Aura User Manual
Digieffects makes plug-in collections for use in Adobe After Effects and Premiere Pro or Apple Final Cut Pro and Motion.
We've listed some installation procedures and effect controls that are common to all products.
1. Locate the Install file.
2. Double-click the installation program and follow the instructions.
3. The first time you attempt to apply a Digieffects effect, you will be asked for your serial number.
There are a number of parameters that are common to almost all Digieffects effects. These parameters work consistently across all the effects in which they appear.
Changes the parameters of the effect to their default state.
Is the link to register your Digieffects product if no valid registration information is found on your system. Otherwise, it will function the same as “About”.
Clicking on ‘About’ displays the version of your Digieffects product.
Blend with Original
The range runs from 0-100 or 0-255 depending on the effect and it controls how much of the original, unaltered image is blended in the final image. While a value of zero shows no original image, a high value will leave very little effect visible and a maximum value of 100 or 255 will show only the original image and no effect.
The Random Seed adds a mathematical 'monkey wrench' to the self-animating attributes of the effect. Given no other changes in settings, each iteration of the effect will be unique if it has a unique random seed value.
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 get start looking too predictable, simply change the Random Seed value.
Digieffects Aura 3.0:
Channel Noise applies random noise to layers with individual controls for the red, green, blue and alpha channels.
Channel Noise Controls
One Suggested Use: Matching Film Grain: Often film footage has noticeable grain that varies in size and intensity, while CG elements have no grain. It is very important to match the texture of the film with the CG elements in order to have a convincing composite. To begin matching the grain, you need sample source footage and the layer to which you would like to apply the grain. Start by placing the CG layer so you can see the source footage at the same time, then apply Channel Noise to the CG layer and begin to work channel by channel to match the grain.
- Composite - Renders the noise applied to the source layer using the composite mode specified by each channel.
- Noise Only - Ignores the input layer and renders the noise over black. This is useful when you want to see the detail of the noise separately from the image, or when you just want to create a noise texture.
- Prerender Setup- Prerendering noise is an easy way to cut down on a rendering time, while maintaining some flexibility. It is important to turn off all other layers so the comp is only rendering the noise. When the rendering is done, import the noise render into the project. You can then enable Use Prerendered Noise and select the rendered noise layer.
Use Prerendered Noise
To help save time it is a common practice to prerender noise, which can be easily accomplished using this checkbox.
Prerendered Noise Layer
If you've elected to use a clip as the noise source, you can link the Channel Noise effect to the comp layer where the noise clip is placed. After the noise is rendered separately, the plug-in can then quickly composite the noise onto your layer, giving individual opacity and composite mode controls for each channel.
Tip: You can save more time by rendering a short sequence of noise (like 30 frames) and looping it. You can set footage looping in the Interpret Footage options from the File menu.
Generally, Point noise is the best choice for producing great looking grain at smaller scales. The other options are available for special cases and creating interesting effects.
- Point - This type produces noise that is rectangular in shape. For smaller noise, this is the most optimal choice for rendering speed and quality.
- Smooth - Produces a smoother noise field with no noticeable edges.
- Point Fractal - Samples the noise to produce varying levels of complexity.
- Smooth Fractal - Samples smooth noise to produce a complex, soft fractal noise.
If you've chosen to use Point Fractal or Smooth Fractal Noise in the Noise Type option, you'll be able to make additional adjustments under Fractal Settings.
- Detail- specifies the number of iterations the noise is sampled at. Smaller values result in faster render times, but coarser grain.
- Offset - determines the positional difference between each fractal iteration. The larger the value, the more random the effect.
- Frequency- This feature is helpful for controlling whether noise tends to get larger or smaller with increasing detail.
- Layer Quality - In this mode, Channel Noise will match the quality at which the layer is rendered.
- Draft Quality - Forces Channel Noise to render faster by foregoing sub-pixel sampling.
- Best Quality - Channel Noise will always use sub-pixel sampling to produce the smoothest, cleanest noise.
- Color - Use the color swatch or the eyedropper to pick a color that will set up the corresponding color channel parameter values.
Channel Group Controls-
Each channel of noise is only rendered when the opacity is greater than 0. Each color channel has its own set of distinct parameters.
- Opacity - Simply fades the noise off and on, from 0 to 100%. Opacity is directly linked to color control.
- Density - The default value of 1.0 results in perfectly uniform noise. As density decreases towards zero, the noise grains will become more and more sparse. As density approaches 2.0, noise increases steadily until solid.
- Size - Controls individual grain size by channel
- Uniform Size - Controls overall grain size for the entire channel group.
- Uniform Size - the value affects both horizontal and vertical values equally.
- Blur - cUse an be used on each noise channel to soften the grain, measured in pixels.
- Uniform Blur - both horizontal and vertical blur will be affected uniformly.
- Composite Mode- How the noise interacts with the source footage is determined by the composite mode set for each channel. This flexibility is invaluable for accurately matching film grains and controlling how the noise affects the source, whether brightening, darkening, or both.
- Randomize Each Frame - Causes Channel Noise to render a unique noise pattern for each frame rendered.
- Random Seed - Adds further control over how random each frame is.
- Position - Defines the center of the noise in regard to how the noise scales
This plug-in is a powerful tool for generating and manipulating mattes and transitions by easily allowing you to isolate specific grayscale ranges of channels.
Channel Range Controls
- Input Layer - Displays the input layer to the effect, specified by the Input Layer popup menu. With this view mode, no rendering takes place and the input layer is simply passed through the effect.
- Input Channel- After choosing an input layer, use this mode to view the input channel.
- Range - Renders out the selected channel range in grayscale.
- Composite - Allows you to composite the range over the source layer. This makes it possible to apply Channel Range directly into the alpha channel, or use the range to modify the source in another way.
Input Layer - Specifies the layer from which the channel range derives the range.
Channel - You can choose from a long list of color channels as the basis of your range.
Invert - The selected channel will be inverted, and processed before Premultiply With Alpha.
Premultiply With Alpha - Check this property to incorporate the input layer’s alpha channel with the selected channel.
The Control Bar is at the top of the interface. The gray text in the upper left corner of the interface tells you the names of each control.
- Display Histogram Gradient - The first button on the control bar toggles between displaying the histogram in black or as a gradient.
- Reset Cycle - The middle button on the control bar will reset the cycle value to 0, centering the curve in the range view.
- Reset to Default Positions - The button furthest to the right resets all of the range controls to default.
- Histogram - shows the distribution of grayscale values within the input channel. This allows you to see where channel data starts and ends, and in what areas the channel is most dense.
- Histogram Scale - Use this slider on the right side of the histogram display to zoom in and see smaller histogram details.
- Range Curve - Plotted in red over the histogram, this depicts what range of the channel is being selected.
- In - Represented as a green line; specifies at what point the range curve becomes 100%. The In point can never be greater than Out.
- Out - Represented as a red line, this is the beginning of the end of the range curve.
- Fade In - Represented as a blue line, Fade In specifies the starting point of the curve.
- Fade Out - By default the Fade Out control is mirrored to the Fade In control. Uniform fade can be turned off in the advanced settings to get an independent Fade Out control, represented as a purple line.
- Cycle - offsets the entire range curve without modifying the values of the In or Out points.
- Normalize Output Gradient - When enabled, the resulting output gradient will always be normalized to a full spectrum of black and white values. Otherwise, the output gradient will be based on the existing grayscale values of the input channel.
- Uniform Fade- When enabled, the Fade In and Fade Out values will be merged into a single Fade In & Out control.
- Curve Type - There are two types of curves available: Natural and Linear.
- Natural- Produces a smooth curve based on Gaussian distribution.
- Linear -Interpolates the range curve in straight lines.
- Curve Bias - Allows for further manipulation of the curve, making it either more concave or more convex.
- Repeat - Can repeat the range curve left, right, or left & right of the initial curve.
- Repeat Spacing - Sets the distance between repetitions.
- Invert Range - inverts the values of a specific range.
- Destination Channel - In composite view mode, specifies a channel to which to composite the effect result. The default choice, RGB, will composite the channel range to the color channels of the source layer.
- Composite Mode - In composite view mode, sets how the channel range is mixed with the destination channel.
Colorize may be the most sophisticated tool available for creating color schemes and tints.
- Color Presets - A wide range of common color corrections are listed in the presets menu. Typically these presets offer at least a good starting point. Choosing a preset may change the color values and the number of colors used.
- Channel - This specifies which color channel the new color map will be based on.
- Invert - Invert your chosen color channel, calculated before premultiplying or coloring.
- Premultiply With Alpha - Multiplies the channel with the alpha, in effect combining them; calculated after invert.
- Cycle Mode - Determines how values are handled beyond the normal value range when the cycle is changed.
- Cycle - Offsets the input phase of the channel. This essentially cycles the grayscale gradient, wrapping it around. Cycle Mode can be used to determine how the values are wrapped.
The matte can be further adjusted by employing Levels. These controls work similarly to the standard Levels effect. Turn on the control by simply making an adjustment.
- Input Black - As Input Black is increased, the channel becomes darker. Input Black and Input White values can be moved closer together to create contrast.
- Input White - As Input White is Increased, the channel becomes lighter.
- Gamma - Gamma values less than 1.0 bias the gray levels towards black, creating a darker image. When the Gamma value is greater than 1.0, the gray values are pushed towards white brightening the image.
- Output Black - Limits the maximum darkness of the matte.
- Output White - Limits the maximum lightness of the matte.
- Number of Colors - Colorize supports either 3 or 5 colors. When set to 3 colors the Mid-Shadow and Mid-Highlight controls become disabled.
- Color Controls - Each color control targets its respective tonal range within the image. Shadow, for example, is mapped to the darkest areas of the image while the highlights are mapped to the brightest.
- Composite Mode - Controls how new color is mixed with the original layer colors. The default setting of Normal simply replaces the original layer colors.
This plug-in is used to create a posterization of the image by thresholding individual color channels.
- Red Edge - Controls the maximum value for the red channel.
- Red Softness - Controls the smoothness of the red channel transitions.
- Green Edge - Controls the maximum value for the green channel.
- Green Softness - Controls the smoothness of the green channel transitions.
- Blue Edge - Controls the maximum value for the blue channel.
- Blue Softness - Controls the smoothness of the blue channel transitions.
This effect is an advanced plug-in for generating beautiful blooms and glowing regions
Glow works by extracting a region of the source layer, blooming it, and then re-compositing it over the original. Selection of glow regions can be achieved using a channel matte or color key. Additionally, masks can be used to control where the blur is applied.
- Glow Source - This view mode displays the selected layer unmodified. If the layer is set to none, then the layer on which the effect is applied will be used.
- Glow Selection - Use this view mode to see the areas that will be glowed. The glow selection is controlled by Match Color or Matte Channel, depending on which mode is chosen.
- Glow Mask - Use this view mode to see the mask by itself.
- Glow Only - This view mode displays the fully processed glow layer by itself. This is useful to see exactly what the glow is doing and can even be used as an output option to use with other effects.
- Composite - This view mode outputs the final result of Glow. In this mode, all effect controls will be enabled and the glow will be applied to the source layer.
Glow Layer -
Specify the input layer and options for building the glow.
- Layer - Specifies on which layer to base the glow.This effect is an advanced plug-in for generating beautiful blooms and glowing regions.
Selection Method -
Rather than glowing the entire image, Glow uses a selection to build the glow. There are two methods for selecting the image region:
- Match Color Key - This method uses color keying to define the image region to glow. When using this mode the Match Color, Tolerance, and Feather controls will become enabled.
- Use Channel Matte - The other method of selecting the glow region is to use a channel as a matte. A channel can be used with levels to pull a precise region from an image. For example, you could use the luminance channel to generally apply glow to the lighter areas of the image.
- Match Color - This color specifies the color to key from the layer. Any color matching this will be included in the glow.
- Matching Tolerance - Starting from the match color ,the tolerance expands the search region to include more pixels.
- Matching Feather - Can also be used to increase the selection region. However the feather fades in pixels based on their closeness in matching, creating a softer matte.
- Matte Channel - The selected channel is used to determine what areas of the image will be glowed. Levels can be used to fine tune the selection region.
- Invert - When enabled, the glow region will be inverted.
- Premultiply With Alpha - The selection region will be multiplied with the layer’s alpha channel.
Further adjust the glow with the levels controls.
- Input Black - When increased, the channel be-comes darker. The Input Black and Input White values can be moved closer together to create contrast.
- Input White - Increases the range of white pixels. As the value is decreased, the brightness of the image increases until the whole image becomes white.
- Gamma - Values less than 1.0 bias the gray levels towards black, creating a darker image. When the gamma value is greater than 1.0 the gray values are pushed towards white, brightening the image.
- Output Black - Limits the maximum darkness of the channel.
- Output White - limits the maximum brightness of the channel.
- Render Order, Levels First - allows you to control whether levels are applied to the glow before or after its blur is computed.
If the host software supports layer masks, they can be used to control what areas of the image has glow applied. The mask group is only active when a valid path is chosen and paths must be closed.
- Path - To specify a mask, select the desired path from this menu. Only closed paths are valid.
- Use All Paths - All available closed paths are used. The paths used are indicated by number in the name of the mask group control.
- Uniform Feather - Mask feathering will be equal in the horizontal and vertical directions.
- Feather - Controls the size of the feathering in pixels. You can turn off Uniform Feather in order to control the feathering amount independently on the X and Y axis.
- Invert - The mask will be rendered inverted. Rather than color being filled inside the path shape, it will fill all areas outside the closed path.
- Mask Mode- The default mask mode is Multiply, which produces the most commonly expected result. However, you can use any other mode to subtract, add, or otherwise affect the matte with the mask.
- Mask Opacity - Controls how much the mask affects the matte.
When creating a glow, you can use the original input colors of the Glow Layer or you can use the following controls to tint and colorize the effect.
- Enable - To enable Colorize, this box must be checked.
- Color Presets - A collection of built-in presets make easy work out of colorizing and provides great starting points.
- Number of Colors - Colorize supports either 3 or 5 colors. When set to 3 colors the Mid-Shadow and Mid-Highlight controls become disabled.
- Color Controls - Each color targets its respective range of the image. The shadow color, for example, is mapped to the darkest areas of the image, while the highlights are mapped to the brightest. With Glow, the darker areas are transparent and will have less effect.
- Colorize Opacity - At a value of 0, no color is applied to the glow, while at 100 the color is fully applied.
- Cycle Mode - Determines how values are handled beyond the normal value range when the Cycle is used.
- Cycle - This cycles the grayscale gradient, wrapping it around. The cycle mode can be used to determine how the values are wrapped.
- Size - Controls how much the glow is bloomed. Size is used in conjunction with Intensity to control the visible amount of glow.
- Quality - Allows you to decide what type of blur is used for computing the size. When set to Automatic, the effect will render Gaussian Blur for best quality and Fast Blur for draft quality.
- Uniform Size - Controls whether the glow is applied equally in the horizontal and vertical directions. If this box is not checked, the Sixe X and Size Y parameters can be used separately.
- Intensity- The intensity of the effect is controlled by this parameter.
- Composite Mode - This is the final composite mode used to apply the glow over the original layer.
- Opacity - The final glow opacity is controlled by this slider. If set to 0, Glow will have no effect on the original layer.
- Preserve Transparency - When this option is enabled, the alpha channel of the original layer is preserved. Otherwise, the glow region has it’s own alpha and may extend beyond the edges of the original alpha.
This plug-in is the ultimate tool for building gradients and supports dynamic creation of gradients with up to 12 colors.
Gradients can be created in two general ways: Basic Shape and Layer Map.
- Basic Shape-
- You can choose from a list of standard gradient shapes to create practically any kind of gradient needed.
- Horizontal - This maps the gradient from left to right across the layer.
- Vertical - This maps the gradient from top to bottom across the layer.
- Linear - This creates a gradient in a direction from the start point to the end point.
- Elliptical - Produces a circular gradient. In this mode the transform controls will become active allowing you to move, scale, and rotate the gradient just as you would a layer with Anchor determining the center of the transformations.
- Rectangular - This produces a box style gradient. In this mode the transform controls will become active allowing you to move, scale, and rotate the gradient just as you would a layer. Anchor determines the center point of the transformations.
- Radial - This produces a gradient that rotates around the center point in a clockwise direction. This shape also supports transformation controls.
When the gradient type is set to Layer Map, these controls will become active. Layer Map builds a gradient by mapping the colors to the specified channel of a layer.
- Layer - Specifies the input layer for the gradient. If none is selected, then the layer on which the effect is applied will be used.
- Channel - The selected channel will be extracted from the layer. You can set the render mode to Gradient Map to see the channel by itself with the Invert and Premultiply With Alpha options included.
- Invert - When enabled, the selected channel will be inverted, calculated before Premultiply With Alpha. This will reverse the mapping of the gradient.
- Premultiply With Alpha - Enable this in order to render the channel premultiplied with its alpha channel.
- Color Presets - As a starting point you can choose from the list of color presets. Each preset may vary in the number of colors used.
- Number of Colors - Gradient Designer supports up to 12 colors. You can set the number of color using this popup menu, or you can interactively add and remove colors using the gradient interface.
- Repeat Mode - Specifies how the gradient be -haves beyond the initial range and when using the cycle feature. You can create infinitely repeating gradients, or gradients that simply fade in and out.
- Reverse - Checking this box will reverse the gradient.
- Dither - To help avoid gradient banding you can enable dithering. Dithering adds slight random variation to the color mapping to help reduce visual steps in the gradient.
The Gradient Interface greatly simplifies the process of creating and manipulating colors.
- Control Bar - Displays the name of any control as you move over or select it. In some cases the control value is also displayed, making it easier for you to judge the changes you are making.
- Display Color/Alpha - Toggles between display-ing the color gradient or the alpha gradient. The change will be reflected in the main viewing area of the gradient interface. The rendered gradient is unaffected by this change.
- Reset Cycle - This button provides a quick way to reset the cycle parameter and will not modify the colors or positions in any way.
- Space Positions Evenly - The current order of colors will be maintained, but the spaces between will be evenly spread out.
- Histogram/Gradient View - If Layer Map is being used, a histogram of the channel map will be displayed superimposed with the gradient. If
- Basic Shape is being used, the viewing area will display a full gradient.
- Cycle - Can be interactively set in the gradient interface by dragging anywhere in the main viewing area. The cursor will change to the hand as an indication.
- Histogram Scale - There is a slider control at the right of the interface that allows you to zoom into the histogram to see smaller details more clearly.
- Color and Alpha Gradient - Below the main viewing area of the histogram is the gradient display. This is separated into two portions: color and alpha.
- Adding a Color - Colors can be dynamically added to the gradient by clicking in any empty space between existing color controls. The cursor will change to a pen ‘+’ to indicate the mode change.
- Removing a Color - Colors can be removed from the gradient by holding down the control key and clicking on a color. The removed color will be returned to the color bank for reuse. Colors can be removed until just 1 color remains.
- Color Picker - To select a color simply click on it.
- The selected color is indicated by a connection line in blue. Changes made to the color picker will directly affect the selected color. To set the alpha value of a color, use the alpha slider at the bottom.
- Cycle - The Color Bank lists all of the color controls used by Gradient Designer. Rather than encapsulating all of the controls into a single parameter, individual controls store the data to provide maximum flexibility in animating. You can enable animation for any of the controls in the color bank by clicking on the standard stopwatch icon.
- Color Bank - The color bank is carefully managed by Gradient Designer and will add and remove colors as needed. Unused colors will be disabled gray.
- Gradient Map - This mode will render the gray-scale gradient map without color. This mode is most useful when using Layer Map.
- Gradient Only - This mode will output just the gradient with its own opacity. Use this view mode when you don’t care to composite the gradient over the source layer.
- Composite - This mode will render the gradient composited over the layer on which the effect is applied. With this mode selected, Composite Mode and Opacity controls will become available.
- Composite Mode - This option is only available when Render Mode is set to Composite. The default setting of Normal simply replaces the original layer colors. Other composite modes can be used to create more dynamic coloring effects.
- Preserve Transparency - When this option is enabled, the alpha channel of the original layer is preserved. Otherwise, the glow region has it’s own alpha and may extend beyond the edges of the original alpha.
- Opacity - The amount of color applied when the Render Mode is set to Composite is controlled by the Opacity. At a value of 0, no color is applied to the image, while at 100% the color is fully applied.
This plug-in converts color images into grayscale images with superior control over color channels for striking images. Brightness and contrast may be worked with independently for each of these channels.
- Red, Green, Blue Weight - Weight is the amount of color that is contributed from each channel. The sum of all three channels should equal 100, as this is the standard amount of channel contribution in a normal image.
- Red, Green, Blue Contrast - Controls the amount of contrast in the red, green, and blue channels. This allows for increasing or decreasing contrast levels in the channel before it is blended
- Red, Green, Blue Brightness - Controls the amount of brightness in the red, green, and blue channels. This allows for increasing or decreasing brightness levels in the channel before it is blended
This plug-in helps to integrate composited or keyed elements by simulating background light around foreground objects.
In the real world, light tends to scatter, creating a blooming effect that is particularly noticeable at the edges of objects. Light Wrap simulates this effect digitally, providing advanced features for precisely controlling how and where the light is applied.
To use Light Wrap, apply it to the foreground layer. Because Light Wrap is based on the layer’s alpha channel, the layer must have transparency (which can be created by applying a key 'upstream' from the Lightwrap effect). Then specify which layer to use as the background light source.
- Light Layer - Use this view mode to see the source of the light. This mode will render the light layer with masks, levels and blur applied.
- Light Mask - If you are using a mask on the light layer, use this mode to view the mask by itself.
- Light Wrap - This view mode will render out the internal light wrap layer. This can be useful if you wish to composite the light wrap separately or simply see what the light looks like alone. Note that you may need to turn off the background layer to see the light wrap correctly.
- Light Stencil - This view mode can be used to inspect the affected regions of the light wrap. It will show in grayscale the area the light is covering. This view mode is especially useful when setting up the obscuration layer.
- Obscuration Layer - When enabled, this view mode can be used to see the obscuration layer directly.
- Composite - View the final output of Light Wrap in this mode. Only in this mode will all of the effect controls be available.
Specify the source of the background light that will be wrapped around the foreground object.
- Layer - Use this menu to choose the source layer for Light Wrap. If None is selected then the layer on which the effect is applied will be used.
- Invert Color - Enable this in order to invert the color channels of the layer. This can be useful in conjunction with certain composite modes.
- Invert Alpha - Inverts the alpha channel of the layer when enabled. Invert is calculated before Premultiply With Alpha.
- Premultiply With Alpha - Enabling this will pre-multiply the color channels of the layer with the alpha channel. This effectively pre-renders the layer over black.
Soften your background light with the Blur controls. Simulate increased diffusion of the light source and reduce visible edges.
- Blur Quality - Choose from Fast Blur or Gaussian. When set to Automatic, the effect will render Gaussian Blur for best quality and Fast Blur for draft quality.
- Uniform Blur - This controls whether Blur is applied equally in the horizontal and vertical directions.
- Blur - Adjust the amount of blur with one parameter for Uniform Blur control, or a separate parameter for X and Y axis when Uniform Blur remains unchecked.
- Render Order - Applying blur before or after Levels can produce dramatically different results.
The light layer can be adjusted using the levels controls to make adjustments to the effect through adjustments to the source.
- Input Black - As the Input Black is increased, the layer becomes darker.
- Input White - As the value is decreased, the brightness of the image increases until the whole image becomes white.
- (The Input Black and Input White values can be moved closer together to increase contrast.)
- Gamma - Gamma values less than 1.0 bias the gray levels towards black, creating a darker image. When the Gamma value is greater than 1.0 the gray values are pushed towards white, brightening the image.
- Output Black - Limits the maximum darkness of the source layer.
- Output White - Limits the maximum brightness of the source layer.
Layer masks can be helpful in isolating or excluding areas of the light layer. The Mask group is only active when a valid path is chosen and paths must be closed (This feature is specifc to host applications that have mask capabilities).
- Path - Select the path that will define the mask from this menu.
- Use All Paths - With this option, it is not necessary to explicitly select a path. Instead, all available closed paths are used. The paths used are indicated by number in the name of the mask group control.
- Uniform Feather - Enabling this function means that mask feathering will be equal in the horizontal and vertical directions.
- Feather - This slider controls the size of the feathering in pixels. Turn off Uniform Feather in order to control the feathering amount independently on the X and Y axis.
- Invert - When enabled, the mask will be rendered inverted. Rather than color being filled inside the path shape, it will fill all areas outside the closed path.
- Mask Mode - The default Mask Mode is Multiply, which produces the most commonly expected result. However, you can use any other mode to subtract, add, or otherwise affect the transparency.
- Mask Opacity - Controls how much the mask affects the light layer. With a value of 0, the mask is not rendered, and at a value of 100 the mask is fully applied.
Add another level of control to Light Wrap by limiting light to particular areas. It is often desirable to have more light wrap relative to the dark areas of the foreground, and less light wrap along bright edges. The default settings are intended for this purpose, using the inverted luminance of the source layer as matte.
- Layer - Typically this can be left to None in order to use the layer on which the effect is applied.
- Channel - The default is Luminance with Invert enabled. This means the bright areas of the foreground object will be more resistant to the background light.
- Invert - The selected channel will be inverted, calculated before Premultiply With Alpha.
- Premultiply With Alpha - This option is generally used for layers that have transparency.
- Blur and Levels - These controls work identically to the light layer Blur and Levels controls, but apply to the Obscuration Layer.
- Composite Mode - Specifies the method to use when applying the Obscuration Layer. The default mode is Multiply & Burn, a proprietary mode that’s great for organically combining mattes and channels.
- Opacity - The degree of obscuration is controlled by the Opacity.
Tip: To help see what the Obscuration Layer is doing it is helpful to use the Light Stencil and Obscuration Layer View Modes.
- Wrap Blur Quality - You can choose from Fast Blur or Gaussian. When set to Automatic, the effect will render Gaussian Blur for best quality and Fast Blur for draft quality.
- Uniform Wrap Size - When enabled, the light wrap will be equal in size in both the horizontal and vertical directions.
- Wrap Size - The size of the wrap is controlled by this slider. The larger the value, the more the background light will overtake the foreground. Light Stencil view mode can be used to see this clearly.
- Intensity - The Intensity is multiplied with the light wrap as a way to increase or decrease the effect of the light. Increase intensity to make the light wrap more prominent.
- Falloff - Controls the contrast of the light stencil and can be used to keep the light closer to or farther from the center of the foreground layer. Lower values will wash out the light wrap creating overall light, while higher values will shrink the light wrap towards the edges.
- Bias - Controls the gamma of the light wrap. Lower values will shrink the light wrap while larger values will grow the light wrap.
- Composite Mode - Most often the add mode is great for lighting but other composite modes such as Luma Out & Add can provide excellent results without over-exposing the foreground.
- Opacity - Controls how much Light Wrap affects the layer it is applied on.
This plug-in simulates a depth-of-field effect using the contrast of the image.
The Nightbloom effect is primarily designed for nighttime scenes but can be used for day scenes as well. Full control is given over the shape of the bloom, or lens iris shape, the size of the bloom, the threshold of the blooming, the brightness of the bloom, the amount of blur, and the amount of blend with the original image.
- Bloom Shape - Style of lens aperture.
- Bloom Size - Size of the bloom 'flare'.
- Bloom Threshold - Brightness threshold value to render the bloom shape. A lower threshold corresponds to the darker parts of the image.
- Bloom Brightness - Brightness value of bloom shapes.
- Blur Amount - Amount to blur the underlying source image.
- TIP: While experimenting with settings, lower the image resolution for faster previews.
This effect is a photographic process simulation for creating the look of double exposed photographic paper
- Invert - Applies the solarize effect to the layer after the layer to which the effect has been applied has been inverted.
- Tint Color - Allows for color tinting of this gray-scale effect. When this is set to white, the effect will strictly be a grayscale effect.
- Contrast - Adjusts the tonal range of the image before Solarize is applied. When these values are high, the difference between light and dark becomes exaggerated. Small (between 5 and 35) amounts of contrast will often enhance the solarize effect.
- Rotate - Controls the appearance of the solarize effect by creating a gradual change similar to the Invert control at the maximum setting.
- Solar Grain - Adds a grain pattern to the foot-age. If a portion of the image appears to be posterizing after applying Solarize, it is probably due to the grain settings. Try turning the grain to zero and see if the posterization is still visibile.
- TIP: This effect is typically fast enough to hold down the option key during adjustment in order to see real-time updates.®