Working with the BCC Displacement Map Filter

Transcription

1 Working with the BCC Displacement Map Filter The Displacement Map Þlter uses the luminance or color information from an alternate video or still image track (the Map Layer) to displace the pixels in the source image horizontally and vertically. This Þlter creates a distorted version of the source whose distorted regions correspond to the luma or color channel of the Map Layer s media. Source image Map Layer Filtered image The Displacement Map Þlter includes extensive parameters for you to customize. You may need to scroll to see them all. The illustration at right does not show all the parameters. The BCC Displacement Map can also be used as a transition. To apply a Displacement Map as a transition, use the BCC TR Displacement Map in the BCC Transitions category or apply the Þlter to two layers. General Controls Parameter Group At times, you may want to view your clip without the effect that you ve applied. The Bypass Effect checkbox lets you view the source footage without the effect. When the Bypass Effect checkbox is

2 selected, it turns pink. When you applied a BCC effect to an Avid title or matte, enabling the Bypass Effect checkbox does not display the original title unþltered, but rather displays the nested Graphic Fill of the matte key. Bypass Effect is a parameter change; selecting the Bypass Effect checkbox will unrender a rendered effect. To bypass a rendered effect without unrendering, step into the effect in the Avid timeline to see the unaffected video. Selecting the Safe Colors checkbox enables an NTSC/PAL color-safe Þlter that allows only colors that are safe for broadcast. BCC allows RGB values across the full range. When this checkbox is selected, the RGB values are limited to the NTSC/PAL safe range of The Draft Mode checkbox allows you to preview your effect in a Draft Mode to speed previews. This is especially useful for effects with multiple track inputs. Deselect this option before rendering your effect. The Apply to Title-Matte checkbox allows you to apply BCC Þlters to titles created in Avid s Title tool. To apply an effect to a title, drag the effect onto the title (you do not have to Option-drag) and select the Apply to Title-Matte checkbox. The Invert Matte checkbox allows you to invert any matte created by your effect. This is useful when you work with imported images. The Layer Opacity slider sets the opacity of the Þlter layer, which allows you to fade effects. When Apply to Title-Matte checkbox is selected, Layer Opacity affects the graphic Þll layer, which allows you to fade titles. The Field Render menu sets the rendering optimization for BCC. For most Þlters, you can use the default of Speed Optimized. For effects that include edging or DVE moves, you may want to use Quality Optimized. Quality Optimized takes more time to render, but will generally correct any problems with jitter or rough edges on effects. Geometrics Parameter Group The controls in the Geometrics parameter group allow you to add basic DVE moves to any Þlter. The Geometrics parameter group includes the following controls. Selecting the Enable Geometrics checkbox allows you to use the parameters to reposition a track. When this checkbox is deselected, the other parameters have no affect. Position X and Position Y adjust the horizontal and vertical location of the track. Scale X and Scale Y change the size of the image along the X and Y axis, respectively. These parameters scale as percentages of the image s original width and height. Thus, a Scale X value of 200 produces an image twice as wide as the original. Select the Lock Scale checkbox to keep the Scale X and Y values in proportion.

3 Tumble, Spin, and Rotate change the image s perspective along the X, Y, and Z axes respectively. Tumble, Spin, and Rotate can animate over values greater than 360 in order to make the shape complete more than one full revolution. Tumble Spin Rotate The Crop controls crop the edges of the image. Left Crop, Top Crop, Right Crop, and Bottom Crop determine the width, in pixels, of the cropped area on each edge of the image. For the Crop controls refer to the sides of the original image before it is transformed in 3D space. For example, if you tumble an image 180 so that it appears upside-down, cropping the Top affects the top of the original image, which is actually the bottom of the tumbled image. The Blend control soften the edges of the image by reducing their opacity. The Blend parameter determines the width, in pixels, of the transparent band on each edge of the image. These values are unaffected by the Crop values, allowing you to soften the edges of an uncropped image. Drop Shadow Parameter Group The controls in the Drop Shadow parameter group allow you to add an animatable drop shadow to an effect. The Drop Shadow parameter group includes the following controls. The Enable Drop Shadow checkbox turns the shadow on and off. If this checkbox is not selected, the other parameters have no affect. Source Opacity sets the opacity of the source. You can use this parameter to fade in a title or other source, without fading in the shadow. Distance sets the distance (in pixels) between the shadow and the image. Intensity sets the opacity of the drop shadow, and is scaled as a percentage. At a value of 100, the shadow is completely opaque. Lower Intensity values allow the background image to be seen through the shadow. At a value of 0, the shadow is completely invisible.

4 Softness controls the softness of the edges of the shadows. A setting of 0 produces a sharply deþned shadow with hard edges. Increasing Softness produces shadows with softer edges. Angle sets the direction of the drop shadow. A setting of 0 places the shadow to the right of the image; a setting of 90 places it directly below the image. Shadow Color sets the color of the shadow. If the source image is opaque, selecting the Opaque Source checkbox can speed rendering and previews. If your source is partially transparent, deselect this option for best results. The Map Layer menu determines which clip layer in the timeline is used to create the distortions in the source image. If the Map Layer is partly transparent, the displacement amount is scaled by its alpha values. Pixels whose map alpha is 0 are not displaced. Source image Map Layer Filtered image You can use the Noise Map Þlter to create auto-animated noise patterns that create a continuously ßowing displacement effect. Luma gradients also make good Map Layers. You can also try using a title or logo to create a displacement as shown in the example at right. Map Parameter Group The Map parameters control the appearance of the map used to distort the source image. Pre Blur applies a blur to the Map Layer. Increasing Pre Blur can help eliminate sharp edges in the map to create a smoother effect.

5 Pre Blur=0 Pre Blur=50 Displacement Þlters often look rough if the Map Layer is high-contrast or has sharp edges. Blur Threshold softens the Map Layer before computing the displacements. After the Map Layer is blurred, the blurred track is compared to the original Map Layer, and the color change for each channel is reduced by a relative amount. Increasing Blur Threshold blurs parts of the image with rapid changes in color without blurring subtle details. This is particularly appropriate for a displacement map, which can severely distort areas of the image where the Map Layer changes rapidly. Map Black Level sets the channel values of the map that are output as pure black. All pixels whose value is lower than the Map Black Level value become pure black. For example, if Map Black Level is set to 50, all pixels with a value of 50 or less output to a value of 0. The remaining values (50-255) are remapped to produce a smooth gradient from black to white. Map Black Level=0 Map Black Level=75

6 Map White Level sets the channel values of the input image that are treated as pure white by the Þlter. All pixels whose value is higher than the Map White Level value become to pure white. For example, if Map White Level is set to 200, all pixels with a value of 200 or more are output to a value of 255. The remaining values (0-200) are remapped to produce a smooth gradient from black to white. Map White Level=255 Map White Level=175 Displacement Map 1 Parameter Group The View Map checkbox allows you to view the Map Layer as you make adjustments to it. Deselect this option before rendering. The Horizontal Channel menu is the channel in the Map Layer used to compute horizontal displacement. The choices are Red, Green, Blue, Luma, White, Gray, and Black. White treats all of the pixels as if they were white (i. e. fully displaces each pixel to the Max. Horizontal value). Gray treats all pixels as if they were 50% gray (resulting in no displacement). Black treats all pixels as if they were black, thereby displacing all pixels to the negative of the Max. Horizontal Displacement value. Max. Horizontal Displacement sets the amount of horizontal displacement for pixels in the Map Layer. Positive values move points that correspond to white pixels in the Map Layer to the right; points that correspond to black pixels displace to the left. For negative values, pixels are displaced in the opposite direction (white pixels move to the left and black pixels to the right). The displacement of gray pixels is interpolated between these values. 50% gray pixels undergo no displacement, because they are pulled equally in both directions.

7 Max. Horizontal=25 Max. Horizontal=75 Max. Horizontal=175 The Vertical Channel menu sets the channel in the Map Layer used to compute vertical displacement. The choices are Red, Green, Blue, Luma, White, Gray, and Black. White treats all pixels as if they were white (fully displaces each pixel to the Max. Vertical Displacement value). Gray treats all pixels as if they were 50% gray (resulting in no displacement). Black treats all pixels as if they were black, thereby displacing all pixels to the negative of the Max. Vertical Displacement value. Max. Vertical Displacement sets the vertical displacement for pixels. White pixels are displaced upward by this amount, and black pixels are displaced downward by this amount. The displacement of gray pixels is interpolated between these values. 50% gray pixels undergo no displacement, because they are pulled equally in both directions. The Map Behavior menu determines how the map is applied when the source image is a different size than the image in the Map Layer. If your map is the same size as the image to which you are applying the Þlter, the Map Behavior settings all produce the same result. Center Map centers the map on the source and does not displace the source image outside the boundaries of the centered Map Layer. Stretch Map to Fit resizes the Map Layer to the size of the source. Tile Map creates tiles from the Map Layer and uses them to displace the source. Tile Map only has an effect when the map is smaller than the source image. PixelChooser Parameter Group The PixelChooser is included in many Boris Þlters and provides several methods to selectively Þlter an image. You can use the PixelChooser to create a matte between Þltered and unþltered pixels, either by specifying a geometric region or by using the image s luma or color information. See the individual PixelChooser Þlter for more detailed information on the PixelChooser controls.

8 Working with the Pinning Controls A displacement Þlter might distort the image in such a way that it creates holes at the edges of your image, or, at more extreme settings, tears holes in the center of your image. The pinning controls can counteract this effect by undistorting the image at speciþed edges, or in regions around up to two chosen points ( pin points ) within the image. No Pin Pin All Edges The most important control on this section is Edge Pin, which determines which edges are pinned. You can pin any or all of the edges, the center of the image, or only the horizontal or vertical edges. The default setting pins all the edges, which prevents edge distortion at most parameter settings. However, pinning cannot always prevent tearing at extreme settings. Increasing Edge Pin Width can help by undistorting within a greater distance from the edges. For effects that involve less distortion, a smaller Edge Pin Width prevents the edges from tearing and looks more realistic. Pin Point 1 and Pin Point 2 Parameter Groups Pin Point 1 and Pin Point 2 set the coordinates of a pin point. A pin point is a point at which the image is undistorted. The remaining Point 1 controls affect the distortion in a circular region (the pin region) centered around this point. The Pin Point 2 parameters apply a second pin point. These parameters function identically to the Pin Point 1 controls. Point 1 Strength sets the amount of pinning applied to the image at the pin point. The default value of 100 completely undistorts the pin point. Decreasing values reduce the effect of the pin point, and at a value of 0, the point undergoes the full distorting effect of the Þlter. In other words, when Point 1 Strength is 0, the Pin Point 1 has no affect. Point 1 Range sets the radius (in pixels) of the Pin Point 1 region. Point 1 Center % sets the percentage of the pin region for which the pin is fully applied. For example, if you set Point 1 Range to 100, and Point 1 Center % to 50, then pixels within 50 pixels (50% of the Point 1 Range setting) are completely undistorted, and pixels within 50 to 100 pixels are partially undistorted.