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User Manual - Chris Athanas

1. Frames Mex WWW Intermittent Amp Skip old Frames Frames Random Random The second method isto add Intermittent brightness and contrast that will make the scene appear to flicker as if lit by a waving candlelight Use this plug into 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 brightness 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 isin 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 _ Ft 27 Flicker and Strobe 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 Y Y Frequency of the first wave A The frequency defines how fas
2. Flare Seed Flare Seed isthe random number seed for the flare elements Change this to alter the overall look and arrangement of the flare elements randomly selected components 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 _____ 129 Loose Sprockets EHE ei 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 jagged or J arring motion The effect is subpixel accurate if the layer in the After Effects timeline is set to high quality mode HAmpl H Amp 1 is the amplitude of the first horizontal displace ment wave The higher this number is the faster the movement H Frq 1 H Frq 1 is the frequency of the first horizontal displace ment wave The higher this number is the faster the movement 2 mE p L fi rr D L fr ug I Fo
3. ee Su Fur u appii Moe E Ik Sure Fiese Carrpes ta Effect m Front N Carr Pils er Palia hi Corepeai Een ial ee ee bk che ek rit ET a Li N Ak Urizirn Chart Tee mck Serra rir ed behi F Frege Chee T H iae Bre er Tin ear ala Source lkp Cr are eea 13 Dart Paint Flat 30 O Prealifrenss 10 rr feet un u I m m p 7 piit Sel z3 m mof ul i iiet a zH i robe Cewek Dior Fairy dust can follow a point leaving a trail Fairy System Dust Type Hexagonal 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 5 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 keyframe Bright Variance Bright Variance controls the amount of flicker that the various particles will hav
4. fa TAT Kar Lig Beet ta P Len ghi ince Bp mare ue P iekinerbe 108 TILT Far Light Ee Fine a The TILT plug in Far Light defines a light that is at an infinite distance away The sun is an example of a far light Even though the sun is a sphere that radiates light in all directions it doesn t appear to us that way Since the sun iS so far away its rays appear parallel Far Light simulates a faraway light like the sun Only its direction not its location matters since Far Light rays go straight and undimmed in only one direction unlike say a bare light bulb which radiates in all directions Thus TILT doesn t care about the location of the source of a Far Light But TILT does need to establish its direction We can modify and thereby animate its direction to simulate a moving faraway light Note that Far Light does not make any visible changes to the Composition win dow directly instead it provides information used by TILT Camera effects So to see the effects of modifications to Far Light you must include and enable at least one TILT Camera Manipulator In the Manipulator mini window the values for Left Right and Up Down can be set interactively Because Far Light rays go straight and undimmed in only one direction these values control the direction of the Far Light Note the buttons along the left edge of the Far Light Manipulator mini window 238 A J_va These control the
5. Top Grid Size Top Grid Size defines the spacing in pixels between 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 b
6. 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 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 generate particles As this number increases the more transparent areas of the alpha will no longer be able to produce particles 4 25 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 gen
7. Distortion bubbles gt Distort H 5 0 TIP Using effect behind and high distor P Distort Y Be tion levels all that will be seen is the NOTE With the Effect Behind setting the default bubble distortions an interesting effect settings will use the bubbles to distort the layer To control or remove this effect go to the istor tion Controls below To remove this effect set Distortion H Distort H and Distort Distortion H determines the amount of hori zontal distortion will be created Distortion V Distortion V determines the amount of vertical distortion will be created 3 p Camera Shake EN CEJ Camera Shake simulates a camera hit by random forces and can be rendered Ei fort Cantrobs ld EE mep e A adil i 7h DE Camera Da Fii Ata with exaggarated motion blur effects 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 creates randomized motion from those keyframes and applies motion blur including exaggerated motion blur You can control the amount ampli tude speed frequency and spuri ous random movement for each keyframe You can control how many frames the current keyframe will be held by using the Min Hold Frames minimum number of frames to hold the keyframe and Max H
8. L La Hast bie 4 P Start Sip Im Erai Cok j bE Alba Bh b Ais Ta abigil Ben Mall allen Peat ie En aipha re Poe Err METE CIDE Beal Gabor fee ed ah er 2 wt ee fe Pier ro Ces 1 o Soft Edges Soft Edges When this is on the four corners will be soft edged When this is off hard transition lines will be visible in each of the corners Color Mode Defines how the colors are interpolat ed 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 start ing 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 Gradient Color borders 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 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 trans parency or opacity of the start color in the gradient This
9. 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 193 Specular Lighting Mater Amb Norm Material Amb Norm determines the Ambient light reflection amount This con trolsthe ambient lighting Mater Diff Norm Material Diff Norm determines the Diffuse light reflection amount This con trols 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 A Logarithmic A plateau look er sine Smoothly curving straight in the middle Toy yer Spherical Completely smoothly curved no straight lines Linear Slanted NOTE These settings must be experimented with as they are difficult to describe succinctl
10. User Manual DigiEffects rar Al gletie lt te lt om Delirium User Manual MacOS publisher DigiEffects Austin Texas Republic 78746 United States digits 512 306 0779 Voice 512 306 1310 Fax e mail info digieffects com tech suppor t support digieffects com website www digieffects com 1999 2000 DigiEffects amp Chris Athanas All rights reserved Version 1 0 for MacOS written Dan Prochazka Chris Athanas hand sketches Kendall Anders special thanks Jeff Taylor Texas Day edited Kendall Anders JoAnne Milette created San Francisco California Austin Texas Delirium Fog Factory Hyper Harmonizer Visual Harmonizer Nexus Schematic Grids AutoAnimation AutoAnimation Logo DigiEffects and DigiEffects Logo are trademarks of DigiEffect and Chris Athanas CineLook is a registered trademark of DigiEffects and Chris Athanas All rights reserved The DigiEffects sotfware is furnished under a license agreement which can be print ed 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 Chris Athanas or DigiEffects DigiEffects and Chris Athanas assume no responsibility or liability for any er
11. ly 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 lt 4 175 SnowStorm 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 Effects 4 you can just press the Zero key on the numeric keypad with Effect Only selected in Apply Mode you will see a beautiful example of what the snow plug in can do The snow plug in has been designed so that the snow drifts in a particular direction but also includes a great deal of chaotic motion The Snow System determines the quan tity size distribution and other behav iors for the individual snow flakes The Wind Gravity Lilt area controls the characteristics of the overall direction and fall pattern of the snow flakes Image Mode Apply Mode Use Source Mode Composite Mode Alpha Threshold Alpha Weight Random Seed Blend With Original Generate From D fort Controls Selid 1 E E TELET TE a SL Aiad I o D DE mowilem Pai Sami ET rer 2 app iy aie Ika Sr ae ia Covet ote heath DA Imran 6 A eh ne Renton See i D Bhat
12. If we get the narrowest shot by physically moving the lens away from the film plane we therefore get the widest shot by keeping the lens as close as possible to the film plane i e we maximize the field of view angle by decreasing the focal length as shown in Figure 5 below Wee Field ol ay Ae g 1 7 e ra ee ce i L ANR r i F ri Po ag I i bs m j j a i a i SI ACE Li gt u i P Tai re Lamers Lere Figure 5 Wide shot A wide shot photo with large field of view implies a large field of view angle and that means more things in the picture so each pictured thing looks smaller and taller and narrower 227 TILT 3D Tools Now we can t really say that TILT adjusts focal length the physical distance between the lens and the film since TILT doesn t have any lenses or film TILT does however simulate the identical visual effect by using 3 D geometry to calculate the change in the appearance of 3 D objects given different field of view angles Experiment with field of view angle to get an idea of the changes it makes Look closely they re subtle Look At Point X Y Z The Look At Point specifies the location in world space units of the point at which the camera is looking This is also the point about which the camera rotates when the Orbit Left Right and Orbit Up Down controls are changed Selecting the button in the Manipulator window and moving the mouse automatic
13. 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 the red green and blue channel to create the grayscale footage F 10 GrayScaler 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 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 footage 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 grayscale footage Blue Brightness Blue Brightness controls the amount of brightness in the blue channel This allows for increasing or d
14. Red will show the red channel only Green will show the green channel only Blue will show the blue channel only Alpha will show the alpha only RGB No Alpha shows the Red Green and Blue channels without the alpha 168 gt NY NSrN 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 Sketchist f VEY 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 tremendous amount of work It s apply ing 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 pre views 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 overall density of the grid the perceptual threshold and the total number of strokes ap
15. Soft amp Bright Harsh Falloff Dot Rounded Star Oval Segment Shape 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 recalculat ed The higher this number the more that the electrical arcs will twitch and move Lower numbers will give a slower movement to the arcs oe ey Electrical 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 Visto ts amp Segments i Sub Segments Branch d So Distortion 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 bel
16. and orientation of the mesh object you create E ah Causes mouse movement to control the Left Right Up Down and Tilt control values Causes mouse movements to control the X Position Y Position and Z Position control values 248 p Causes mouse movementsto control the X Scale Y Scale and Z Scale control values O in Resets default values for Left Right Up Down Tilt X Position Y Position Z Position X Scale Y Scale and Z Scale Left Right Set the orientation angle of the mesh object you create The Left Right value specifies the number of degrees of rotation about the y axis where 0 degrees points in the positive Z direction Up Down Set the orientation angle of the mesh object The Up Down value specifies the number of degrees of rotation away from the x z plane A value of 0 indicates that the object coordinate system is parallel to the x z plane Tilt Set the orientation angle of the mesh object The Tilt value specifies a rotation about the z axis of the shape with respect to the positive y axis of world space Translation X Y and Z It is possible to set the position of the mesh using the controls for X Position Y Position and Z Position The values are in absolute world space units Scale X Y and Z You can set the scale of the mesh using the controls for X Scale Y Scale and Z Scale The slider values are multipliers of the original size in world space units TIP Adjust the
17. available ay Box By default a cube whose edges are each 1 world space unit Sphere By default a sphere whose diameter is 1 world space unit amp Cone A Cylinder with a tiny top and a wide bottom j Cylinder A sphere that is only round along one axis ay XZ Grid By default a flat XZ floor If XZ Grid is chosen Na is the number of segments in X Nb is the number of segments in Z Default is 4 for both Na and Nb 4 241 TILT 3D Tools By Checker Board Just like XZ Grid but boxes alternate in color between white and the color specified in Color Choose the other color by clicking on the empty box to get a standard Mac color dialog Or poke the eye dropper and select any color currently being displayed any where on the screen Na is the num ber of checkerboard segments in X Nb is the number of segments in Z Default is 4 for both Na and Nb Q Ngon A plate with the number of sides set by Na For example if Na is 4 N gon produces a square plate The larger the value of Na the closer the N gon approximates a circle 2 Floor A flat grid lying on the x z plane with Na cells in the x direction and Nb cells in the z direction This object is useful for making a floor on which other object can rest If the interac tive renderer is used the increasing the number of mesh cells in the x and z direction causes spot lights to show up better when they point at the object DE n
18. below is checked on D BOE Soft amp Bright Harsh Falloff Dot Rounded Star Oval Lines Only 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 211 Visual Harmonizer 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 pressthe R key to access the rotation controls easily Start Color Start Color isthe color of the first frequency or wave End Color End Color is the color of the last frequency Start Size Start Size is the thickness of the first or start frequency End Size End Size is the thickness of the last frequency Each of the fre quencies in between will vary in width in a linear manner between the start and end size Start Opacity Start Opacity determines the transparency or opacity of the first frequency End Opacity End Opacity determines the transparency or opacity of the first frequency 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 ampli tudes are different and
19. 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 150 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 rain horizontally for short periods of time NF 151 RainFall Gust Probabil
20. i e not being keyframed the firing will begin at the beginning of the LAYER not the composition A To compensate for that you will want keyframe pull trigger or nest the composition into another composition and apply the muzzleflash to the new composition TILT Q I need higher resolution images from TILT What can do A TILT uses QuickDraw 3D s interactive render which is designed to work quickly but not render pristine images It can cause distortions for tex ture mapped images along slanted edges To compensate for this we rec ommend the following workaround Here are the steps to create a hgher resolution TILT 3D image 1 Create a composition and layer 2 times larger than you need 2 Apply the TILT camera light and object to a Solid Layer cmd Y 3 Create a new composition the size you need 4 Import the first composition with the TILT effects into the second composition 5 Scale the TILT composition down to 50 shift command S 6 Set the quality of the TILT compositon layer to High You have performed an effective poor mans antialiasing and should see a substantial improvement in image quality 9 257 Frequently Asked Questions Film Flash Q My Film Flash never seems to get flashing What s wrong A You probably set the Softness Speed to be larger than the Intensity Speed Adjust the Smoothness to be half of the intensity and it should work fine SnowFall Pileup Mod
21. 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 val ues 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 U Hert Cantrots sera FE romp A F Ganid i DE malt Faret at ze abe Be r Epa CBee Hand 0 ipd eosin pooch Lid Tint oar Br Bie bart Sha 0 Catrina Fr Bei gt Widen Munira gt Sol ee Po iT D Maler oe Hier Ma M Mee ld E Mice Temps late Fr Am aiti fe pak Plott ki Crim Terape 0 Hap Tou anit U sind ile E Freeney 3ra inEffect rs of a En Alpe LE x cy a Creating video distruptions could not be easier Color Correction 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
22. After Effects user manual for more information on what each parameter does and how to execute a test to find out which frame your 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 appropri ate for your card Congratulations This concludes the Delirium tutorial 10 p USING THE PLUG INS 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 terminolo gy This section is a general explanation of many underlying concepts that drive Delirium Particle Systems Delirium has a number of different 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 specific tasks extremely well while continuing to be easy to use It used to b
23. 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 a Tip oe ee Aiape Comp i Free iri CI b ri Aidail Hatin din iati Pinoi Aagi hello rin u TE 7 Tut Fie Aula un oldie 30 29 97 PEHE br mhia un Cromer et 4 th Tutorial Importing Footage 3 Import your footage command I as you normally would In this example we are using the file DE Logo Alpha 0 found in the Delirium Projects folder on the 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 0 layer by clicking on the layer in the composi tion window and selecting Scale from the submenu Geometrics from the menu Layer j Kal FH ufsnure j m ole Pie a Fee Sree Fran a Aa ies Applying
24. EV back While tweaking the parameters i en you will definitely benefit from the TH LE O immediate feedback Filler Seiten Preview Effect FILTER Galii When preview on is checked the affected layer is not shown In its place isthe gradient that is being used to create the effect This can be very useful 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 50 A A Ta m a aom ame 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 multiply with the Start Color black and the End Color white These colors and composite 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 und
25. If the Object Type is either cone or cylinder the checking this box causes end caps to be included in the geome try Color The Color of a Simple Object can be changed by clicking on the empty box in the Color line or by clicking on the eye dropper If the empty box is poked a standard Mac color dialog from which to choose the color want ed appears If the eye dropper is poked any color currently being dis played anywhere on the screen may be selected Texture A Texture can be applied A to all surfaces of any sim ple object The desired Alp texture to apply must exist as a regular After Effects layer A texture can be any footage item including a movie for a movie with in a movie effect Choose the desired layer to use as texture from the list of layers displayed The default texture is None Na Nb The values of these controls are para meters used to define the shape of the object See Object Type 242 p BE ie f THY Era Ligh Beco bird als fa I Left ighi 1a Fle awe mr H Potion ld bremen gan TILT Spot Light bE ParHian ang oo fit eet ik The TILT plug in Spot Light defines a spot type zusam en light This type of light has both location and bio af af direction F inbena taD Spot Light prepares rendering information for the TILT Camera Note that Spot Light does not make any visible changes to the Composition window directly rather it prov
26. O eI Causes mouse movement to control the Left Right Up Down and Tilt control values O w Causes mouse movements to control the X Position Y Position and Z Position control values D Causes mouse movements to control the X Scale Y Scale and Z Scale control values O Int Resets default values for Left Right Up Down Tilt X Position Y Position Z Position X Scale Y Scale and Z Scale 240 p Left Right Set the orientation angle of a Simple Object The Left Right value specifies the number of degrees of rotation about the y axis where 0 degrees points in the positive Z direction Up Down Set the orientation angle of a Simple Object The Up Down value specifies the number of degrees of rotation away from the x z plane A value of 0 indi cates that the object coordinate sys tem is parallel to the x z plane Tilt Set the orientation angle of a Simple Object The Tilt values specifies a rota tion about the z axis of the shape with respect to the positive y axis of world space Translation X Y and Z A Simple Object s position can be set using the controls for X Position Y Position and Z Position The values are in absolute world space units Scale X Y and Z A Simple Obj ect s scale can be set using the controls for X Scale Y Scale and Z Scale The slider values are mul tipliers of the original size in world Space units Object Type The following Simple Object types are
27. Y Scale to 1 when first using an image as a displacement map 39 249 TILT 3D Tools Height Field Use Height Field to select a 2 D picture as input Height From VMesh creates an interpolated landscape of the Height Field image VMesh creates Its mesh by mapping each pixel of the Height Field selection to a point in world space The x and z coordinates of each point in the mesh are simply linear interpolations of x and z while the y coordinate at each point reflects the value of the selected Height From element The mesh is a collection of tri angular solid plates joining all the vertices VMesh first interpolates the original x and z values to a square plane one world space unit on a side You input the y value height as Height From There are five possible Height From values Luminance Red Green Blue or Alpha Here s how it works if you want to map Red Green Blue or Alpha As you know the color of each pixel in an After Effects image consists of a combina tion of four elements Red Green Blue and transparency alpha channel Each of these elements has a numerical value from 0 to 255 where 0 is lowest and 255 is highest Suppose you select Red as the Height From value VMesh finds the Red value for every pixel of the original image Height Field Then Vmesh interpolates a y value for each vertex of the mesh by multiplying the original value of Red 255 times the original transparency 255 and subtrac
28. You can replace the DigiEffects logo with your own logo by using the Replace Footage command from the File menu See the After Effects manual for details 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 in Saving a preset is very easy to do with Delirium 10 From the After Effects user interface click on save in the Preset swatch Presets Tutorial Preset 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 Tutorial 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
29. 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 i U window ina lp Sarid All mE J Bar i rer amp dca F Lliniiiel F F fig ace har Dipo Dulin Oe ta AT Chek Lea DE Ohashi Chit lr a 4 DE ONF er ey DE Pav for rpa ic Tees caer mers DE Eechrical irre rig DE Fairy Gust enter WE Nim mesh Stylin F Se hrsrre F DE Fireeynrtes Tent DE Flicker seat Sirnhe Kr Ra 4 DE Flow ketion eh DE Rog Perben WiEm Deed irae e lel 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 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 Generate From v Generate Laver Alpha gt Threshold Generate Layer Luminance gt Threshold Burn Point 9 The flames should now be growing from the DigiEffects Logo
30. 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 Angular 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 compo nent even if they may not look cor rect The first set of gradients have labels that describe thier intended use Glow means that they should be used in the Glow part Ray means To ee Pure eat Cerei Pairi E ice nd dur Eiir E here Rotate Bice itini Gale al en Mock Tiy Game Eii Cl ine CB hari Ore al Ce Orde li hye Geriatr He Dira Badia a ets Ukrz rge Soe GO Slee E G krri riie iia Haa T Fry Seli tay D Frei Fra kiar Wau Filisi Bay Ahk loe DE Lene larer Past ao E Aii F ainiin ac a Retired Aleta etoile akri ar i fe ten is Chagas p ah ii rkr iiai BEd ar E fanden Gray Srmmather res MELDEN i ir MER Fllen Ext ji e ih Ray Radial Bregi velkes Pk Lens flare is tinted from the source image that it is intended for use in the ray part 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 gradie
31. acobs 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 J acob 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 Alpha Threshold Alpha Weight 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 oO tect Contras n 1 DE SE O gt DE Electrical Pi Epai ze dbmi Geant z app is wae I rin Far ur ibs Beck in Finn image rrare atie Palija Gersfeail Bier a HATT i CD Emgeton Seen L Dagia eres u Di ca Aa ker T Sermi Sheps Eit prip BE Ele ly fest Seg beri E tpar ARA Hat F Hza Er Saini en Gare u xp r Diriertee if i 100 1 Fear BETTER an i Boor Froh HNE Electricity can be green Glow is built in
32. and wind affect the particle 33 Fireworks Sparkler System The Sparkler System will add a sparkly effect to the end of the explosion particles 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 Opacity Opacity determines the transparency of the sparkle particles Color Color determines the color of the Sparkler System particles Lifetime Lifetime determines maximum life time for each of the Sparkler parti cles Mass Mass is the factor that defines how much gravity air resistance and wind affect the particle Environment Gravity Gravity controls how quickly the fire work 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 firework 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 decelera
33. be ren tap dered using one or more TILT Camera effects Cake Teure To begin working with TILT Simple Object go to the a r Delirium pop up menu shown in Figure 1 that lists the TILT effects Select TILT Simple Object Manipulator In the Simple Object Manipulator mini window shown in Figure 9 Values for Left Right Up Down X Position Y Position and Z Position can be interactively set Note the buttons in a column along the left edge of the Manipulator mini window These control the movement of the Manipulator Window virtual camera so you can move around in the scene These buttons do not move the virtual camera controlling the Composition window To move that camera use the TILT Camera plug in E Orbit the virtual camera in the Manipulator Window only o 239 TILT 3D Tools pay Move the Look At Point in the Manipulator Window only T Dolly the camera in the Manipulator window only tir Causes the Manipulator mini window camera to be reset so that it is looking directly down the z world space axis in a minus z direction at a set distance from the world space origin If these buttons are clicked on and then the mouse is clicked and dragged it is possible to quickly and interactively control the view of world space rendered in the Manipulator window The second column of Manipulator buttons contains controls for the position and orientation in world space of the simple 3 D model
34. 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 car O fect Controls seha 1 DE 7 ikp Rss i ET f r Trash Fie Ukaidi Uss rig Cuky 0 Obes i E E ka bir Eis Uri Car Ee igi Geier fr Bleed Oe yin ire t ania a ETER on be Fr a ripa ta bre an u 15 i ij Glower creates a nice glowing effect toonish look to the footage and will often bring detail out of the darker areas If you want to use this effect to increase and soften highlights set the controls to only affect the light col ors Set the min to somewhere around 200 and the max to 255 and only the lighter 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 Park Bright tolor Color NOTE Color Bias Dark Color and Bright Color controls only modify the effect if the Use Original Color is not checked
35. br Pact Pq a Repeated wave distortions create liquid effects Strange distorted patter NS 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 frame 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 ea 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 Repe
36. 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 NNN 21 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
37. 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 D _ Arrt Controls Seid E BS E KETE me DE kaini a1 Parit ika Soe ey FH Leugzunlie Zire ba Preni Dorreari heath Cebhe There 6 DA ie bya PE Remon Seei i C E iai Oe ayia i Ejn Guria ee Fig T i af are here Cae Fl Kerken ner Parmmir or rin Loreena la Layer oe b pete Threat th Teer ale Poort T Sadi Per E ahar Hiii Dert Solar _ A Er lach Fi Lier Hans 7 CG Sola Tirastald 3 U Peol From I Ed om Mahi Manar ie 10 D whi Pia Gice 186 lt NNYS Sa Rain fall ng and splashing on a logo Generate Threshold Generate Point Controls in this section are described in the Using the Plug ins section starting on page 13 of this manual Refer to that sec tion for instructions on how to use these parameters Rain System Splash Mode Splash Mode determines if and how the rain drops will splash in
38. effect The basic idea isthat you can take any color in the image and replace it with a color based on a color gradient When in Preview Mode the gradients on the left are the source colors The gradient on the right are the colors that will be replaced In other words the colors in the source layer are represented by the gradients on the left and these colors are all replaced by the colors in the gradients on the right Preview LUT Preview LUT Look Up Table provides the ability to look at the colors that will be used to replace the existing colors in the image When this is checked on the colors will be shown along with Red Green Blue and Gray color ramps so that it is possible to judge what color will be replaced with the LUT ze Aka ei i o gt Epa Bris bea Li Der ita ie rung Fri Meds Ske Pick C Erim Start E kb Mle LLT Era Ea k r tae bel fr gras i m ji G al oy Halli Gad Sr ee med Fler irri Pox Hl ar aiT FRR Eww 2 Ba niy a Thermograph reinterprets the colors in the image to Recolorize flames and other particle systems another set of colors defined by a gradient 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 ho
39. effects Image Mode 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 ual 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 185 Sparks Bounce on Bottom When selected if the sparks reach the bottom they will bounce off of it Via Vert ert Rei A or Luminance Vileup Mask Bounce on Alpha gt Threshold via Vert Height This is used to bounce the gt gt GY Sparks from an image that has an alpha When this is select D aa ed 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 via ZD Mac Bounce on RGB gt Threshold via Vert Height Bounce on RGB gt Threshold via Vert Height i
40. fireworks actual explo br Raodan deed ou r D Risti Orginal ii sion io ee ee B l l P Stra Dae hie The Explosion system and everything ar Laura System below it handle what happens after the firework explodes The colors speed and direction of the exploded integrate Own Pi O mpishe Paraya Diver Tan parts how long the explosion lasts and 0 Framali Frania a how fast it drops is all handled here ee ENET and in the other control sections like Eisadt angle mo Environment and Glow Larik geed 22 U Larit Fre 135 The Sparkle System adds small eer sparkle particles from the Explosion ERIS Thee system particles This creates a realis Daki Flee Evoked Hazpi fa Ei kaf ap nn G Rodos Opachte lo Here is a spherical burst tic sparkling 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 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 looking the same b
41. 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 lt 21 Visual Harmonizer 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 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 co
42. i Hart fie Skar Ite Plast beginning of the time line suin I Dm Erpa When it is time for the flash to begin i Ek MR set another keyframe in the on posi u A S Ea tion option click the word Start Flash roy i Glyn Hinir in the plug in to set a keyframe ee Mg 4 nba ni Intensity Speed 1 Intensity soeed 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 s8 A TIP Setting Intensity Speed to twice Softness Speed gives a smooth flash that develops quickly depending 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 p
43. is used to give a softer more transparent appearance to the framing gradient Ft 107 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 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 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
44. it by using laying down keyframes that fall two frames in the future if that makes sense 1 Generally speaking smoke is a very layered phenomenon and I ve said it before so I ll say it again using multiple layers and instances of plug ins give you the most realism Since smoke in nature is a dynamic turbulent system its important for those who want natural looking smoke to approach creating it this way Although the DigiEffects Smoke plug in is one of the best plug ins avail able for creating smoke effects you should try to use at least two instances of it to create the illusion of nature 2 In addition to using multiple layers I ve found that the most natural looking smoke also has a kind of edge density phenomenon which can be approximated by employing the AE plug in Find Edges combined with S A a Jeff s Tips gaussian Blur If you use blur then find edges check Invert box in Find Edges in duplicates of a layer and use transfer functions and layer opacity you will find that the smoke takes on a new type of look Something a bit more like the long tendrils of a smoldering cigarette Be sure that within the smoke plug in that EFFECT ONLY is activated as the APPLY MODE see first parameter This will make multiple instances composite a little better when using certain transfer modes 3 Another trick like to use involves duplicating a layer multiple times and then editing the smoke on each layer using different
45. music in a professional recording studio IF you had a composite song the final mix as we call it and all of the individual tracks the kick the snare the bass the guitar the synth etc split into separate audio files you could essentially import all the individual tracks into AE and modulate the KICK to one parameter or two or which ever and the SNARE to another the bass to another and SO on and so forth 262 p Smoke Once you ve generated the keyframes using motionmath you turn off mute those individual tracks and turn on the COMPOSITE track this is the song that has all of the pieces mixed together to form a proper lis tening version render your timeline and all of the elements of this and other plug ins will dance to the music If you are into Electronic music highly recommend a Steinberg product called ReBirth RB338 This product is an easy way to generate the individ ual tracks needed to create this type of visual orchestration One more thing about using MM to create frames from audio tracks I ve found that there are problems with latency and it seems the best cure is to move the resulting keyframes forward in time by two frames opt right arrow twice after selecting the keyframes generated by MotionMath w audio This will insure a nice synchronization with the audio I m not sure why there is latency but one thing is for sure it CAN be fixed in the MM script but I ve not gotten around to it you do
46. occurs In the case of Visual Harmonizer frequency determines the number of waves in each harmonizer Frequency Set to 5 Frequency Set to 20 In the case of Camera Shake Shakiness Frequency determines how often the camera will shake i e frequency determines when amplitude determines how far 4 19 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 setting all of these parameters to different beginning and ending values you can create visually stunning imagery 20 J_ 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 determines the manner in which the particles will
47. of the Grad 1 gradient 102 0 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 thisto 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 you have completely removed the End Color 103 Glower Glower provides a glow effect that has some interesting built in channel oper ations a minimum and maximum threshold to help you more closely specify the glow region and of course presets for the plug in so that it is easy to replicate a specific set of parame ters at any time Glow Radius Glow Radius determines how many pix els away from the source pixel which is every pixel that falls within thresh old 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 lumi nance threshold from which the glow will be generated Zero is equal to
48. of them will go faster or slower than these numbers Explode Mode amp apd stp Explode at Height Explode at Height determines the vertical location of the explosions in conjunction with the Explode Height selector below Whatever vertical height this is set to will determine at what height all rockets will explode AN a x ay wy ne i at Decreased Speed ri Explode at Speed When this is selected the 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 BO A Rocket Opacity Rocket Opacity controls how transparent or opaque the rockets are on thier way up to deliver the fireworks explosion The higher this number rises the more that the rocket will be visible Explosion Syst
49. outer edge of the effect generated by the Effect Systems It will have a Radius and Intensity The Radius deter mines how far the glow stretches from the effect and Intensity determines how strongly it will glow 4 15 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 and TILT These plug ins are not trying to simulate real world events like fire or snow Instead they are designed to generate 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 composi tion 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 TILT Plug ins One group of plug ins that partially fits this catagory is the group of plug ins called TILT The TILT plug ins create 3D images wit
50. rendering quality NOTE that options are not effects That is options are fixed for each movie Unlike effects options are not key framable within a movie Quality Two rendering Qualities are available Draft or Best The Quality control deter mines the whole set of other parameters that is changing from Draft to Best or vice versa automatically changes all the other parameters in the option list Most ordinary composition work is done in Draft mode because it s faster Turn on Best quality for rendering the movie in the layer It is possible to set the options for Best or Draft mode at any time regardless of the current setting within the After Effects layer 252 Fill Style When TILT renders a model of a 3 D object it makes a geometric approximation of its shape The geometric approximation is a collection of discrete flat plates When the image is rendered it is possible to fill these plates more or less com pletely with color Three fill styles are available Filled Edges and Points Filled means all plates are filled with color Edges means only the edges of the plates are rendered Points means only corners of each plate are rendered This setting can be useful if an impressionistic idea of how the depicted objects will move with respect to one another is desired The TILT default is Filled for both Draft and Best modes Backface Remove Both Flip Backface controls wh
51. 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 BB A 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 63 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 starting on page 13 of this manual Refer to that section for instructions on how to use these parameters OC Arrt Contra sed GS u 7 ej 7 Ira Fe Pas j Tha LEITETE Fi rire cle 11 1 Ci ch mitra Tl vf
52. the fire 4 works will be launched 0 degrees will launch the i 3 fireworks straight up Negative numbers will launch it to the left and positive numbers to the right launch nge Launch Spread Launch Spread determines how far from the launch Launch int 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 4 79 Fireworks Min Thrust Min Thrust determines the speed of the slowest fireworks on thier way up pre explosion Max Thrust Max Thrust determines the speed of the fastest fireworks on thier way up NOTE The speed of the fireworks will fall in between these two speeds Some fireworks will go faster than others but none
53. the fog that is closest appear to be mov ing faster than fog that is furthest away 97 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 wisps 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 bank 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 bank will appear g AA A TIP If you want the fog to appear to cover a great distance increase the difference between Detail Clos
54. the footage Don t Splash Via Vert Helaht A or Luminance Rain is falling only from the cloud amp gt Via ZD ot or Luminance Via ZD Mack 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 eig RainFall detected as the first pixel to pile up on a means alpha a means alpha Splash on RBG gt Threshold via Vert Height 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 location Splash Threshold This defines the minimum value for a pixel in order for a
55. 0 Karma OFT et mo 530 i Ukr Ofte HE eed r Diari Greg u li ip ma M Channel delay on a real image Artistic effects with Channel Delay Source Movie Zu N gt inal Movie Red Trans Red Trans controls the transparency of the red color channel of the frame that 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 exam ple if this is set to five then the Channel 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 F 5 Channel Delay 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 cha
56. 32mb of RAM applied to After Effects e Delirium is asking for the Master CD You must keep the master CD in the drive the first time you use a Delirium plug in After that you do not need to use the Delirium Master CD The Master CD acts like a hardware key and authorizes you to use the software 266 p Support Most questions we receive are easily found in the documentation Please read it all the way through and your question will probably be answered But if we ve over looked something or you have found a repro ducible crashing error the fastest way to find out is to check the web site for a possible updated version or workaround FAQ After that please feel free to contact us at the following addresses Please have this information available for us when you send the message 1 Machine Model 2 Processor speed Mhz 3 Processor Type 4 Operating System Mac Windows 5 Operating system version 6 Amount of installed RAM 7 Application you re using After Effects Final Cut Illuminaire etc 8 Amount Mem applied to Application if applicable 9 Amount of hard disk space 10 Digital video system name Media 100 Avid etc 11 Your Name Company amp Phone Num e Mail This is the best way to get a thorough answer support digieffects com world wide web BEST CHOICE www digieffects com fax phone 512 306 1310 fax 512 306 0779 4 267
57. 3D objects directly within After Effects You add cameras lights textures and objects into the composition You then animate and render the 3D objects using the normal After Effects controls TILT also allows you to cre ate 3D Displacement images from your movies You can fly around these objects in 3D using the VMesh object TILT consists of seven plug ins 1 TILT Camera Must be present to view the 3D world 2 TILT Far Light A light source effect 3 TILT Spot Light A light source effect 4 TILT Point Light A light source effect 5 TILT Simple Object A basic 3D object 6 TILT File Object A model 3D object 7 TILT VMesh Object Makes a 3D object from a layer Most After Effects plug ins other than TILT immediately apply thier effect to the image and is updated in the Composition window For example when you apply a blur plug in the image becomes blurred as soon as the plug in is applied TILT works a little differently There must be at least 3 TILT plug ins applied together to the same layer before any results will be rendered These three plug ins must include a camera to see the scene a light source and a 3D object aaa The TILT Camera plug in receives 3D World information from the other TILT plug ins The other TILT plug ins prepare data for rendering by the TILT Camera Thusthe TILT Camera plug in plays a unique role it provides the visual interface to the other TILT plug ins So when you work w
58. Amp is the maximum distance of the Shakiness of any keyframe value horizontal vertical zoom rotate keyframe value horizontal vertical zoom rotate AO pA 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 look 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 Max Min Hold Frames l tlold Min Hold Frames is the minimum number nn of frames to hold any keyframe Ye Max Hold Frames Frames Max Hold Frames is the maximum number of frames to hold any keyframe A tt Camera Shake Movement gt Horizontal Horizontal is the weight of keyframe to apply to the horizontal movement Lower values mean less movement h
59. Color Bias Color Bias determines the dominance between Dark Color and Bright Color ao Glower Dark Color This is the color of the darkest part of the glow when Use Original Colors is NOT checked 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 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 TIP Glower can benefit greatly from Blend Original Since the Glower Effect can give a blurred effect to the footage blend original is an excellent way to bring back some of the sharpness and detail back into the footage 1 DB A AA gow 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 process of going from Color to Grayscale The key here is that it allows for adding varying amounts of each of the red green and blue color channels 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 chang
60. Direction Move Direction determines the general or average 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 Eert Controls Sola 1 DE Erg 1 T Eaiii ur 7 E DEINER Cheat Fazer mat I ze ae TNERRe cH 7 Run Laas 3 l 10 Lid Bi Er Piara the aoe as 7 edel TE S 3H i a Tt Se FL f i ET iy Hr igl Ce jer ee aes D Tiled linet io G Tuia Fle tbat m E Dees hy Closer I Ca Missar fuar 2 Br la eat dg D irigi Pea thal a D GFT set Dee u E Cartes Fucthact oo Banden Gani u a Oy kyina i 1 s4 pA Clouds over an image Bright Color Bright Color determines the color of the lightest parts of the clouds as determined 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 possi ble 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 La
61. 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 TIP Reduce Alpha Weight to zero to only show the bubble distor tions Bubbles Bubble System Bubble Type Harsh Edge Droop Sphere High Contrast Sphere Low Contrast Dark Texture Bubble Amount This gives you control over the number of bubbles that the effect produces per frame 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 thier 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 thier final size 34 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 con
62. Object does not make any visible ii ch Lag changes to the Composition window directly bY Soy 1 00 Po Sale ai instead it provides model information which can be rendered using one or more TILT Camera effects As many File Object instances may be included as you need to get the desired They will interact together in the 3D space Model The Model control imports a 3D model in Apple 3DMF format There are many sample models on the CD for your use To import a scene click on Import to get a standard file dialog Move around as usual until you find the wanted file Only files and directories containing 3DMF format files will be shown When you import a scene TILT calculates its size position and orientation as follows 1 TILT calculates a bounding box that encloses all objects in the 3DMF file 2 TILT scales the objects being imported so that the longest dimension of the bounding box equals 1 world space unit o 233 TILT 3D Tools For example suppose a 3DMF file contains a box whose faces are aligned with the coordinate axes The box is 4 units wide 1 unit high and 2 units deep The longest dimension is the width 4 Thus when this scene is brought into TILT TILT scales it so that it is 1 world space unit wide The height is now 25 and the depth is now 5 PA Ef t Ss 23 Ne aa u 3 TILT positions the objects in world space so that the cen ter o
63. Oe ajia z e ETa Trier ATTENTE ikre ig Fi iiher ii Ol Prt e Farine D Tire Loree ala Layer Hane gt Rewe Treo LE E50 ap ese Poel Eike Lip Miah Fils ls mi Bein Fi La ra Live Hass ial Ele Th 15 D Bessa Fries io be ery esaf ate 10 Hai a T fac Gier is 6 Am eet AD b Haw Gpaatho pasa tel Gravity LiH Snow falls on the alpha channel of the logo Snow can pile up on the bottom Integrate Over Time Generate Layer amp Generate Threshold Snow Point Controls in this section are described in the Using the Plug ins section starting Via Vert Keiaht on page 13 of this manual Refer to that ar Leminance section for instructions on how to use these parameters Snow System gt Via ZD Pile Up Mode oA or Luminance Via ZD Mack Don t Pile Up When selected Don t Pile Up will allow the snow to disappear as it hits the bottom of the layer Dp 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 means alpha 17 SnowStorm Pile on RBG gt Threshold via Vert Height Pile on RBG gt Threshold via Vert Height will ca
64. Phase H Phase determines the position of the waves highs and lows generat ed by amplitude 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 distor tion V Min Frq V Min Frq determines the minimal number of times of how often the waves of dis tortion occur When this number is set high the waves occur with greater fre quency 219 Wave Displace V Max Frq V Max Frq determines the maximum number of times that waves will occur along 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 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 220 p TILT 3D Tools TILT is a set of plug ins that allow you to manipulate
65. RANDOM SEEDS When you change the random seed number the way the smoke iS generated varies in that instance of the plug in What like about this feature is that you can basically start with all of the parameters exactly matching When you vary a small amount in each layer and use transfer modes to blend the layers together you get a very nice inter action between the individual layers Check out the example project and movie Layered Smoke Schematic Grids 1 To get the grid to zoom in and out make the layer considerably big ger than the comp and animate the layer property scale Although it won t always display correctly as it grows smaller you can hit the grid with a lot of glow to emphasize the clarity of the grid 2 Animating the Intersection Probability and MainBroken parameters has a certain sweet charm Try starting with nothing but broken frag ments and animate it to completion 264 p HyperHarmonizer 1 In my example file HyperHarmonizer 1 I ve shown an example of how you might modulate this plug in to have a rhythm which you can sync up with audio found that the RADIUS 1 parameter looks very interesting when animated up and down in values In the example project I ve animated the beats to be the zero value and then in between the beats I ve keyed in varying values oscillating between a positive value and an inverse negative value If you edit the velocity curves for the keyframes you can smooth out the rhy
66. T he Camera is a super or PF d Mi meta plug in effect You must invoke a ee TILT Camera to see the results of any other ge TILT plugin in the composition window hear cij Fer Clq A layer may have multiple TILT cameras As ee pia many Camera instances may be included as rooi re needed to get the desired effect Use the Blend With Original control to adjust the amount of each camera image that is used Lede a Peel Y Invoke TILT Select TILT Camera from the Effects menu The TILT Camera is necessary to see any objects or lights in your 3D scene Manipulator In the Manipulator mini window you can interactively set values for Orbit Left Right Orbit Up Down Tilt X Position Y Position and Z Position Note the buttons located along the left edge of the Manipulator mini window If these buttons are clicked on and then the mouse is clicked and dragged it is possible to quickly and interactively control the view of world space rendered in the Manipulator window Control the view of world space by con trolling TILT s virtual camera parameters BB _ The buttons have the following functions A Orbit Camera causes mouse movements to change the location and tilt Orbit Wo of the virtual camera Movement in the x direction modifies the value of the Orbit Norbit Lie Left Right control Movement in the y direction modifies the value of the Orbit Up Down control Movement in the x an
67. TER 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 por tion 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 control that effects the color of the lightning BD A A 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 side segment If start segment width and end segment width are of different sizes the arcs will taper between the wider and narrower sizes End Segment Width 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 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 t
68. 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 with the affected footage Fog Factory Ei Eert Controls Solid 1 E E Fog Factory creates a flowing fog Enap 1 Fo cana i ery effect that offers depth of field simu v E DE ag haetiy Par mt E lation and automatically moves without keyframing 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 T abet Erinut Daly te Dinky between the closest or first and the each Bete x furthest or last layer Large differ o i ences in these values will give a large re Tue depth of field effect to the motion ei Effect Only ap d When checked only the Fog Factory r effect will be seen the original source 7 ps Fi sg j i footage will be removed BU Fog aki L Tiss Num Layers Eroa wise T Num Layers determines the number of esas da MIEI N i f fog layers that are place
69. Visual Harmonizer 1 First tip is this animating the PHASE controls is essential to getting this plug in going Moving the sine waves OUT OF PHASE means having the START PHASE and END PHASE moving in opposite directions and think this can look very dynamic 2 One of my favorite features of this plug in is the ability to animate a particle over the sine waves Pick PARTICLE SHAPE DOT and check the box labeled USE SPACING You VH 1 types will undoubtedly love this fea ture as it will make nice layers in your motion graphics work Try using huge STARTING SIZE and ENDING SIZE and varying the PARTICLE COMPOS ITE MODES I like Screen amp Blend Then you ll see SPACING PHASE and SPACING DISTANCE parameters These are the main controls for making these DOTS move Leaving the PHASE of the sine waves fairly slow try animating the SPACING PHASE parameters to get the dots rolling 3 was really excited when found large particles look really cool with the right spacing and composite mode Try using only 3 6 waves with large particles moving slow If you set the frequency and amplitude just right you can create something which resembles a winding dna strand The plug in can create interesting 3D like twisting images which wave and twist like landscapes from dreams 4 Some particle composite modes can really give the illusion of 3 dimen sionality found that the Rings particle and Multiply particle composites lt 4 281 Jeff s Ti
70. Y The Flicker and Strobe plug in caus es an image to vary it s luminance brightness and contrast levels over time This plug in automatically sets internal keyframes and animates the effect via those key frames Most of the parame ters are used to define the behavior of the keyframes min max number of frames or intensity This makes in mostly unnecessary to set keyframes for this effect Simply adjust the para meters and allow the plug in to ani mate 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 __ Hort Cantrots mi 1 HE map OT eaid i gt F DE Fisker An ze albert Lee Sight Bed Frey i ll Bei Pres B Diet page ibe Arg B Ei Uss itera Rl rasa P Get int Flas Held LEPE Has fare Bel se e De Fie i Sirobe Fin Bel strate oe P Bi trebs irrg Hss Lor rer UCm freg h 0 Gan Fire 8 D Cen Ar n A E Di Ar Can Uire ren U Gen in Fi Sap 0 Gan Ar Miar Hd D Cen int ee Arg Die Ei he y Darr mt Cosh vi Pir live mihi io i z5 lie flere ert ne 25 Je strate un 33 lo BEER 35 5 lee rhea He 38 25 aa Like saia
71. You can use it immediately out of the box by selecting a preset or starting with a sample project After you have become familiar with how the Delirium effects work you can customize the presets for future use Delirium can be used on any digital image footage including computer generat ed footage DV Hi 8 Regular 8mm Beta Digital Betacam and others You can even use it to create GIF animations for the web It s great for animated logos Delirium requires a Macintosh An Adobe After Effects plug in compatible appli cation such as Apple s Final Cut Pro Videonics Effeto Pronto Puffin Commotion ICE IceBlast and others at least 64mb of RAM a fast processor is recommended minimum of 80mhz PowerPC and enough disk space to store your footage and the rendered effect Obviously the faster the processor the faster the effect but there are tech niques that will allow you to get faster previews See the Trouble Shooting and Frequently Asked Questions section for information on how this works Delirium will work on network render modules as per After Effects 4 1 You will need the original Delirium Master CD the first time a Delirium plug in is used to render a composition Installation To install CineLook follow these instructions 1 Insert the Delirium CD into your CD ROM drive Find the Delirium Installer on the Delirium CD Double Click it 2 Click through the splash scr
72. ace provides a way to load and save parameter settings for this plug in lt Presets Preset 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 select ed that preset will be in the list To remove a preset load the preset and click the Erase button A dialog con firming the erase operation will appear click OK to remove the preset per manently 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 mea sure 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 thier presets folder The exact path is Hard Disk System 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 BB PLUG IN DESCRIPTIONS Bubbles ta Bubbles will easily create any type of bubble effect from a fizzy drink to bubbles trailing a shark You can gen erate 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
73. acity 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 linear ly interpolate the values between the Top and Bottom layer sets of parame ters For example if the Top Brush Size was 100 and the Bottom Brush Size was 50 the middle layers brush size would be 75 __F 85 Sketchist 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 Threshold values to achieve an even and not too populated 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 Top parameters e When rendering 2 layers in order to see the re
74. age will glow FiyperHarmonizer Glow Own Colors When this box is checked the glow will be the same as the color of the parti cles 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 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 20 p 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 ooo ae 122 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 infor mation 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
75. ally sets values for these parameter Near Clip Portions of 3D objects that are closer to the camera than the Near Clip dis tance in world space units are not displayed Camera Far Clip Portions of 3D objects that are further from the camera than the Far Clip dis tance in world space units are not displayed Blend With Original The image in the TILT camera can blend with the original image in the Composition window Use this effect for fading in and out of different scenes The numbers represent the percentage of blend between the two images Values between 0 and 100 blend the images more or less At the extremes 0 and 100 there is no blending If you specify 0 or set the slider to 0 you see only the TILT camera image If you specify 100 or set the slider to 100 you see only the original image BBB T Ambient Intensity The Ambient Intensity control sets the intensity of the ambient light If you set Ambient Intensity to 0 and no other lighting effects are set no objects are visi ble If you set Ambient Intensity to 1 00 the maximum the ambient light is as bright as possible Ambient Color The Ambient Color control sets the color of the ambient light Choose the color of the ambient light by clicking on the empty box to get a standard color dialog Or poke the eye dropper and select any color currently being displayed anywhere on the screen 229 TILT 3D Tools Hett Controls hd ZZ FS
76. amp None There is no Fall Off area at all i e no degradation of intensity of the cone of light throughout the cone in other words no Hot Area Outer Area distinction L Linear The gradation of light goes from the Hot Angle value to zero in a linear fashion over the Outer Area oe 245 TILT SD Tools IL Exp The light drops off in an expo nential fashion from the Hot Area i e it drops a lot right away SEN Cos The light drops off according to a cosine curve i e less at first more later the opposite of an exponential curve Hot Angle Hot Angle controls the size of the central bright cone of light thrown by a Spot Light This control specifies the angle that the bright central cone subtends The value can be from 0 to 90 degrees Outer Angle Outer Angle controls the size of the outer cone of light thrown by a Spot Light This control specifies the angle that the cone subtends The value can be from 0 to 90 degrees Intensity Adjust the brightness of the Spot Light by manipulating the slider for Intensity The value 0 turns off the Far Light the value 1 is as bright as possible Note that unchecking the title line box i e turning off Spot Light has the same visual effect as reducing the Intensity to 0 but without modifying the Intensity or any parameter For more information on items in the top line of the Spot Light display see Top Line Controls Color The Color of a Sp
77. animating color gradients You can control the type of gradient how you want it blended into your footage and the number of colors including alpha You can use MultiGradient to create many different effects including sunset Skies aloha masks border and back grounds Use the Sketchist HLS Displace and other plug ins to distort and modify the gradient image You can use the bias controls and Grad Position controls to locate exactly where in the gradient your colors will be located 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 without having to see it composited with your footage OC _ Arrt Controls Solid ERE T T Enyi wa ont Fran eiid Type i a Fri Mek HER j Tahar Hiit RES farti A Kassel Hri Has DUFT ea en Errera D En LE ET i s azi ir adimik Sist Pert ES man Start Cgi Dea Lie All 255 ret Puii Tiap a Epo jari iF p P Pret Apis Pa C oie HAD EER tar am Halle Seed ert aT ae e Pg A Deceit Ui Cain i C feel wpe ead Por a ere Nice artistic effects and backgrounds All kionds of cool animation choices Gradient Type Linear Linear Mirrored Square Radial Cone One Way Cone Matchup Pixel Mode Pixel Mode allows for the rendering of only the red green or blue part
78. ans parent goes solid then goes trans parent again AF 172 Smoke Fade Up Speed 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 com pletely 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 Max Rotate Speed determines the fastest rate at which the smoke will rotate Min Opacity Min Opacity determines the most transparent or see through that the smoke can appear Max Opacity Max Opacity determines the maximum amount of how solid or opaque the smoke can appear lt Horiz Dispersion l 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 direc tion as opposed to Horiz Dispersion which moves the smoke horizontally random
79. arameters 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 Leyframalie Tune 0 A nz Short Wetu BStart the Flach B tart the Flach NO x TP cael tio tian No X Scttmess 5 Fire ey il i O fect Cantrots ai DE Fire has to be one of our most request imepitia 000000000000 ed plug ins of all time This is probably E SE Fire Bew a why there are so many fire plug ins er available and even more tutorials on how to create fire with general pur pose particle systems a Ti Pio 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 app iyi wie U m ee Lear Eich oo Pe et a om p LETI Correr Te bh Organic Levels is an important Aihe Trick D control it adds additional layers of een ae fire with all of the same control set inkl h tings but it creates slightly different values Each additional Level will slow the render times so use sparingly This will give you additional lev
80. at Wave you MUST set the quality to High 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 H Wave Type This defines the wave shape for the distortion Sine Uses a sine wave as a distortion shape Square A box wave distortion shape Triangle A tent shaped wave distortion shape sas H Min Amp H Min Amp is the minimum amplitude think of amplitude as wave height or as the strength of the distortion of the horizontal waves 218 H Max Amp ny H Max Amp is the maximum amplitude of the gt horizontal waves used in the distortion H Min Frq V bd H 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 frequency 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
81. ate 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 transparent the particle will become BQ _ 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 composition 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
82. ated imagery through the use of a wide range of pos sible effects including color manipulation distortion 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 All of our plug ins have many presets it s a great way to get started quickly On the CD you will also find a folder called Delirium Projects that will give you at least one project for each effect so if you re unsure of how an effect works just open the project file on the CD and explore 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 sample projects and presets are available for download When you register you will receive a password via e mail for the secret bonus plug in already included on the Delirium CD ROM You will need this password in order to unlock this special bonus plug in To register please look for the registration form on the CD in the same folder as the Delirium installer System Requirements Delirium was designed to be easy to use and easy to learn without reducing the power and flexibility of the effects
83. atid fect Controls Solid E E DE Lanre apran PEER Esi iC abe j r Here fi lf H Fig 1 i iF tenn 2 Fi Hira E Harries 2 IE zer l u In y siui i i Prga rE TELLE I 1 38 H Amp 2 H Amp 2 Amplitude of the second horizontal displace ment wave The higher this number is the greater the movement 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 VFrql 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 high er 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 b MAAN MultiGradient MultiGradient provides you the ulti mate tool for creating and
84. 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 generat ed 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 DO tect Contras mii t EE mep tT eaa lt F DE naher Epa 7 ers Fu lka Coe iy Fila Carrere Ve kin Malik Cep pearke mwa o o oj Aiha Tre i m iha ehr fn Bank A N Gee rezina u Sfp ra dyrieen Urale ram siber aF La sae Irene yee TI aae Pi are Me TH Beate Sure le FD Tiger 13 Baal Part jaa vin 0 Preraliframia io TRAE Arab E fi ao ober Spa l od a TEL Bubbles generated from Bottom of Layer Bubbles gener ted 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
85. cale and Z Scale control val ues oO ect default values for Left Right Up Down Tilt X Position Y Position Z Position X Scale Y Scale and Z Scale Left Right Set the orientation angle of a File Object The Left Right value specifies the number of degrees of rotation about the y axis where 0 degrees points in the positive Z direction Up Down Set the orientation angle of a File Object The Up Down value specifies the number of degrees of rotation away from the x z plane A value of 0 indi cates that the object coordinate sys tem is parallel to the x z plane Tilt Set the orientation angle of a File Object The Tilt values specifies a rota tion about the z axis of the shape with respect to the positive y axis of world space Translation X Y and Z Set a File Object s position Controls for X Position Y Position and Z Position accept values in absolute world space units Scale X Y and Z Set a File Object s scale by using con trols for X Scale Y Scale and Z Scale Values are multipliers of the size of the object oe 235 TILT SD Tools FI feet Controls sed AS Camp Y celmi gt I f Pure i TILT Point Light seni m The TILT plug in Point Light defines a point type light This type of light is similar to a bare light bulb light rays emanate in all directions from a point in world coordinate space Thus to create realistic effects the locati
86. ch 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 59 Electrical Arcs Branch Length Branch Length determines the total length of the branch This length will be subdivided by the number of segments so the greater number of branch seg ments 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 out 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 direction 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 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 AF
87. controls the opacity of the har monizer A Particle Size This controls the size of the particles when Particle Shape is other than Line End Draw start Draw 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 118 p The harmonizer is created using 3 sine wave generators By defining different values to this bank of parameter 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 Y V This controls the frequency of this part of the harmo nizer function A Phase 1 3 This controls the phase of this part of the harmonizer function 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 im
88. ctions on how to use these parameters a Arrt Controls Selid 1 E Ninit Recta o gt Ersuunshe 4 Heaps ihe Eiti mf hini LEa Fi ee Fi frage Orrapear e Parkul Eepo u 03 Diered ir kyin x baits Timed Te pho al He Drone SH en er Aare Frei au Pate Peri Dan D Kram Echos io Gerrter a2 19 0 250 Center I Else Fin E gt Bid hig 20 0 Ruder 3 qo C Sond lipe ipei EO b Fruee oo bima z ano Eis I Ein i Ber bes Glow k Cale br zart A gob ek Era Cite Nexus creates great motion graphics elements Use as a mezmerizer to attract attention Bar Shape Soft Thin Round Soft Square Medium Square Hard Square 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 excel lent 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 Nexus Center 2 determines the location of the center of the second circle When preview paths is on it isthe green cir cle Radius 1 Radius 1 determines the radius of the first or red cir cle that determines one end of the bars Radius 2 Radius 2 determines the radius of the second or green circle that determines one
89. d onto the B herak I5 footage Faki Bra o Dei Slade wE Move Direction pecan a i i airy ice ELBE Move Direction determines the direc Re 20 0 tion that the fog will pass by biren F010 E Strehot HER 20 0 BP ascii Clans til C feel Fai oF Beil tee Peed beruf rel C Donlr get Uli IE E Carhart bir TMN 0 Banden tani 15495 a Notice the wisps Flowing banks can be colored NOTE While most of the values generated with the min and max controls in Delirium are ran dom i e the value will be some random num ber between the min and max values for Fog Factory this is not the case Close and Far will be the closest and fur thest layer of fog If there are more than 2 lay ers of fog those layer values will be deter mined with a linear interpolation 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
90. d rotating each circle independently For you MTV type artists you ll appreciate what this generative plug in can do for logo treatments and bugs also like how this plug in looks as a fill for letter forms Its nice because it can suggest the shape of the letters with out too much defi nition Keep the pattern wide and you ll see some interesting sugges tive letters If you keyframe the complexity up you can increase the fill density for a transitional effect A side note had a lot of fun using the GLOWER plug in on top of filled letters logos See sample project Nexus ETV w Glow aep for an example of how used these two plug ins together 3 Animating the RADIUS 1 amp 2 parameters looks great too If you are into Motion Math try modulating these parameters from audio files See example project Nexus Concentric w Audio I m particularly excited about the discovery of larger RADIUS numbers If you have a lot of ECHOs and one large radius try scaling the radius in and out this looks real nice 4 Try contrasting PHASE to create a nice overlapping effect 250 A _ speeds together creates a nice twisting effect This works particularly well on geometries which are really spread out off of large small radius combos The opposing twist looks real nice Try modulating the PHASE with audio 5 Animating the PHASE looks real cool Try rotating them opposite of one another with a SPEED that is a little slower
91. d y Tit directions with the shift key held down modifies the value of the Tilt control z Change the look at point causes mouse movements to move the point at which the camera is looking E3 Dolly Camera causes mouse movements to move the camera closer to or further away from the scene M reset to Home State causes the camera to be reset so that it is looking directly down the z world space axis in a minus z direction at a set distance from the world space origin Orbit Left Right Sets the left right orientation angle of the camera The Orbit Left Right value specifies the number of degrees of rotation about the Y world coordinate axis where 0 degrees points in the positive Z direction Rotation is centered on the Look At Point Selecting the button in the Manipulator window and moving the mouse automatically sets values for this parameter A Selecting the buttons in the Manipulator window and moving the mouse automatically sets values for this parameter 225 TILT 3D Tools Orbit Up Down Sets the up down orientation angle of the camera The Orbit Up Down value specifies the number of degrees of rotation away from the x z plane A value of 0 indicates that the object coordinate system is parallel to the x z plane Rotation is centered on the Look At Point Selecting this button in the Manipulator window and moving the mouse automatically sets values for this parameter Camera Distance Se
92. e in the Manipulator window Es The top button causes mouse movements to control the X Position Y Position and Z Position control values Click on the button and move the mouse to see the changes a ie Resets the location of the light point to the home position Mm Causes the Manipulator window camera to be reset so that it is looking directly down the z world space axis in a minus z direction at a set distance from the world space origin Position X Y and Z A Point Light s position matters because in the real world the intensity of a Point Light is reduced as you get farther away from it Thusto simulate a realistic point light and get graduations of color on farther away items in the scene its location needs to be known The position might want to be known for a par ticular effect Therefore TILT provides the current position of the Point Light o 23 TILT 3D Tools and lets it be moved in X Y and Z using the controls for X Position Y Position and Z Position The values are in absolute world space units Attenuation The parameter Attenuation refers to the way intensity is reduced as you get farther from the Point Light Three values are possible E None The intensity is the same at any distance from the Point Light SX inw Dist The intensity varies inversely with the distance from the Point Light Pare Dist Sq The intensity varies inversely with the square of the dis ta
93. e that creating effects 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 bubbles fire smoke rain fireworks and others With a basic under standing 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 14 A A 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 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 wit
94. e 2D vs Vert Height Be sure to always use the Pileup Mode 2D for Rain and Snowfall par ticle systems The Vert Height option is reserved for special cases Particle Systems Use the Time Echo Effect bundled with After Effects for cool time streak effects Sparks FireWorks Q My Sparks Fireworks are moving too fast How do slow them down A Reduce the following parameters in half Gravity Wind Thrust Speed Use the Air Resistance parameter as brakes 258 p Jeff s Tips Check out the sample projects that accompany J eff s Tips on the Delirium CD in the Delirium Projects folder General Tips Here are some general guidelines to getting better results from DigiEffects particle systems 1 Always use multiple instances of particle plug ins with varying size par ticles and behaviors to create the illusion of depth and extend the com plexity of behavior and control you have over the particle 2 Using multiple instances of plug ins on separate layers with the effect only feature checked allows you create interesting relationships between layers using transfer functions 3 Try using a layer as a displacement map created with the same plug in and slightly different parameters and random seed to create interesting and dynamic displacement effects which have similar behavior to the par ticle system you are displacing Bubbles 1 For more contrast and a realistic sense of depth use SCREEN or ADD
95. e 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 bank longer along the horizon tal 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 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 mak ing 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 trans parency 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 random ization that occurs in the plug in Do not animate this as it will cause the effect to jump or randomly change val ues and the animation will not be smooth Blend O
96. e 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 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 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 ga 0 A J _ 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
97. e ede 104 Gsrayscaler 1 oo 108 Hein This symbol means the plug in is a AutoAnimation plug in CONTENTS CONT D nn lt lt lt lt nn E E e e y TA Aa En AT E Ey ey ATA me Tips HINTS AND SUPPORT HLS Displace 00000 ee 112 Hyper Harmonizer 2 2 2 2 nr 116 FENS FlaARES 60 82 Hane Se Saleh ed 122 LooseSprocketS 00004 130 Muzzle Hash 2 2 5 8 Sy 8 0 0 0 he Ber 136 NEXUS R te de debate een Mee as are 140 Puffy Clouds 2 00005 144 Rain Fall 2222 oo oo 148 Retinal BIOOM 2 dieen we ee EES 194 Schematic Grida a 224 Se ash E 198 ShowChannels 2 222 m mn 162 SKELCHISE 5 4 s 2 0 00 meine En ee ade eet AM 164 STORE cs ba me re ah Der are def 172 SNOW SCO Sai ae en 176 POON Zee Gets en Sr Eee een See 182 DORKS a A 44 ee ebene dob we de de 194 specular Lighting 192 Thermograph aoaaa 196 TILT 3D Tools 00 4 222 Turbulent Noise 00 202 Video Malfunction 00 204 Visual Harmonizer oo oo 210 Wave Displace 2005 216 Frequently Asked Questions 20 JES TDS rentak 53 4 Ro ood hen 259 Trouble Shooting Support 266 GETTING STARTED Introduction Welcome to Delirium the amazing package of special effects plug ins for After Effects and compatibles With the Delirium plug in effects you can create an amazing range of anim
98. e 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 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 A Effect Contented Cie Compl tide I LILE Beide Fri L_ Te ee Par p Aiha Fr Pe Aha rt Pieters bed m ima migi ALET Seats iT di Fri Fams Flav Fa Km Enti bima Argi TELE irg a b Plis darii Gi Fiji Tr rga Pira Fr bpr tebe ru HF rs ig bual oad by Hor ph i LE i oF leg L i am Ferg Yemi m u Fig a C n Prin Sri al pia ee FE m o F y Firing System Muzzle Type Each muzzle type will create a different type of muzzle flash 357 HandGun M16 Rifle 12 Ga Shotgun Flash Point Flash point determines where the beginning of the flash will occur This is where the muzzle tip should align TIP It is also possible to track the muzzle and assign the tracking information to this control Gun Butt Gun Butt only function
99. e 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 generat ed Max Size Max Size will determine the largest 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 numbers 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 coe 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 parti cles will be generated 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 val
100. ecreasing the brightness levels in the channel before it is used in the blending of the red green and blue channel to create the grayscale footage Blend 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 110 09 AA AAA HLS Displace Ci Breet Camtrots elie EB HLS Displace uses Hue Lightness and Emap i anid J Saturation create a displacement map M EDE Min Bisatane Kari map E that will warp to the source image den The hue of the Displace Source deter mines the direction of the displace ment The Hue starts and ends with 7 3 red and travels clockwise around the Se hue wheel red gt green gt blue gt red The strength of the warp depends on the Light Displace and Saturation Displace parameters These values define how much warp is applied CH te Dans These parameters are interesting to came 15 animate E arh Ha Mir Scalp ug When using the HLS Displace effect and CE the Displace Source is set to the image uf itself the footage will tend to get a Moni Ale AERTS very fractured and melty appearance ed Try working this way to get a feel for ieh ID how the effect will generate a look N a Piip kae OLE You can also use other sources like sim NEL too ple gradients to have more control seen 22 ove
101. ed 5 D Wa Speen az C Etat Site jez C Hin ree Seared zo Drake Grow Spee 138 b Pact thy Speed Aa Faig ge SID 1782 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 yel low 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 Smoke emitting from a logo number whether positive or negative 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 soeed at which the smoke can grow Max Grow Speed Max Grow Speed determines the fastest soeed 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 max imum opacity it will travel towards transparency again It starts tr
102. een to the installation dialog 3 Click the Install button 4 Locate the the After Effects or compatible application folder Inside that folder there is the Plug ins folder 5 Double Click the Plug ins folder and then click Install into Plug ins 6 This will install the Delirium plug ins along with all the presets 7 If After Effects is running quit it and restart the After Effects application 8 After Effects will ask you to serialize the plug ins Click Serialize All to accept this 9 Delirium is now installed and ready for use Continue to the tutorial for a sample session 10 IMPORTANT You will need to keep the Delirium CD in your CD ROM drive the first time you use a Delirium plug in The Delirium Master CD acts as a software key and is required to completely install the plug ins About this Manual This manual assumes that you have basic knowledge of the Macintosh Operating System and a good understanding of After Effects or compatible application If you get confused about terminology please refer to the Macintosh or After Effects user manuals Tutorial This tutorial section will take you through a typical Delirium rendering operation 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
103. els of fire with the same general look but the various layers of fire will each have individual characteristics Berea Prom ha ee Dhi T Merer ale Sure De Korea Tepa S im Pott Aq ato so D Prea frm na Er nee iu u joo Se ea eee er al au oF lai Lite 45 iy 4 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 sever al available can make an even more realistic 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 77 Fire System TIP Fire System and Turbulence together determine the character of the flames Use these controls togeth er to determine the overall look of your fire Organic Level Fire composites several slightly differ en
104. els that are closest to the thresh old 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 smallest blooms that will be placed on the footage Park Color Bright Cole Size Max Size Max determines the largest bloom size that will be placed on the footage 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 rota tion angles Angle Min Angle Min determines the minimal angle at which the bloom particles will be placed on the footage 1556 A A A 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
105. em Explosion Shape Explosion shape defines the general direction of the particles Explosive Geometrical Oval Spherical Explosive Oval and Spherical look like naturally occurring firework effects The Geometrical shape can create some unusual looking fireworks 81 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 pinwheel effect a ie u z g p aunt cng P o we i on a b e a H ie aat i I wt ee F wa f Veryiva Constan Sauiggie None None When selected no rotation or pinwheel effect occurs Constant When selected there is a random but uniform amount of rotation applied to the particles The effect looks like a pin wheel When selected there is a non uniform 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 post explosion particles will waver back and forth as they explode BB p Min Generate Min Generate determines the minimum amount of particles that will be a part of the Firework i e how many parti cles will launch out of the explosion Max Generate Max Generate determines the maxi mum amount of particles that will be a part of the Firework explosion Min Velocity Min Velocity control
106. end of the bars Speed 1 Speed 1 determines the rate at which one end of the bars will move around the circum ference of the first circle Speed 2 Speed 2 determines the rate at which one end of the bars will move around the circum ference of the second green circle N 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 transparen cy of the first or lead bar End Color End Bar Color determines the color of the last bar End Alpha End Alpha determines the transparency of the last bar TIP By setting End Alpha low the bars will look as though they are fading away over time Glow NOTE Glow Radius and Glow Intensity work together If either of
107. ent glow with the other elements flare and ray See the Image Settings for descriptions of these composite modes 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 lt 4 1285 Lens Flares Glow Hue Glow Hue allows for the shift of the hue of the glow gradient used to describe the overall color of the glow Ray Settings Ray Opacity Ray Opacity controls the transparency of the ray Set thisto 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 Th
108. er 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 X gt Horiz Dispersion Horiz Dispersion controls how much the flames will be dispersed along the horizontal axis from thier generation location 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 Soeed 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 Turbulence Turbulence is the wispy appearance that is seen RER in the flames Turbulence stretches the flames to create realism and cohesion in the flames y N Twhlene Turb Amount Distort Turb Amount determines how much of an effect J NETTER turbulence will have on the fire Flow oe ea TIP The higher the Turbo 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 Tu
109. erate 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 par ticles 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 rendering 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
110. erlying 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 5 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 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
111. ermines the transparency of the intersect shapes Smaller numbers give a more transparent Intersect Shape Intersect Composite This defines how the intersect image blends with the grid See page 13 for infor mation on composite mode Glow Glow Radius and Glow Intensity work together to determine the size of the 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 lt 4 181 Show Channels This plug in was created to view each of O tect Controls sela 1 OE the channels on an layer individually i Sania After Effects has controls that allow for the viewing of the channels of the entire com position red green and blue channels After Effects shows the channels of a com plete composite Show Channels will let you view the individ ual layers channels for the layer to which the effect is applied This is more of a utility than an artistic effect hawialr Beer jhe Al i 7 Bled irsal u il f aio ies Channels
112. es 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 Efert Camtrots Solid 1 DE E ri iEFRee an anon m bean IE SUED gt Ghee weight i gi S00 0 en ne il 127 TIT gt ai a a Ah r asire li 157 r Est for gy bh be Li T r bi Tie 9 me s 7 Blog Br aprites Er esas Blend Orginal A a mee eune ate asAf 7 Grayscaler allows for different grayscale images based on the Red Green and Blue color channels Weight is the amount of color that is contributed t from each channel The sum total of all three EP Fa channels should equal 100 as this is the standard a AN 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 ca w Red Weight K Wetgiat Red Weight determines the contribution of the Am red channel to the final grayscale image Er Green Weight Green Weight determines the contribution of the green channel to the final grayscale image rn Blue Weight Blue Weight determines the contribution of the blue channel to the final grayscale image
113. es of rotation away from the x z plane A value of 0 indicates that the rays lie parallel to the x z plane Intensity Adjust the brightness of the Far Light by manipulating the slider for Intensity The value 0 turns off the Far Light the value 1 is as bright as possible NOTE Unchecking the title line box i e turning off Far Light has the same visual effect as reducing the Intensity to 0 but without modifying the Intensity or any parameter For more information on items in the top line of the Far Light display see Top Line Controls Color Change the Color of the Far Light by clicking on the empty box in the Color line or by clicking on the eye dropper Poking the empty box you get a stan dard color dialog from which to choose the desired color If the eye dropper is poked any color currently being displayed anywhere on the screen can be selected Visible If Visible is checked TILT displays a model of an arrow pointing in the direction of the light Use the arrow to check the direction of the light rays on the scene Note that the arrow is visible only if at least one TILT Camera is includ ed and enabled 2380 Gilet Controls Seh 2 FS camp ET FE E TET Fike Dey meem aat O en i ee Peel um m a TILT File Object PETE ei P Up Care ETIN un The TILT plug in File Object loads and sets the BR Tr aren aber Ei position scale and orientation of a 3D model erecta gan Note that File
114. etermines 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 determines how large or small the muzzle flash will be The larger this number gets the larger the flash size 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 4 139 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 starting on page 13 of this manual Refer to that section for instru
115. ether or not all surfaces of all objects are rendered If you would like TILT to render all surfaces of all 3 D objects in the scene front and back visible and invisible choose Both TIP If for increased speed you would like to render only visible surfaces choose Remove As a vestige of older 3 D modelers some modeled objects show inside and out side or back and front reversed Use Flip to correct this The TILT default is Remove for both Draft and Best modes lt 4 253 TILT 3D Tools Render Anti Aliasing Anti aliasing refers to a process of smoothing lines whereby each pixel is divid ed into smaller segments and the areas around the divisions are deliberately smudged You can choose anti aliasing from one of lt none gt 4 8 15 or 24 Anti aliasing of 4 means that the scene is rendered 4 times with the viewpoint jit tered slightly and then the resultant images are averaged There are a number of tradeoffs with anti aliasing More anti aliasing produces smoother looking lines On the other hand details may be lost and anti alias ing is time consuming The greater the degree of anti aliasing the slower the rendering Another point to keep in mind is that some QuickDraw 3D plug in renderers do thier own anti aliasing When one of these renderers is being used then lt none gt should be selected Interpolation Vertex Pixel None As stated above when you model a 3 D object you make a geometric appro
116. f the bounding box is at the origin of world space 4 TILT does not modify the orientation of the objects Manipulator In the Manipulator mini window values can be interactively set for Left Right Up Down X Position Y Position and Z Position Note the buttons along the left edge of the Manipulator mini window These control the movement of the Manipulator Window virtual camera so you can move around in the imported scene These buttons do not move the virtual camera controlling the Composition window To move that camera use the TILT Camera plug in A Orbit the virtual cam era in the Manipulator Window only Move the Look At Point in the Manipulator Window only 5 Dolly the camera in the Manipulator window only m Reset to home state in the Manipulator window only If these buttons are clicked on and then the mouse is clicked and dragged it is possible to quickly and interactively control the view of world space rendered in the Manipulator window The second column of Manipulator MP lt amp 2 _ buttons contains controls for the posi tion and orientation in world space of the imported 3 D model oO ei Causes mouse movement to control the Left Right Up Down and Tilt control val ues o Causes mouse move ments to control the X Position Y Position and Z Position control values ae Causes mouse move ments to control the X Scale Y S
117. ffect to the pe I layer after the layer to which the a Spr effect has been applied has been ur ee inverted i e dark pixels become light N anh aj Bilt tTn iM u oan c i 12 pA Great orga 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 wil
118. from the mask Generate Threshold Generate Threshold becomes active when Generate Layer Alpha gt BB Threshold or Generate Layer Luminance gt Threshold is selected in the Generate From pop up menu When one of these generate methods is selected this slider controls the 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 trans parent areas cannot generate particles 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 created Preroll 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 3S 27 Using the Plug ins Presets The Presets user interf
119. 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 52 p Minimum Minimum uses the mathematical minimum color values to replace the original image This is a modified version of Lighter Maximum Maximum uses the mathematical maximum color value to replace the original footage This is a modified version of Darker Bitwise OR Bitwise AND Bitwise XOR Each of these settings do similar but slightly different operations to the channels Exactly what they do is hard to explain without using mathe matical 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
120. gs This describes the colors of the rings radiating as out from the center of the flare elements Flare Sizes Flare Size selects the gradient to use to control the maximum size of the individ ual 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 127 Lens Flares 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 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 elements 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 triangles this number is 3 For squares 4 For Pentagons 5 For Hexagons 6 128 p
121. gt Bie Seay hi ig u Sheed irina n iem a pA Need someone to be anonymous E 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 u Day For Night O fect Castros faii 1 DE aE DE Bey tar mi Foot ir Aiari 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 bun dle of requests to design a plug in that had some control over the effect and was easy to use Here it is We think the presets included will handle a majority of the uses of Day for Night but like all of our presets we suggest Feia a ET De Fee ere bee fe hart Cote that you use them as good starting riat Aih 25 points for your own experiments E woe OES TIP This plug in is very fast and can iina 2m usually be used while the option key is held down for immediate screen feed E Bi
122. h the source layer The Particle Composite Mode handles how the particles that make up the effect will blend with EACH OTHER before they are composited with the source layer Alpha Threshold and Alpha Weight provide control over opacity of the parti cles 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 parameters 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
123. he Amplitude Frequency Speed and Offset Variance parame ters 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 random ly 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 second sine wave generator Frequency 1 This controls the frequency of the first sine wave generator Frequency 2 This controls the frequency of the second sine wave generator Speed 1 This controls the speed of the first 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 BOB bp tern around the video noise after it has been distorted which often occurs on older television receivers Size This defines the radi
124. he turbulent noise This defines the areas that look deepest If this is set to a lighter shade there will be less color differen tial to work with when adjusting Contrast and Brightness Mid Color Mid Color is the median color between het Cl ei iF Bd elir Ee ighi he er the dark and light colors Use Turtudenie E Tutere e Cant gat He TIP If Dark Color is left to black and light color is left to white then giving Ark a ur Mid Color a color tone will tint the tur a a i bulent noise i e this will work like a T Detail tint control lt _ Floh on Bright Color a ny Bright Color is the lightest color in the Siren Ib Turbulent Noise D a6 u ox Use Turbulence fe When checked Use Turbulence will Kt make the noise look more complex a REN m more gnarled appearance fier 7 ed i H Wi Epa iio Seed CI are weg te geet Fiabe Tiaki Tiit wA hrd yna o i li Fb iia The water was created using Turbulent Noise and HLS Displace Contrast Contrast increases or decreases 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 turbulence that can be seen The higher this is set the rougher the tur bulence will appear This also increas es render time when set high Stretch X Stretch X wa
125. hin After Effects TILT allows you to add a 3D camera lights and objects including the ability to import 3DMF 3D object files directly into the timeline You can interactively light the objects place a textures animate and render 3D scenes right within the After Effects standard composition While TILT is NOT designed to replace a full blown 3D application it does an excellent job when you need a few 3D objects placed into your composition TILT does this quickly and easily Most importantly it does it without having to go to a dedi cated 3D application You no longer need to worry about changing anything in your 3D work because a change Is as quick as setting a new key frame in After Effects 16 p A ay AutoAnimation Effects WE en One of the key features in Delirium is the ability to automatically animate an effect without setting keyframes Most other plug ins require you to set several keyframes before they do anything interesting With Delirium many of the plug ins create animated effects without setting keyframes We call this feature AutoAnimation For example when you apply the SnowStorm effect to a composition it will auto matically begin generating snow from the first frame The effect actually begins before the layer starts on the composition time line By default the Preroll 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 set
126. 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 sudden brief rushing or driving of wind Gust Probability Gust Probability defines the likelihood that a gust of wind will occur at any given time in the 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 1 BD p lt 4 181 Solarize ea E Eert Controls Solid 1 O E Solarize is a photographic process sim ulation for creating the look of double exposed photographic paper that forces the silver salts to gather around areas that have contrast This gives a solarized or Sabbatier look Slide the Contrast and Rotate sliders PiiEffect Especially Rotate back and forth and you will find an area that works well with your footage 2 Fasial TIP This effect is fast enough that you can usually do it with the Option key held down for real time updates R A gt Cuirir eat zu Invert GE L Invert applies the Solarize e
127. id area to generate particles Dispersion uni formly grows the area in which it will generate parti cles 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 directions 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 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 67 Film Flash tay Film Flash simulates the look of a film 2 Soe ieee Comings Salle Be 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 o gt Frasels Start the Flash To create a slash effect that begins later than the first frame set an Off keyframe with Start the Flash at the ro
128. id patterns ASA ME os rece that can be subdivided have broken Wheel E lines and have objects placed on its be Randi deed E T eid Farurelsrs intersections This plug in also works well with TILT Mer Elsa 0 VMesh for creating distortions to the bie NE wo grid pattern when used in Effect Only Hal Bren no in the Apply Mode pop up Hain Ceder Eor Hin Hlcha piis D F ijir 5 Tila Cokr l Cd lo A 128 r bbe beet DIE ln DL La aa Pa Me z C feta ice IDG ll Leda E r Interner i amp kite Ty Erop te rar files Gly 158 A 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 position 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 that any given segment in the main grid pattern
129. ides information which is used by TILT Camera effects Manipulator Use the manipulator control mini window to set the X Position Y Position and Z Position control values interactively Note the first column of buttons along the left edge of the Spot Light Manipulator mini window These control the movement of the Manipulator Window virtual camera so you can move around in the scene These buttons do not move the virtual camera controlling the Composition window To move that camera use the TILT Camera plug in E Orbit the virtual camera in the Manipulator Window only o 243 TILT 3D Tools Ea Move the Look At Point in the Manipulator Window only T Dolly the camera i e move it closer to further from the scene in the Manipulator window Mm Causes the Manipulator window camera to be reset so that it is looking directly down the z world space axis in a minus z direction at a set distance from the world space origin If these buttons are clicked on and then the mouse is clicked and dragged it is possible to quickly and interactively control the view of world space rendered in the Manipulator window w wi KE 7 The Buttons and 1n control the position and orientation of the Spot Light in world space as follows wi E Causes mouse movement to control the Left Right and Up Down control values ach Causes mouse movements to control the X Position Y Position a
130. igher values mean more movement Av Vertical Vertical is the weight of keyframe to apply to the vertical move ment Lower values mean less movement higher values mean more movement Zoom 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 N Rotate Rotate is the weight of keyframe to apply to the rotational move ment Lower values mean less rotation higher values mean more rotation 42 Channel Delay Eert antrat a talii 1 DE fone leat DE Channel De Pos at Ale 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 channel appears in the footage In other words you can give a time shift to each of the color channels indi vidually Red Delay Red Delay determines the frame being used by the Channel Delay For exam ple 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 2
131. is describes the colors of the rings radiating as circles out from the center of the rays Ray Angle Ray Angle selects 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 center 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 1885 0 Ray Hue Ray Hue allows for the shift of the hue of the rays gradient used to describe the overall color of the ray 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 rin
132. ith TILT you must always include a TILT Camera plug in If a Camera is not included the TILT plug ins will still operate but the effects will not be seen until the TILT Camera is applied to the layer World Space Coordinate System TILT defines a system of coordinates for describing the locations and orientations of 3D objects This system is referred to as the World Space Coordinate System or WCS TILT uses a Left Handed system All the TILT plug ins feature mini windows called manipulator controls In these manipulator windows space is displayed so that positive x is to the right positive y is up and positive z comes out of the screen toward you World Space Units TILT uses absolute world space coordi nates to describe locations in 3 D space When the TILT File Object reads in a 3 D model it first scales the model so that its maximum dimension is 1 world space unit TILT also centers the model at the origin of world space Models may then be scaled rotated and positioned using the TILT File Object plug in controls TILT SD Tools i En Gato s AE An After Effects composition is composed of eo Qe Aa EI one or more layers Each layer can have its own TILT effects and its own TILT camera A TILT Camera renders an image using the properties of a virtual world that is defined by the attributes supplied by the other TILT ER ually plug ins Whew cee FFIN KEY CONCEP
133. ith 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 200 J_ 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 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 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 asthe Grad 1 controls with each additional color being added at thier respective positions in the gradient o 201 Turbulent Noise This effect creates a turbulent noise pattern that is useful for creating tex ture and distortion effects See the sample projects for an example of this fot 2 CH 7 DE T rkulsat Far an Dark Color Dark Color Defines the darkest shade that can occur within t
134. ity 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 158 0 A J_ 158 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 interactive 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 origi nal image will show through This makes it possible to see exactly what the effect is without seeing the origi nal 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 for each higher level of quality Fi Eert Co
135. l be blended in with the affected footage F182 Sparks tay This effect performs a complete physics simulation of sparks You can control the color the gravity wind and other parameters You can 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 CT 1 Said i X DE Sparkes 7 best 3 DinEffect Ika me Eee Fi Derren Pils Runder dani CBee EHRT ET Spark ler Teele Tir jiena Der TI ei La erent Pau Tee Mii Faas al Lae Cr Beets Tees rit di E Meali Fremri EC ipri Gerar D Pli Tarun b Haz Three EHH Opa Era Opaerhy Hirth On lor Pes arts fap bow b Hn Lelie BHi Le D irere Thee h E Sparks from a point spun around animating Jet angle Cool sparkler
136. 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 The text date at the bottom has the effect ce Video Noise 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 longer noise runs Noise Tempo This is how often the noise will change Larger numbers will cause the noise patterning to change LESS A gt 205 Video Malfunction often more frames between noise changes 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 t
137. location of the Far Light plus the movement of the Manipulator Window virtual camera so you can move around in the scene These buttons do not move the virtual camera con trolling the Composition window To move that camera use the TILT Camera plug in Z 1 ils Orbit the virtual camera in the Manipulator Window only Move the Look At Point in the Manipulator Window only T Dolly the camera i e move it closer to further from the scene in the Manipulator window Mt Causes the Manipulator window camera to be reset so that it is looking directly down the z world space axis in a minus z direction at a set distance from the world space origin If these buttons are clicked on and then the mouse is clicked and dragged it is possible to quickly and interactively control the view of world space ren dered in the Manipulator window a Ea The top button causes mouse movements to control the Left Right and Up Down control values Click on the button and move the mouse to see the changes lt 4 21 TILT 3D Tools Left Right Set the angle of the light rays with respect to the world coordinate system The Left Right value specifies the number of degrees of rotation about the y axis A value of 0 indicates that the rays are directed in the positive z direc tion Up Down Set the angle of the light rays with respect to the world coordinate system The Up Down value specifies the number of degre
138. 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 parameters 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 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 4 89 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
139. lors The resulting color is lighter than the original 214 p 25 Wave Displace 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 footage below will not show through Ei Efert Controls Selid 1 B ALETE E DE Ware Mipi Faser er bagi Tap Effect Erani Hurter od arru F i Ii Com Hiis Feriert Frey Fir Liri H iY Ei ini H ig li Fanat en ipri wor sr Hapani Arms Eei mi inia Ei Farshon Drea l i Fa ras H Wave Type Sia Ware H Plar Arj li Toth fo m iH Pied Aigi zu Li 195 u Pine fra a Tou a ooo tr H Flee FH u H wi a gt Hho i eee Tepe D i Pirn iaj I i Plas ac O CV Ana hi
140. nce from the Point Light i e gets dimmer much faster than by using Inv Dist Intensity The brightness of the Point Light can Point Light the value 1 is as bright as possible Note that unchecking the title line box i e turning off Far Light has the same visual effect as reducing the Intensity to 0 but without modifying the Intensity or any parameter For more information on items in the top line of the Far Light display see Top Line Controls Color The Color of the Point Light can be changed by clicking on the empty box in the Color line or by clicking on the eye dropper Poke the empty box to get a standard Mac color dialog from which to choose the desired color Poke the eye dropper to select any color currently being displayed any where on the screen Visible TILT displays a model of an arrow pointing in the direction of the light If Visible is checked Use the arrow to check the direction of the light rays on the scene Note that the arrow is visible only if at least one TILT Camera is included and enabled be adjusted by manipulating the slider for Intensity The value 0 turns off the 2380 TILT Simple Obj ect Fr rag kki yai FT TA bij Duu ta Tramalater iad The TILT plug in Simple Object creates a basic 3 D eh Soa Lan shape Note that Simple Object does not make any ETRE oe visible changes to the Composition window directly en ge it provides model information which can
141. nd Z Position control values oO tnt Causes the Left Right Up Down X Position Y Position and Z Position control values to be reset 244 p Left Right Set the angle of the spotlight rays with respect to the world coordinate system The Left Right value specifies the number of degrees of rotation about the y axis A value of 0 indicates that the rays go in the positive z direction Up Down Set the angle of the light rays with respect to the world coordinate system The Up Down value specifies the number of degrees of rotation away from the x z plane A value of 0 indicates that the rays lie parallel to the x z plane Position X Y and Z A Spot Light s position matters because in the real world the intensity of a Spot Light is reduced as it gets farther away Thus to simulate a realistic point light and get graduations of color on farther away items in the scene it is necessary to know where it is It may be necessary to be positioned for a particular effect Therefore TILT provides the current position of the Spot Light and lets you move it in X Y and Z using the controls for X Position Y Position and Z Position The values are in absolute world space units Fall Off Spot Light creates a cone shaped light The cone of light is brighter at its center Fall Off controls how fast the intensity of the light decreases with distance from the center of the spot You can also specify various Fall Off curves
142. nipulator window camera To begin working with the TILT VMesh Object effect go to the DigiEffects Delirium pop up menu that lists the TILT plug ins Select TILT VMesh Object Manipulator In the VMesh Manipulator mini window shown in Figure 11 can be interactive ly set values for Left Right Up Down X Position Y Position and Z Position oe 247 TILT 3D Tools The buttons in the column along the left edge of the Manipulator mini window control the movement of the Manipulator Window virtual camera so it is possi ble to move around in the scene The second column of Manipulator buttons controls the position and orientation of the mesh object you create Note that none of these buttons moves the virtual camera controlling the Composition window To move that camera use the TILT Camera plug in Orbit the virtual camera in the Manipulator Window only Move the Look At Point in the Manipulator Window only 5 Dolly the camera in the Manipulator window only Mm Causes the Manipulator mini window camera to be reset so that it is looking directly down the z world space axis in a minus z direction at a set distance from the world space origin If these buttons are clicked on and then the mouse is clicked and dragged it iS possible to quickly and interactively control the view of world space rendered in the Manipulator window The second column of Manipulator buttons contains controls for the position
143. nizers This controls the number of harmonizer generators Each one will create a sin gle possibly very complicated curve Particle Shape Use this to define the particle shape that makes up the line for the Harmonizer Select Line for a faster render D B FORO Soft amp Bright Harsh Falloff Dot Rounded Star Oval Line 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 Use this to control the amount of space between segments when use Spacing is checked 117 FiyperHarmonizer 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 parameters 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 val ues 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 harmo nizers 1 and 3 Radius 4 A Center Point This defines the center of the harmo nizer A Color This controls the color of the Harmonizer A Alpha This
144. nnel will be offset from the orig inal layer position Blue Delay Blue Delay determines the frame being used by the 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 AB COP Blur COP Blur is a simple regional blur designed for those occasions where someone really shouldn t be identified There are two choices 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 large the pixels will be in the obliteration grid Blur Mode Blur When selected the effect will use a blur as the method of obscuring the underlying image Grid When selected the effect will use a pixelization as the method of obscuring the underlying image Blur Size Blur Size controls the radius of the effected region a serene Cantrats Sad 1 DI Eki pir Dhar Cariri gt Ake Site oo
145. nt named Glow Ray Radial Dark Blue is intended to be used in the glow or ray part and with the radial compo nent of that part The Glow part is used to create a soft bright sphere of light that simu lates 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 compo nents 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 Cool inner Reflection effects are easy rotates as the lens center point is moved 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 cam era is pointing it may not necessari ly 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 _ F122 Lens Flares Lens Rotation If Auto Rotation is not checked off you may manually rotate the entire lens flare effect with this parameter Obscuration With this checked
146. ntrol is an excellent way to create a dreamy effect 6 lt amp 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 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 determine the color of the Grad 1 As additional colors are added to the gradi ent with the Multi gradient pop up will begin to col orize 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 relative to the Start Color and End Color A good way to see the results of this is to set this to red Sta and slide the control left and right You should be able to do this with the option key held down and receive near i real time feedback Notice that as you approach 100 that the interior of the gradient gives a very hard red line This 2 is because it is squeezing most of the End Color out As you get to 100 the entire interior of the layer turns red End This is because the End Color has been completely removed 135 Muzzle Flash yaa Wey Muzzle Flash simulates th
147. ntrols Solid 1 BS IT BET ai SE DE Rehina Mie Parer p barat Pror mie Teds Blasen ErTea Dil Ee Orit Lele eae Bey D jg iy Trans Pie eats n 733 ol gv Theesolibhin 25 H 5 ohio ee Ei i LE E c Fi 13 li miii Arie Ma oer a a Line Frrert Cake E Line Wigi Coder sms Dake DB te by val Retinal Bloom is useful when used with MultiGradients Simulate psychometric camera and eye effects NOTE Since the effect is very different depending on these quality levels pre viewing 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 Bloom Shape Soft amp Bright Harsh Falloff Dot Rounded Star Oval Brighter Star Wide 199 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 pix
148. o 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 lt 4 61 Electrical Arcs Glow Glow Radius Glow Radius controls the distance from the arcs edge on both sides of the arc 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 covers 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 electri cal 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 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
149. o 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 gen erating 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 4 187 Sparks 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 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 lifetime The spark col
150. 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 4 53 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 colors that will be used to create the gradient color for the Day for Night effect This pop up allows for the addition of colors between the Start and End Colors up to a maximum of 4 additional colors 6 total including the start and end col Ors Filter 1 Color This is the color for the Filter 1 parameter Alpha 1 Alpha 1 controls how transparent or opaque the color will 50 Wiz be that is selected under Filter 1 Color The higher this tn number the more opaque the color z zo Wien 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 54 p Electrical Arcs tay Electrical Arcs is designed to generate arcs of electricity similar to what you see with a J
151. old Frames maximum number of frames to hold the keyframe You can also control the overall amount of horizontal vertical zoom ing and rotational movement within the frame using the Movement para meters You can also over exaggerate the motion blur using the Motion Exaggerate parameter which extends the motion blur in the current direc tion You can also determine the num abbas 7 I Funk I El tt rigs rralia cit ICH Doch ni Hir lles Aloha Elies Aig h v Hion lern iy Ab A o Bir Sreerlbresa i Baie Hand a 0 Obed Ue osha u Bjarmar eo ary ra 0 Sheree Freq u Cees parks TU D Alle Ail dd Fra 1 F a Kibira LU Aare a rs gt be bo hal all feet gi ei front IB 33 ber of blends used to create the motion 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 thier effect from keyframes but this one cre ates them itself internally and invisibly from the parame ters you supply The only parameters that you may want to keyframe yourself are the Movement parameters Otherwise you will probably want
152. omize Bri Randomize determines the amount of randomization of the brightness color of the stroke Higher numbers mean more change 1 70 p Smoke tay Smoke creates a realistic billowing colored smoke effect You can control the amount of smoke and it can be generated 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 starting on page 13 of this manual Refer to that section for instructions on how to use these parameters E Bifect Cantrots sera FE romp 1 F canid F DE Greske Ic ze byari H o gt Een app ipl wie Ika Sr ae is Eiti mi frost Corea se Fils Achse Imram x Ci pie ge bata eo Rector esi i C Shel reja u Erb ayrim PLRIPEITEEIERE ee Fi See Phat 4 job hte Cafi brine s Far mr er rise Loreen alae Laser H Mauer b fae ale Laver T E Trei Patil I Pa fi 47S an u D Cale Yarutien a0 Prr fraia 1d br Are ry 0 fer Spe
153. on the lens effect will be hidden or obscured behind the alpha channel of this layer Colorization 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 Bad T9 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 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 elem
154. on of the source as well as the intensity of the Point Light is needed Note that Point Light does not make any visible changes to the Composition window directly Rather it provides information which is used by the TILT Camera plug in To begin working with TILT Point Light effect types go back to the Delirium pop up menu shown in Figure 1 that lists the TILT plug ins Select TILT Point Light You may include as many Point Light instances as After Effects allows Manipulator Use the manipulator control mini window to set the X Position Y Position and Z Position control values interactively Note the buttons along the left edge of the Point Light Manipulator mini win dow shown in Figure 8 These control the location of the Point Light plus the movement of the Manipulator Window virtual camera so you can move around in the scene These buttons do not move the virtual camera controlling the Composition window To move that camera use the TILT Camera plug in B36 A J_j J TR__ 9 If you click on these buttons and then click and drag the mouse you can quickly and interactively control the view of world space rendered in the Manipulator window f a FE ori tne virtual camera in the Ha ra Orbit the virtual camera in the Manipulator lt Dy Window only Nd Move the Look At Point in the Manipulator Window only T Dolly the camera i e move it closer to further from the scen
155. on the footage TIP This coloring of the blooms by the footage 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 Single Color When the Use Preset Color box is checked this control will determine the color of the blooms that are put on the footage 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 Schematic Grids O fect tontrots selia ES Schematic Grids creates a dual resolu tion 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 SE ir 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 J eff Feather pp ip ui Leo Scar ee Piety Pilect m frani Schematic Grids creates gr
156. or opacity makes the y value higher and less makes the y values lower By clicking the Invert box you can invert all these defaults 4 251 Texture It is possible to apply Texture to all sur faces of any mesh object The texture desired must xist as a regular After Effects layer or comp A texture can be any footage item including a movie for a movie within a movie effect Choose the layer or comp desired as texture from the list of layers or comps displayed The default texture is None Color It is possible to change the Color of a VMesh Object by clicking on the empty box in the Color line or by clicking on the eye dropper If the empty box is poked a standard Mac color dialog from which to choose the color wanted appears If the eye dropper is poked any color currently being displayed anywhere on the screen may be select ed Smooth It is possible to Smooth any mesh object by checking the Smooth box The mesh edges appear somewhat less jagged For a dramatic smoothing effect try invoking a blurring filter on the Height Field image Render times will also be slower TILT 3D Tools Rendering Options Clicking Options in the top line of the TILT Camera menu brings up a standard Quick Draw 3D type options menu as shown In Figure 12 below Nuolity Srat ii tiic Filieg j Eko eins j Ing Adin mie ce em Figure 12 Options Menu Choose a set of options for either Draft or Best
157. ors 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 J et 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 J et Width Jet Width determines how far from the J et Angle that the particles can be projected 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 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 distance 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 a glow will extend from
158. ot Light can be changed by clicking on the empty box in the Color line or by clicking on the eye dropper If the empty box is poked a standard Mac color dialog from which to choose the color want ed appears If the eye dropper is poked any color currently being dis played anywhere on the screen may be selected the screen Visible If Visible is checked TILT displays a model of an arrow pointing in the direction of the light Use the arrow to check the direction of the light rays on the scene Note that the arrow is visible only if at least one TILT Camera is included and enabled 245 p pran Fler TIH Fi ren hmi TILT VMesh Object ante i Fa TILT VMesh Object plug in is a general pur PIAN pose tool that builds and manipulates tex lictonk rield ture mapped 3 D objects from 2 D images Height Fram The V stands for Video reat Tesriare Calor VMesh creates an interpolated 3 D mesh landscape of the original picture The mesh contains peaks and valleys The peaks by default ani to the R where the Height From selection red green blue or luminance is highest the low points correspond to the places where the Height From selection is lowest You can also reverse the high and low values by selecting Invert ate Whar Eee Using simple sliders and dials you can manipulate the 3 D mesh object in all the usual ways move in any direction tilt translate scale and also move the Ma
159. ource 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 displacement 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 114 6 FiyperHarmonizer Hyper Harmonizer creates incredibly mesmerizing geometric images These are useful for animated logo designs or jus
160. ow can further break these main segments 58 p Distortion Distortion determines how far from the center line an imaginary line drawn directly between ae N the start point and end point each of the seg ments can travel The larger this number becomes the larger the length of each segment a EP n and the further away from a straight line the arc will become NN Se byi Sub Segments E 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 look more broken NOTE Segments define the overall look of the arc where it goes and how it moves Sub segments give the arcs thier individual personality Think of it this 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 seg ment 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 Bran
161. paque the brush stroke is Higher numbers provide greater opacity Bot Brush Opacity Bot Brush Opacity determines how Opaque the brush stroke is Higher numbers 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 ea 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 satu ration color of the stroke Higher numbers mean more change Bri Rand
162. plied to the grid It then begins to render each brush following the contours 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 ap i Sania 7 DE Sketehict I EHRE rum re Fa ei i Pray mw Ora F Tee Mn rei npr L TUB bhi Einir mM 3 Toe Sed Se Bart fee ict i o Top Thrweiaad Bil Tessa D Tin Er Gord C Bot Deut fice Cer Bret bate ine Compreile Brel Grips apatii B ered j i ha Thara ki li Ach arg Zum i ee Readers ee Pe Frame penha Artin Pr Fr THEMED 3 use sketchist to create animated backgrounds 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 parame ters 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 Speed 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 precise You control the overall opacity of the strokes with the Brush Op
163. ps look very 3d When you animate with these settings the results can have a beautiful feel with 3d textural flavor 5 Audio modulation of this plug in seems like a natural idea to gravi tate towards It does after all create sine waves that look like music So the question is how does someone make this plug in dance to audio Well since there is so far no way of extracting the frequency tone pitch information from audio inside AE s Motion Math you are left with Amplitude loudness Although it won t quite look as you might Imagine you can assign the amplitude from Motion Math see included script file effs Audio motionmath and create keyframes for the AMPLITUDE AE4 1 also includes an excellent script see file layer audio remap mm inside the AE folder Motion Math Scripts for mapping audio to your effects parameters The difference between our script and the standard Adobe script is that ours is a peak averaging tool Instead of having very tight frame by frame tracking our script looks at the previous frame and the next frame 3 frames total and averages the loudness so that the resulting effects bounces smooth and tracks soft This is good if you want a more smooth looking response curve use the Adobe script when want the audio tracking to be real tight and to sample a different value on every frame This is great when you have the awesome good luck to know someone who can or now how to yourself create a piece of
164. r 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 lt 4 23 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 layer 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 Bit wise OR Bit wise AND Bit wise XOR Each of these settings do similar but slightly different operations to the color channels Exactly what they do is hard to explain without using mathematical formulas and even then they would not easily transl
165. r the effect i 5 N 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 112 p Create water effects in conjunction with Turbulent You can also do heat wave effects Noise Displace Source 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 througn 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 itt HLS Displace Softness Softness applies a blur to the Displace S
166. rbulence 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 higher 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 flames But in exchange for simplicity we left out the ability to change the flame color To change the color of flames use the built in After Effects color correc tion tools like HLS Balance or use Thermograph 74 Fireworks tay O iert Controls yoli 1 BIE Fireworks simulates big fireworks dis E Iha aant a Di aa an plays that occur about every six i E Ran an months across the United States and ER more often in other parts of the world Fireworks is particle system effect that creates pyrotechnic displays These kinds of physics simulations are diffi cult to handle with a general purpose st a particle system The Fireworks effect is broken 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 IKa u ee Carr Fee fie a FP nl at what point they will explode into aS or e the main firework It handles every Hartia ha Cerpeaik mre F thing up to the
167. riginal 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 4 39 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 subtle and gradual gradient around the outside of footage the eye is drawn into the cen ter 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 num ber 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 var ious 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 D frrrt Castros Seid DE rp F Ganid ay DE frang fer Pacer Mar E ze Abri mg TrEnEffects Er bee at Poe Libr Hiri Bias Biart Ey Frat el ern Lot Fia Pil ae Sy b flew fr iginal fi 5 Erk ur ka libet Dletaece A cre
168. rmines the position of the peaks and valleys of the waves in the Harmonizers Fea 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 ay Fin Image Onrapearte a Image Mode Parka Corppaark Eirne 7 Eier LETEL u Apply Mode f Biha redio 2 Use Source Mode dia Waihi im Image Composite Mode Amer Eget Particle Composite Mode Harean Blend Original EiT ir ENT Alpha Threshold E hih Hamons a l Alpha Weight Fertiale chase Controls in this section are described ga SER Rihi Sick in the Using the Plug ins section al starting on page 13 of this manual Ere Coka Refer to that section for instructions Bart Stee Erg Es ei on how to use these parameters E Abe Diner gan pap D Ermi Cues rey Bo Deiat pripili ico D Brel Ampia i Di b Start reparay oo b Erai Tregaeuae aa b tart Pians oo Ere Prince 1 oon 210 pA 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
169. rors 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 electronic 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 GETTING STARTED ccc cee eee nn nn 1 IHAHOJUEHON ri esau dew ine Sad go ay ed 2 System requirements 06 3 INStAINIAUION 4 4 4 22 0 amp A wen oe os Se ow 4 TULDRIAl ahah 2 4 06 u Sa ie viet ig ae eal oe ck Se oe 5 USING THE PLUG INS aaa aaa 000080 13 PLUG IN DESCRIPTIONS Bubbles 2 222 aaa 32 Camera Shake 2 2 cm nen 38 Channel Delay 2222er 44 EOPIBIUP giaa ace ck he hk ae We wo Bd 48 Day TORANIQNG acs we ae Ae oe a ie So 50 Electrical Arcs 2222 mon 56 Fairy Dust oak tn ea aaa 64 Film Flash 5002 Eee 68 Fire aaau 70 ir EIFEVMORKS wam 8 80 Se Se ae E Se ee ai 6 ei Ricker And SrODE 3 2 2 4 Rew En eee 86 FIOW IVIGEION 2 4 sat nce Kae 92 9 Fog Factory oo 96 Framing Gradients 100 GOWER reata nk amp Ge aks amp a
170. rps 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 number 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 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 203 Video Malfunction 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 sec tions that control different aspects of
171. rved object it breaks it up into a geometric approxima tion consisting solely of plates or panels No individual panel is curved but it can achieve a curved effect if it uses a lot of panels and angles them appropriately The more panels you use the more smooth the curve appears but the slower the rendering When Constant is selected as Method Cl specifies the number of segments into which the curved object is divided up and down C2 specifies the number of seg ments into which the curved object is divided cross wise The more segments the smaller each panel and the better the curve fidelity When World Space is selected C2 isn t used Cl specifies a number of world space units than which no panel edge can be greater i e Cl is the upper limit on the length of any edge in world space units F 255 TILT 3D Tools When Screen Space is selected C2 is not used C1 specifies a number of pixels than which no panel edge can be greater when the edge is projected on to the screen That is Cl is the upper limit on the length of any projected segment Default is for Draft mode is Constant C1 15 C2 15 Default for Best mode is Constant Cl 25 C2 25 2565 p Frequently Asked Questions Bubbles Q Why do my bubbles stay even with the generator point when the point is animated A Turn on Integrate Params Over Time control and key frame the Generator point Muzzle Flash Q If pull trigger is set to on
172. s of the gradients Color Mode Defines how the colors are interpolated RGB Modes interpolate linearly using the Red Green and Blue channels HSB modes interpolate through the colors of the rainbow 133 MultiGradient Repeat Mode Defines how the gradient ramp will repeat S Start E End o E n S Se ANV Ser 5 S Composite Modes See Using Plug ins 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 trans parency or opacity of the Start Color in the gradient This is used to give a blended more transparent appear ance 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 transparen cy 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 co
173. s the size of the largest flakes created by the Snow plug in 178 A A aaa Min Opacity Min Opacity determines the most transparent any part of any flake can be Max Opacity Max Opacity determines the most opaque any part of any flake can be Lilt Gravity Wind Gusts Lilt is the random motion that individual snow flakes have While snow tends to fall all in a single direction the individ ual flakes have a chaotic motion that allows them to move randomly sometime with the general direction of the snow sometimes against it This individual flake motion is defined as lilt While this is a global setting it is applied to each flake individually A random number between the min and max amounts will be picked and applied to each flake Min Lilt Amount Min Lilt Amount determines the minimal distance that the lilt will move the flake Max Lilt Amount Max Lilt Amount determines the maximum dis tance that the lilt will move the flake Min Lilt Frequency Y V Min Lilt Frequency determines the minimum speed at which the snow flake will move due to the lilt Max Lilt Frequency Max Lilt Frequency determines the maximum speed at which the snow flake will move due to the lilt SnowStorm NOTE Amount determines how far frequency determines how fast Gravity Gravity determines how quickly the snow will fall The higher this is set the faster that the snow will fall Wind Horiz Wind Horiz determines how much
174. s 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 maximum amount of transparency or opacity in the firework explosion Birth Color Birth Color determines the color of the firework when it initially explodes 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 Max Lifetime determines the longes amount of time frames that any indi vidual particles that make up a fire work 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
175. s 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 con trols values 186 p 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 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 i e this will make it s
176. s 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 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 137 Muzzle Flash Fire 2 oond Burst _AFin AP T foni Fill Tigger 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 138 p Firing Space Firing spacing d
177. selection in the Particle composite mode When you vary the number of instances of Bubbles and the type of transfer functions you can create a real sense of depth and variety This can be very useful when your bubbles need to have a different densi ty when composting on soft drinks or filling letterforms which need to have more bubble activity in the bottom of the glass or emission space really like the way one instance of bubbles can be used as a displace ment source for different instance of bubbles The nice thing about this technique is the behavior of the displacement is similar to what is being displaced which gives a more natural displacement source 259 Jeff s Tips Nexus 1 It is really useful to activate the PREVIEW PATHS feature Activating this feature helps you to understand what the relationships that the two circles have with one another and also gives you a great perspec tive when visualizing the results of the size and position of the circles For me the magic with this plug in is creating a cross plotting effect that looks like a grid When the grid slides and moves inside the rela tionships between the circles this plug in really comes to life 2 Try using geometric relationships between the two CIRCLES like concentric radials When the two circles are inside one another the plotting looks real interesting because you get a lot of the grid look that this plug in makes so well like scaling an
178. sults 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 166 Painting System The parameters below control the overall painting system Brush Shape Brush Shape is the shape of the brush used to make the stroke Here are images of the strokes BoOOCegn Soft Marker Softer Marker Fat Sharpie Oval Tip Fuzzy Edges Angles Oval Tip Wet Brush Very Wet Brush Dry Brush 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 asa 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 asa percentage of a full grid for the bottom layer of painting lt 4 167 Sketchist
179. t and Diffuse Lighting parameters These control how the surface material inter acts 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 Efect cambras Selia 1 OE Light Tfi Light Gyk IEETT IB 277 728 C Lighh PA amp Lijit For C Light Rae Aliger ir H Mikki CLiablpi T fi Plater ar Mer b Haler DHT Tir rmi Habe Tift Enr Ato her ar ir C Haber Heh Cow Durene Pa pat Burg eee C Bom Pantin DBn Serenata Paarl Lig ne matin 106 I ite Fa I I a Ta he 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 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
180. t 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 to be the way that early astronomers explained the rotation of the planets around the sun This plug in creates beautiful and interesting patterns from geometrical constructions When there are 2 har monizers 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 starting on page 13 of this manual Refer to that section for instructions on how to use these parameters D Arrt Canines Selia 1 El E in t a E DE pple Fap ze Aiari east Cr TligikPReets Fansite LEI TE rote cin cat pp Mine MESTRES Ika SF ee Fi imags rrareatte Pokal Corrtearl I EHRE I b Alte rrira i i Derene fr at al En ates mea Lre laius Jura Ike Spend BUE Fpi kaj b teig leae 1 gt Spam Pidie roo a Ah H a Pitia Sirs T Po Plein rae oo eu Eri eye lestro at Le Erg T Refki LEJE 1 0 m n m a Onn r a z 2 Layes of Hyper Harmonizers one using Spacing Another interesting shape Num Harmo
181. t 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 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 number 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 charac ter 72 p Min Opacity Min Opacity controls the minimal amount of how opaque the flames can be When this numb
182. t the distance in world space units from the camera to the Look At Point 5 Selecting this button in the Manipulator window and moving the mouse automatically sets values for this parameter Tilt Set the rotation angle of a camera The Tilt value specifies a rotation about the z axis of the camera with respect to the positive y axis of world space Ee Holding the shift key down selecting this button and moving the mouse in the Manipulator window automatically sets values for this parameter Field of View Field of view angle is a common camera setting It varies inversely with anoth er common parameter focal length for a particular film size Changing the focal length the distance between the lens and the film and thereby chang ing the field of view angle can create subtle visual effects making objects appear subtly wider and flatter narrow field of view or taller and narrower wide field of view TILT allows for the control of these effects by moving the slider shown here 226 po The focal length is the distance from the lens to the film So objects are made to appear closer by increasing the focal length Note in Figure 4 how as the focal length increases the field of view angle decreases Ham Field ol VIFA Aegis Carats l Figure 4 Narrow shot A narrower shot photo with a narrow field of view implies a narrower field of view angle means each pictured thing looks bigger and wider
183. t the wave changes 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 periodic 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 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 controls whether the intermittent parameters are used Bri Int Max Skip This controls the maximum number of frames that will be skipped no bright ness 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 bright ness 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 longer the time between strobes Bri Strobe Hold This controls the maximum number of frames that the strobe will be applied The larger the value the
184. t 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 208 op 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 o 209 Visual Harmonizer D feet Controls Selia El Visual Harmonizer creates stunning ani img t taidi mated images based on a series of sine E me usual Wear Paret Eai el waves which are rendered as a series re of particles or as simple lines Each of these harmonizer shapes are fe w ya aes controlled by the frequency how close P together the waves occur amplitude often how high each wave will go and phase dete
185. ted 7 Hoke Hpi pipa TIP To start with no effect and then go ige a into the transition later in the layer Fal keyframe this setting to zero at the Dhd Original beginning of the layer Keyframe it at a zero again at the point where you want the transition to start Keyframe it to 100 where you want the transition to end g p Distortion Mode Outward and Inward Outward and Inward creates the direction of the 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 Flow Motion Edge Mode Edge mod
186. tes the parti cles as they are traveling This is equivalent to setting brakes on the particles Bad 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 Glow Radius is set low it makes the particles glow more brightly To turn that down work with glow intensity Glow Intensity Glow Intensity determines how brightly the particles will glow Glow Own Colors When this box is checked the glow will be the same as the color of the parti cles 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 exteri or glow lt 4 85 Color Bias Color Bias allows for control over which color between Glow Inner Color and Glow Outer Color will be dominant 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 Flicker and Strobe so CE
187. than the results of Composite Effect in Front Composite Modes Composite Mode controls how the effect will combine with the 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 psychedelic Blend Performs a simple Blend 22 p 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 val ues 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 laye
188. that that is generating variations on the height of the frequencies Also note that while start amplitude is set to zero there are still waves in the harmonizer Start Frequency Start Frequency determines how often the start fre quency goes up and down in a wave form The higher this number the greater the number of wave forms RN End Frequency End Frequency determines how often the end frequen cy goes up and down ina wave form 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 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 parti cles 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
189. 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 eia 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 1 SD po 4 191 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 surface 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 bumpiness You can control the surface look via the Materials sliders These will deter mine the Ambient Specular Highligh
190. them is set to zero you will not generate any glow Glow Radius 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 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 lt 4 148 Puffy Clouds fs Wey 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
191. thm of the object but in my opinion it serves only to soften the way it moves to the point where the animation loses rhythmic definition lt 4 265 Trouble Shooting Trouble Shooting e How can I make Delirium render faster 1 Reduce any Smoothness parameter to the lowest possible setting 2 Test render at low quality 3 Test render at lowered resolution e can t find Delirium in the Effects menu Be sure that you installed the filter into the correct plug ins folder It should be in the same folder as your copy of the After Effects application e can t apply a Delirium effect to a layer Be sure Delirium is installed and you have the layer selected before applying the filter If it asks for your Master CD insert it in your CD ROM drive e keep getting out of memory messages Increase the memory partition for After Effects or reduce the size of the images you are using or reduce the quality draft mode e I d like to see a faster preview You can drop the resolution by clicking on the white area in the Comp window By doing this you can increase preview speeds by up to 800 This is useful to see to overall effect quickly or to try out animated parameter settings Grain will look different but all other aspects are previewable e I d like to see real time previews of the effect Hold down the option key while moving any slider e can t run the filter on my computer You will need a PowerPC with at least
192. ting the constant 5 from the product The result is that a pixel that is completely red Red is 255 and completely Opaque transparency is 255 in the Height Field will produce a y value of 5 the maximum height That y value becomes one of the coordinates of a vertex of one of the triangular plates that comprise the mesh A pixel that has no red at all Red is 0 or is completely transparent alpha is 0 will produce a vertex of the minimum height minus 5 A pixel with some red and some opacity will produce a vertex of a height between minus 5 and 5 world space units 250 dp The result of VMesh is a landscape of peaks and valleys contained within an imaginary cube 1 world space unit on a side That size is not fixed once you ve created the mesh you can of course stretch and shrink it any way you like The peaks by default map to the places where the Height From selection red green blue is highest the low points to the places where the Height From selection is lowest Luminance is just a little different it mixes all the colors in every pixel for a gray scale effect VMesh computes Luminance according to the standard formula as follows A 255 3 R 255 59 G 255 11 B 255 5 The result is a mesh in which the high est points correspond to the whitest pixels and the lowest points to the darkest pixels Invert By default more of a color or lumi nance
193. tings 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 17 Using the Plug ins Amplitude Often height could be substituted for Amplitude Generally this determines how extreme the swings are in the effect For Visual Harmonizer you can see below what low and high Amplitude will create Amplitude Set to 40 Amplitude Set to 100 But in cases like Camera Shake the effect does not easily translate to height In this case Amplitude really is more the distance that the shake causes the image to travel So in the case of Camera Shake Amplitude is distance 18 6 Frequency Frequency is defined as how often i e how frequent something
194. to have the plug in create keyframes for the motion UT So S Amp PAAR eA ers ANA A Vs ri a Snuakiness iove N Hori tal Shake ee Nerka 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 ren der 39 Camera Shake 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 ren der times become longer Speed Tip The higher this number the slower the render 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 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 es er ot frames is beineen mindmax frames x K x X X Change values of reels ERE E IRRE SED Shakiness Freq Shakiness Freg is the maximum speed of the Shakiness of any Shakiness Amp Shakiness
195. trols will be reversed Min Opacity Min Opacity controls the minimal amount of opacity or transparency of a bub ble 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 He Horiz Dispersion controls how much the bubbles will randomly float horizontally When this is set to zero the bubbles will drift straight up The higher this number 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 soeed which in many cases starts at zero F 35 Bubbles Distortion Distortion determines how much the bub bles will distort the footage to which the bubbles effect is applied to This distor tion is based on the bubbles and so will have the same shape and location as the
196. us 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 para meters 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 Video Malfunction Primary Weight This is the opacity of the source un ghosted signal Ghost 1 Weight Controls the opacity of this ghost image Ghost 2 Weight Controls the opacity of this ghost image Ghost 3 Weight Controls the opacity of this ghost image 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 bu
197. use the snow to pileup on the first vertical pixel in the image detected The threshold control will determine the minimum brightness level of the pixels in the image as the first pixel to pile up on Pile on Alpha gt Threshold via 2D Pile on RGB gt Threshold via 2D creates a mask that works in all 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 determine
198. used SD po 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 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 Flow Motion Flow Motion creates an organic transi Eert Controls Seid 1 oS 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 transi tion animates Transition To The Transition To pop up determines the layer to which you want the flow i Trans lin ige motion transition to end In other nur words the second half of the transi N tion bliith He Dieci Pao Transition Complete Burger Fire Transition Complete determines how ne both when and how far the transition is execu
199. ut make sure that Integrate Params Over Time is checked Streak Level and Streak Decay together determine the amount of trailing behind the individual parts of the firework explosions that occur Level determines the longest streak length and Decay determines how fast it fades from the source 47 Fireworks Streak Level 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 according 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 deter mines the point from which the fireworks will be Launched Launch Angle Launch Angle determines the direction that
200. w 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 e 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 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 will provide for a 3 color gradient starting with the start color transitioning to the Grad 1 Color and ending w
201. 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 trans parency of the lines that make up the main grid Subdivisions Subdivisions determines the number 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 ani mate this value as it will cause pop ping Animate the Main Spacing instead _ _ Ft 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 m bd Hollow Square X Circle Cross Triangle Diamond Rounded Rectangle Intersect Size Intersect Size determines the size of the intersect shapes that appear on the intersections 160 Intersect Color Intersect Color determines the color of the intersect shapes Intersect Alpha Intersect Alpha det
202. xi mation of its shape The geometric approximation is a collection of discrete plates When you render the object you must determine what color to render each pixel in each plate Interpolation refers to the calculation of the color of each pixel in a plate If for each plate you would like all pixels in that plate the same color choose None TILT then picks one pixel in the center of each plate calculates the lighting effects and sets all pixels in that plate to that color If you d like more variation of color within the panel you can choose Vertex 254 p Choosing Vertex instructs TILT to calculate the color at each corner of each panel and interpolate the colors of the pixels in between This gives more exact coloring but is slower If you d like the most precise color mapping choose Pixel Choosing Pixel instructs TILT to calculate the color of every pixel in every panel individually Pixel is best looking but slowest Defaults are None for Draft Vertex for Best Renderer Two renderers are currently available Interactive Renderer and Wireframe We expect that in time other renderers will become available and will then be spec ified for selection in this list Additional renderers may have thier own set up parameters which you will be able to specify by clicking the Setup button Subdivision Method Cl C2 Subdivision refers to a method of interpolation for achieving curve fidelity When TILT renders a cu
203. y the Stroke Speed The higher this number the longer the potential path of the brush stroke 1 BB A 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 inthe 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 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 o
204. y 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 lt 4 195 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 dimensional spherical color lookup table for the environment mapping effect None Layer X 1980 197 Thermograph Thermograph is an extremely flexible color remapping
205. yers 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 15 Puffy Clouds Bright Closest Bright Closest determines how bright or light the closest clouds will be 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 Te tee te tie 148 A A A A gw RainFall tay 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 easily and elegantly handles rain effects through a realistic rain simulation You can bounce and splash rain off objects The Rain System generates the rain You can

User Manual - Chris Athanas

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