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Adding Elements You can quickly generate new light effects by clicking on the Custom Effect popup menu—located below the elements list, it looks like a blank sheet of paper—and selecting a new element type. The new element is added to the Elements list, and selected so it shows its available parameters. You can add up to elements to any single effect. Usually, you will only need elements to make up a realistic effect. Visibility Checkbox You can use the checkbox next to each name in the element list to turn on and off the use of that element.

This is useful for working on copies of an element or comparing two or more similar elements with different parameter values. Elements pop-up, versions 2. To rename an element, double-click it in the list. Reordering Elements To reorder elements in the list, simply click and drag. A dark line will appear as you drag up and down the list.

TIP: The rendering order is not significant and will not change the look of the rendered light effect. Reordering elements is a convenience that you can use to group elements by color, scale or other attribute. Elements pop-up, version 2. If you do not select an element, this area of the interface will be blank.

The area will update as you select an element in the List. The value changes made to each element will be reflected in the preview and in the final application of the light effect. Elements Parameters for Photon SpikeBall, versions 2. Each slider control differs a bit from element to element, so the slider labels will change as you highlight different element types. As you drag the sliders the preview window will update in close to real time. See next section of this manual. On the previous page, the Element parameters for the Photon SpikeBall is similar to the animatable controls shown below in the Photon SpikeBall plug-in.

Each plug-in has the following parameters: brightness, scale, color, location layer, obscuration layer, obscuration type and source size, that are the same as the main Light Factory plug-in. LF Photon SpikeBall plug-in There is no difference in the rendered results whether you use the Lens Editor or the individual plug-ins to create a light effect. With the individual plug-ins you get the ability to animate all of the values making the individual plug-ins useful for creating shapes such as a disc or a starburst without having to build a simple custom flare.

If you hold down the Option key when you click the Load button, the custom lens file you select will be appended to the end of the current list, rather than replace it.

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This feature lets you create partial libraries, say of just lens centers, or just reflections, and then combine them with Option-Load. Most of the custom effects have a position parameter. This position is always along a line that passes through both the center of the image and the light source. A position of 1. A position of 0. Anamorphic flares those with wide elliptical elements rather than circular elements only happen with anamorphic lenses, and anamorphic lenses are used to shoot wide-screen motion pictures.

It is not technically correct to use an anamorphic flare in a Super35 film or a television show. These were generated within ElectricImage by placing a small sphere into the scene— usually in the same location as the light source—and rendering it out as a separate element. The white dot in the alpha channel of this element represents the correct position of the light source throughout the length of the clip. Figuring out this location and animating it by hand in the host application would be incredibly difficult and time-consuming.

By setting Light Factory to automatically track the layer, the center point of the white dot in the alpha channel will denote the location of the light effect on that frame, and its position will automatically animate throughout the scene. As your flare position moves behind obscured areas of an alpha, the flare will automatically dip in brightness as if obscured. The best way to understand each elements may be to experiment with the settings of each element. Glowball The basic primitive used in most flares and effects. The glow represents the overexposure and light scattering that a bright light source creates when focused through a lens onto an image plane.

You can control the color and scale of the glow, as well as the rendering of a characteristic red ring associated with a bright light source. Parameters are available to control the ring scale, brightness and softness. Spikeball Most lenses exhibit at least a little bit of radial streaking from the light source, and the Spikeball simulates this.

The lines in the Spikes appear as random lines from the center of the ball. You have control over the scale, brightness, density, color, rotation, and the random seed used to generate the spikes. Polygon Spread The polygonal opening of a bladed aperture can also cause many polygonal reflections to appear on the exposure surface. The Polygon Spread element creates a number of randomly positioned polygonal reflections, each with a different brightness and random hue. Since these reflections are created randomly, there are three different random seeds used to vary the look.

You also can control the scale, brightness, number of sides, quantity, position, and color of the polygons. The controls are similar to those in the Polygon Spread element. Circle Spread is useful for making the tiny dots and small circles that appear in lens flares.

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Elliptical Caustic The Elliptical Caustic filter simulates a unique distorted reflection observed primarily in Nikon still camera lenses. Star Caustic This diamond-shaped caustic is useful for simulating reflections caused by reflective coatings. You will notice that the default values cause a barely visible green shape. Stripe Stripe renders a tapered line with adjustable color, width, angle, brightness and position. Many anamorphic lenses exhibit a blue horizontal streak through the center, and some video cameras exhibit a reddish vertical streak through the center.

RandomFan responds to the angle control with a subtle shimmering of the lines. The filter tends to render much faster than RandomFan element and this might produce an acceptable alternative much more quickly. Aperture Reflection Most film cameras will exhibit some aperture reflection. In a film camera, the film passes through the movement, where it is exposed to light. The movement has a rectangular hole called the gate. The focused image from the lens shines through the gate and onto the film.


In most cameras, this aperture is polished stainless steel, and is highly reflective. When the focused image of a bright light gets close to or slightly outside the edge of frame, the image can reflect off of this shiny surface back into the image causing an aperture reflection. TIP: Note that you will not see the effect unless the light source location is outside the edge of the composition or frame. ChromaHoop Chroma Hoop creates a circle of rainbow lines that streak through the center of the light source.

This type of effect is frequently seen on film shot in Super35 format. You can control the position, brightness, color, size, number of sides, softness, rotation, and the degree to which it varies in brightness as it moves from the center of frame to the edge. Disc The Disc gives you precise control over the generation of a single circular ramp effect. You can control the position; size; color; brightness; three separate controls for the inner, middle and outer gamma; and taper and center offset controls that change the shape of the disc.

Ellipse Ellipse is like Disc, except that the shape is elliptical, not perfectly circular. In general, the glow at the light source is circular, and reflected elements are elliptical. Sparkle Sparkle generates a number of short linear streaks radially distributed about the center. The streaks change with the angle control by appearing closer or farther from the center of the source location.

The Unidirectional checkbox limits the motion to all inward or all outward depending on what direction the angle control is moving.

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This effect can simulate the sparkle you see when a laser is pointed into a camera lens. Chroma Fan Chroma Fan generates rainbow diffraction patterns. These patterns often appear when a net is used for diffusion over the lens, or when there is fog or mist in the air. For example, a five-bladed aperture will create an opening with five sides as the lens is stopped down. This is why you often see pentagonal or hexagonal shapes on a lens flare.

The aperture also reflects light where the blades intersect, creating a star filter effect. For example, a partially closed fivebladed aperture will reflect five streaks, and result in a tenpoint star on the exposed surface. The StarFilter lets you simulate this effect. You can control the size, brightness, color, number of points, width and rotation. Alternately, apply the plug-in to an image source.

You will see the flare appear in the Project Preview viewer. To access the plug-in parameters, click the Effect Controls panel. To access the Lens Editor, click the Options link at the top of the plug-in. The Lens Editor is standard through all host applications. After Effects interface showing the Light Factory plug-in. Access the plug-ins from Effect Controls panel. To use the plug-ins, apply them to a clip in the sequence. You will see the flare appear in the Project window. To access the plug-in parameters, click the Video Effects panel.

To access the Lens Editor, click the Options icon. These settings will work for PAL or HD as well, but the timing and center points will need to be changed. W e will start by creating two generic titles on video track 1. The Title editor will appear. Enter your text and click the upper-right close box. My Title 01 in the Title Editor 3. In the dialog, set the duration to second and click OK. Premiere Pro will name the file Title 01 Copy. The Project window showing the duplicated titles 5. Drag and drop these 2 title cards onto Video 1 in the Sequence window.

You should now have a timeline with two titles. To create the transition, drag and drop the Black Video onto the Video 2 track and center it between the two Title clips. Two titles and a black video slug on the Premiere Pro Timeline 6. Click the Black Video clip and reveal the Effect Controls window. This will show the Light Factory EZ controls. Center the flare in the Program window by entering the center coordinates , and in the Light Source Location control.

Choose the Bright Eye preset from the Flare Type pop-up menu. The settings for Light Factory EZ at the beginning of the animation 8. T he flash effect is created by adding keyframes to the Brightness and Scale controls. Move the play head to the beginning of the effect by setting play head to the left side of the Effect Controls window. Click the stopwatch next to the Brightness and Scale controls to set initial keyframes, then change the Brightness value to 0, and Scale to 0.

Move the play head to the middle of the Effects control window ahead 15 or so frames , change the Brightness value to Finally, move the play head to the right side of the Effect Controls window and set the Brightness value to 0 and the Scale to 0.

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Choose loop from the Program window and press Play to preview the result. To use the plug-ins, apply them to a clip in the Timeline sequence. You will see the flare appear in the Canvas viewer. To access the plug-in parameters, click the Filters tab in the Viewer. To access the Lens Editor, click the Options button.

Final Cut Pro interface for the Light Factory plug-in. Since Final Cut Pro does not render in bit mode, there is no way to access this rendering mode inside Final Cut Pro. Only the Tracking and Obscuration features operate differently in Motion see next page. Motion interface showing the Light Factory plug-in. The proper layer order in Motion. This can be accomplished by placing a solid on the tracking source layer and then dragging the layer into the Tracking source well.

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Obscuration To properly create an obscuration effect in Motion, the obscuration layer must be the same size as the project document. You must use a full size layer with an alpha channel. Just using a Text object will NOT work with the obscuration feature and the flare will not change as it animates behind the Text.

Text Layers and other objects do not provide enough information to the plug-in to properly obscure a flare. Start by animating the flare position. Option-click the keyframe control to set a keyframe. The Light Source Location control set to , 0 and keyframe set 3. W ith the Light Factory EZ flare interface visible in the inspector, set the x, and y value for the Light Source Location control to , and 0.

Now there are two keyframes, the flare should animate from left to right across the screen. It's available as a standalone tool as well as a Photoshop plug-in. Knoll Light Factory for Photoshop 3. Itprovides 19 powerful flare tools for creating custom effects and includes over presets and real-time previewing. Red Giant says that the sophisticated presets and customizable tools in make it easy to control lighting conditions and create stylized effects for any image.

These Digital Anarchy plugins will be updated for the Windows bit environment in Q1 All improvements, except Vista x64 support, are supported in Photoshop 7. Get access to our latest and featured articles from your favorite authors, wherever you are, directly on your phone! Toggle navigation Menu.

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