Simulate: Camera User Manual
We’ve developed a custom user interface component for Digieffects plugin products. At Digieffects we support an extensive range of host applications and each one has its own, proprietary method of storing saved preset information. For our customers who use our plugin products on more than one of the host applications we support, transferring their custom settings between host applications has been a time-consuming, manual operation…until now.
Using the capability of the Digieffects Banner UI, you can store your preset information in XML files that can be accessed by all of your compatible host applications and shared with other users as well.
First, the “Digieffects” logo area, when clicked, acts as the “About” button.
The Blue Button
...is an especially fun feature we like to call the ‘Randomizer’...which oddly, randomizes all sliders and buttons, for showing some interesting possibilities. A great tool for brainstorming. Keep clicking…you’ll find an extensive selection of starting points for your work.
Buttons 1 – 4, and the Red Button:
Often, users find that they tend to re-use 2-3 effect settings again and again as a starting point, but they don’t require a full library system of presets, which are usually specific to each host application. Not to mention the actual preset files are in some binary, proprietary format such that it’s impossible to view or edit the settings unless things are running.
In our scheme, we show 4 buttons labeled ‘1’ to ‘4’, and each acts just like a reset switch, except that it lets you reset to a different starting point. So, think of this as having 4 reset buttons or having 4 preset starting points. The scheme is designed to work across all the compatible host applications on your machine (that have Digieffects Damage installed of course). The setting you use in After Effects is the same as in Final Cut Pro…or Combustion.
The Red Button is our “record” button. It takes a “snapshot” of the current parameter settings for later recall. We store all our preset data as XML files, which can be viewed or edited as normal text files. There is no limit on the number of XML files you can store, but there is a naming convention you will want to follow to access them from the Digieffects Banner UI.
To edit existing preset information, or create your own:
The preset files are stored under
“/Applications/Digieffects/presets” in OSX, or
in Windows, in the C: Drive:
“Program Files\Digieffects\presets”
You will see filenames that are formatted like this:
preset_DE_Artifact_p0001.xml
The number just before the ‘.xml’ represents which button it corresponds to. If you open this file, you will see something like this:
<!—DEFX Param XML Configurator 1.0—>
<module> DE_Artifact </module>
<Source_Blend> 1.000000 </Source_Blend>
<Random_Seed> 0.000000 </Random_Seed>
That is, some numerical value is sandwiched between a tag pair. Go ahead and modify these to your taste, even while the program is running. The next time you click on that numbered button, the effect updates with those values as contained in the xml file.
Now, when you click on the “record” button while working in the Artifact plugin, there will be a new file called
preset_DE_Artifact_p_mypreset.xml
You can rename this to
preset_DE_Artifact_p0003.xml
so that it can be accessed by Button 3 in the Digieffects Banner UI inside the Artifact plugin in your host application.
Simulate: Camera Archive
Archive is possibly the best value in ‘film quality/projection inconsistency’ effects available. The idea of an image representing a historical event has as much of its credibility in the apparent medium it was acquired in (film vs. video, black and white vs. color, etc.) as it does in its content. We have what we think may be one of the most flexible and potent approaches to this type of effect available.
DE_Archive Parameters
Reset
changes the properties in Archive back to their default state.
Options
…will be the link to click to register your copy of Digieffects Simulate: Camera, if no valid registration information is found on your system. Otherwise, it will function just like “About”.
About
Clicking on ‘About’ will show you the version of Simulate: Camera you are running while obscuring a generous portion of your user interface.
Digieffects
In the twirl-down menu labeled “Digieffects” is the Digieffects Custom UI, which contains your Digieffects preset buttons and the Randomizer..
Source Blend
Controls how much of the original, unaltered image is blended in the final image. A value of zero shows no original image, a high value of near 100…90 for example…will leave very little effect visible and a value of 100 will show only the original image and no effect, but the rendering will be zippy…
Random Seed
The Random Seed controls the way the “randomness” of the effect is implemented over time. While the property range runs from 0-32000, the value doesn’t represent the ‘amount’ of randomness so much as simply different randomness. Note that this value can be used in multiple cases with the same value and the results will be predictable and similar in cases where consistent use of the effect is required in several instances. If the results you are getting starts looking too predictable, simply change the Random Seed.
Deinterlace
Deinterlace control offers a simple method for eliminating fields by interpolating one of the two fields (or both) to create a non-interlaced, progressive output. This is useful, for example, when the source or the input to the effect is interlaced, and the fast motion of objects cause jagged edges to appear and cause undesirable artifacts.
The following modes are available:
- None: Does not deinterlace the effect input.
- Lower/Upper Only: Only uses either field (i.e. half a frame worth of information) to create a whole, progressive frame.
- Merge: Create a progressive frame for each field, then combine the both. This is most useful for introducing a filmic look to an interlaced composition containing slowly moving objects.
Note: Various host applications offer built-in deinterlacers, often on a per clip basis. For example, After Effects’ “Interpret Footage” allows fields to be separated, if selected. There are a number of reasons why this should or should not be selected. If the host’s deinterlacer is engaged and/or the effect’s input is no longer interlaced, select “None” in this section.
Color Control -
- Gamma Response - There are three separate values for adjusting the Gamma Response before the effect is applied, one each for the red, green and blue channels.
- Flicker Parameters:
- Amount - Shockingly, this controls the amount of flicker…really crank it up for that authentic slightly out-of-sync projector with the cycling image brightness oscillation.
- Frequency - Control the speed/duration of the flicker. Frequency values are in Hertz, or the number of times per second.
- Phase - The phase parameter controls the cycling of the flicker in relationship to the sine wave generated by the combination of the frequency and amount parameters.
- Erratic Amount - The erratic amount is how unpredictable the cycling of the flicker is…values range from 0 (extremely predictable) to 100 (goat in a curio shop with his tail on fire).
- Erratic Probability - Control the likelihood of the unpredictability…higher values make the unpredictable more probable.
- Channel Noise (R), (G), (B) - There are three separate values for adjusting the amount of noise (creates an aesthetic similar to grain), one each for the red, green and blue channels.
- Monochrome - Mono means one, chrome means color…that’s all you need to know…
- Monochrome Tint - Use this color swatch to determine what one color the monochrome parameter tints the image with…
- Edge Gradient - Create the impression of a center hotspot with vignetting…
- Gradient Curve (H), (V) - Control the edge gradient size for horizontal and vertical edges individually. Higher values mean more of the center area is exposed, while lower values let narrower area in the center show through.
Dust Control -
There are four discrete dust generators with different particle models (numbered 1, 2, 3, and 4) included in DE_Archive. Dust1 and Dust2 simulate smaller defects with sharp edges (1 pixel wide lines) typical of film scratches caused by sand, dust speck (Dust1), blunt objects (Dust2), etc. Dust3 and Dust4 tend to be thicker defects typical of mold and mildew, etc.
- Color - Use this swatch and eyedropper to define the color of the dust generated by each dust generator.
- Size - Each dust generator can have a separate size setting…higher values make larger dust particles.
- Amount - Each dust generator can have an individual amount value…higher values add more dust.
Vertical Line Scratch-
Add vertical scratches to your image to not only give your footage the aesthetic that you shot film, but along with some dust, demonstrates how careless you were in storing it…
- Number of Scratches - You can push this value all the way to 200…I wouldn’t do it personally as I think 5 or 6 is plenty but you? You can do what you want…
- Scratch Maximum Velocity - Control how active the movement of the scratches is with this value…less is more here. Really high settings might be appropriate for some applications, but it ceases to look authentic at a point…
- Scratch Lifetime - Control how long the scratches last…higher values mean longer durations.
- Scratch Opacity - Another less is more parameter…fully opaque scratches don’t really come off as convincing…experiment and see how subtle a scratch can be and really sell the effect.
- Scratch Opacity Variance - Scratches evolve and change, the higher this value is, the more the scratch opacity will vary over time.
Note: Vertical line scratches become slightly thinner during “Draft/Preview” mode of operation in After Effects and Combustion.
Frame Jitter -
Control Frame jitter on both vertical and horizontal axes…
- Max Amount (V), (H) - Higher values increase frame jitter for vertical and horizontal axes individually.
- Probability (V), (H) - Control how likely the occurrence of frame jitter is for vertical and horizontal axes separately…
Simulate: Camera Destabilize
Destabilize is an effect that is useful for emulating a practical camera shake or a more conceptual effect for motion graphics work involving separate color channel alpha compositing and color channel separation. By causing a shot to be less steady, you can add tension or energy to what may otherwise be a rather straightforward and obvious shot.
DE_Destabilize Parameters
Reset
changes the properties in Destabilize back to their default state.
Options
…will be the link to click to register your copy of Digieffects Simulate: Camera, if no valid registration information is found on your system. Otherwise, it will function just like “About”.
About
Clicking on ‘About’ will show you the version of Simulate: Camera you are running while obscuring a generous portion of your user interface.
Digieffects
In the twirl-down menu labeled “Digieffects” is the Digieffects custom UI, which contains your Digieffects preset buttons and the Randomizer..
Source Blend
Controls how much of the original, unaltered image is blended in the final image. A value of zero shows no original image, a high value of near 100…90 for example…will leave very little effect visible and a value of 100 will show only the original image and no effect, but the rendering will be zippy…
Random Seed
The Random Seed controls the way the “randomness” of the effect is implemented over time. While the property range runs from 0-32000, the value doesn’t represent the ‘amount’ of randomness so much as simply different randomness. Note that this value can be used in multiple cases with the same value and the results will be predictable and similar in cases where consistent use of the effect is required in several instances. If the results you are getting starts looking too predictable, simply change the Random Seed.
Deinterlace
Deinterlace control offers a simple method for eliminating fields by interpolating one of the two fields (or both) to create a non-interlaced, progressive output. This is useful, for example, when the source or the input to the effect is interlaced, and the fast motion of objects cause jagged edges to appear and cause undesirable artifacts.
The following modes are available:
- None: Does not deinterlace the effect input.
- Lower/Upper Only: Only uses either field (i.e. half a frame worth of information) to create a whole, progressive frame.
- Merge: Create a progressive frame for each field, then combine the both. This is most useful for introducing a filmic look to an interlaced composition containing slowly moving objects.
Note: Various host applications offer built-in deinterlacers, often on a per clip basis. For example, After Effects’ “Interpret Footage” allows fields to be separated, if selected. There are a number of reasons why this should or should not be selected. If the host’s deinterlacer is engaged and/or the effect’s input is no longer interlaced, select “None” in this section.
Enable Alpha Composite
There are three separate values for adjusting the alpha composite when the “Enable Alpha Composite” is checked, one each for the red, green and blue channels. The R,G and B Adjust values differ from the source blend control not only in the fact that the color channels are handled separately, but that the values range from -100 to +100, the negative values effectively subtracting the color channel information from the composited image. This, when used with the Channel Separation controls, can create effects that would be reminiscent of certain decades…experienced while ingesting certain substances…
Motion Control
(Many Motion Control parameters have separate adjustments for Horizontal, Vertical, Zoom, Rotation and Channel Separation self-animated functions. Obviously when the individual values vary somewhat across the separate adjustments, it adds more random movements, which is typically desirable when imitating human body unsteadiness for a ‘camera shake’ aesthetic.)
- Maximum - Setting the maximum value determines the amount of maximum movement generated from the effect. The unit scale is based on percentage of the image dimension, therefore a value of 100 means the image will move 100% of its full width/height. In the case of rotation, the value is in degrees of rotation.
- Frequency - Frequency controls how often the oscillation of the effect happens in a given period of time. Frequency values are in Hertz, or the number of times per second. A value of 1 denotes one full cycle per second, 2 is twice per second, etc. When the frequency values differ across the individual adjustments for each of the axes of movement, the overall effect gets more randomly erratic.
- Amplitude - The amplitude value controls the amount of modulation of the oscillation function that will form the ‘engine’ behind your self-animating properties. This value multiplies the Maximum value ( An Amplitude value of .5 would diminish the max value by half, a value of 2 would double it, etc.)
- Phase - Phase is the ‘timing’ of the the modulation of the sine wave used to generate the oscillation for that property…to achieve the most random looking effect, vary the horizontal, vertical and zoom phase values. (Keep in mind that -720, -360, 0, and +360, +720 are effectively the same values.) The phase values across all the individual adjustments will create a fairly predictable movement cycle…creating subtle differences across these values will create a bit more randomness (and therefore a bit more believability) in the ‘camera shake’ aesthetic.
- Erratic - Since the effect’s self-animation ‘engine’ is driven by sine wave generators, having those changes become predictable in its cycling behavior is a danger. Erratic-ness might be characterized as the bucket of marbles dumped out in front of the marching band of an orderly modulating sine wave.
- Zoom Base - To keep the image from ‘shaking’ itself out of the video overlay (which really torpedos the idea of the aesthetic of a ‘camera shake’), increasing this value will ‘zoom into’ the source image to allow for more movement without the edges becoming visible.
- Zoom Factor - Scale the zoom movement using the zoom factor…a value of ‘1’ represents a variance of approximately +/-10%, and incresing this value will allow a larger range of variance.
- Channel Separation - The ‘Channel Separate’ value defines how much ‘separation’ you allow between the Red, Green and Blue channels. The Frequency, Amplitude, and Phase controls’ behavior is defined in the general notes above… At smaller values, the effect can simulate chromatic aberrations.
Simulate: Camera OverExpose
OverExpose is an excellent way to add a sense of dynamic to otherwise stable and predictable footage. Using the effect in a practical way can result in a feeling of a sort of “focus-hunt” and “iris-hunt” that happens with consumer camcorders when they are constantly trying to adjust to changing composition. Combining DE_OverExpose with DE_Destabilize holds real possibilities for taking a solid, steady shot and making it look hand-held and amateurish… With higher frequency settings, the contemporary treatment of an image “flickering” randomly is very easy to create without the hassle of keyframing!
DE_OverExpose Parameters
Reset
changes the properties in OverExpose back to their default state. (*)In After Effects, the reset button causes parameters to revert to the last setting as defined by a loaded preset selected via the DE GUI, if any.
Options
…will be the link to click to register your copy of Digieffects Simulate: Camera, if no valid registration information is found on your system. Otherwise, it will function just like “About”.
About
Clicking on ‘About’ will show you the version of Simulate: Camera you are running while obscuring a generous portion of your user interface.
Digieffects
In the twirl-down menu labeled “Digieffects” is the Digieffects custom UI, which contains your Digieffects preset buttons and the Randomizer..
Source Blend
Controls how much of the original, unaltered image is blended in the final image. A value of zero shows no original image, a high value of near 100…90 for example…will leave very little effect visible and a value of 100 will show only the original image and no effect, but your performance ...it’ll be awesome.
Random Seed
The Random Seed controls the way the “randomness” of the effect is implemented over time. While the property range runs from 0-32000, the value doesn’t represent the ‘amount’ of randomness so much as simply different randomness. Note that this value can be used in multiple cases with the same value and the results will be predictable and similar in cases where consistent use of the effect is required in several instances. If the results you are getting starts looking too predictable, simply change the Random Seed.
Pre Color Correct
The controls in this section affect your source clip prior to the primary effect of OverExpose operating on it.
Deinterlace
Deinterlace control offers a simple method for eliminating fields by interpolating one of the two fields (or both) to create a non-interlaced, progressive output. This is useful, for example, when the source or the input to the effect is interlaced, and the fast motion of objects cause jagged edges to appear and cause undesirable artifacts.
The following modes are available:
- None: Does not deinterlace the effect input.
- Lower/Upper Only: Only uses either field (i.e. half a frame worth of information) to create a whole, progressive frame.
- Merge: Create a progressive frame for each field, then combine the both. This is most useful for introducing a filmic look to an interlaced composition containing slowly moving objects.
Note: Various host applications offer built-in deinterlacers, often on a per clip basis. For example, After Effects’ “Interpret Footage” allows fields to be separated, if selected. There are a number of reasons why this should or should not be selected. If the host’s deinterlacer is engaged and/or the effect’s input is no longer interlaced, select “None” in this section.
Gamma -
There are three separate values for adjusting the Gamma values of the clip, one each for the red, green and blue channels. The (R),(G) and (B) Gamma values affect the mid-range luma scale of each color channel and the adjustments made here will affect how OverExpose works on the image further down as the values being fed into the effect will be changed.
Bloom Control-
(Many parameters have both a vertical (V) and a horizontal (H) control.
- Intensity (H), (V) - The Bloom Intensity parameter controls how much image ‘smear’ happens in each direction during the blooming effect.
- Saturation - This parameter controls how much color saturation is added or subtracted from the image content within the bloom effect. The control range runs from -100 (complete desaturation of the bloom affected areas) to +100 (maximum added color saturation to the bloom affected areas. **Note that adding excessive color saturation to this effect can produce image parameters that exceed legal, conventional broadcast limits.
- Color - Click on the color swatch to bring up a color picker dialogue, or use the eyedropper to pick a color directly from your image to tint the bloom effect.
- Bloom Frequency (H), (V) - By controlling the frequency of the bloom, you change how often it happens. (Frequency values are in Hertz, or the number of times per second.) This controls the general pace and duration of the effect as it cycles…lower values mean a slower occurrence of the effect, but also create a longer duration with each instance.
- Bloom Amplitude (H), (V) - The Bloom Amplitude value controls the amount of modulation of the oscillation function that will form the ‘engine’ behind your self-animating bloom values. The amplitude values are in 0 – 100 (percent). At 100 (percent), up to the maximum Intensity values are applied to these oscillations.
- Bloom Phase (H), (V) - If you think of the Bloom Frequency value as generating a sine wave that controls the cycling of the effect parameters, the ‘phase’ controls the synchronization with that wave (values range from -360 to +360 degrees. For example, H and V waves can be “out of phase” when they are 180 degrees ‘apart’.).
- Bloom Chaos (H), (V) - Again, thinking about the cycling of the effect parameters being driven by a sine wave, predictability can be pretty obvious. Introducing ‘chaos’ into the equation is like turning small children loose in a pet store…predictable?...not so much.
- Bloom Chaos Probability (H), (V) - Chaos reduces the predictability…probability controls the likelihood of the unpredictability…we’re working on making that more confusing…stand by. The Chaos Probability control goes from 0 – 100, scaled such that at lower values the oscillations are completely predictable and uniform (i.e. sinuous), while at higher values the oscillations become unpredictable and “noisy”, depending on how much Bloom Chaos values are set. Chaos Probability essentially specifies how often the oscillations become corrupted over the duration of the composition.
- Saturation Frequency - By controlling the frequency of the saturation parameter, you change how often it happens. This controls the general pace and duration of the effect as it cycles…lower values mean a slower occurrence of the effect, but also create a longer duration with each instance.
- Saturation Amplitude - The Saturation Amplitude value controls the amount of modulation of the oscillation function that will form the ‘engine’ behind your self-animating saturation values.
- Saturation Phase - If you think of the Saturation Frequency value as generating a sine wave that controls the cycling of the effect parameters, the ‘phase’ controls the synchronization with that wave (values range from -360 to +360).
- Saturation Chaos - As in the case of Bloom frequency and chaos, the cycling of the effect parameters are driven by a sine wave. Chaos is the hammer to predictability’s…uh…egg.
- Saturation Chaos Probability - Chaos reduces the predictability…probability controls the liklihood of the unpredictability…the unpredictability increases the chaos…chaos reduces the….
Post Color Correct-
- Post Gamma (R), (G), (B) - Adjust the Gamma of the clip downstream from the Bloom effect process.
- Advanced - Sometimes the “chaos” values can introduce huge ‘spikes’ into the modulation oscillations. The Chaos Adjustment values (-100… 0… +100 in percent) can tame these into a limited range. By default, we set these at 100 percent. At zero, chaos effects will be minimized. At negative values, modulation waveforms are inverted.
Troubleshooting:
Q: Is there any way to freeze the ‘blurring’ effect?
A: Set Freq to 0
Q: chaos values are not introducing any randomness
A: Set Chaos Probability values and Advanced -> Adjustment values away from zero