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BackDropKey

This effect stores a frame of video, and uses that to mask areas in the current frame that are different from the original 'backdrop' frame. This only works while the camera is completely still, and it helps if you've got a bright, high-contrast, colourful scene. You get out an image that is marked white where the current image differs from the backdrop, and black elsewhere. It's intended that you use this image as a mask, for example so you can apply an effect only to foreground elements in an image.

Parameters

  1. Capture Frame
    Turn this on to use the current frame as the backdrop. A good time to do this is when there's nothing in shot but the background, then whenever people move in front of the background, they'll show up on the mask.
  2. Difference Threshold
    This parameter controls how much different part of the current frame has to be from the original backdrop before it's marked on the mask. The lower this value, the less difference there has to be between the backdrop and current image before it's marked on the mask. Low values mean that you mark fewer actual foreground elements as part of the background, but also get more mistakes from noise in the image. With a higher value, you get less noise, but also miss more actual parts of the foreground in the mask.


BackLight

This effect draws a line away from the centre of the image from each pixel, the brighter the pixel, the longer the line is.

Parameters

  1. Spike Scale
    This controls the overall length of the lines, higher values do mean the effect takes longer to run, so if you're having framerate problems, keep this value low.


Bloom

This effect trys to simulate the photographic problem of 'blooming', where areas of a picture exposed to very strong sources of light bleed into neighbouring areas, brightening them and giving light sources a 'halo'.

Parameters

  1. Radius
    This controls how widely the brightening effect extends away from the light source, the larger the value the more area it covers
  2. Passes
    If you turn this down to 1 or 2 you'll get better performance but you get a blockier look. With the default value of 3, you get much more rounded halos.
  3. Floor
    This parameter specifies the lowest brightness that you need before a halo is generated.
  4. Ceiling
    This sets the brightness value where the halo is at its maximum strength.
  5. Aspect Ratio
    This changes the shape of the halo, from stretched out horizontally, to circular, to stretched vertically


Burn

This emulates the photoshop effect of the same name.

Parameters

It has no parameters.


Chromium

This effect alters the colours in the image to give an otherworldly look. It's inspired by the free photoshop filter of the same name.

Parameters

  1. Edge 1
    One of the inputs to the colour change algorithm
  2. Edge 2
    The other input to the algorithm
  3. Red Tint
    Controls the redness of the result
  4. Green Tint
    Controls the greenness of the result
  5. Blue Tint
    Controls the blueness of the result


ColourReduce

This effect picks a limited number of colours to best represent the input image. The output is the image drawn using only those colours. It gives an effect similar to Posterize, but with a more intelligent choice of colours. Since the colour picking process depends on the colours in the current frame, if the colours change rapidly between frames you can have a distracting rapid change of palettes. To try and prevent this, I've included a way to damp down the speed at which the palette changes using the 'Palette Persistence' variable.

Parameters

  1. Colour Count
    How many colours to reduce the image to
  2. Palette Persistence
    How 'sticky' the palette is, with high values the palette changes very infrequently, with low values it changes rapidly


ColourWarp

This is a general purpose colour manipulation effect, it operates by changing the image to Hue; which colour, eg red, orange, purple, Saturation; how vivid the colour is, eg bright blue versus pastel blue, and Value; how dark the colour is. This allows you to change all the colours in an image without affecting their brightness, or increase the vividness of every colour without changing their hue or darkness. I find this a useful tool for many situations, such as taking a washed out input and increasing the saturation scale to make the colours much stronger and clearer. Because doing this conversion precisely takes a lot of power, you can turn on the 'cheap and nasty' option and sacrifice accuracy for speed. Another option is to do the conversion and pass the result out in the red, green and blue channels of the output. This allows you to apply other effects designed to work in RGB space with this HSV data, and then apply another ColourWarp converting back to give you the correct results.

Parameters

  1. Hue Offset
    How much to bump up all the hue's in the image by, use it to rotate the colours in the image around the hue colour wheel
  2. Hue Scale
    How much to amplify the hue of the image by
  3. Saturation Offset
    How much to bump up the strength of all the colours by
  4. Saturation Scale
    How much to amplify the strength of each colour by
  5. Value Offset
    How much black to add to all the colours
  6. Value Scale
    How much to amplify the black contained in each colour by
  7. Cheap And Nasty
    Turns on optimisations that sacrifice accuracy for speed
  8. RGB to HSV
    Puts the hue of each pixel into the red channel of the output, the saturation in the green, and the value in the blue
  9. HSV to RGB
    Does the opposite conversion, treating the red channel of the input as the hue, the green as the saturation, and the blue as the value


DeInterlace

This provides a simple filter designed to smooth away the 'comb' lines that you get when you display interlaced video on a computer display. It blurs adjacent horizontal lines together, fixing the distracting lines but sacrificing some sharpness. It only works when the comb lines are alternating, since the PAL system doesn't fit exactly into a common computer resolution, there's an option to compensate for the case when a PAL input is scaled to 800x600.

Parameters

  1. PAL 800x600 fix
    This turns on the fix for the PAL at 800x600 situation


Dilate

This is a simple version of the MiniMax filter, it spreads the brightest or darkest pixels outwards. Applying this repeatedly can give interesting effects, for example applying it with erode turned on, followed by an instance with erode turned off tends to remove noise, without losing too much image detail.

Parameters

  1. Erode
    This specifies whether the brightest or darkest pixels are the ones expanded


DirectionalBlur

The input image is blurred in a single direction, giving a motion blurred or windswept effect.

Parameters

  1. Radius
    How many pixels the blurring extends for
  2. Angle
    Sets the direction for the blurring


Dodge

This emulates the photoshop filter of the same name.

Parameters

It has no parameters.


Exclusion

This emulates the photoshop filter of the same name.

Parameters

It has no parameters.


FishEye

This makes the image look as if it was being viewed through a wide-angle fisheye lens, giving the sort of effect you see when you through a peep-hole in a door.

Parameters

  1. Distortion
    This controls how rounded the image becomes
  2. Maximum Radius
    The size of the distorted image
  3. Centre X
    Sets where the distortion is centred
  4. Centre Y
    Sets where the distortion is centred


GaussianBlur

This effect smoothly blurs the input. It also allows the sharpness of the image to be increased using the UnSharp Mask method. There's a choice between performing true gaussian blurring, or using less accurate but much faster approximations, decided by the use of the 'Fake It' parameter. Faking it is highly recommended, and if you do you can control the trade-off between accuracy and speed using the 'Passes' parameter, when this is set to 1, you get a very fast but very blocky blur, at the default of 3 you'll get a blur that is usually indistinguisable from the true gaussian blurring. If you're having performance problems, turn 'Fake It' on and set 'Passes' to 1 or 2.

Parameters

  1. Radius
    This controls how strongly the image is blurred
  2. Edge Factor
    This affects the internal workings of the blurring when 'Fake It' is turned off. It's a very subtle adjustment, and is included for completeness's sake, I've never needed it
  3. Fake It
    Turn this on to increase performance
  4. Passes
    Controls how accurate the faking is
  5. Do UnSharp Mask
    Changes the blur into a sharpening of the image when turned on
  6. Aspect Ratio
    This sets how stretched the blur is horizontally or vertically, when it's low you get a lot of blurring sideways, and none up or down, when it's medium you get equal blurring all round, and when it's high you get strong vertical blurring
  7. UnSharp Mask Amount
    How much to sharpen the image by
  8. Do Odd But Cool
    Enables a bug I created whilst implementing the effect that I decided to leave in since it gave a rather pleasing result


Glow

This effect gives a halo to objects in the image. By default it puts a lighter glow on the darker background, but if you make the outer radius smaller than the inner radius, you get the opposite, a dark halo on lighter areas of the image. Internally, the effect uses a gaussian blur to do this, so several of the parameters are common with that effect.

Parameters

  1. Inner Radius
    This determines how far out from an outline the inner edge of the glow begins
  2. Outer Radius
    This determines how far out the outer edge of the glow is from the object
  3. Passes
    This sets the how rounded and smooth the glow is, like the passes parameter in Gaussian Blur, going to the higher quality levels slows down performance
  4. Floor
    This parameter controls the sharpness and strength of the glow, along with the ceiling parameter. In general, a small gap between the two parameters means a stronger, sharper glow, and a large gap means a weaker, more diffuse effect.
  5. Ceiling
    Together with the floor parameter, this parameter controls the appearance of the glow
  6. Aspect Ratio
    This controls the shape and direction of the glow, with small values giving a horizontal glow, large values a vertically spreading one, and medium values spreading the glow evenly.


HalfTone

This tries to draw the input using the patterns of dots or diamonds that you find in newspaper photographs.

Parameters

  1. Dot Size
    This sets the size of the dots or diamonds that are used to make up the picture
  2. Style
    This picks from 5 styles, round dots, lines, diamonds, 'euclidean', postscript diamonds
  3. Angle
    Sets the orientation of the grids of dots on screen
  4. Smoothing
    This sets how blurry the dots on-screen are


Kaleidascope

This effect is similar a traditional kaleidoscope, and allows you to reflect a part of the image multiple times around a centre point. You can set how many segments you want the image reflected as, how the mirrors are rotated, where the centre of the output images is, and what part of the source image is used as the source.

Parameters

  1. Divisions
    This controls how many segments the output image is composed of
  2. Output Angle
    This sets how much to rotate the segments around the centre point when they're drawn
  3. Source Angle
    The segment of the input image that is used for all the output segments is rotated using this parameter
  4. Source Center X
    This sets the horizontal position of the central corner of the segment in the input image
  5. Source Center Y
    This sets the vertical position of the central corner of the segment in the input image
  6. Output Center X
    This sets the horizontal position of the centre of the rotated segments in the output image
  7. Output Center Y
    This sets the vertical position of the centre of the rotated segments in the output image
  8. Reflection Line Proportion
    This controls the relative sizes of each pair of adjacent segments in the output image
  9. Source Angle Proportion
    This sets the angular size of the source segment, relative to the size of the output segment, so altering this value will squash or expand


Levels

This effect does the same things you can do with the 'Levels' functions in PhotoShop, it allows the way the image colours scale from darkness to white to be manipulated. Probably the best way to see how this works is by opening the Levels dialog in PhotoShop, manipulating the sliders, and seeing what effect they have on the image. Most of the sliders in PS are here as parameters, with the left-most slider being referred to as the floor, and the rightmost as the ceiling. The middle slider tab is not emulated in this effect. It has two main options that affect the way the other parameters are used. If 'Auto' is turned on, then the effect attempts to do an operation like 'Auto-Levels' in PhotoShop, so that the darkest value in the image is changed to black, the whitest to white, and all the other colours in between are scaled to fade smoothly between them. You specify a floor percentage and a ceiling percentage, which dictate what percentage of the darkest colours to set to black, and what percentage of the brightest colours to set to white, before you start scaling between them. Setting these two percentages very close together (eg 45% and 55%) gives a very contrasted image. If 'Auto' is turned off, then the absolute colour values specified in the floor and ceiling variables are used to scale the input image's colours, without worrying about what the darkest and lightest colours actually found in the image are. This is particularly useful when you have an image with a very small range of colours, eg that's very grey or washed out, and you want to boost up the contrast in the image automatically. The second major option is 'Uniform', if this is on then the levels operation operates on the overall brightness of a colour in the image, but if it's off then the individual red, green and blue channels are treated seperately. 'Uniform' guarantees that only the brightness of the colours in the image will be changed, with it turned off you can alter the hue of the colours as well as the brightness. Note: This effect has more parameters than can be supported in TZT, so only a limited amount of the functions are available.

Parameters

  1. Auto
    This parameter controls whether do 'Auto-Levels', as explained in the description
  2. Uniform
    This controls whether the colours are manipulated according to their overall brightness, or the amounts of red, green and blue they contain, as explained above in the description
  3. Allow Inversion
    This controls whether you can have combinations of values that invert the colours in the image, like a film negative. Turn this off if you want to make sure the image stays looking a bit naturalistic whilst you're changing the parameters, but turn it on if you want the inverted look
  4. Uniform Input Floor
    Specifies what value to treat as black in the image, so that all colour below this will be output as the darkest value in the output image. Only used when 'Auto' is off and 'Uniform' is on
  5. Uniform Input Ceiling
    Sets what value to use as the brightest value in the image, so that all colours brighter than this will come out with the highest brightness value in the output. Only used when 'Auto' is off and 'Uniform' is on
  6. Uniform Output Floor
    This parameter sets how dark the darkest colour in the output image will be. Only used when 'Auto' is off and 'Uniform' is on
  7. Uniform Output Ceiling
    This parameter sets the brightness of the brightest colour in the output image. Only used when 'Auto' is off and 'Uniform' is on
  8. Red Input Floor
    This controls the red value that is treated as black in the input image. Only used when 'Auto' is off and 'Uniform' is off
  9. Red Input Ceiling
    This sets the red value that is treated as if it were full saturation red in the input image. Only used when 'Auto' is off and 'Uniform' is off

The following parameters are not available in TransZendenT

  1. Red Output Floor
    This parameter describes what value of red to use for the darkest red in the output image. Only used when 'Auto' is off and 'Uniform' is off
  2. Red Output Ceiling
    This sets how strong full saturation red is in the output image, eg how much red a white in the image will have. Only used when 'Auto' is off and 'Uniform' is off
  3. Green Input Floor
    This controls the green value that is treated as black in the input image. Only used when 'Auto' is off and 'Uniform' is off
  4. Green Input Ceiling
    This sets the green value that is treated as if it were full saturation green in the input image. Only used when 'Auto' is off and 'Uniform' is off
  5. Green Output Floor
    This parameter describes what value of green to use for the darkest green in the output image. Only used when 'Auto' is off and 'Uniform' is off
  6. Green Output Ceiling
    This sets how strong full saturation green is in the output image, eg how much green a white in the image will have. Only used when 'Auto' is off and 'Uniform' is off
  7. Blue Input Floor
    This controls the blue value that is treated as black in the input image. Only used when 'Auto' is off and 'Uniform' is off
  8. Blue Input Ceiling
    This sets the blue value that is treated as if it were full saturation blue in the input image. Only used when 'Auto' is off and 'Uniform' is off
  9. Blue Output Floor
    This parameter describes what value of blue to use for the darkest blue in the output image. Only used when 'Auto' is off and 'Uniform' is off
  10. Blue Output Ceiling
    This sets how strong full saturation blue is in the output image, eg how much blue a white in the image will have. Only used when 'Auto' is off and 'Uniform' is off
  11. Low Percentile
    This sets what percentage of the darkest colours in the image to set to full black in the image when auto is enabled. If uniform is on, it sorts colours by their overall brightness, if it's off it deals with the red, green and blue channels of each colour seperately.
  12. High Percentile
    This controls the percentage of the brightest colours that are set to white or full saturation, when 'Auto' is turned on.


LionelBlur

This effect smoothly blurs the edges of bright objects over darker objects.

Parameters

  1. Blur Falloff
    This controls how fast the blur fades away from the outline of an object. Small values mean the blur fades very quickly, large values keep the blur persisting
  2. Angle
    Sets the direction that the blur goes


LiveFeed

This trys to get an image from a video capture device installed on the computer. It requires a 'WMD' capture driver and a current version of DirectX, and if it finds more than one device on the system it just picks the first one. If you are having problems getting this working, download 'amcap.exe' from http://www.petewarden.com/amcap.exe and run it. This is a Microsoft app, so see if you can get a capture image in this program. If you can't, then there's a problem with the setup of the device, and you'll need to experiment to find out what's happening. If you get an image, make the device you want is first in the list of devices it gives you. If it isn't, uninstall other devices. If you get an image and it's the first device, let me know and I'll try and fix the problem.

Parameters

It has no parameters.


LiveFeed2

As above, but uses the second device found on the list.

Parameters

It has no parameters.


LumaOffset

The image is broken up into seperate scan lines, each part of the scan line is moved up or down depending on the brightness of the image at that point. This effect was inspired by EffecTV.

Parameters

  1. Offset Scale
    How much to move the segments up and down by, small values give a very minimal perturbation to each scanline, large ones send the lines flying all over the place, very sensitive to changes in brightness
  2. Line Gap
    This sets how many pixels of black to leave between the scan lines


MetaImage

The output image is composed of many smaller versions of the input image, altered to match the colours of the area they cover in the original image.

Parameters

  1. Size
    This controls the size of the smaller sub-images that make up the picture, where 1 is as big as the original image and 0 is tiny.
  2. Is Distance Based
    This controls how the size of the images is changes by the 'Size' parameter, if this is turned on then the size doesn't scale linearly, but is used as if the images were on a plane in 3d space, and controls the distance from the plane.
  3. Cheap And Nasty
    Part of the scaling down process on the images involves properly smoothing them, turning this parameter on skips that step, giving a more jagged output but speeding up the processing.


Posterize

Like the PhotoShop equivalent, this reduces the number of colours available to draw the output image in to a fixed number of brightnesses of red, green and blue, all equally seperated.

Parameters

  1. Levels
    This sets how many reds, green and blue levels to use to draw the output image


RadialBlur

This is a blur that radiates out from the centre of the image, giving a strange otherworldly effect.

Parameters

  1. Layer Scale
    This dictates the way that the blur shoots out from the centre. Small values just give a little bit of blurring around the edge of the image, and large values make everything but a small focus around the middle get very blurred.
  2. Quality
    This is an expensive effect, so small values on this parameter speed up the effect but are more chunky, whereas large values give smooth results at the expense of processing power.


RectDistort

The input image is distorted as if by a very rough and changing lens, like looking straight down at the bottom of a pot of boiling water. This is done by layering many random rectangles of distortion onto a distortion map every frame, and letting the previously applied distortion relax into its old positions a little every time.

Parameters

  1. Enable Clear
    Turning this on removes all the old distortion that was left over from old frames, and starts with a clean output
  2. Enable Rectangles
    This controls whether or not to draw the rectangles of distortion
  3. Rate
    How many rectangles to draw each frame, small values give a very slowly changing distortion effect, large values mean it moves very fast
  4. Width
    This sets how wide the widest rectangles of distortion are, with 1 being the width of the image
  5. Height
    This sets how high the highest rectangles of distortion are, with 1 being the height of the image
  6. X Delta
    How much the distortion moves the input left or right
  7. Y Delta
    How much the image is moved vertically by the distortion
  8. Persistence
    How slowly or quickly the distortion decays. Small values mean the distortion disappears quickly, large values mean that it builds up for a lot longer.


Refraction

The input image is broken up into rectangular cells, and scaled up or down within them. The effect is like looking through a wall of glass bricks, each acting as a magnifying or shrinking lens for its part of the image.

Parameters

  1. Refraction Amount
    How much to shrink or expand the input image by within each cell
  2. Cell Width
    The width of each cell, where 1 is the width of the image
  3. Cell Height
    The cell height, where 1 is the image's width
  4. Allow Magnification
    Turning this off prevents the image from being expanded to larger than it's original size within each cell


Slide

The input image is broken into two segments, which are slid independently against each other.

Parameters

  1. Horizontal
    This dictates whether the split line will be horizontal or vertical
  2. Mirror
    If this is enabled, one side of the split is a mirror image of the other side.
  3. Mirror Flip
    This controls whether one side of the split is flipped relative to the other.
  4. Proportion
    This sets the position of the split, where 0 is one side of the image, and 1 is the other.
  5. Speed 1
    The speed of one side of the split, relative to the direction of the split, is controlled by this parameter.
  6. Speed 2
    The speed relative to the split line of the other side of the split image is set by this parameter.


Smear

This effect takes a straight line through the image, and stretches the pixels along that line over the image, either the entire image or just the part of the image on one side of the line.

Parameters

  1. Angle
    This controls the rotation of the smear line within the image.
  2. Distance
    This sets the distance of the smear line from the centre of the image, with -1 being completely off the image, and 1 completely covering it.
  3. Smear Everything
    Rather than splitting the image into an untouched section and a smeared section, this takes the line of pixels along the smear line in the input image, and draws them over the entire output.


Solarize

This effect emulates the PhotoShop effect of the same name, and changes all the colours in an image to give a weird look to the output. It works by smoothly changing between normally increasing and inverted colour scales.

Parameters

  1. Threshold
    This controls the point at which the colours start inverting rather than increasing.
  2. Start
    What value the increase of the colours begins at.
  3. End
    Where the inversion of the colours finishes.
  4. Limit
    If this is turned on, then there's only a single increase and invert spike, if it's off then the increase/invert spike is tiled across the palette
  5. Floor
    How dark the lowest colour in the output image will be.
  6. Ceiling
    How bright the brightest colour in the output image will be.


SpiralBlur

This effect blurs the image in a circle, twists it around the center, with more blur applied at the edges of the image. Gives a 'drunk vision' sort of effect, a bit like RadialBlur

Parameters

  1. Angle
    How much to twist the image
  2. Scale
    This controls how much to drag the image outwards from the center
  3. Layer Count
    Low values give a lower quality image, but better performance, higher values up the quality but are slower


Squash

The input image is squashed vertically or horizontally and repeated across the output image.

Parameters

  1. Horizontal
    Whether the images are sideways or up and down.
  2. Size
    Sets the size of the tiled images, where 1 is a full size version of the input.


Static

Produces an output of random noise, like the static on a TV screen getting no signal.

Parameters

  1. Greyscale
    With this turned on, all the colours in the image will be shades of grey, rather than all hues, giving a more TV like appearance.
  2. Two Tone
    With this enabled, there will be only two colours used for the static, giving a more noisy, contrasty look.


Stretch

This effect stretches the input image as if it were on a rubber sheet, allowing you to set where the four corners of the input image are on the output. It smoothly interpolates the image between these points, and either mirrors or tiles copies of the image outside the specified area.

Parameters

  1. Mirror
    With this turned on, outside the main image the input images are mirrored so the fit together at the edges, otherwise plain tiled versions are used.
  2. Top Left X
    Sets the horizontal position of the top left corner of the input image in the output.
  3. Top Left Y
    Sets the vertical position of the top left corner of the input image in the output.
  4. Top Right X
    Sets the horizontal position of the top right corner of the input image in the output.
  5. Top Right Y
    Sets the vertical position of the top right corner of the input image in the output.
  6. Bottom Right X
    Sets the horizontal position of the bottom right corner of the input image in the output.
  7. Bottom Right Y
    Sets the vertical position of the bottom right corner of the input image in the output.
  8. Bottom Left X
    Sets the horizontal position of the bottom left corner of the input image in the output.
  9. Bottom Left Y
    Sets the vertical position of the bottom left corner of the input image in the output.


Tile

A rectangular part of the input image is tiled and mirrored across the output.

Parameters

  1. Angle
    This rotates the output image
  2. Skew Angle
    This changes the shape of the output tiles, from square to rectangular
  3. Cell Width
    This affects the width of the tiles
  4. Cell Height
    The height of all the tiles is controlled by this


TimeBlur

This takes a series of input frames and draws the blurred together result. This is rather like a video with a very long exposure time.

Parameters

  1. Time
    This controls how many frames are blurred together, and what the framerate is.


TimeSlice

This takes the input images in the last second or two, and draws different parts of the output image using those previous frames. There are several different styles that use different rules to pick which frames to use for which parts, most of them drawing horizontal or vertical slices of the input frames as the output. The 'image map' style uses the brightness of each pixel to decide which previous input frame to use for that pixel in the output. This effect works well for input video that has a static background, with people or objects moving in front of it,

Parameters

  1. SineSlur Period
    This controls how rapidly the sineslur style changes.
  2. SineSlur Amplitude
    This controls what range of input frames the sineslur style chooses from, so small values mean a short period of time, and large ones mean picking from a long period.
  3. Stutter Amplitude
    This set how long a period of time the stutter style picks it's input frames from.
  4. Custom Playback Offset
    In the custom playback style, you set this to control the time that the playback frame is picked.
  5. Horizontal
    Whether the slices are drawn left to right or up and down.
  6. Slice Size
    How wide each slice is
  7. Style
    This sets the way the effect works, the styles are Polari, a simple reverse and back, SineSlur, a more smooth blend, Stutter that picks frames at random, and Custom, which is controled by the 'Custom Playback Offset' parameter


TimeWarp

This effect stores the last second or two of input frames, and picks an old frame from this continously updating buffer to use as the output. It's particularly useful on live feeds, where any scratching or distortion of time effects have to be done in performance. It looks good showing video with a lot of rhythmic movement in it, like dancers.

Parameters

  1. SineSlur Period
    When the style is SineSlur, this determines how fast the frame rate speeds up and slows down.
  2. SineSlur Amplitude
    For the SineSlur style, this controls how much of the buffer is used for the speeding up and slowing down, so small values mean a short time before the present is used, large values mean a long time.
  3. Stutter Amplitude
    The Stutter style uses this to determine how far back in the past to go when picking frames to use from the buffer.
  4. Custom Playback Offset
    In the Custom style, this sets how far back in the past the frame that's drawn is from. You can use to to effectively scratch live video.
  5. Style
    This sets how the drawn frame is picked from the buffer. Polari style runs backwards through the buffer, so you get little snippets of time running backwards. SineSlur style slows down time until it stops, and then speeds up to catch up with the present. Stutter style picks a frame at random from the buffer, so you get time jumping all over the place. Custom style picks the frame specified by the 'Custom Playback Offset' parameter, allowing you to scratch.


TVPixel

The input image is displayed as a bunch of pixels, made up of red, green and blue bars, arranged in offset rows with black borders, like the elements that make up a TV screen.

Parameters

  1. Pixel Height
    This controls the height of each tv pixel


Vectorize

This takes an input image, and trys to draw it using flat polygons. It's very fussy about the type of images it works with, it needs simple, contrasting, clean input for best results.

Parameters

  1. Pre-Filter Size
    The input is initially blurred to reduce the noise and simplify the structure before the vectorizing process is run on it. This parameter lets you set how much blur you want, small values will retain a lot of detail but will give a very unstable, flickering image. Large values will miss a lot of details but outlines should be more stable.
  2. Resolution
    This defines how much detail to draw the polygons in, high values will give more accurate outlines at the cost of some performance and image stability.
  3. Monochrome
    If this is enabled, only black and white are used for the output image.
  4. Colour Count
    If monochrome is not enabled, this sets how many different colours to use for the polygons. High values can give a very complex output image.
  5. Palette Persistence
    The non-monochrome style of vectorization uses ColourReduce internally to decide what colours to use. Since this choice is very dependent on the particular colours in the current frame, which can change very frequently, this parameter lets you specify how much to slow down the colour changes by. Small values mean a rapidly changing palette, large values a very static one.
  6. Difference Threshold
    This is a parameter used internally within the vectorization process. If it's set to a low value, a lot of detail in the image will be kept, and the image may be quite unstable. At high values you may miss some details, but the outlines will be cleaner and you will get slightly better performance.


Wave

This effect takes the input image and blends it with the ripples from older images. It gives a mellow, spacy look.

Parameters

  1. Friction
    This controls how long it takes for ripples to fade away. At high values they never fade, at low values the fade rapidly.
  2. Speed
    This sets how fast the ripples respond to changes in the input and nearby areas.


(c) Pete Warden, 2003