of material the surface is made of so the effect can determine the reflective properties of the surface Mater Amb Norm 175 Specular Lighting Material Amb Norm determines the Ambient light reflection amount This con trols the ambient lighting Mater Diff Norm Material Diff Norm determines the Diffuse light reflection amount This controls the diffuse lighting Mater Diff Env Material Diff Env determines the Diffuse light envelope This controls the amount of diffuse light in the image Mater Spec Env Material Spec Env determines the Specular reflection envelope amount This controls the amount of bright specks in the high parts of the image Mater High Env Material High Env determines the Highlight envelope amount This controls the reflectiveness of the highlight areas just below the specular areas Bump Map Bumpmap Type 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 Logarithmic A plateau look Sine Smoothly curvin
38. with the affected footage Fog Factory A Fog Factory creates a flowing fog effect that offers depth of field simulation and automatically moves without key framing Fog Factory automates all of the motion of the fog effect This is done by selecting the number of banks of fog that will be generated with Num Layers and then selecting the direction of the fog All of the controls that have a close and far control will scale the results between the closest or first and the furthest or last layer Large differ ences in these values will give a large depth of field effect to the motion Effect Only When checked only the Fog Factory effect will be seen the original source footage will be removed Num Layers Num Layers determines the number of fog layers that are placed onto the footage Move Direction Move Direction determines the direc tion that the fog will pass by Effect Only b 5 Num Layers v Move Direction gt 5 Speed Close p 5 Speed Far Fog Color p 5 Fog Wispiness gt 5 Wispy Strength p 5 Blend Top p 5 Blend Bottom p 5 Blend Bias p 5 Detail Close p 5 Detail Far b 5 Stretch V Close b 5 Stretch V Far gt Stretch H Close gt 5 Stretch H Far p 5 Opacity Close b 5 Opacity Far b 5 Bright Close p 5 Bright Far p 5 Contrast Close b e Contrast Far gt 5 Random Seed b Blend Original E KaL C Effect Only 2 Ox 90 0 se p La n T Notice
39. 4 3 0 0 100 0 ee Se wv H Amp 2 2 0 0 0 100 0 b 5 HFrq 2 0 b 5 H Spurious 2 0 b 5 VAmp1 1 0 wi VFrg 1 10 0 0 0 100 0 ee b VAmp2 2 0 b mS VFrq 2 0 v V Spurious 12 3 0 0 50 0 ee pe b 5 Blend Original 0 117 horizontal displacement wave The higher this num ber is the greater the move ment H Frq 2 H Frq 2 Frequency of the second horizontal displace ment wave The higher this number is the faster the movement H Spurious H Spurious Amount of ran dom horizontal movement per frame The higher this number is the greater the movement V Amp 1 V Amp 1 Is the amplitude of the first vertical displace ment wave The higher this number is the greater the movement V Frq 1 V Frq 1 Is the frequency of the first vertical displace ment wave The higher this number is the faster the movement V Amp 2 V Amp 2 Is the amplitude of the second vertical dis placement wave The higher this number is the greater the movement V Frq 2 V Frq 2 Is the frequency of the second vertical dis placement wave The higher this number is the faster the movement V Spurious V Spurious Is the amount of random vertical movement per frame The higher this number is the greater the movement Blend Original Blend in the original source image MultiGradient MultiGradient provides you the ulti mate tool for creating and animating color gradients w About You
40. Color and Glow Outer Color d 194 Visual Harmonizer Lower numbers will increase the value of the Glow Inner Color in the overall appearance of the glow Larger numbers tip the balance towards the outer color Glow Mode Screen Screen multiplies the inverse brightness values of the colors in all lay ers The resulting color is never darker than the original Add Add combines the color values of the layer and the underlying colors The resulting color is lighter than the original 195 b Wave Displace LN Wey g l DE Wavelisplace Reset UptONs ADOUT l Animation Presets dd Wave Displace is a seemingly simple distortion effect that gives complete control over all of the details of a wave distortion While this is true and it is a very flexible wave distortion plug in the really interesting stuff starts when you check on Repeat Wave Turn Repeat Wave on and you will see some very extreme flowing distor tions that are very interesting Number of Generators Number of Generators determines the number of distortions that are used in the wave patterns This basically is a degree of effect control The higher the number the greater the distortion Edge Mode Edge mode determines how the pixels will be filled along the edges of the image when the distortion moves the footage such that the footage below or background color can be viewed By using one of these methods the foot age below
41. Fade up speed determines the rate at which the smoke changes from completely transparent to its maximum opacity below Fade Out Speed Fade Out Speed determines the rate at which the smoke changes from its maximum opacity to complete ly transparent TIP The smokes life is determined by the sum of Fade Up Speed and Fade Out Speed The Smoke will roll or rotate over time The rotate speeds determine to what degree this will take place Min Rotate Speed Min Rotate Speed determines the slowest rate at which the smoke will rotate Max Rotate Speed the smoke will rotate Min Opacity Min Opacity determines the most transparent or see through that the smoke can appear Max Opacity solid or opaque the smoke can appear Horiz Dispersion Horiz Dispersion controls how much the smoke will randomly drift horizontally When this is set to zero the smoke will drift straight up The higher this number is set the more the smoke will move with some horizontal direction Wind Horiz Wind Horiz provides the capability of allowing air flow to interact with the smoke This determines the degree of horizontal movement in a particular direction as opposed to Horiz Dispersion which moves the smoke horizontally randomly and not all in one direction Wind Vert Wind Vert increases or decreases the vertical speed of the smoke This can be used to increase the initial speed which in many cases starts at zero d 159 SnowSt
42. Glow Radius is set low it makes the particles glow more bright ly To turn that down work with glow intensity Glow Intensity Glow Intensity determines how bright ly the particles will glow Glow Own Colors When this box is checked the glow will be the same as the color of the particles When this in not checked the Glow Inner Color and Glow Outer Color determine the color of the glow Glow Inner Color When Glow Own Colors is unchecked this determines the interior color of the glow Glow Outer Color When Glow Own Colors is unchecked this determines the color of the exte rior glow Color Bias Color Bias allows for control over which color between Glow Inner Color and Glow Outer Color will be domi nant Glow Mode n p Screen Screen multiplies the inverse brightness values of the col ors in all layers The resulting color is never darker than the original Add Add combines the color values of the layer and the underlying colors The resulting color is lighter than the original Flicker and Strobe LCA Ke The Flicker and Strobe plug in causes an image to vary it s luminance bright ness and contrast levels over time This plug in automatically sets internal keyframes and animates the effect via those key frames Most of the param eters are used to define the behavior of the keyframes min max number of frames or intensity This makes in mostly unnecessary to set keyframes
43. Line A Begin Draw This is the starting phase of the draw ing Animate this to get a Drawing it now animated look A End Draw This is the end drawing point Use this in conjunction with Begin Draw to animate the actual drawing of the path The harmonizer is created using 3 sine wave generators By defining dif ferent values to this bank of parame ter you can get all kinds of interesting effects A Radius 1 3 amplitude This controls the maximum radius of this part of the harmonizer function A Freq 1 3 This controls the frequency of this part of the harmonizer function A Phase 1 3 This controls the phase of this part of the harmonizer function 105 B Shape The B Shape parameters are identical to the A Shape The B shape is the Bottom shape when interpolating between more than 1 harmonizer Glow Glow Radius Glow Radius determines how far the glow will spread If this is set high the glow will extend for a large distance around the image If it is set low the glow will be concentrated closely around the image TIP When Glow Radius is set low it makes particles glow more brightly To reduce that effect adjust the Glow Intensity Glow Intensity Glow Intensity determines how brightly the image will glow HyperHarmonizer Glow Own Colors When this box is checked the glow will be the same as the color of the par ticles When this in not chec
44. N Fire has to be one of our most request ed plug ins of 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 Delirium Fire effect is a particle based algorithm in contrast to other fire effects with are procedural noise based Delirium s Fire will have a much more organic and realistic appearance due to the particle system simulation Organic Levels is an important control it adds additional layers of fire with all of the same control set tings but it creates slightly different values Each additional Level will slow the render times so use sparingly This will give you additional levels of fire with the same general look but the various layers of fire will each have individual characteristics Animation Presets 2 4D 5 About p 5 Alpha Weight p 5 Random Seed gt 5 Blend Original w Fire System 3 jiEffects b 5 Organic Level Generate From Generate Source gt Generate Thresh Burn Point p 5 Preroll Frames gt 5 Fire Amount gt 5 Vert Speed gt 5 Flame Lifetime gt 5 Min Size gt 5 Max Size b 5 Min Opacity b 5 Max Opacity b 5 Wind Horiz Cy Wind Vert w Turbulence 2 Burn Point
45. Streak Level and Streak Decay together determine the amount of trailing behind the individual parts of the firework explosions that occur Level deter mines the longest streak length and Decay determines how fast it fades from the source Streak Level 4a Fireworks Streak Level determines how far behind the firework par ticle a streak will travel Streak Decay Streak Decay determines how quickly the streak will fade out Launch System Integrate Over Time Check this box if you plan on keyframing any of the con trols If you are not keyframing any of the parameters leave this box unchecked and rendering time will signifi cantly decrease Generate From Bottom of Layer When Bottom of Layer is selected in the Generate From pop up the fireworks will be sent up from any point on the bottom of the layer The launch location will be determined randomly Point When Point is selected in the Generate From pop up the fireworks will be launched accord ing to whatever point is selected in the Launch Point control below TIP When this parameter is animated the Integrate Parameters Over Time box needs to be checked Launch Point Point must be selected in the Generate From control above Launch Point determines the point from which the fireworks will be Launched Launch Angle Launch Angle determines the direction that the fireworks will be launched 0 degrees will launch the firew
46. Wave A and B are added together to create the frequency of the wave By doing this the effect remains organic and semi periodic Con Amp A Amplitude size of the first wave A This controls how much contrast to add or remove Higher numbers mean the scene will be more and less contrasty 79 Flicker and Strobe Con Amp B Amplitude of the second wave B Higher numbers mean the scene will be more and less contrasty Con Use Intermittent This controls whether the intermittent parameters are used Con Int Max Skip This controls the maximum number of frames that the contrast will be applied The larger the value the longer the contrast flickeriness will be applied Con Int Max Hold This is the maximum amount of contrast to apply Higher numbers mean con trast scenes Con Int Max Amp This controls whether the strobe parameters are used so Con Use Strobe This controls the maximum number of frames that will be skipped no contrast effect applied The larger the value the longer the time between strobes Con Strob Skip This controls the maximum number of frames that the contrast will be applied The larger the value the longer the strobe will be applied Con Strobe Hold This the amount of contrast to apply during a Contrast period Higher numbers mean more contrasty scenes Con Strobe Amp Amount of the original scene to blend in Blend Original Blend Original will blend i
47. a Shake O Camera Shake simulates a camera hit by random forces and can be rendered VAIM Beet Onions Abo About Animation Presets None 4D with exaggarated motion blur effects w About conp 13 cll png The idea behind Camera Shake is to create the Shaky Camera effect without setting numerous key frames Camera Shake internally creates a series of keyframes with the values of the parameters that you define It then lt 7 Image Mode creates randomized motion from those keyframes and applies motion blur including exaggerated motion blur 5 Use Alpha C Use Alpha gt 5 Motion Exaggera 5 You can control the amount ampli Blur Smoothness tude speed frequency and spuri s cea es ous random movement for each Segoe i keyframe You can control how many frames the current keyframe will le p be held by using the Min Hold Frames Aa minimum number of frames to hold zo n aea ae the keyframe and Max Hold Frames 0 100 i e maximum number of frames to hold gt amp Shakiness Spurio 10 the keyframe gt 5 Min Hold Frames 5 gt 5 Max Hold Frames 10 w Movement You can also control the overall amount of horizontal vertical Zooming and rotational movement within the frame using the Movement parameters p Horizontal a b amp Vertical 50 gt 5 Zoom 80 You can also over exaggerate the b amp Rotate 2 motion blur using the Moti
48. a glow will extend from the Spark particles Glow Intensity Glow Intensity controls the brightness level of the glow Glow Colors can be defined by two colors the color that is closest to the spark and the color at the outer edge of the glow Glow Inner Color This color defines the glow color closest to the arc d 172 Sparks Glow Outer Color This color defines the glow color that is outside edge of the glow Color Bias Color Bias defines the balance of the Glow Inner Color and Glow Outer Color Lower numbers will increase the value of the Glow Inner Color in the overall appearance of the glow Larger numbers tip the balance towards the outer color Glow Mode Screen Screen multiplies the inverse brightness values of the colors in all lay ers The resulting color is never darker than the original Add Add combines the color values of the layer and the underlying colors The resulting color is lighter than the original 173 b specular Lighting This effect simulates a single colored light source shining on the image as if it were a piece of plastic The light source can simply shine on the sur face or you can automatically create a bump map of the source image and the plug in will simulate hills and val leys over the image You can control the smoothness and depth of the pumpiness You can control the surface look via the Materials sliders These will determine the Ambient Specular Highlight
49. al layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage 184 Video Malfunction Ao Oy This effect uses a unique combination of different effects with built in ran domization to create a true simulation of television electromagnetic interfer ence patterns There are seven sections that control different aspects of the effect By modifying the various parameters you can easily simulate all kinds of abnormal effects including video noise ghosting intermittent static vertical hold problems tinting and horizontal tracking distortions Random Seed Random Seed is the seed value think of it as a start point for any random ization that occurs in the plug in Do not animate this as it will cause the effect to jump or randomly change values and the animation will not be smooth Blend Original Blend Original will blend in the unaf fected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage Color Correction e EAEE eset Options About Tz Animation Presets No w About gt 5 Random Seed b 5 Blend Original w Color Correction Tint Color b Bright b Bright Var b t Contrast b 5 Contrast Var w Video Noise p 5 Noise Maximum b 5 Noise Variance gt 5 Micro Noise b 5 Noise Width gt Noise Tempo w Distor
50. also have the spark particles bounce off a logo Sparks was designed to simulate the sparks that occur with some cutting tools but users of the plug in have shown us that there are many other tricks that can be done with it Some of the most interesting uses of Sparks are as a fountain style firework keyframed as a volcano tossing out its white hot magma and in conjunction with Electrical Arcs as the results of the Arcs cutting through metal The Spark System determines how the sparks will be cast and from where and what the sparks will look like when they are cast We suggest that you make a special note of the Bounce Mode controls Creating a separate layer and loading it as the Bounce via Layer controls is an excellent way of enhancing the realism of the sparks Image Mode 4 DE Sparks Reset Animation Presets None w About Apply Mode 5 Use Source Mode Composite Mode gt Random Seed bed p 5 Blend Original 0 w Spark System 5 Generate From Point la Integrate Over Time Integrate Params Over Time Generate Layer None si b Generate Threshold 15 Generate Point 5 Bounce Mode Bounce via Layer gt 5 Bounce Threshold 15 gt 5 Preroll Frames 20 gt 5 Spark Generate 76 b 5 Min Thrust 13 0 p 5 Max Thrust 40 0 gt 5 Min Opacity 20 b 5 Max Opacity 250 Birth Color Lj Death Color gt 5 Min Lifetime 10 gt 5 Max Lifetime 20
51. and Diffuse Lighting parameters These con trol how the surface material interacts with the light source You can make the surface look glossy flat or something in between Light Source Light Type Light Type determines the Light model ing mode Point Light Light emanates from a point close to the surface Directional Light Light is reflected at an angle from a light source infinitely far away w About b 5 Blend Original w Light Source ee g H Reset On m re a Tal iy a ADOT cenetdieeeeesenremeesanens necneenennrens ate Light Type Light Color b 5 Light Intensity p 5 Light Pos X b amp Light Fos Y b cy Light Pos Z p 5 Light Dir X b th Light Dir Y b Light Dir Z w7 Material p 5 Mater Amb Norm gt 5 Mater Diff Norm gt 5 Mater Diff Env p cy Mater Spec Env b Mater High Env Bump Map Bumpmap Type Bumpmap Layer p 5 Bumpmap Depth gt 5 Bumpmap Smoothne 174 b a ees a fle Create a glossy bump mapped effect from any image Light Color Light Color determines the color of the light source Light Intensity Light Intensity controls the overall brightness level of the light source Light Pos X Light Position X determines the horizontal light location Light Pos Y Light Position Y determines the vertical light location Light Pos Z Light Position Z determines the height of
52. and light pixels become dark in the inversion process then the solarize effect is applied Tint Color Tint Color allows for color tinting of this grayscale effect When this is set to white the effect will be a strictly grayscale effect Contrast Contrast adjusts the tonal range of the image before the Solarize Effect is applied When these numbers are high the difference between light and dark becomes exaggerated Small between 5 and 35 amounts of con trast will often enhance the solarize effect Rotate Rotate controls the appearance of the solarize effect Solarize 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 Interesting artistic implementation Solar Grain Solar Grain adds a grain pattern to the footage NOTE If you have a portion of the image that appears to be posterizing after applying the Solarize effect it is probably from the grain settings Try turning the grain to zero and see if the posterization is still visibile Blend Original Blend Original will blend in the unaf fected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage 166 Sparks lam Wy This effect performs a complete physics simulation of sparks You can control the color the gravity wind and other parameters You can
53. ar Size and are all defined using gradients The gradients are built in and are not editable You have a choice of over 30 different gradients that describe the different elements All gradients are usable in any component even if they may not look correct The first set of gradients have labels that describe their intended use Glow means that they should be used in the Glow part Ray means that it is intended for use in the ray part Comp 1 office psd oy DE LensFlares Animation Presets _ 7 About Flare Point Center Point b Size 92 0 5 Auto Rotation Auto Rotation gt Lens Rotation Ox 45 0 5 Obscuration C Obscure Behind Alpha Colorization Mode Original Lens Colo Tint Color Bright Glow More Glow gt 5 Blend Original 0 wv Glow Settings b 5 Glow Opacity Glow Composite 5 Glow Radial Glow Angle 5 Glow Angle Size b 5 Glow Size gt Glow Rotate gt 5 Glow Hue w Ray Settings b 5 Ray Opacity 5 Ray Composite Ray Radial 5 Ray Angle 5 Ray Angle Size Ko a Da Cian 109 Lens flare is tinted from the source image Flare means that it s intended for use in the flare part The second word tells you what component of the part it is intended to be used with For Example the gradient named Glow Ray Radial Dark Blue is intended to be used in the glow or ray part and
54. 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 Rain System 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 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 Splash on Alpha gt Threshold via Vert Height will cause the rain to splash on the first vertical pixel IN THE ALPHA CHANNEL detected The thresh old control will determine which pixels in the alpha channel will be detected as the first pixel to pile up on a means alpha a means alpha Splash on RBG gt Threshold via Vert Height 135 RainFall Splash on RBG gt Threshold via Vert Height will cause the rain to splash on the first vertical pixel in the image detected The threshold con trol 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 Splash via Layer None Layer X This defines the layer that controls if a rain drop will splash at a specific l
55. are inside the alpha mask Generate Threshold defines area inside the alpha mask that can generate particles When the Generate Threshold slider below is set to zero all areas will gener ate particles As this number increases the more transparent areas of the alpha will no longer be able to produce particles z Using the Plug ins 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 generate particles from the lighter areas of an image The Generate Threshold slider below controls which areas of the image can generate particles When this slider is set to zero all area s of an image can generate particles As the Generate Threshold number gets higher 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 particles Generate Point Also Bubble Point Fire Point etc Generate Point mode uses the generate point control below to define a point in the layer where the particles will be created Integrate Over Time Important Note Check this box if you plan on key framing any of the controls If you are not keyframing any of the parameters leave this box unchecked and
56. article Shape Use this to define the particle shape that makes up the line for the Harmonizer Select Line for a faster render ES 0 D Star Oval Line D B Soft amp Bright Harsh Falloff Dot Use Spacing Allows you to set a distance between drawing points You will be able to create space between the segments If Line is used as a particle shape this control will make the line jagged which is a cool effect Spacing Distance 104 HyperHarmonizer Use this to control the amount of space between segments when use Spacing is checked Spacing Phase This is the phase of the spacing seg ments Animate this to Move the particles along thier paths A smoother method is to use the Phase param eters A Shape This section defines the hyperharmo nizer graphic element using 3 sets of sine wave generators When there is greater than 2 harmo nizers B Shape will control the last harmonizer and all other harmonizer shapes will be calculated as the values between A Shape and B Shape i e in a 3 harmonizer setup the color of the second harmonizer would be the middle color between harmonizers 1 and 3 A Center Point This defines the center of the harmo nizer A Color This controls the color of the Harmonizer A Alpha This controls the opacity of the har monizer A Particle Size This controls the size of the particles when Particle Shape is other than
57. 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 39 HLS Displace HLS Displace uses Hue Lightness and Saturation create a displacement map that will warp to the source image The hue of the Displace Source deter mines the direction of the displace ment The Hue starts and ends with red and travels clockwise around the ie Hone T hue wheel red gt green gt blue gt red b 5 Softness v Hue Min Angle Ox 59 0 The strength of the warp depends on the Light Displace and Saturation e hee male 1x 0 0 Displace parameters These values define how much warp is applied i wv Light Displace 58 4 These parameters are interesting to 100 0 100 0 animate v G Saturation Displace 10 0 100 0 100 0 When using the HLS Displace effect and Y Blend Original o the Displace Source is set to the image itself the footage will tend to get a very fractured and melty appearance Try working this way to get a feel for how the effect will generate a look You can also use other sources like simple gradients to have more control over the effect TIP You may want to use the MultiGradients plug in on a solid layer as a source for this effect and use Turbulent Noise or a particle system as a displacement map Displace Source 100 b Create water effects in conjun
58. brightness color of the stroke Higher numbers mean more change 155 Smoke LCAN Wy Smoke creates a realistic billowing col ored smoke effect You can control the amount of smoke and it can be gener ated from a logo This plug in is complementary to the Fire plug in The smoke will always be growing in size from the time it is born until it fades out this includes from before the fade up stage all the way through the fade out stage of the smoke Image Mode Apply Mode Use Source Mode Composite Alpha Threshold Alpha Weight Random Seed Blend With Original Generate From Integrate Params Over Time Generate Source Generate Threshold Smoke Point Preroll Frames Controls in this section are described in the Using the Plug ins section start ing on page 13 of this manual Refer to that section for instructions on how to use these parameters 5 Apply Mode Use Source Mode Composite Mode gt 5 Alpha Threshold gt 6 Alpha Weight gt 5 Random Seed gt 6 Blend Original w Smoke System 5 Generate From moke Poi F Integrate Over Time Integrate Params Over Time Generate Layer gt Generate Layer Thre 15 5 Smoke Point Smoke Color p 5 Color Variation gt 5 Preroll Frames gt 5 Smoke Amount gt 5 Hor Speed gt Vert Speed gt cy Start Size gt 5 Min Grow Speed gt 5 Max Grow Speed b 5 Fade Up Speed b Fad
59. c cece cere cree eee 119 Muzzle Fl sh 65 66 66646588 GS8 66S 45S EROS OE ES 123 aN lt D Z r N N y Putty ClOUGDS 636 6 5 6 645446 9546 0494 6 Ses Ow 55S om 131 Rain fal sos54csceesew sn nAra inr Aai ce 134 Retinal Bloom s 600 lt 66 0sessceedeeee vad ed eee 139 Schematic Grids ccc ccc c cece ec ccees 143 ShowChannels 2 ccc cc cece cc ccccceee 147 SKCUCHISU 6s etic ceeesee cent aseetesceudawes su 149 ON 1 a E i ZA RJ 3 A Wi OA y Snow Storm sssssssssossssssooooosooooo 160 SolariZe sssssssssossoesossososoosooooo 165 IN te a eS n 2 A O Y an A N THEFMOGraph 66656 608 s6e i sh eG4S RES ee HE ORES 179 Turbulent Noise ccc ccc ccc ccc ccc ccees 183 Video Malfunction ccccccccccccccs 185 Pad N Visual Harmonizer ccccccccccccccecs 191 Wave Displace s s 6i05 644 144 65008 sues ascenn ex 196 aN Introduction Welcome to Delirium the amazing package of special effects plugins for Adobe After Effects Adobe Premiere Pro Apple Final Cut Pro Autodesk Combustion and Boris RED With the Delirium plugin effects you can create an amazing range of animated imagery through the use of a wide range of possible effects including color manipulation d
60. cle Composite Mode handles how the particles that make up the effect will blend with EACH OTHER before they are composited with the source layer Alpha Threshold and Alpha Weight provide control over opacity of the particles These two parameters change the luminance of the particle image into an opacity transparency information The second section is usually called the Effect System section called Fairy System Electrical System etc depending on the plug in with a few of the effects having several different particle systems in them When there are several effect sections we have grouped the controls that contribute to the same portion of the effect These systems define the motion characteristics and overall look of the effect For example in Electrical Arcs the Electrical System determines exactly how the arcs will be subdivided how long the branches and sub branches will be the color of the lightning etc The Effect Systems more than any other part of the plug in define the characteristics of the effect and most of your time adjusting the param eters should be spent in this area Many of the plug ins have a Glow section The controls for Glow are essentially exactly the same and will give the same results Once you get a feel for how this section behaves for one plug in you will understand what it does in any plug in that includes Glow Generally it provides a glow around the outer edge of the effect gen
61. controls how much the flames will be dis persed along the horizontal axis from their generation loca tion Wind Horiz Wind Horizontal controls how much sideways force there is on the fire TIP Use this with keyframes to make the fire sway back and forth Wind Vert Wind Vert gives you control over how fast the flames rise This can be used in conjunction with Vert Speed to deter mine the overall flame speed TIP Use Vert Speed when you want the overall speed of the fire to stay constant but you need to keyframe vertically accelerated bursts of fire 00000 00001 00002 00003 00004 Fire 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 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 high er the number the greater the details visible from the turbulence in the fire NOTE We create the Fire plug in to do one thing really well create flame
62. creases the contrast levels in the noise The lower the number the less the contrast end ing in solid black Brightness Brightness controls the total level of how dark or light the noise is Detail Detail controls the amount of fine tur bulence that can be seen The higher this is set the rougher the turbulence will appear This also increases render time when set high Stretch X Stretch X warps the turbulence verti cally along the X axis as this number increases Stretch Y Stretch Y warps the turbulence hori zontally along the y axis as this num ber increases TIP Stretch behaves like a zoom where the turbulence looks farther away as these numbers increase Skin blood texture is created with Turbulent Noise Offset X Offset X allows for motion of the field of turbulent noise along the X axis By increasing this number the turbulent noise will drift from right to left Offset Y Offset Y allows for motion of the field of turbulent noise along the Y axis by increasing this number the turbulent noise will drift from bottom to top Seed Seed controls the overall look of the noise pattern Animate Seed When Animate Seed is checked on the noise will generate a new random pattern with each new frame Make Tileable Make Tileable creates a noise pattern that will repeat upon itself seamlessly when it is offset extensively Blend Original Blend Original will blend in the unaf fected origin
63. ction with You can also do heat wave effects Turbulent Noise Displace Source allows for a choice as to which layer will be used as the source of the displacement It is possible to use one image to displace another TIP When an image is applied to itself Displace Source set to None HLS Displace gives a fractured melty absinthe laden appearance to your footage Edge Mode Edge mode determines how the pixels will be filled along the edges of the image when the distortion moves the image such that the underlying footage below or background color can be viewed By using one of these methods the footage below will not show through Repeat Edge pixels Repeat Edge Pixels will repeat the pixel closest to the uncovered area This will give a stretched look from the edge of the distorted footage to the edge of the comp Wrap Around Wrap Around will use pixels from the opposite side of the footage to replace the empty areas Reflect Edge Pixels Reflect Edge Pixels will use a reflection of the closest pixels to the edge of the areas that are uncovered This is the most commonly used set ting Softness 101 HLS Displace Softness applies a blur to the Displace Source This is done to soften harshness in a displacement map If you find that the results look jagged increase this parameter Angle Angle determines the direction of the distortion based on the hue of the pixel that is being used to distort on the displacem
64. d on a series of sine waves which are rendered as a series of particles or as simple 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 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 start ing on page 13 of this manual Refer to that section for instructions on how to use these parameters EDA ries Reset Optic Animation Presets aoe 4D wv About 5 Apply Mode 5 Use Source Mode Image Composite M aie A 5 Particle Composite M Screen 5 Blend Original 0 gt 5 Alpha Threshold 0 gt Alpha Weight 255 sz Harmonizer System 5 Num Harmonizers 15 Particle Shape Left Side Right Side Start Color End Color b Start Size 2 b End Size 5 gt Start Opacity 250 D End Opacity 190 gt 5 Start Amplitude 10 00 gt 5 End Amplitude 100 00 gt Start Frequency 1 00 gt End Frequency 4 00 gt Start Phase Ox
65. dden 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 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 164 b Solarize Solarize is a photographic process simu lation for creating the look of double exposed photographic paper that forces the silver salts to gather around areas that have contrast This gives a solar ized or Sabbatier look Slide the Contrast and Rotate sliders Especially Rotate back and forth and you will find an area that works well with your footage TIP This effect is fast enough that you can usually do it with the Option key held down for real time updates Invert Invert applies the Solarize effect to the layer after the layer to which the effect has been applied has been inverted i e dark pixels become light Pe DE Solarize w7 About Invert C Inverted Tint Color a w Contrast 23 127 127 es el w Rotate 144 o 255 i w Solar Grain 13 o 255 ee v Blend Original 30 o 165 b Great organic photographic effect
66. de the control left and right You should be able to do this with the option key held down and receive near real time feedback Notice that as you approach 100 that the interior of the gradient gives a very hard red line This is because it is squeezing most of the End Color out As you get to 100 the entire interior of the layer turns red This is because you have com pletely removed the End Color Glower Glower provides a glow effect that has some interesting built in channel opera tions a minimum and maximum thresh old to help you more closely specify the glow region and of course presets for the plug in so that it is easy to rep licate a specific set of parameters at any time Glow Radius Glow Radius determines how many pix els away from the source pixel which is every pixel that falls within threshold Min and Threshold Max that the glow will extend Threshold determines which pixels will glow based on luminance and the min and max controls below Threshold Min Threshold Min is the minimal luminance threshold from which the glow will be generated Zero is equal to black Threshold Max Threshold Max is the maximum lumi nance threshold from which the glow will be generated 255 is equal to white TIP If you want the dark areas to glow set the min to zero and the max to somewhere around 75 depending on the image This can give a slightly cartoonish look to the footage and will often bring detail out
67. determines the minimal number of times of how often the waves of distortion occur When this number is set high the waves occur with greater fre quency H Max Frq H Max Frq determines the maximum number of times that waves will occur along the horizontal axis TIP By using minimums and maximums for frequency and amplitude you can cre ate non uniform patterns of distortion If you want your distortion to be uniform just set the minimum and maximum numbers to the same value H Phase H Phase determines the position of the waves highs and lows generated by ampli tude along the lines of the waves generated by frequency V Wave Type V Min Amp V Min Amp is the minimum amplitude of the vertical waves V Max Amp V Max Amp is the maximum amplitude of the vertical waves used in the distortion V Min Frq V Min Frq determines the minimal number of times of how often the waves of distortion occur When this number is set high the waves occur with greater fre quency V Max Frq V Max Frq determines the maximum number of times that waves will occur along 199 Wave Displace the horizontal axis V Phase V Phase determines the position of the waves highs and lows generated by amplitude along the lines of the waves generated by frequency H Scale H Scale zooms into or out of the wave distortion effect along the horizontal or X axis V Scale V Scale zooms into or out of the wave distortion effect along the
68. dius Glow Radius determines how far any glow that the bars have will extend from the bars NOTE The glows blend and add to each other where they overlap and can quickly become pure white Glow Intensity Glow intensity determines how strongly the bars will glow Glow Inner Color Glow Inner Color determines the color of the glow closest to the bars Glow Outer Color Glow Outer Color determines the color of the glow at the glows edges Color Bias Color Bias determines the position or balance of the inner and outer colors in the glow The further to the left or lower numbers that this is set the more the inner glow color will dominate the glow 130 Glow Mode Screen Screen multiplies the inverse brightness values of the col ors in all layers The resulting color is never darker than the original Add Add combines the color values of the layer and the underlying colors The resulting color is lighter than the original Puffy Clouds Ft Puffy Clouds creates moving colored puffy clouds It will automatically ani mate and you can control the speed direction color and opacity of the cloud By working with more than one layer and adjusting Speed Closest and Speed Furthest the effect will simulate the appearance of depth Num Layers Num Layers determines how many cloud layers will be placed with the Puffy Clouds effect Move Direction Move Direction determines the general or averag
69. does and how to execute a test to find out which frame your g Tutorial video system renders first Upper or Lower field first 17 Now that all settings have been entered click Render to create the movie 18 Since After Effects is not optimized for playback of hardware assisted video systems you should play back the footage in the video system that is appropriate for your card Congratulations This concludes the Delirium tutorial T Using the Plug ins We think it would be helpful to tell you the basic idea behind how these plug ins together how they work in a general way and a discussion of the terminology This section is a general explanation of many underlying concepts that drive Delirium Particle Systems Delirium has a number of differenet effect plug ins including a collection of par ticle systems These particle systems simulate or create certain specific effects Most other companies particle systems are general purpose and users have a hard time creating the desired effect Delirium addresses the root of this problem by creating plug ins that are specific to one effect For example the Fire plug in makes a great looking fire effect as soon as it s applied to a layer Delirium delivers a set of particle based effects that are designed to handle spe cific tasks extremely well while continuing to be easy to use It used to be that creating effects
70. 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 TIP By animating this parameter it is possible to make the particles crawl along the frequencies Glow Glow Radius Glow Radius controls the distance from the harmonizers edge on both sides of the harmonizers that the glow colors will travel away from the harmonizers The glow also covers over the interior of the harmonizers so when this is turned completely off the harmonizers look much thinner Glow Intensity Glow Intensity controls the brightness level of the glow Since the glow radius covers both the interior and exterior of the harmonizers when the glows inten sity is increased it affects the interior of the harmonizers more than the out side of the harmonizers Glow Colors are defined by two colors the color that is closest to the harmo nizers and another layer of color that lies just outside of the harmonizers Glow Inner Color This color defines the glow color closest to the harmonizers Glow Outer Color This color defines the glow color that is outside the harmonizers and the Glow Inner Color Color Bias Color Bias defines the balance of the Glow Inner
71. e Out Speed BOA hiim ienr 156 b Smoke from the Smoke Point Smoke System TIP This is the best way to generate smoke from text or a company logo that has an alpha channel Smoke Color Smoke Color determines the color of the smoke Color Variation Color Variation varies the brightness of the color of the smoke NOTE This will not change the tint or hue color i e you will not get yellow smoke in the midst of gray smoke It only varies the brightness making some smoke brighter and some darker Smoke Amount Smoke Amount determines how much smoke will be generated per frame Vert Speed Vert Speed determines the rate at which the smoke rises The higher the number whether positive or negative Smoke emitting from a logo the faster the speed of the smoke Negative numbers will make the smoke rise and positive numbers will make the smoke fall Min Grow Speed Min Grow Speed determines the slow est speed at which the smoke can grow Max Grow Speed Max Grow Speed determines the fast est speed at which any of the smoke can grow NOTE The Smoke always grows from the time it is born to the time it fades out it is growing NOTE The smoke will start out semi transparent and move towards being more opaque Once it gets to its maxi mum opacity it will travel towards transparency again It starts transpar ent goes solid then goes transparent again Fade Up Speed 157 Smoke
72. e color can be easily seen if the Retinal Bloom effect is applied and then the effect only box is checked Then slide the Threshold minimum slider down and the underlying colors will begin to show as more colors in the footage are allowed to be affected by the Retinal Bloom plug in 3 00003 Single Color When the Use Preset Color box is checked this control will determine the color of the blooms that are put on the foot age 4 00004 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 5 00005 5S d 142 Schematic Grids Schematic Grids creates a dual reso lution grid that you can scroll around and also includes the ability to break the segments of the grid You can also place items at the corners of the inter sections on the grid This is another of the graphic element generators that are a part of Delirium We have to give a special thanks to Jeff Taylor of Alloy Wrecking Crew the designers who designed all of the art that comes with Delirium including the Ul elements the box manual cover and Sales literature His persistence forced us to include this plug in in the set Thanks Jeff Schematic Grids creates grid patterns that can be subdivided have broken lines and have objects placed on its intersections va DE SchematicGrids Reset O
73. e direction of the clouds There will be a degree of chaotic motion in the clouds Speed Closest Speed Closest determines the speed of the slowest layer of clouds Speed Furthest Speed Furthest determines the speed of the fastest layer of clouds Bright Color p 5 Num Layers Move Direction wv Speed Closest 50 50 ee peel gt 5 Speed Furthest 30 Bright Color Dark Color L ial v Detail Closest 16 1 64 ee pe gt 5 Detail Furthest 4 w Opacity Closest 100 o 255 b 5 Opacity Furthest 250 b 5 Bright Closest 48 b 5 Bright Furthest 255 w Contrast Closest 90 o 255 ee peel b Contrast Furthest 250 gt 5 Random Seed 0 sz Blend Original 0 131 b Clouds over an image You can define the colors within the cloud Bright Color determines the color of the lightest parts of the clouds as deter mined by Bright Closest and Bright Furthest below Dark Color Dark Color determines the color of the darkest parts of the clouds Detail Closest Detail Closest controls the minimum amount of detail in the clouds When this is set high the clouds will have a great deal of detail Detail Furthest Detail Furthest determines the maximum amount of detail in the clouds possible When this is set high the clouds will seem smaller and further away NOTE Detail Closest and Detail Furthest are the outer limits of what the clouds will look like Individual Cloud Layers
74. ecked Bright Color This is the color of the brightest part of the glow when Use Original Colors is NOT checked Blend Original Blend Original will blend in the unaf fected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage TIP Glower can benefit greatly from Blend Original Since the Glower Effect can give a blurred effect to the 95 Glower footage blend original is an excellent way to bring back some of the sharpness and detail back into the footage o p GrayScaler GrayScaler converts color images into grayscale images with a customizable luminance control You can get some amazing looks by blending different amounts of the Red Green and Blue color channels together Grayscaler gives control over the pro cess 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 Plus for each of these channels brightness and contrast may be worked with independently TIP When first looking at footage that you are going to change into grayscale it can be helpful to look at each of the color channels independently and with out 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 channels Red Neutral Green Neutral and Blue Neutral
75. ed is the seed value think of it as a start point for any randomization that occurs in the plug in Do not ani mate this as it will cause the effect to jump or randomly Camera Shake change values causing the animation will not be smooth 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 Shakiness Shakiness Amp Shakiness Amp is the maximum distance of the Shakiness of any keyframe value horizontal vertical zoom rotate Shakiness Freq Shakiness Freq is the maximum speed of the Shakiness of any keyframe value horizontal vertical zoom rotate 3 p TIP If you want the camera to look like it was bumped keyframe Amplitude and Frequency from zero to the amount that you want over two frames then keyframe it back down to zero over 10 30 frames Shakiness Spurious Shakiness Spurious is the maximum amount of randomness of any keyframe value horizontal vertical Zoom rotate The controls that define Camera Shake settle into an arbitrary space between the various minimum and maximum settings in the plug in Once this arbitrary place has been defined by the plug in the effect holds that shaky camera look for a certain number of frames Then the plug in will change to another point between the various minimum and maximum settings and hold that shaky camera l
76. en each grid point for the top layer of painting Bot Grid Size Bottom Grid Size defines the spacing in pixels between each grid point for the bottom layer of painting Top Threshold Top Threshold defines the perceptual threshold to restrict the placement of brush strokes Experiment with this parameter the Grid Size and the Num Strokes parameters with Preview Grid turned on to get a feel of where strokes will be placed for the top layer of painting Bot Threshold Bottom Threshold defines the perceptual threshold to restrict the placement of brush strokes Experiment with this parameter the Grid Size and the Num Strokes parameters with Preview Grid turned on to get a feel of where strokes will be placed for the bottom layer of painting Top Brush Size Top Brush Size controls the maximum size of the brush strokes in pixels to be placed for the top layer of painting Bot Brush Size Bottom Brush Size controls the maximum size of the brush strokes in pixels to be placed for the bottom layer of painting Var Brush Size Var Brush Size allows for variations in the sizes of the brushes used as defined in Top Brush Size and Bottom Brush Size The higher this number the greater the variation in the brush size Top Stroke Length Top Stroke Length determines the length of the stroke as a number of steps and the distance of each step being controlled by the Stroke Speed The high er this number the longer the pote
77. ent 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 pro vide for a 3 color gradient starting with the start color transitioning to the Grad 1 Color and ending with the End Color Grad 1 Color When a multi Gradient is selected in the Multi Gradient pop up this will deter mine the color of the Grad 1 position Grad 1 Mode Controls the interpolation method used between the gradient color positions 181 b Grad 1 Position Grad 1 Position determines the position of the Grad 1 color on the gradient rela tive to the Start Color and End Color A good way to see the results of this is to set this to red and slide the control left and right You should be able to do this with the option key held down and receive near real time feedback Notice that as you approach 100 that bottom or end color of the gradient gives a very hard red line This is because it is squeez ing most of the End Color out 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 Grad 2 to Grad 10 controls are made functional Each of these works in the same manner as the Grad 1 controls with each additional color being added at thier respective positions in the gradient d 182 Turbulent Noise This effec
78. ent map The Hue starts with red and cycles back to red after traveling through orange yellow green blue and violet Hue Min Angle Hue Min Angle determines the direction of the pixels that are on the yellow side of red in the displacement map Hue Max Angle Hue Max Angle determines the direction of the pixels that are on the violet side of red in the displacement map The distance that the displacement travels is based on the Lightness and Saturation in the Displace Source The Light Displace and Saturation Displace are added together to determine that distance Light Displace Light Displace is the strength or magnitude of the contribution of lightness to the total displacement distance Saturation Displace Saturation Displace is the strength or magnitude of the contribution of satura tion to the total displacement distance 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 102 HyperHarmonizer Hyper Harmonizer creates incredibly mesmerizing geometric images These are useful for animated logo designs or just animated elements in a larger piece HyperHarmonizer is a visual element generating plug ins designed using sine wave curves and other mathemati cal constructs A line is drawn by a point that loops around circles that loop around circles This also happens t
79. ent of the flare elements randomly selected compo nents like distribution of the flare elements on the line and sizes of the individual elements Flare Spread Flare Spread defines how far apart the flare elements are from each other Smaller numbers means tighter spacing Flare Spread Angle The Flare elements are lined up using Flare Spread Angle in relation to the center point Loose Sprockets LCA Ke f This plug in simulates a loose gate on a projector or film camera The basic idea is to create a semi periodic organic waviness motion and also simulate the occasional harsh bump The effect uses two sine waves of dif ferent amplitude and frequency to define the horizontal and vertical off set This creates a semi periodic and natural wavy motion The spurious amount controls the jag ged or Jarring motion The effect is subpixel accurate if the layer in the After Effects timeline is set to high quality mode H Amp 1 H Amp 1 is the amplitude of the first horizontal displacement wave The higher this number is the faster the movement H Frq 1 H Frq 1 is the frequency of the first horizontal displacement wave The higher this number is the faster the movement H Amp 2 H Amp 2 Amplitude of the second v ARANTES Reset Options About Animation Presets db b Motion Blur 2 5 Random Seed 100 0 32000 E______ b 5 H Amp 1 3 0 wt HFrql 1
80. er aiid Serr ae Apply Mode Use Source Mode Composite Mode Alpha Threshold Alpha Weight Random Seed Blend With Original Generate From 160 b Snow falls on the alpha channel of the logo Snow can pile up on the bottom 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 for instructions on how to use these parameters Snow System Pile Up Mode Don t Pile Up When selected Don t Pile Up will allow the snow to disappear as it hits the bottom of the layer Pile Up On Bottom When selected Pile Up On Bottom will stick and pile up as it hits the bottom of the layer Pile Up on Alpha gt Threshold via Vert Height Pile Up on Alpha gt Threshold via Vert Height 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 a means alpha 161 SnowStorm Pile on RBG gt Threshold via Vert Height Pile on RBG gt Threshold via Vert Height 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 tha
81. er dark ens 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 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 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 Alpha Weight Alpha Weight defines the overall opacity of the particles Larger values will make the particle will appear more opaque harder to see through The lower the value the more transpare
82. erated by the Effect Systems It will have a Radius and Intensity The Radius determines how far the glow stretches from the effect and Intensity determines how strongly it will glow ____ _ F Using the Plug ins Animated Graphic Element Generation Many of the plug ins in Delirium generate graphic elements or as Trish Meyer of Cybermotion refers to it creating something from nothing Plug ins that fall into this catagory often are also a part of the particle systems above include Nexus Hyper Harmonizer Visual Harmonizer These plug ins are not trying to simulate real world events like fire or snow Instead they are designed to gener ate interesting shapes and colors that give an engaging appearance in a composition They are like textures in that they are not the main focal point in a composition but they are more interesting and dynamic than any texture could be The best way to see what these effects can do is to load one of them up and check out the presets One of my favorites right now is the Nexus plug in and the Shelluloid preset It is an interesting look and the effect auto animates in After Effects 4 press the zero key on your numeric keypad to have it load the effect into ram and play back in normal time u p AutoAnimation Effects One of the key features in Delirium is the ability to automatically animate an effect without setting keyframes Most other plug ins
83. etime The spark colors will transition from birth to death color Min Lifetime Min Lifetime determines the shortest amount of time that a spark can exist Max Lifetime Max Lifetime determines the longest time that a spark will exist Jet Angle Jet Angle determines the general direction of the flow of sparks NOTE This will determine the direction of the flow of the sparks for any of the choices in the generate from pop up Jet Width Jet Width determines how far from the Jet Angle that the particles can be pro jected When this is set to a low number the stream of sparks will be tightly focused When this is set to a high number the sparks will flow out in numerous directions 171 b Wind Gravity Air Resistance Gravity Gravity pulls the particles down towards the bottom of the layer NOTE Gravity combines with thrust wind and air resistance to determine the dis tance and speed that a particle will travel Wind Horiz Wind Horiz determines the amount of horizontal push that the wind can give to the sparks Wind Vert Wind Vert increases or decreases the vertical speed of the sparks This can be used to increase the initial speed which in many cases starts at zero Air Resistance Air Resistance determines the amount of deceleration that the air will drag on the sparks The greater this number the shorter the distance that the sparks will travel Glow Glow Radius Glow radius determines the maximum distance that
84. fect Controls F3 Untitled Project aep Camera Mapper X E Remove All OHE 3D Channel gt Audio gt Blur amp Sharpen gt Channel P Color Correction gt Digieffects Camera Mapper gt DigiEffects Delirium P DE BlurZone Digieffects Natural Forces gt DE Bubbles Distort gt DE CameraShake Expression Controls gt DE ChannelDelay Generate gt DE COPBlur Keying gt DE DayForNight Matte gt DE ElectricalArcs Noise amp Grain gt DE FairyDust Paint DE FilmFlash Perspective gt Simulation P DE FireWorks Stylize gt DE FlickerAndStrobe Synthetic Aperture gt DE FlowMotion Text gt DE FogFactory bbe e rere es Modifying a Preset with the Delirium User Interface We will now modify this preset to change it from burning at the bottom of the layer to burning the logo based on it s alpha channel Tutorial 8 Change the Generate From to Generate Layer Alpha gt Threshold This will cause the flame particle system to be generated wherever the alpha of the image is opaque In other words the flames will burn from the logo Bottom of Layer Generate Layer Alpha gt Threshold 2 Organic Level Generate Layer Luminance gt Threshold Generate From i Burn Point 9 The flames should now be growing from the DigiEffects Logo You can replace the DigiEffects logo with your own logo by using the Replace Footage com mand from the File menu See
85. ferent operations to the channels Exactly what they do is hard to explain without using math ematical 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 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 color will begin at the bottom of the layer End Alpha Start Alpha defines the transparency of the Start Color This can be used to scale back or lessen the effect of the End Color Day For Night Bias Bias defines the weight or distribution of the Start and End colors The lower this number is the more dominant the Start Color 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 Filter Settings Filter Colors Filter Colors defines the number of additional
86. from Layer Alpha gt Threshold is the best way to generate fire from text or a company logo that has an alpha channel Fire Amount Fire Amount controls the total num ber of flames that are generated per organic layer 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 com pletely 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 63 Min Opacity Min Opacity controls the minimal 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
87. ft straight up The higher this num ber is set the more the bubbles will move with some horizontal direction Wind Horiz Wind Horizontal controls how much the bubbles can be pushed left or right by the force of wind When this is set to zero the bubbles will float straight up other than when this is set high and positive the bubbles will move from left to right as they float up When set high and negative the bubbles will move from right to left Wind Vert Wind Vert increases or decreases the vertical speed of the bubbles This can be used to increase the initial speed which in many cases starts at zero Bubbles Distortion w Distortion b Distort H 5 0 p 5 Distort V 5 0 NOTE With the Effect Behind setting the default settings will use the bubbles to distort the layer To control or remove this effect go to the istortion Controls below To remove this effect set Distort H and Distort Distortion determines how much the bubbles will distort the footage to which the bubbles effect is applied to This distortion is based on the bubbles and so will have the same shape and location as the bubbles TIP Using effect behind and high distortion levels all that will be seen is the bubble distortions an interesting effect Distortion H Distortion H determines the amount of horizontal distortion will be created Distortion V Distortion V determines the amount of vertical distortion will be created 32 p Camer
88. g straight in the middle Spherical 176 b Completely smoothly curved no straight lines Linear Slanted NOTE These settings must be experimented with as they are difficult to describe succinctly with words Bumpmap Layer None Layer X Bump Map Layer allows for the use of the bump map height of another layer in the current composition That layer can be chosen here Bumpmap Depth Bumpmap Depth determines the deepness of the bump map effect Bumpmap Smooth Bumpmap Smoothness determines the softness of the bump map effect BumpMap Stretch The source bumpmap image can be stretched if the size of the source image and the bumpmap image are different Don t Stretch Don t Stretch will clip the Bumpmap layer to the upper right of its image to match the size of the source image Stretch Stretch will squish the Bumpmap layer to fit the size of the source image d 177 Specular Lighting Environment Map Environment Map It is possible to use another image as a color look up table for an environment mapping effect and it can be chosen here Use the Bumpmap smoothness and Bumpmap depth to control the mapping effect The environment is created using an inverse spherical model None Use Environment Map TIP Essentially you are looking at the inside a reflective ball that has a texture map derived from the Environment Layer Environment Layer The layer selected here is used as a 2 di
89. ghtness level for a number of frames and you can also set the number of frames to skip after a hold These parameters are denoted in frames and the value of the parameter skip or hold is the maximum number of frames to be held skipped The maximum amount of brightness to apply is denoted by the Max Amp parameter For Intermittent when the effect is in the hold state a random amount of brightness or contrast is applied to the scene which causes it to flicker For Strobe the effect applies the Strobe Amp amount of brightness or contrast to the scene Brightness Controls Use Bright This will turn on off the processing of brightness in the effect Checked means modify the brightness of the image using the Brightness parameters Bri Freq A Frequency of the first wave A The frequency defines how fast the wave chang es over time Higher numbers mean faster flickering Bri Freq B Frequency of the second wave B Wave A and B are added together to create the frequency of the wave By doing this the effect remain organic and semi period ic Bri Amp A Amplitude size of the first wave A This controls how much brightness to add or remove Higher numbers mean the scene will be more bright and more dark s Flicker and Strobe Bri Amp B Amplitude of the second wave B Higher numbers mean the scene will be more bright and more dark Bri Use Intermittent This contro
90. hannel Delay will use the frame from 5 frames previous to the current frame as the current frame i e if you are on frame 25 in the timeline and the green delay is set to 5 then Channel Delay will use frame 20 Green Trans Green Trans controls the transparency of the Green color channel of the layer to which the effect is applied The higher the number the more transparent the Green colors in the layer When this number is at 255 there is no Green left in the layer Green Offset Green Offset controls the amount that the channel will be offset from the origi nal layer position Blue Delay Blue Delay determines the frame being used by the Channel Delay __________________ 4 4 Channel Delay Blue Trans Blue Trans controls the transparency of the Blue color channel of the layer to which the effect is applied The higher the number the more transparent the Blue colors in the layer When this number is at 255 there is no Blue left in the layer Blue Offset Blue Offset controls the amount that the channel will be offset from the origi nal layer position 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 n COP Blur Comp 1 office psd COP Blur is a simple regional blur designed for those occasions where someone really shouldn t be identified There are two cho
91. hat any given segment in the main grid pattern will be missing making the overall grid broken Main Color Main Color determines the color of the main grid pattern Main Alpha Main Alpha determines the transpar ency of the lines that make up the main grid Subdivisions Subdivisions determines the num ber of lines that will be generated between each line in the main grid These lines are referred to as subdivi sions or subdivision lines This number is always a whole number Do not animate this value as it will cause popping Animate the Main Spacing instead Ft iy Schematic Grids Subdiv Color Subdiv Color determines the color of the subdivision lines Subdiv Alpha Subdiv Alpha determines the transparency of the subdivision lines Intersections Intersections are objects that are placed on the points on the grid where main grid lines intersect Intersect Prob Intersect Prob determines the likelihood of the intersect shape appearing on any given intersection Intersect Shape Intersect Shape are the various objects or shapes that can appear on the inter sections The following are the types of shapes available Intersect Size Intersect Size determines the size of the intersect shapes that appear on the intersections Intersect Color Intersect Color determines the color of the intersect shapes Intersect Alpha Intersect Alpha determines the transparency of the intersect shapes Smaller n
92. her keyframe in the on position option click the word Start Flash in the plug in to set a keyframe Intensity Speed Intensity speed determines how quickly the film flash will become bright The higher this is set the sooner the flash will overwhelm the underlying footage Softness Speed Softness Speed determines how soft the flash will appear When this is set to a large value it blurs the flash but not the underlying footage and it takes longer for the flash to blow out the underlying footage s p TIP Setting Intensity Speed to twice Softness Speed gives a smooth flash that develops quickly depend ing on how high the numbers are set Glow Mode Determines the compositing mode for mixing the Film Flash effect with the source image Check out Using the Plug ins section for more information on the modes and how they are used TIP While many channel modes are available here usually only add and screen achieve the intended effect Experiment with the other Modes to see some interesting effects Blend Original Blend Original will blend in the unaffected original layer with the affected layer The higher this num ber the more of the original layer will be blended in with the affected footage TIP If the parameters for softness speed and inten sity speed are set too low the image may never completely flash to white If the flash never hap pens increase the values of these parameters d ire L
93. horizontally and do so more with the close than with the far banks Stretch V Close Stretch V Close stretches the closest fog layer along the vertical axis making the fog look tall and thin Stretch V Far Stretch V Far stretches the farthest fog layer along the vertical axis Opacity Close Opacity Close determines the transpar ency or opacity of the closest fog layer Opacity Far Opacity Far determines the transparen cy or opacity of the furthest fog layer Bright Close Bright Close determines the brightness value of the closest layer of fog Bright Far Bright Far determines the brightness value of the farthest layer of fog Contrast Close Contrast Close determines the contrast value of the closest layer of fog Contrast Far Contrast Far determines the contrast value of the farthest layer of fog Random Seed Random Seed is the seed value think of it as a start point for any randomiza tion that occurs in the plug in Do not animate this as it will cause the effect to jump or randomly change values and the animation will not be smooth Blend Original Blend Original will blend in the unaf fected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage y Framing Gradients Framing Gradients simulates the appearance of adding a dark border around footage This is often done in a telecine transfer By using a s
94. hreshold min All other blooms will be placed on the pixels whose threshold value match the associated size The simplest way to think of it is this Bright pixels big blooms Dark pixels small blooms Medium pixels medium blooms Bright and dark are determined by the threshold settings Size Min Size Min controls the size of the small est blooms that will be placed on the footage Size Max Size Max determines the largest bloom size that will be placed on the foot age NOTE Only non round Bloom Shapes will be affected by the Angle Min and Angle Max controls This is due to the fact that perfectly round particles will not look different at different rotation angles Angle Min Angle Min determines the minimal angle at which the bloom particles will be placed on the footage 141 b Angle Max Angle Min determines the minimal angle at which the bloom particles will be placed on the footage NOTE Angle distribution is based on luminance where dark est pixels are minimum and brightest are max Trans Min Bloom Object Minimum transparency also Opacity Trans Max Bloom Object Maximum transparency also Opacity Use Single Color When this box is checked the blooms color will be deter mined by the Single Color Control When this box is unchecked the bloom will be determined by the pixel col ors of where the bloom is placed on the footage 2 00002 TIP This coloring of the blooms by the footag
95. i 1 AL 5 j ik sal I i 1 p aE he Fairy dust can follow a point leaving a trail Fairy dust from the alpha channel of a logo Fairy System Dust Type Soft Glow Hexagonal Sparky Quad Highlight Quad Solar Random Hex Dust Amount Dust Amount determines the quantity of dust that is generated per frame NOTE This is not an average for each frame this is an amount generated per frame Max Speed As the particles move Max Speed will control how fast the fastest of the particles will move This is an average from zero to max speed some move very slowly so that there is always a trail left behind NOTE Not all particles will move at this speed only the fastest ones 56 Fairy Dust Dust Lifetime Dust Lifetime determines how long the particles will stay on the layer before they disappear NOTE The longer the particles last the more that will be on the layer Dust Color This determines the color of the dust on your layer when it is generated This can be a great control to key frame Bright Variance Bright Variance controls the amount of flicker that the various particles will have over time NOTE This is a temporal effect and may be difficult to see when adjusted on a single frame Min Size All of the dust particles will be between a minimum and maximum size Min Size determines the smallest size of particle that will be generated Max Size Max Size will determine the larges
96. i e this will make it so transparent darker areas cannot bounce sparks Preroll Frames This control allows for the effect to start before the first frame of the clip This control gives you the ability to have the effect already generating sparks before the first frame of the clip If you did not have this ability the effect would always Start with no sparks By pre rolling you can have the effect already generating sparks before the first frame in the layer This value corresponds to the number of frames before the first frame of the clip to start generating the sparks Please NOTE Pre roll will not generate sparks before the first frame of the layer to which the sparks plug in has been applied Spark Generate Spark Generate determines number of sparks that to be generated per frame Min Thrust Min Thrust determines the speed of the slowest sparks that are generated Max Thrust Max Thrust determines the speed of the fastest sparks NOTE Thrust Min and Max determine the extremes of speed of the sparks Any individual spark will move at a speed between these values Min Opacity Min Opacity determines the least opaque most transparent that a spark can be Max Opacity Max Opacity determines the most opaque that a spark can be d 170 Sparks Birth Color Birth Color determines the color of the spark when it is first created Death Color Death Color determines the color of the sparks just before they disappear end of lif
97. ices for obliterating the underlying region either a blur or a pixelization When Grid is selected in Blur Mode the blur strength is used to control how Blur Mode large the pixels will be in the oblitera Blur Center tion grid vy Blur Size o0 300 0 Blur Mode v Blur Strength 100 0 0 0 500 0 Blur v Blend Original it When selected the effect A will use a blur as the method of obscuring the underlying image Grid When selected the effect will use a pixelization as the meth od of obscuring the underlying image Blur Size Blur Size controls the radius of the effected region 4 Need someone to be anonymous Sample of Grid mode Blur Strength Blur Strength controls the degree or intensity of the blur When Grid is selected in Blur Mode this controls the size of the pixels or grids that are obscuring the underlying image 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 Day For Night Day For Night emulates the standard film industry method of shooting night scenes It uses a gradient tint over the image to make a daylight scene look moonlit 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
98. ill pro vide for a 3 color gradient starting with the start color transitioning to the Grad 1 Color and ending with the End Color Grad 1 Color When a multi Gradient is selected in the Multi Gradient pop up this will deter mine the color of the Grad 1 As additional colors are added to the gradient with the Multi gradient pop up will begin to colorize the gradient at thier respective positions Grad 1 Alpha Grad 1 Alpha determines the transparency of the Grad 1 color Grad 1 Pos Grad 1 Position determines the position of the Grad 1 color on the gradient rela tive to the Start Color and End Color A good way to see the results of this is to set this to red and slide the control left and right You should be able to do this with the option key held down and receive near real time feedback Notice that as you approach 100 that the interior of the gradient gives a very hard red line This is because it is squeezing most of the End Color out As you get to 100 the entire interior of the layer turns red This is because the End Color has been completely removed d 122 Muzzle Flash Muzzle Flash simulates the gun flashes that occur when guns are fired You can control the start of the flash by keyframing the Pull Trigger control and determining the number of flashes Track the tip of the gun with the Flash Point NOTE This effect is designed to work from a side angle of the gun only It cannot simulate head on gunfire
99. ing imagery T OST Composite Modes 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 The second composite mode defines how the particles will be mixed with the other particles when the particle system is rendered The Particle Composite Mode deter mines the manner in which the particles will combine with each other if there is any overlap between particles Apply Mode Use Source Use source composites the effect over the layer that it is applied Effect Only Effect Only will hide the layer that the plug in is applied and show you only the Effect This is very useful for when you want to see only what is happening with the effect You can also apply the effect to a solid Command Y and use Effect Only to retain the effect s alpha infor mation for use in a general composition 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 F
100. ion Mode This allows you to tint the lens flare effect with a color The color can be based on the original colors within the lens flare gradients that make up the different elements of the lens flare a tint color or color within the source image Original Lens Color Original Lens Color uses the color within the built in gradients to control the lens coloration Tint from Source Image Tint From Source Image uses the color of the source image to control the color of the flare Tint Using Color Below Tint using Color Below uses the Tint Color parameter to control the overall coloration of the flare Tint Color Tint Color is used to colorize the lens flare when Colorization Mode is Tint using Color Below Bright Glow When checked this adds a standard brighter glow to the center of the lens flare The effect is more realistic but renders slightly slower 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 111 b Glow Settings Glow Opacity Glow Opacity controls the transparency of the glow effect Set Glow Opacity to zero to turn off the glow component Glow Composite Glow Composite is the composite mode to use when compositing this element glow with the other elements flare and ray See the Image Settings for descriptions of these composite modes
101. is the random motion that individual snow flakes have While snow tends to fall all in a single direction the indi a vidual flakes have a chaotic motion that allows them to move ii randomly sometime with the general direction of the snow jggppsees sometimes against it This individual flake motion is defined W as lilt While this is a global setting it is applied to each flake individually A random number between the min and max amounts will be picked and applied to each flake Min Lilt Amount Sa Min Lilt Amount determines the minimal distance that the lilt PES will move the flake Max Lilt Amount Max Lilt Amount determines the 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 km the snow flake will move due to the lilt See ad NOTE Amount determines how far frequency determines how fast SnowStorm 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 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 su
102. istortion particle and 3D tools Many of the effects are set up to get you started with a certain effect in mind For example Fire will look great as soon as you apply it It will also AutoAnimate meaning that it will automatically animate and look great without setting key frames Many of the particle effects need no lengthy adjustment of parameters to get excellent results immediately We will be adding more sample projects to our web site and as a registered user you will gain access to that area You will be informed via e mail when new sam ple projects and presets are available for download System Requirements http www digieffects com com patibility html Installation http www digieffects com support installation_guide Tutorial This tutorial section will take you through a typical Delirium rendering opera tion This section will show you how to do the following Import Footage Apply a Delirium Effect to a Layer Choose a Preset Save a Preset and Render a Movie with a Delirium effect At the end of this tutorial you will know how to use Delirium to apply a Delirium effect to your footage and how to modify the Delirium settings to achieve the look you want 1 To begin Launch After Effects and create a new project Command N 2 Now create a new composition Set the composition size that is appropriate for your video card in this case 640 x 480 Set the duration to the length of your clip
103. ked the Glow Inner Color and Glow Outer Color determine the color of the glow Glow Inner Color When Glow Own Colors is unchecked this determines the interior color of the glow Glow Outer Color When Glow Own Colors is unchecked this determines the exterior or further from the image color of the glow Color Bias Color Bias allows for control the weighting of the ramp between Glow Inner Color and Glow Outer Color 107 b Glow Mode Screen Screen multiplies the inverse brightness values of the colors in all layers The resulting color is never darker than the original Add Add combines the color values of the layer and the underlying colors The resulting color is lighter than the original 108 Lens Flares Lens Flares creates a full lens flare simulation with lots of flexibility in creating custom looks for your flares You can also obscure and tint the Lens Flare based on color and alpha informa tion within the source image Lens Flares are created using 3 differ ent elements The different elements are composited together within the plug in to simulate flare effects that occur within camera lenses The individual parts of the lens flare glow rays and flares are made using a series of component color gradients swept around a circle The gradients are used to describe the different com ponents of the part The component gradients are called Radial Color Angular Color and Angul
104. like realistic snow with particles that look like snow and truly move like snow would take hours or days to get right With the Delirium Snow plug in the solution is immediate and simple This AutoAnimation idea is at the core of all of our particle systems that simulate natural phenomenon like bub bles fire smoke rain fireworks and others With a basic understanding of how the plug in works you can create a great looking effect in record time It is apparent that plug ins like Snow Rain and Fire are specialized particle sys tems But there are many other effects in Delirium 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 For example plug ins like Electrical Arcs Visual Harmonizer HyperHarmonizer Nexus Sparks Sketchist Schematic Grids Retinal Bloom and Fireworks are all based on particle systems While they may not seem like particle systems the effects are generated with particles and many of the parameters are the same Each of the particle system plug ins are broken into two or more sections The first section is always the Image Mode section This section deals exclusively A with how the effect will mix into the source footage Channel Operations are the methods by which two images are mixed together The Composite Modes are Channel Operations that are used to blend the effect with the source layer The Parti
105. ls whether the intermittent parameters are used Bri Int Max Skip This controls the maximum number of frames that will be skipped no brightness effect applied The larger the value the longer the time between flickers Bri Int Max Hold This controls the maximum number of frames that the brightness will be applied The larger the value the longer the flickeriness will be applied Bri Int Max Amp This is the maximum amount of brightness to apply Higher numbers mean brighter scenes Bri Use Strobe This controls whether the strobe parameters are used Bri Strobe Skip This controls the maximum number of frames that will be skipped no effect applied The larger the value the lon ger the time between strobes Bri Strobe Hold 4 This controls the maximum number of frames that the strobe will be applied The larger the value the longer the strobe will be applied Bri Strobe Amp This is the amount of brightness to apply during a Strobe period Higher numbers mean brighter scenes Contrast Control Use Contrast This will turn on off the processing of contrast in the effect If checked means modify the brightness of the image is set using the brightness set of param eters Con Freq A Frequency of the first wave A The frequency defines how fast the wave changes over time Higher numbers mean faster contrast flickering Con Freq B Frequency of the second wave B
106. me twice to the second frame three to the third frame and on and on TIP If you think about what that means you will realize that frame 10 will take 10 times longer to render than frame one Long movies will take a long time to render 197 Wave Displace TIP Used on a logo it can generate very interesting smoky looks NOTE Quality should be set for final render in order to use Anti aliasing and smooth distortions When using Repeat Wave you MUST set the quality to High 0 ooo Repeat Amount Repeat Amount determines the strength of the wave that is applied when Repeat Wave is checked on This control is disabled when Repeat Wave is unchecked Random Seed Random Seed is the seed value think of it as a start point for any randomization that occurs in the plug in Do not animate this as it will cause the effect to jump or randomly change values and the animation will not be smooth 1 00001 H Wave Type This defines the wave shape for the distortion 2 00002 Sine Uses a sine wave as a distortion shape Square A box wave distortion shape Triangle A tent shaped wave distortion shape 3 00003 H Min Amp H Min Amp is the minimum amplitude think of ampli tude as wave height or as the strength of the distor tion of the horizontal waves H Max Amp 4 00004 198 b H Max Amp is the maximum amplitude of the horizontal waves used in the distor tion H Min Frq H Min Frq
107. mensional spherical color lookup table for the environment mapping effect None Layer X 178 b 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 a color based on a color gradient w About When in Preview Mode the gradients on the left are the source colors The A eas Ge st gradient on the right are the colors _ Pixel Mode that will be replaced Color Mode HSE Clockwise v gt 5 Softness 3 0 Start Color In other words the colors in the source End Color gt 5 Bias 72 layer are represented by the gradients Sor Sar on the left and these colors are all b 5 Blend Original 0 a replaced by the colors in the gradients on the right Multi Gradient Preview LUT Preview LUT Look Up Table provides the ability to look at the colors that will be used to replace the existing col ors in the image When this is checked on the colors _ Multi Gradient er Grad 1 Color will be shown along with Red Green eee tins TF Blue and Gray color ramps so that it b Grad 1 Pos 59 0 is possible to judge what color will be Te one a 7 Grad 2 Mode replaced with the LUT Sy rad ha 10 0 Grad 3 Color w ee oT bd to 179 Thermograph reinterprets the colors in the image Recolorize flames and other particle systems to another set of colors defined by a gradient
108. mum amount of transparency or opacity in the firework explosion Birth Color Birth Color determines the color of the firework when it initially explodes 2 H Mid Color Mid Color determines the color of the firework in the middle of its life Death Color Death Color determines the final color of the firework before it completely fades away NOTE The colors will fade from one color to the next Min Lifetime Min Lifetime determines the shortest amount of time that any individual par ticles that make up a firework will last Max Lifetime MaxLifetime determines the longes amount of time frames that any indi vidual particles that make up a firework will last Min Mass Min Mass determines the least amount of mass that can be assigned to each of the fireworks particles Mass is the fac tor that defines how much gravity air resistance and wind affect the particle Max Mass Max Mass determines the greatest amount of mass that can be assigned to each of the fireworks particles Mass is the factor that defines how much grav ity air resistance and wind affect the particle Sparkler System The Sparkler System will add a sparkly effect to the end of the explosion par ticles as they fall NOTE This can cause rendering times to become slower Generate Generate determines how many sparkle particles will be generated per frame Velocity Velocity controls maximum speed of the sparkler particles Opaci
109. n horizontally for short periods of time Gust Probability d 137 RainFall 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 horizon tally 138 b Retinal Bloom Retinal Bloom simulates a special type of in camera lens flare effect that blooms or causes a lens flare at spe cific points in an image You can define the lens flare aperature shape size transparency and color You can define the dark and bright areas that will bloom Preview Mode When this box is checked colored pix els will be placed over any area that will bloom This makes it much easier to see the affected area in areas of the footage where the bloom effect may be too subtle to see and it is very interac tive for setting the threshold min max values Effect Only When this box is checked only the effect that is created with Retinal Bloom will be seen None of the original image will show through This makes it possible to see exactly what the effect is without seeing the original unaffected footage Quality The three quality levels significantly vary the effect Each higher level will give a more blossomed look and have a slightly softer appearance to the look of the bloom There is also a signifi cant slow down f
110. n 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 Flow Motion Flow Motion creates an organic transi tion effect that works well with any footage Flow Motion is an effect that uses the two source layers as displacement maps between The effect blends between each other as it fades between the source layers A distortion is applied to the layers as the transition animates Transition To The Transition To pop up determines the layer to which you want the flow motion transition to end In other words the second half of the transi tion Transition Complete Transition Complete determines how both when and how far the transition is executed TIP To start with no effect and then go into the transition later in the layer keyframe this setting to zero at the beginning of the layer Keyframe it at zero again at the point where you want the transition to start Keyframe it to 100 where you want the transition to end Comp 15 office psd SS t7 About 1 Lie y Mk x hee te A 0 0 Transition to Distortion Mode Outward amp Inwe Direction Mode Edge Mode v 5 Smoothness 25 0 0 0 aL re ee b 5 Horiz Distort 20 0 T 6 Vert Distort 20 0 100 0 100 0 C b Blend Original 0 s2 p Distortion Mode Outward and Inward Outward and Inward creates the direction of the
111. nnel appears in the footage In other words you can give a time shift to each of the color channels individu ally Red Delay Red Delay determines the frame being used by the Channel Delay For example if this is set to five then the Channel Delay will use the frame from 5 frames back i e if you are on frame 25 in the timeline and the red delay is set to 5 then Channel Delay will use frame 20 Red Trans Red Trans controls the transparency of the red color channel of the frame that Comp 1 sala png w About w Red Delay 1 D 10 a el p 5 Red Trans 768 5 Red Offset bS 138 5 29 0 v Green Delay 2 10 eee pe b 5 Green Trans 768 Green Offset 138 5 29 0 p Blue Delay 3 v Blue Trans 768 0 768 Ee Blue Offset J 138 5 29 0 v Blend Original o i 255 gp 33 pA Channel delay on a real image Artistic effects with Channel Delay Red Delay is introducing into the current frame Red Offset Red Offset controls the amount that the channel will be offset from the original layer position TIP This control is fast enough even on slower systems that you can click down on the location selector hold down the option key and drag your mouse across the layer to see the effect This will also show you how the numbers in the plug in relate to the location of the layer Green Delay Green Delay determines the frame being used by the Channel Delay For example if this is set to five then the C
112. nt the particle will become 2 Random Seed Random Seed is the seed value think of it as a start point for any random values generated within the plug in Do not animate this as it will cause the effect to jump or randomly change parameter values every frame and the animation will not look smooth It will look buzzy which has it s own aesthetic appeal when the com position frame rate is reduced to around 3 6 frames per second TIP This is often used to reshuffle the overall look of the effect 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 Generate Layer Alpha gt Threshold Generate Layer Alpha gt Threshold is used to generate particles from an image that has an alpha When this is selected the particles will be gen erated in areas that
113. ntial path of the brush stroke 153 b Bot Stroke Length Bottom Stroke Length determines the length of the stroke as a number of steps and the distance of each step being controlled by the Stroke Speed The higher this number the longer the potential path of the brush stroke Var Stroke Length Var Stroke Length allows for variations in the length of the brushes The higher this number the greater the variation in the Stroke Length Top Stroke Speed Top Stroke Speed controls how fast each stroke travels for each step Speed is defined in pixels per frame divided by 100 Bot Stroke Speed Bottom Stroke Speed controls how fast each stroke travels for each step Speed is defined in pixels per frame divided by 100 Var Stroke Speed Var Stroke Speed allows for variations in the speed of the brush strokes The higher this number the greater the variation in the Stroke Speed Top Curviness Top Curviness controls the maximum amount of curviness in the stroke path Higher values mean curvier strokes d 154 Bot Curviness Bottom Curviness controls the maxi mum amount of curviness in the stroke path Higher values mean curvier strokes Var Curviness Var Curviness allows for variations in the curviness of the brushes The higher this number the greater the variation in the Curviness Top Brush Opacity Top Brush Opacity determines how opaque the brush stroke is Higher num bers provide greater
114. o be the way that early astronomers explained the rotation of the planets around the sun This plug in creates beautiful and inter esting patterns from geometrical con structions When there are 2 harmoniz ers the B Shape will control the second harmonizer Image Mode Apply Mode Use Source Mode Image Composite Mode Particle Composite Mode Alpha Threshold Alpha Weight Controls in this section are described in the Using the Plug ins section start ing on page 13 of this manual Refer to that section for instructions on how to use these parameters m DE HyperHarmonizer Ri Animation Presets dd w About v Image Mode Apply Mode 5 Use Source Mode E TED 5 Image Composite M Blend _ Ra Use Source snnennnnnnnnni DigiEffects Composite Effect In Front Screen lt Particle Composite M Screen 7 b 5 Blend Original gt 5 Alpha Threshold gt 5 Alpha Weight b 5 Num Harmonizers Particle Shape Use Spacing b 5 Spacing Distance p 5 Spacing Phase w A Shape A Center Point AColor gt A Alpha gt A Particle Size gt 5 A Begin Draw v A End Draw b 5 A Radius 1 gt 5 AfFreg 1 w A Phase 1 g 103 b 2 Layes of Hyper Harmonizers one using Another interesting shape Spacing Num Harmonizers This controls the number of harmonizer generators Each one will create a single possibly very complicated curve P
115. ocation 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 per frame 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 Max Opacity Max Opacity determines how opaque non see through that the rain drops can be Wind Gravity Gusts Gravity Gravity determines how fast the rain will fall The higher this number the faster the raindrops will fall and become longer due to a 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 num bers are negative the rain will fall from right to left 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 rai
116. on Exaggerate parameter which extends the motion blur in the current direc tion You can also determine the num ber of blends used to create the motion 33 blur using the Blur Smoothness parameter To modify the overall effect change the Random Seed This will cause the order and amount of parameter changes to be altered giving a slightly different version of the effect This plug in requires a little experimentation as it is one of the few plug ins that creates key frames internally Most plug ins apply their effect from keyframes but this one creates them itself internally and invisibly from the parameters you supply The only parameters that you may want to keyframe yourself are the Movement parameters Otherwise you will probably want to have the plug in create keyframes for the motion Image Mode Use Alpha If you want the original source layer to show underneath check the Use Alpha parameter Motion Exaggerate Set this to non zero to exaggerate the amount of motion blur Higher values look more blurry but take longer to render Blur Smoothness Increase this parameter to make smoother motion blurs This pop up controls the smoothness of the blur applied to motion Usually this does not need to be set above 5 Numbers above that can begin to posterize solid colors and render times become longer Speed Tip The higher this number the slower the render Random Seed Random Se
117. ook for another certain number of frames Shakiness Spurious efines how often the plug in changes or reshuffles the controls i e it defines that certain number of frames Min Hold Frames Min Hold Frames is the minimum number of frames to hold any keyframe Max Hold Frames Max Hold Frames is the maximum number of frames to hold any keyframe Movement Horizontal Horizontal is the weight of keyframe to apply to the horizontal movement Lower values mean less movement higher values mean more movement Vertical Vertical is the weight of keyframe to apply to the vertical movement Lower val ues mean less movement higher values mean more movement Zoom ee Camera Shake Zoom is the weight of keyframe to apply to the zooming in and out movement Lower values mean less zooming higher values mean more zooming TIP If you see layers below showing around the edges of your shaking layer increase the zoom Rotate Rotate is the weight of keyframe to apply to the rotational movement Lower values mean less rotation higher values mean more rotation 33 H Channel Delay Channel Delay offsets the position and time location of RGB channels of a clip The Offset controls allow you to change the relative position of the channels Transparency allows you to change the weight of each channel allowing you to blend more or less of any given color channel Delay allows you to change WHEN a color cha
118. ook more broken NOTE Segments define the overall look of the arc where it goes and how it moves Sub segments give the arcs their individual personality Think of it this ss p way Segments are like painting with a large paint brush and sub segments are like painting with small detail brushes Sub segments give your arcs detail Sub Distortion Sub Distortion controls how far the sub segments will be bent The higher this number the more crooked the lines between the segments NOTE Branches occur at the joints between segments or sub segments only Branch Prob Branch Prob controls the probability of a branch being generated at a sub segment joint This does not define how the branch will behave only whether or not it will appear Higher percentages will give greater branch likelihood Branch Segments Each of the segments generated from the Branch Probability control can be seg mented or the direction of the branch can be changed Branch Segments controls how many times the branches will be segmented or the direction of the branch is changed Higher numbers will give the branches a more twisted appearance Branch Length Branch Length determines the total length of the branch This length will be sub divided by the number of segments so the greater number of branch segments the closer the branch will stay to the main arc If you increase the branch length and decrease the number of segments the branches will grow directly o
119. ootage to the edge of the comp Wrap Around Wrap Around will use pixels from the opposite side of the footage that have been distorted and use it to replace the empty areas Reflect Edge Pixels Reflect Edge Pixels will use a reflection of the closest pixels to the edge of the areas that are uncovered due to the Wave Displace Effect This is the most commonly used setting Smoothness Smoothness blurs the footage that is used as a displacement map NOTE The higher this is set the slower the transition e Horiz Distort Horiz Distort determines the amount of horizontal distortion that occurs in the transition if Horiz amp Vert is selected in the Distortion Mode pop up above If Horiz amp Vert is selected in the Distortion Mode pop up and Horiz amp Vert Distortion Linked is selected in the Direction Mode pop up then this controls the distortion of both horizontal and vertical distortion Vert Distort disabled If Outward and Inward is selected this controls the total distortion Vert Distort disabled Vert Distort Vert Distort determines the amount of vertical distortion that occurs in the transi tion if Horiz amp Vert is selected in the Distortion Mode pop up AND if Horiz amp Vert Distortion Independent is selected in the Direction Mode pop up 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
120. opacity Bot Brush Opacity Bot Brush Opacity determines how opaque the brush stroke is Higher num bers provide greater opacity Var Stroke Opacity Var Stroke Opacity allows for variations in the opacity of the brushes The high er this number the greater the varia tion in the opacity Color The various Color controls manage the color variation in the image These val ues are not dependent on the painting layer Sketchist Red Randomize Background Mode Red Randomize determines the amount of randomization of the red Use Original Image color of the stroke Higher numbers This uses the source image as mean more change the canvas surface Strokes are applied over the source Green Randomize image Green Randomize determines the amount of randomization of the green Use Background Color color of the stroke Higher numbers This uses a solid color as the mean more change canvas surface Strokes are applied over the color speci Blue Randomize fied Blue Randomize determines the amount of randomization of the blue color of the stroke Higher numbers mean more change Hue Randomize Hue Randomize determines the amount of randomization of the hue of the stroke Higher numbers mean more change Sat Randomize Sat Randomize determines the amount of randomization of the saturation color of the stroke Higher numbers mean more change Bri Randomize Bri Randomize determines the amount of randomization of the
121. or each higher level of quality NOTE Since the effect is very different z7 About 5 Preview Mode Effect Only Quality Bloom Shape b 5 Threshold Min b 5 Threshold Max w Size Min 0 bp 5 Size Max v Angle Min v Angle Max p 5 Trans Min v T Trans Max 0 Use Single Color 5 Single Color b 5 Blend Original L Preview On C Effect Only C Use Preset Color g 139 b d E E at Zz Retinal Bloom is useful when used with Simulate psychometric camera and eye effects MultiGradients depending on these quality levels previewing in low quality and final rendering in high quality will not work The final render will look nothing like the preview NOTE You may see a grid pattern when the effect quality is set to low When you change the quality to normal or high this will occur less or not at all 140 Retinal Bloom Threshold Min Threshold Min determines the lightest pixels that will have the Retinal Bloom effect applied Threshold Max Threshold Max determines the darkest pixels that will have the Retinal Bloom effect applied NOTE Once the minimum and maxi mum sizes have been determined with the size controls the placement of the various blooms will be based on the threshold levels The largest blooms will be placed on the pixels that are closest to the threshold max The smallest will be placed on the pixels that are closest to the t
122. orks straight up Negative numbers will launch it to the left and positive numbers to the right Launch Spread Launch Spread determines how far from the launch angle the fireworks may shoot When this is set low the fireworks will go straight up from the launch point when this is set high the fireworks will shoot to the left and right of the launch point Launch Prob Launch Probability determines how often fireworks will be launched The higher this number the greater the likelihood of fireworks being launched per frame If you want the fireworks to launch on a specific frame keyframe the previous frame to zero and the frame at which you want the launch to occur at 100 If you do not want a constant and heavy stream of fireworks you will need to lower the launch probability Launch Burst Launch Burst determines how many fireworks will be launched per launch event as determined by Launch Probability TIP Launch Probability and Launch Burst determine together the total number of fireworks Min Thrust Min Thrust determines the speed of the slowest fireworks on their way up pre explosion rg Fireworks Max Thrust Max Thrust determines the speed of the fastest fireworks on their way up NOTE The speed of the fireworks will fall in between these two speeds Some fireworks will go faster than others but none of them will go faster or slower than these numbers Explode Mode Explode at Height Explode at Height
123. orm Aay Wey a3 DE SnowStorm Reset Options About Animation Presets db v About SnowStorm creates a realistic simula tion 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 SnowStorm 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 After AR a Effects 4 you can just press the Zero Use Source Mode Composite Effect In Front key on the numeric keypad with Effect 2 apeave jen Only selected in Apply Mode you will b 5 Alpha Weight 255 see a beautiful example of what the 2 anc Oras snow plug in can do sian Sen The snow plug in has been designed Yitrr TETTEIT i Pri so that the snow drifts in a particular Generate From MopofLayen Jv i Integrate Over Time Integrate Params Over Time direction but also includes a great deal eE of chaotic motion b Generate Threshold 15 Snow Point E 618 5 477 0 5 Pile Up Mode Pile Up on Bottom The Snow System determines the quan Epik Up na ayer tity size distribution and other behav i boo F E a AP F 150 iors for the individual snow flakes The Soa e EtO Wind Gravity Lilt area controls the b Min Size 7 characteristics of the overall direction 2 rae and fall pattern of the snow flakes D Max Opacity 250 w Wind Gravity Lilt Image Mode We
124. p parameters e When rendering 2 layers in order to see the results of the second layer turn the Top Num Strokes parameter to zero and adjust only the Bot parameters Image Mode Image Composite Mode Brush Composite Mode Alpha Threshold Alpha Weight Blend Original Randomize Per Frame 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 Painting System The parameters below control the overall painting sys tem Brush Shape Brush Shape is the shape of the brush used to make the stroke Here are images of the strokes Num Layers Num Layers controls the total number of layers to paint bottom to top Preview Grid Preview Grid will preview the grid so that where the brush strokes will be placed can be seen This is useful for measuring density of strokes The green dots are the top stroke placement and red dots are the bottom stroke placement indica tors Top Num Strokes Top Num Strokes defines the total number of strokes to apply to the grid as a percentage of a full grid for the top layer of painting Bot Num Strokes Bottom Num Strokes defines the total number of strokes to apply to the grid as a percentage of a full grid for the bottom layer of painting d 152 Sketchist Top Grid Size Top Grid Size defines the spacing in pixels betwe
125. ptions About Animation Presets db v7 About Apply Mode Use Source F Use Source Mode Effectin Front Image Composite M gt 5 Blend Original 0 gt 5 Random Seed 10 w Grid Parameters Offset 478 A770 gt Main Spacing 40 0 b Main Broken 0 0 5 Main Color LJ gt Main Alpha 200 gt 5 Subdivisions 5 5 Subdiv Color LJ p 5 Subdiv Alpha 128 5 Intersections gt 5 Intersect Prob 0 0 Intersect Shape w Ff p Intersect Size 10 8 5 Intersect Color gt 5 Intersect Alpha 255 5 Intersect Composite i 143 Great for creating scanner systems Image Mode Apply Mode Use Source Mode Image Composite Mode Blend Original Random Seed 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 Grid Parameters Offset Offset determines the location of the grid in the composition Animating this parameter allows for moving the posi tion of the grid across the layer Main Spacing Main Spacing determines the space between the lines in the grid The higher the number the greater amount of space between the lines in the grid It does NOT increase the size of the grid the subdivisions or the intersections Cool for space battle scenes Main Broken Main Broken gives a probability t
126. rain You can determine where the rain will fall from Generate From and whether or not it will splash off of anything using Splash Via You can also control the amount size and opacity Wind Gravity and Gusts control the rains behavior from the time it falls until the time it hits some thing or disappears from the composi tion 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 J DE RainFall Animation Presets wo 4b z7 About Ei O TEE Use Source F 5 Use Source Mode Composite Effect In Front 7 Composite Mode Screen T b 5 Alpha Threshold 0 Apply Mode b 5 Alpha Weight 255 gt 5 Random Seed D b Blend Original g w Rain System Top of Layer Generate From 5 Integrate Over Time _ Integrate Params Over Time Generate Layer None gt 5 Generate Threshold B Generate Point B Splash Mode Seat Spins Splash via Layer b Splash Threshold 15 gt 5 Preroll Frames 100 gt 5 Rain Generate 10 b 5 Min Size ri p 5 Max Size 15 gt Min Opacity 50 gt 5 Max Opacity 250 w Wind Gravity Gusts SH ee eT a na ors 134 b Rain falling and splashing on a logo Rain is falling only from the cloud Generate Threshold Generate Point Controls in this section
127. rame The greater the number of bubbles the slower the effect will render Vert Speed Vertical Speed controls how fast the bubbles will rise This is an average speed with some bubbles moving faster than others in order to give the appearance of depth Bubble Lifetime Bubble Lifetime controls how long the bubbles can stay on the layer At the end of their lifetime they will pop Min Size Min Size controls the minimum or smallest size of any bubble on the layer NOTE Bubbles will start at a smaller size than the minimum size and grow to a size somewhere between minimum and maximum Because of this you will have some bubbles that are smaller than your minimum size while they are growing to their final size 30 Max Size Max Size controls the largest or maximum size of your bubbles NOTE If your minimum size is greater than your maximum size the minimum and maximum controls will be reversed Min Opacity Min Opacity controls the minimal amount of opacity or transparency of a bubble NOTE Each Bubbles opacity will be randomly set between the minimum and maximum amount This also controls the amount of relative distortion Max Opacity Max Opacity controls the maximum amount of opacity or translucency of a bub ble The higher this is set the harder it will be to see through a bubble Horiz Dispersion Horiz Dispersion controls how much the bubbles will randomly float horizontally When this is set to zero the bubbles will dri
128. rate at which one end of the bars will move around the circumference of the first circle Speed 2 Speed 2 determines the rate at which one end of the bars will move around the circumference of the second green circle Phase 1 Phase 1 determines the point on Circle 1 the red circle where it is touched by the first bar Phase 2 Phase 2 determines the point on Circle 2 the green circle where it is touched by the first bar TIP By making Phase 1 and Phase 2 opposites you can have the bar spin ning around itself Bar 1 Size Bar 1 size determines the size of the side of the bar that touches Circle One the red circle Bar 2 Size Bar 2 Size determines the size of the side of the bar that touches Circle Two the green circle TIP By animating the bar size it is possible to create the illusion that the bars are moving towards you The side that is larger should look as if it is closer Start Color Start Color determines the color of the first or lead bar Start Alpha Start Alpha determines the transpar ency of the first or lead bar End Color End Bar Color determines the color of the last bar End Alpha End Alpha determines the transpar ency of the last bar TIP By setting End Alpha low the bars will look as though they are fading away over time 129 b Glow NOTE Glow Radius and Glow Intensity work together If either of them is set to zero you will not generate any glow Glow Ra
129. rc that the glow colors will travel away from the electrical arcs The glow also covers over the interior of the arc so when this is turned completely off the electrical arcs look much thinner Glow Intensity Glow Intensity controls the brightness level of the glow Since the glow radius cov ers both the interior and exterior of the arc when you increase the glow intensity it affects the interior of the arc more than the outside of the arc Glow Colors are defined by two colors the color that is closest to the electrical arc and another layer of color that lies just outside of the arc Glow Inner Color This color defines the glow color closest to the arc 53 Electrical Arcs Glow Outer Color This color defines the glow color that is outside the electrical arc and the Glow Inner Color Color Bias Color Bias defines the balance of the Glow Inner Color and Glow Outer Color Lower numbers will increase the value of the Glow Inner Color in the overall appearance of the glow Larger numbers tip the balance towards the outer color TIP Electrical Arcs typically look best with a lighter and whiter color for the Glow Inner Color and a darker more vibrant color for the Glow Outer Color Glow Mode Screen Screen multiplies the inverse brightness values of the colors in all lay ers The resulting color is never darker than the original Add Add combines the color values of the layer and the underlying colors The resulting
130. rections The wind will be an averaging force in the given direc tion but individual dust particles will still move in all directions Positive numbers will make the particles drift right negative numbers will make the particles drift to the left 2 00002 Wind Vert Wind Vertical controls a force that can make the dust particles drift up or down As above this is an average and will affect the whole but the individual particles are able to drift in any direction TIP Use high negative numbers for Wind Vert and Generate From Bottom of Layer to give an appearance of a curtain of dust rising up from the ground a p 5 wa as Te Daa ETN A z eS lane L f Ay e a lt y _ A x x sA A x x x a iae De E t 5 i 00005 J Film Flash LN WY comp 1 omce psa Film Flash simulates the look of a film camera slowing down and allowing each frame be exposed to greater and greater amounts of light The Film Flash effect will eventually overwhelm the footage to which it is applied to by increasing the glow until it reaches solid white TA Sai Fach ao een vw Intensity Speed 5 0 Start the Flash 0 0 o _ 100 0 To create a slash effect that begins v Softness Speed 0 4 later than the first frame set an Off na 100 0 keyframe with Start the Flash at the A Glow Mode oe beginning of the time line lt z Blend Original 0 255 Se When it is time for the flash to begin set anot
131. ren dering time will decrease go faster Generate Source None 1 Some layer Generate Source defines the layer that will be used to generate particles This may seem a bit confusing at first but it is a very powerful control It allows for the use of another layers image or alpha channel to control the generation of particles NOTE The objects mask or pixels that the snow falls onto cannot be moving If it is the particle generation information will become confused The particles will not stick to moving objects or be properly generated from the mask Generate Threshold Generate Threshold becomes active when Generate Layer Alpha gt Threshold or Generate Layer Luminance gt Threshold is selected in the Generate From lt lt pop up menu When one of these generate methods is selected this slider controls the threshold 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 par ticles Generate Point Also Bubble Point Fire Point Snow Point etc This control becomes enabled when the Generate From control is set to Generate from Point This control will set the point where the particles are cre ated Preroll
132. riginal 0 w Bubble System Bubble Type Textured sd Generate From Bottom of Layer Integrate Over Ti Integrate Params Over Ti Generate Source 5 Bubble Point p 5 Preroll Frames 10 p Bubble Amount 5 p Hor Speed zll b Vert Speed 729 3 gt 5 Bubble Lifetime 39 gt 5 Min Size 25 p 5 Max Size 75 gt Min Opacity 30 gt 5 Max Opacity 115 w Bubble System Bubbles generated from Bottom of Layer Bubbles generated fromsource layer alpha channel TIP Add Screen and Lighten mode are often much better choices than Blend for bubbles Try using Composite Effect in front and these three Composite Modes to see which results will be best Image Mode Apply Mode Use Source Mode Composite Mode Particle Composite Mode Alpha Threshold Alpha Weight Random Seed Blend Original Generate From Integrate Over Time Generate Source Generate Threshold Bubble Point Preroll Frames Controls in this section are described in the Using the Plug ins section at starting on page 13 of this manual Refer to that sec tion for instructions on how to use these parameters 9 TIP Reduce Alpha Weight to zero to only show the bubble distor tions Bubbles Bubble System Bubble Type Harsh Edge Droop Textured Sphere High Contrast Sphere Low Contrast Dark Texture Bubble Amount This gives you control over the number of bubbles that the effect produces per f
133. rs of the rainbow Repeat Mode Defines how the gradient ramp will repeat S Start E End Composite Modes See Using Plug ns Composite Mode Section page 13 Basic Gradient Start Point Start Point defines the location of the beginning of the gradient Start Color Start Color defines the color that will be used by the Start Point in the gra dient Start Alpha Start Alpha determines the transpar ency or opacity of the Start Color in the gradient This is used to give a blended more transparent appearance to the gradient End Point End Point defines the location of the end of the gradient End Color End Color defines the color that will be used by the End Point in the gradi ent End Alpha End Alpha determines the transpar ency or opacity of the End Color in the gradient Bias Bias defines the weight or distribution of the Start and End colors The lower this number is the more dominant the Start Color Cycle Cycle allows you to shift the location of the start and end colors in the gradient The best way to see this is to check on the Preview Gradients option hold down the option key and rotate the Cycle control Keyframing this control is an excellent way to create a dreamy effect 121 b Multi Gradient Multi Gradient This pop up determines how many colors will be in the gradient The colors will always fall in between the start and end colors For Example S gt 1 gt E w
134. rt Opacity determines the transparency or opacity of the first frequency End Opacity End Opacity determines the transparency or opacity of the first frequency Start Amplitude Start 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 start and end amplitudes are different and that that is generating varia tions on the height of the frequencies Also note that while start amplitude is set to zero there are still waves in the har monizer Start Frequency Start Frequency determines how often the start 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 o o r Start Phase 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 TIP If you animate one of the phases 360 degrees while leaving the other at the start point of the animated phase the waves of the animated phase will line up with all of the other frequen cies lose that alignment and come back to it again at the end of the 360 degree loop Use Spacing When this is checked Use Spacing breaks the frequencies from solid lines into individual
135. s 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 6s p Fireworks LA Wy Fireworks simulates big fireworks dis plays that occur about every six months across the United States and more often in other parts of the world Fireworks is particle system effect aimed at creating an motion sequences that are difficult to handle with a gen eral purpose particle system It is bro ken down into 3 stages Launch System Explosion System and Sparkler System The Launch System controls how the firework shell rockets will fly up how quickly how many at what speed and at what point they will explode into the main firework It handles everything up to the fireworks actual explosion The Explosion system and everything below it handle what happens after the firework explodes The colors speed and direction of the exploded parts how long the explosion lasts and how fast it drops is all handled here and in the other control sections like Environment and Glow The Sparkle System adds small spar kle particles from the Explosion system particles This creates a realistic spar kling effect Comp 1 office psd m i DE FireWorks Animation Presets None w7 About gt La Ligitirects Apply Mode j Use Source Mode Composite Effec
136. s how large or small the muzzle flash will be The larger this number gets the larger the flash size 125 b Min Opacity Min Opacity determines how transparent the thinnest part or most transparent parts of the flash will be Max Opacity Max Opacity determines how opaque or non see through the thickest parts of the flash will be 126 Nexus ZA Wey Nexus means connection Nexus will generate animated graphic elements from geometrical constructions It cre ates bars of light that move in a rhyth mic fashion and fade away The effect is generated by creating a bar that rotates around two circles and fades out over time Num Echos Rendering a line along the rotation of the circles Speed 1 amp 2 gives the bars motion The Radius 1 amp 2 determines the dis tance of the ring from the centers of each bar TIP Use the Preview Path to see the path and speed of the two circles This will make it easier to visualize the motion of the system Image Mode Apply 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 start ing on page 13 of this manual Refer to that section for instructions on how to use these parameters gut bie seneensennnnnan w About DigiEfects w Image Mode Use Source Effect in Front _ Apply Made 5 Use
137. s the gradient to use to define the Rotational color of the ray ring This describes the colors of the angular rays that sweep around the cen ter of the rays Ray Angle Size Ray Angle Size selects the gradient to use to define the Angular Radius dis tance of the ray ring This essentially controls the shape of the overall rays Ray Size Ray Size controls the overall size of the Rays Larger numbers make the rays larger Ray Rotate Ray Rotate controls the rotation of the Rays Ray Hue Ray Hue allows for the shift of the hue of the rays gradient used to describe the overall color of the ray 113 b Ray Num Spikes Ray Num Spikes is the number of spikey rays that are built in to the ray compo nents Larger numbers means more rays Ray Thickness Ray Thickness is the thickness of the Ray spikes Large numbers means thicker rays Flare Settings Flare Opacity Flare Opacity controls the transparency of the flare Set this to zero to turn off the flare component Flare Composite Flare Composite is the composite mode to use when compositing this element flare with the other elements ray and glow See the Image Settings for description of these composite modes Flare Color Flare Color selects the gradient to use to define the Radial color of the flare element rings This describes the colors of the rings radiating as out from the center of the flare elements Flare Sizes Flare Size
138. shold via Vert Height is used to bounce the sparks from an images threshold When this is selected the sparks will be bounced in areas that are brighter than the threshold setting When the Generate Threshold slider below is set to zero all areas will bounce sparks As this number increases darker areas of the image will no longer be able to bounce sparks Bounce on Alpha gt Threshold via 2D Bounce on Alpha gt Threshold via 2D bases where it bounces up based on the mask values dependent on where it hits the bounce area Bounce on RGB gt Threshold via 2D Bounce on RGB gt Threshold via 2D bases where it bounces up based on the rgb values dependent on where it hits the bounce area Bounce Via Layer Bounce Via layer can be used to assign a different image for the bounce controls values TIP This is a VERY useful way to determine where the sparks will bounce For example if you want the sparks to bounce off of a wall that is in the footage mask the wall on a separate layer load it into the timeline with its visibility off and use that layer as the bounce layer with Bounce on Alpha gt Threshold via 2D 169 b as the Bounce Mode Bounce Threshold When one of the bounce methods is selected this slider controls the threshold level at which sparks will be bounce When this is set low any luminance level or alpha level can bounce sparks When this is set high only the brightest luminance levels or alpha levels bounce sparks
139. side segment If start segment width and end segment width are of differ ent sizes the arcs will taper between the wider and narrower sizes End Segment Width End Segment Width determines the width of the end segment by default the right side segment TIP These controls are very important if you want to create a lightning bolt Use the Start Segment as the beginning of your bolt Use Start Segment width to make it wider than the end segment If you load up the preset Bolt you will see that the start segment is significantly wider than the end segment Segment Size Variation Segment Size Variation allows you to control how uniform or non uniform the s p sizes are for each segment The higher this number the more random and less uniform the segments Begin Draw Begin Draw controls where the beginning of the arc will be drawn in relation to the start point This control will remove segments starting at the Start Point and moving towards the End Point End Draw End Draw controls where the ending of the arc will be drawn in relation to the end point This control will remove segments starting at the End Point and moving towards the Start Point TIP If you want your arc or bolt to look like it is reaching out from the beginning or the end and moving towards the opposite point keyframe either the Begin Draw or End Draw controls Glow Glow Radius Glow Radius controls the distance from the arcs edge on both sides of the a
140. 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 Rolling Bar This creates a dark bar that runs vertically on an image when it s refresh phase is slightly different than the video capture device recording its screen It s a bit technical but you can see the real world effect easily yourself by recording a computer video monitor with a video camera Bar Height This defines the height of the bar as a percentage of the source image size Larger values make a larger bar Bar Speed This controls how fast the bar rolls up or down the screen Larger values move it faster Bar Darkness This controls how dark the bar is Larger values make a darker bar 189 b Vertical Hold This simulates a malfunctioning vertical hold mechanism or the loss of a vertical sync due to electromagnetic interfrence Roll Probability This defines the chance per frame that a vertical hold malfunction roll will occur If it occurs Roll Length defines the maximum number of frames that the vertical hold malfunction 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 verical hold will roll 190 Visual Harmonizer Visual Harmonizer creates stunning ani mated images base
141. sps will affect the fog Blend Top Blend Top determines the opacity of the fog bank in the upper half of the layer The lower this number the less fog there will be along the top of the layer Blend Bottom Blend Bottom determines the opacity of the fog bank in the lower half of the layer The lower this number the less fog there will be along the top of the Bottom Blend Bias Blend Bias allows for further weighting of the top and bottom opacities This is the only way to completely remove fog from the top or bottom halves of the footage NOTE If Blend Top and Blend Bottom are both set to 255 this control will not have any effect Detail Close Detail Close determines the level of detail of the closest fog bank The smaller this number the closer the fogbank will appear TIP Think of detail as zoom Detail Far Detail Far determines the detail level of the furthest fog bank The higher this number the further away the fogbank will appear TIP If you want the fog to appear to cover a great distance increase the differ 38_ lt ence between Detail Close and Detail Far You may also need to increase the number of layers to complete in between areas Stretch H Close Stretch H Close stretches or makes the closest fogbank longer along the hori zontal axis Stretch H Far Stretch H Far stretches or makes the furthest fog bank longer along the hori zontal Axis TIP For a good graveyard type fog stretch
142. t particle size generated TIP For a more three dimensional look when tracking a wand or other object that you want to generate Fairy Dust keyframe and increase these num bers as the generator gets closer and decrease the numbers as the genera tor gets further away Min Opacity Each of the particles is to some degree transparent and to some degree opaque Min Opacity controls the minimum amount of opacity for each particle Max Opacity Max Opacity defines the maximum amount that a particle will be opaque Note that with Min and Max Opacity these are the extremes Most of the particles will be distributed between these levels of opacity Max Dispersion Max Dispersion controls the size of the emitter point when Generate From is set to Dust Point When Generate From is set to any other generate type Max Dispersion increases the area in which the particles will be generated s p TIP by keyframing this setting you can have particles Start in a small area and grow to a much larger area This will work better than Generate Threshold since that requires certain values to be in the image before it will be a valid area to generate particles Dispersion uniform ly grows the area in which it will generate particles 0 00000 Wind Horiz Wind Horizontal controls how much the dust can be pushed left or right by the force of wind This direc tional force will interact with the dusts tendency to go in different di
143. t In Fr Composite Mode Add 5 Particle Composi Screen gt 5 Random Seed 50 p 5 Blend Original 0 gt 5 Streak Level 8 b 5 Streak Decay 16 0 3 Launch System Integrate Over Ti _ Integrate Params Over Ti b Preroll Frames 20 Generate From Launch Point 5 Launch Angle Launch Spread 22 0 5 Launch Prob 15 0 b b b Launch Prob 15 0 p 5 Launch Burst 2 b Min Thrust 5 0 p Max Thrust 10 0 plode At Height 5 Explode Height 618 5 238 5 gt 5 Explode Speed 1 0 gt Rocket Opacity 128 w Explosion System Explosion Shape 5 Rotation Here is a spherical burst Geometricla bursts can look very interesting Image Mode Apply Mode Use Source Mode Composite Mode Particle Composite Mode Alpha Threshold Alpha Weight Random Seed Blend Original Generate From Integrate Over Time Generate Source Generate Threshold Dust Point Preroll Frames 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 You may want to use several instances of the Fireworks plug ins with dif ferent heights and different types of explosions Keyframing the various colors will help prevent all of the fireworks from look ing the same but make sure that IntegrateParams Over Time is checked
144. t creates a turbulent noise pattern that is useful for creating tex ture and distortion effects See the Sample projects for an example of this Dark Color Dark Color Defines the darkest shade that can occur within the turbulent noise This defines the areas that look deepest If this is set to a lighter shade there will be less color differential to work with when adjusting Contrast and Brightness Mid Color Mid Color is the median color between the dark and light colors TIP If Dark Color is left to black and light color is left to white then giving Mid Color a color tone will tint the tur bulent noise i e this will work like a tint control Bright Color Bright Color is the lightest color in the Turbulent Noise Use Turbulence When checked Use Turbulence will make the noise look more complex a more gnarled appearance Animation Presets w About Eser Options Ab seen i r ja uas Ae iape re a ie ie a qb 5 Dark Color 5 Mid Color p b krd iTA Bright Color LJ 5 Use Turbulence Turbulent Contrast 520 Brightness 220 5 Detail 1 1 15 5 Stretch X 100 0 500 Stretch Y 100 5 Offset X Ox 0 0 Offset Y Ox 0 0 5 Seed 1 p 5 Animate Seed T7 gt 5 Make Tilable 5 Blend Original Animate Seed L Tilable D 183 b The water was created using Turbulent Noise and HLS Displace Contrast Contrast increases or de
145. t works in all direc tions 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 Preroll Frames 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 gen erating snow 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 corre sponds to the number of frames before the first frame that the effect starts generating the snow Snow Generate Snow Generate determines how much snow will be created per frame 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 162 Min Opacity Pane Min Opacity determines the most transparent any part of any faa flake can be Max Opacity Max Opacity determines the most opaque any part of any flake can be Lilt Gravity Wind Gusts Lilt
146. ten 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 distance that the shake causes the image to travel So in the case of Camera Shake Amplitude is distance T 5 TO 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 har monizer Frequency Set to 5 Frequency Set to 20 In the case of Camera Shake Shakiness Frequency determines how often the cam era will shake i e frequency determines when amplitude determines how far Using the Plug ins 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 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 set ting all of these parameters to different beginning and ending values you can cre ate visually stunn
147. 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 TIP This plug in is very fast and can usually be used while the option key is held down for immediate screen feed back While tweaking the parameters you will definitely benefit from the immediate feedback Preview Effect When preview on is checked the affected layer is not shown In its place is the gradient that is being used to create the effect This can be very use ful in seeing where the position of the colors in the gradient truly are without having to see the affected layer Alpha transparency will show as a checkered black and white region TIP When trying to learn how the con Comp 1 office liste Animation Presets None_1 4D z7 About Preview Effect Composite Mode 5 Start Color b 5 Start Alpha End Color b ty End Alpha gt Bias gt 5 Blend Original wv Filter Settings C Preview On Filter Colors Start gt End F Filter 1 Color gt 5 Alpha 1 255 gt Filter 1 Pos 5 Filter 2 Color gt 5 Alpha 2 253 b 5 Filter 2 Pos 40 0 5 Filter 3 Color U 5 Alpha 3 295 b Filter 3 Pos 60 0 Filter 4 Color wv Alpha 4 53 w 255 ST w Filter 4 Pos 80 0 0 0 100 0 ee
148. the red green and blue channel to create the grayscale footage Green Contrast Green Contrast controls the amount of contrast in the green 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 s GrayScaler Blue Contrast Blue Contrast controls the amount of contrast in the blue 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 foot age Red Brightness Red Brightness controls the amount of brightness in the red 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 Green Brightness Green Brightness controls the amount of brightness in the green 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 gray scale footage Blue Brightness Blue Brightness controls the amount of brightness in the blue 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 gray scale footage Blend Original Blend Original will
149. the wisps Flowing banks can be colored NOTE While most of the values generated with the min and max controls in Delirium are random i e the value will be some random number between the min and max values for Fog Factory this is not the case Close and Far will be the closest and furthest layer of fog If there are more than 2 layers of fog those layer values will be determined with a linear interpo lation between the close and far values For example assume that you have 3 layers and that speed close is set to 10 and speed far is set to 30 Layer one will move at the speed close of 10 layer three will move at the speed far of 30 and layer two the middle layer will move at a speed of 20 All of the control values will be distributed between the close and far layers in this manner in FogFactory Speed Close Speed Close determines the speed of the closest away layer of fog Speed Far Speed Far determines the speed of the fog that is furthest NOTE Speed is handled in this way to create the illusion of depth When a bank of fog is viewed perspective will make the fog that is closest appear to be mov ing faster than fog that is furthest away Fog Factory Fog Color Fog Color determines the color of the fog Fog Wispiness Wispiness provides curls and whirlpool motion into the banks of fog Fog Wispiness determines the quantity of wispiness Wispiness Strength Wispiness Strength determines how extreme the wi
150. this is off hard transition lines will be visible in each of the corners Color Mode Defines how the colors are interpo lated 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 Composite Mode Composite Modes are described in the Using the Plug ins section at starting on page 13 of this manual Refer to that section for instructions on how to use these parameters TIP Multiply and Darker are usually the best options for a basic darkened edge frame Blend Original Blend Original will blend in the unaf Gradient Color borders fected original layer with the affected layer The higher this number the more of the original layer will be blended in with the affected footage Basic Gradient Inset Distance Inset Distance determines how far in from the edges to end the gradient Start Color Start Color determines the first color or the color closest to the outer edge of your gradient Start Alpha Start Alpha determines the transpar ency or opacity of the start color in the gradient This is used to give a softer more transparent appearance to the framing gradient F 91 Framing Gradients TIP If you set the inset distance to 3 Start Color to black and Start Alpha to 255 you will see a black ring around the entire layer Lower the inset distance and lower the start alpha to see a much
151. tion gt 5 Min Distortion b 5 Max Distortion p Min Tempo b 5 Max Tempo b 5 Amplitude 1 p 5 Amplitude 2 b 5 Frequency 1 185 al Creating video distruptions could not be easier Tint Color This is the color to tint the video image Bright This controls the overal brightness in the image Bright Var This controls the maximum variability of the brightness in the image The larger this value the more bright and dark banding in the luminosity of the image Contrast This controls the overall contrast level in the image Contrast Var This controls the maximum variability of the brightness in the image The larger this value the more contrasty the image may become Video Noise The text date at the bottom has the effect applied Noise Maximum This is the maximum amount of noise allowed in the image Larger values will create more bright and dark grainy areas Noise Variance This is the allowed variability in the noise over time Larger values cause more intense noise bands vertically Micro Noise This controls the amount of basic noise This is another way to add noise to the image that will not be modified over time Noise Width This is the maximum length of the noise runs Larger values mean lon ger noise runs Noise Tempo This is how often the noise will change Larger numbers will cause the noise patterning to change LESS often more frames between
152. ty Opacity determines the transparency of the sparkle particles Color Color determines the color of the Sparkler System particles Lifetime Lifetime determines maximum lifetime for each of the Sparkler particles Mass Mass is the factor that defines how much gravity air resistance and wind affect the particle Environment ta Fireworks Gravity Gravity controls how quickly the firework particles will fall once it has exploded This will have the same effect on each of the particles depending on its mass Air resistance can make different particles slow down at different rates depending on the mass of the particles Wind Horiz Wind Horizontal controls the ability to make the fireworks drift to the right or left This will interact with the fire work to give it a pushed look If you set this very high the firework will be blown in this direction Wind Vert Wind Vertical increases or decreases the vertical speed of the fireworks This can be used to simulate wind blowing from the ground Air Resist Air Resistance decelerates the par ticles as they are traveling This is equivalent to setting brakes on the particles Glow Glow Radius Glow Radius determines how far glow that is set in Glow Intensity will spread If this is set high the glow will extend for a large distance around the particles If it is set low the glow will be concentrated closely around the particle TIP When
153. ubtle and gradual gradient around the outside of footage the eye is drawn into the center of the footage and attention is focused on the subject matter Often you will want to keep the effect subtle so that it does not draw atten tion from the subject itself Load the preset Simple Frame to see the use of a mid gray start color and a high number for the start alpha This is the style of application that we had in mind for the Framing Gradients effect but with the insertion of color and various Composite Modes many other looks can be created Preview Gradients When this box is checked the Comp window will show the gradient that is being used to create the effect This gives you the opportunity to see what the components of the effect are with out having to see it in the context of your footage Soft Edges ar DE FramingGradients yf praca Animation Presets None 4D w About i Ee eu a uo Digieffects Preview Gradient C Preview Gradient 5 Soft Edges Soft Edges 5 Color Mode RGB Start to End a Composite Mode Multipl p Blend Original w Basic Gradient b 5 Inset Distance 4 0 Start Color a gt 5 Start Alpha 2353 End Color LJ gt End Alpha 239 b 5 Bias 73 0 v7 Multi Gradient 5 Multi Gradient Start gt End Grad 1 Color b 5 Grad 1 Alpha 255 1 in m e mn 30 Soft Edges When this is on the four corners will be soft edged When
154. umbers give a more transparent Intersect Shape Intersect Composite This defines how the intersect image blends with the grid See page 13 for information on composite mode Glow Glow Radius and Glow Intensity work together to determine the size of the 145 glow These controls apply to both the Main Grid and the Grid Subdivisions Glow Radius Glow Radius determines the distance from the lines in the grid that the glow will extend Glow Intensity Glow Intensity determines how brightly the grid will glow Glow Mode Add Add combines the color values of the layer and the underlying colors The resulting color is lighter than the original Screen Screen multiplies the inverse brightness values of the colors in all layers The resulting color is never darker than the original d 146 Show Channels This plug in was created to view each of the channels on an layer individually About After Effects has controls that allow for the viewing of the channels of the entire composition red green and blue channels After Effects shows the channels of a com plete composite amp Channels v Blend Original 0 0 255 Show Channels will let you view the indi vidual layers channels for the layer to which the effect is applied This is more of a utility than an artistic effect Channels Red will show the red channel only Green will show the green channel only Blue will show the blue channel only
155. ut of the sub distortions and away from the arc How far away from the arc is determined by branch angle below Branch Angle Branch Angle determines the direction of the branches as they come out of the joints of the sub segments Branch angle only determines the direction of the branch as it is leaving the arc Sub Branch angle below will determine the direc tion of each of the divisions of the branch after the initial direction is determined Sub Branch Prob Sub Branch Probability controls the likelihood of each of the branches dividing into additional branches ds Electrical Arcs Sub Branch Segments Sub Branch Segments determines how many times the sub branches will be divided The higher the number the more twisted the sub branches will appear Sub Branch Angle Sub branch angle determines the angle of each of the sub branch divides AFTER they have left the arc The initial direction is determined by the Branch Angle Lightning Color Lightning Color determines the color of the interior or arc non glowing portion of the lighting NOTE The color of the arc is typically defined as a combination of the Lightning Color and the Glow If the Glow Radius is set to zero this will be the only con trol that effects the color of the lightning Alpha Alpha determines the transparency or opacity of the Electrical Arc Start Segment Width Start Segment Width determines the width of the start segment by default the left
156. will lie between these values Opacity Closest Opacity Closest determines the maximum opacity of any of the clouds Opacity Furthest Max Opacity determines the maximum opacity of any of the clouds Bright Closest Bright Closest determines how bright or light the closest clouds will be 132 Puffy Clouds Bright Furthest Bright Furthest determines how bright or light the fur thest clouds will be Contrast Closest Contrast Closest determines how much contrast the clos est clouds will have Contrast Furthest Contrast Furthest determines how much contrast the fur thest clouds will have Random Seed Random Seed is the seed value think of it as a start point for any randomization that occurs in the plug in Do not animate this as it will cause the effect to jump or randomly change values causing animation to be rough 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 00000 o 1 00001 00002 N 00003 w 133 b RainFall C Wey RainFall simulates a summer rainstorm It automatically animates and the rain drops can fall on the edges of the source image Rainfall is a particle system that eas ily and elegantly handles rain effects through a realistic rain simulation You can bounce and splash rain off objects The Rain System generates the
157. will not show through w About Edge Mode Reflect Edge Link Hto V Link H to V Repeat Wave C Repeat Wave b 5 Repeat Amount 1 5 b 5 Random Seed 1 5 H Wave Type b 5 H Min Amp v 5 H Max Amp 0 100 b 5 H Min Frq b 5 H Max Frq w 5 H Phase V Wave Type b 5 V Min Amp gt 5 V Max Amp w 6 V Min Frq 0 100 p 5 V Max Frq 35 p V Phase Ox 0 0 p H Scale 1000 p V Scale 1000 b 5 Blend Original a 196 b terns Repeated wave distortions create liquid effects Strange distorted pat Repeat Edge pixels Repeat Edge Pixels will repeat the pixel closest to the uncovered area This will give a stretched look from the edge of the distorted footage to the edge of the comp Wrap Around Wrap Around will use pixels from the opposite side of the footage that have been distorted and use it to replace the empty areas Reflect Edge Pixels Reflect Edge Pixels will use a reflection of the closest pixels to the edge of the areas that are uncovered due to the Wave Displace Effect This is the most often used setting Link H to V Link H to V will disable the horizontal controls and base the horizontal values off of the vertical controls Repeat Wave Repeat Wave uses a wave shape to distort an image multiple times It takes the wave that is defined in the controls below and applies it multiple times to the footage For example the wave effect will be applied once to the first fra
158. with the radial component of that part The Glow part is used to create a soft bright sphere of light that simulates the main light source of the lens flare The Ray part is used to create the shiny spiked tendrils that usually extend further outward than the glow part The Flares part is used to create the smaller geometrically shaped com ponents that often spread outward much further than the rays and can often extend past the edge of the scene The line which they extend on also rotates as the lens center point is moved Cool inner Reflection effects are easy TIP This effect can be slow so while testing the results of the effect you may want to run at half or quarter resolution Flare Point This is the point where the flare origi nates Center Point This is the center where the camera is pointing it may not necessarily coincide with the center of the frame Size This is the overall size of the flare Auto Rotation Check this to have the rotation and scale of the flare elements to auto matically rotate around the center point This is the default behavior of most lens flare simulations Lens Rotation If Auto Rotation is not checked off 110 Lens Flares you may manually rotate the entire lens flare effect with this parameter Obscuration With this checked on the lens effect will be hidden or obscured behind the alpha channel of this layer Colorizat
159. ychedelic Blend Performs a simple Blend 20 Blend Using Alpha Blend using Alpha uses the alpha of the effect as a weight to blend the Effect with the Source Layer Multiply Multiply mathematically combines the Source Layer and Effect color values in the layers and divides the result by 255 The resulting color is never brighter than the original Lighter 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 Overlay Multiplies or Screens the colors depending on the base color Patterns or colors overlay the existing pixels while preserving the high lights and shadows of the base color 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 were multiplied ar Using the Plug ins 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 lay
160. ystem Folder Preferences DE XXX Presets where XXX is the name of the plug in We hope this information will help you as you work with the Delirium plug ins 26 Bubbles LA Oy sD Ch Bubbles will easily create any type of bubble effect from a fizzy drink to bubbles trailing a shark You can generate bubbles from a logo and the bubbles can automatically create liq uid distortions Apply Mode determines how the bub bles will be blended into the footage to which the bubbles are applied Use the bubble system to control how the individual bubbles will appear including speed size and amount Use the bubble system to control the motion of the bubbles The distortion controls give you the ability to distort or give the footage under the bubbles a warped look as if looking through a lens NOTE When the bubbles are gener ated on an image that has an alpha channel a logo with alpha or mask for example the bubbles will gener ate particles inside the masked area and the bubbles will drift outside to the alpha nsnnunnunnen About Animation Presets db 37 About a an f n E e i An e DigiEffects ETTET 5 Apply Mode Use Source F Use Source Mode Effectin Front Composite Mode Blend Particle Composi b 5 Alpha Threshold O p Alpha Weight 229 p 5 Random Seed 0 gt 5 Blend O

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