FilmFX2 Manual

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Welcome
Welcome to the FilmFX 2.0 Printable manual.
FilmFX 2.0 is a visual effects plugin designed to make footage

shot on video tape look as though it originated on film. However,
the wide variety and flexibility of the controls make it an
indispensable tool for any look or project.
FilmFX presently plugs into in:sync's Speed Razor 3.5, 4.0, 4.5s,
4.5RT and Adobe Premiere 5 on Windows machines.
Controls...
These looks are created with a collection of Film Stock controls,
Color Timing tools, Special Effects and Old Film simulation. Use
this manual to learn more about each of these tools, their uses,
parameters and view samples of the effects.
Stocks...
FilmFX 2.0 comes with a variety of Film Stocks and Special
Effects presets. Learn what to expect from each of these.
Tips...
Tips and Tricks from throughout the manual are collected in one
easy to reach location.
file://C:\Programme\FilmFX2\manual\filmfx_2_printable_manual.htm 05.07.2004
On and Off...
Use this button to turn effects on and off. When an effect is

turned off it will not render.
FilmFX Tips and Tricks...

When you turn off an effect it retains all of its settings, including animation, it
just won't render. You can turn off one control while you tweak another and
then turn the ones you want to use back on when its time to render.
Preview...
Use the Preview buttons to see how your settings

will affect the final image.
Preview Always...
When checked, the preview will update 1/2 second
after parameters have been modified.
Preview Now...
In order to work faster on a slower computer, you can manually update the
previews by using this button. Pressing the SPACEBAR will also render a
preview.
Right Click Menu...

Right clicking on the preview window will allow you to select the size of the
preview window. (Not available on Speed Razor 4.0 or higher)
View on External Monitor...

Set your Speed Razor 4.0 or higher Preview Preferences to "External
Monitor" and the previews will update your NTSC monitor as well. (ONLY
available on Speed Razor 4 or higher)

You can view and compare the source and effected footage by clicking on
the preview image. (Not available on Speed Razor 4.0 or higher)
OK and Cancel...
Use the OK and Cancel button to exit the program.
OK...
When you have originally set or changed parameters
and want to keep them, exit by pressing OK.
If you have loaded a preset and changed it, FilmFX will ask you if you want
to save changes to the preset as well.
Cancel...
If you have are not happy with changes you have made to the settings and
want to keep the settings that were in place before you entered the FilmFX
dialog, use Cancel to exit.

If you have rendered a section and want to examine the settings but don't
change them, be certain to use the CANCEL button to avoid having to re-
render the section.
Selecting Colors...
Clicking on a color button in any

of the controls will bring up the
standard Windows color picker.
You can select from the swatches

at the left or select a custom color
with the more complex Hue,
Saturation and Lightness Control.
This dialog will allow you to select

a color that is not legal for
broadcast. In the event you
select an illegal color, a warning dialog will appear with a suggested
replacement.
If you would like to use the selected replacement, simply click on the Change
button. If you would like details about the suggested color, you can click on
it and the program will report the Red, Green and Blue components of the
replacement color.
If you are creating work that is not limited by NTSC legal color, simply press
the Ignore button and your original color will be used.
If you need to remain legal but do not like suggested color, you can click on
the Original Color swatch and try to select another color that is more to your
taste.
Animation Controls...
FilmFX 2.0 contains powerful animation controls that enables you to change the look of
your settings over time. In order to understand the animation controls, lets take a look at
the time line and animation windows.
Timeline...
The timeline allows you to select what frame you are previewing and where you want to
set a keyframe. As you drag the marker on the timeline, any animated parameters will
update their position and the position of the timeline will be updated on the Animation
Curves as well.
Below the timeline is Relative frame numbers of the clip you are currently working on.
This always starts at 0 and goes to the total number of frames on the right. You can
select a specific frame by typing in the frame you want to use in the edit box at the
bottom right corner.
Above the timeline are the Absolute frame numbers of clip in the entire project. The
number on the left is the frame number where the clip starts on the timeline and
continues to where the clip ends.
Animating Button...
The Animating button allows you to turn On and Off the keyframe
editing capabilities of FilmFX 2.0. This button ONLY determines if you
are in the editing mode or not. When turning this button off, your tracks
will retain all of their animated settings. If you wish to remove a
controls animation, you must right click on the curves and select
"Remove Animation."
When this button is ON, moving a control or changing a color will add a new keyframe for
that control at the frame selected on the timeline. You can also add points directly to the
Animation Curves while this button is on. While ON you can also access a pop-up menu
that has many animating uses.
When this button is OFF, moving a control will change the selected value. If the control
has had been animated, the entire curve will move relative to the new setting.
Animation Curves...
The Animation Curves are a graphical representation of animation applied to a control.
You can use these controls to precisely control the speed and type of change for each
tool in FilmFX.
The name of the selected control will always appear in the upper left hand portion of the
curves. You can add and move nodes by left clicking on the curves. While dragging and
creating points, the current frame and value will also appear in the upper left corner.
While each control can have a keyframe on every frame of your clip, If you drag a point
next to another point, it will automatically delete the original keyframe. If you'd like 2
keyframes very close to each other on the timeline, you should add these by selecting
the frame with the timeline and adjusting the control by hand.
You can delete a keyframe by dragging another keyframe near it, or by right clicking on
the keyframe you wish to delete and selecting "Delete Keyframe." If you'd like to remove
all keyframes, select "Remove Animation."
Pop Up Menu...
The Animation Curves have a context
sensitive menu that will allow you access
to animation parameters. Access this
menu by right clicking on the curves when
the Animate button is turned ON.
Here you can switch between cubic spline

(smooth) animation controls or straight
lines. You can also delete keyframes and
remove the animation entirely.
You can select exactly which controls you

wish to animate by either clicking on that
control or selecting it from the hierarchal menu presented in the curves, even down to
individual color channels. You can only select controls from the current page. If you
currently have the Film Stock page and want to select something from the Old Film page,
you need to select that page first.

Turning off the ANIMATE button does not keep the control from animating. You MUST
remove the animation via the popup menu to keep a control static.
Telecine Simulation...
The Telecine Simulation

has the fewest controls of
any FilmFX parameter, but
it can be the trickiest to
master and can make the
biggest difference in your
footage.
The Telecine Simulation is

designed to change the temporal look of your original footage. By applying
this feature, you can create subtle to dramatic changes to the feel of the
motion in your images.
However, understanding when to use which type of Telecine is as much an

art as a science. Analyzing each shot for the appropriate selection will
garner the best results.
3:2 Pulldown...
The 3:2 Pulldown simulation is designed to take footage shot at an NTSC
speed of 60 fields per second and create the look of film transferred from 24
frames per second. It is NOT designed to do a pulldown on 24 FPS source
material.
It is also NOT designed to be used with footage shot with 30 FPS

progressive scan footage (i.e. Cannon XL-1 in Photo Mode). If you are
fortunate enough to shoot with one of these cameras, you can save yourself
rendering time by leaving this option turned off.
The ideal candidate for the 3:2 pulldown is NTSC based shots with lots of
motion and dynamic camera movements. However, PAL users and locked
down cameras with little movement will generally look better (and render
much faster) with one of the other telecine styles.
The 3:2 Pulldown takes your original 60 fields and creates 24 frames with
the look of films slower shutter speed. Then, the Pulldown holds each frame
for 3 fields and 2 fields alternately, just like a real 3:2 pulldown. Since the
final output is always identical in length, your sound is always in sync.
Deinterlace Even/Odd Field...

The two Deinterlace options create a 30 FPS output (25 FPS for PAL). This
choice will remove the interfield motion by deleting one field and interpolating
the missing lines based on the remaining field. This results in the look of a
faster shutter speed than Blend Fields.
"Deinterlace Even" keeps the data from the even or "0" field and interpolates
the odd or "1" field. "Deinterlace Odd" does just the opposite.
Blend Fields...
The Blend Fields will remove all interfield motion while maintaining all of the
data by blending the fields together. This gives the look of films slower
shutter speed while rendering much faster than the 3:2 pulldown. The final
output is appears to be film shot at 30 frames per second (25 FPS for PAL).
This should be the #1 choice for PAL users and the first choice for NTSC
users without lots of movement in the scene.

You can use the Blend Fields option of the telecine option to remove the field
flicker from computer created graphics and video stills
Letterboxing...
The Letterboxing tool allows you to

matte footage for wide screen
presentation as well as squeeze
footage originally shot with an
anamorphic process.
If you are matting footage not

originally intended to be
letterboxed, you can position and
animate the position of of the source image in the letterbox maintaining proper
framing.
Matte Color...
You can change the color of the
letterbox by clicking on the Color
button and selecting a color. This
color can be animated over time.
Crop (Animated)...
This mode will matte your footage.
When animating the position of the
letterbox over time to maintain proper
framing, use this method for sub-pixel
rendering and smooth motion.
Crop (Static)...
This mode will matte your footage. When you are not animating the position of
the letterbox, use this mode. This will maintain maximum sharpness by keeping
the footage centered on the scan lines and will render faster. If you attempt to
animate the position in this mode you may find the motion jumpy.
Anamorphic Squeeze...
This mode will vertically compress your footage. If you are shooting in a 16x9
format, using a ratio of 1.77 will return you image to its letterboxed shape. You
can also use this mode for various effects.
Ratio...
Use this to determine how wide you want the image. The higher the number the
bigger the bars and the smaller your image will be on the screen. This
parameter can be animated.
Position...
Use this to control to position the image behind the letterbox. If you shot your
footage for equal top and bottom matting, setting this to 50 will do the trick. If
you shoot common top frame you will need to set the value closer to 100.
If you need to change the position over time to compensate for a moving camera
and footage not shot originally shot for letterboxing, you can animate this
parameter. If you do animate, be sure to select "Crop (Animated)" from the drop
down menu.
This parameter has no effect when doing an "Anamorphic Squeeze."

Here are some common aspect ratios used in the world today:
1.33:1Television (Letterboxing not required)
1.66:1Full 35mm frame (Common in Europe)
1.77.116x9 Anamorphic (Cannon XL-1, etc.)

1.85:1Academy (US Film Standard)
2.35:1 Scope (Big Budget Films)
Emulsion Blur...
The Emulsion Blur tool allows you to

simulate tri-layer film stocks chroma
blur.
In some stocks, each emulsion layer is

a slightly different difference away
from the lens resulting in a slight blur
among the separate channels. For
best results, use very small values.
Red, Green and Blue Blur Amounts...

These controls adjust how much each channel is blurred. Since Green is the
primary component of luminance, adjusting this channel will result in the image
appearing blurry. Video noise is often present in the Blue channel and adjusting this
level slightly can pleasingly soften the image. These parameters can be animated.

Moving all Emulsion Blur sliders equal amounts will result in a full fledged blur of the
image.
Film Grain...
The Grain tool allows you to add

varying amounts of animated grain to
the image.
By carefully adjusting this tool you can

create the texture of film and remove
the harsh edges typically found in
video footage.
You can apply up to 3 layers of black

and white grain or separate grain
amounts on each channel. For
example, you can simulate a Spirit
transfer by using higher grain in the
Blue channel to simulate noise.
The grain is animated for each frame

based on which Telecine style you may
be using. For example, when using
the 3:2 pulldown, each of the
interpolated 24 FPS will have its own
unique grain pattern.
Grain Style...
This determines how the grain is applied to the image. In Monochromatic mode you
can apply 3 layers of varying sizes and intensities. In Red, Green, Blue mode, each
layer is applied to a separate color channel.
Amount...
Each layer contains an Amount slider that determines the visibility of the grain on
this channel. The higher the number, the more visible the grain. This parameter is
animatable.
Size...
Each layer contains a Size slider that effects the size and softness of the grain. For
realistic looks these numbers should remain small. You may need to increase the
amount slightly as you increase the size of the grain. This parameter is also
animatable.

The more layers of grain and the larger the size you use, the longer it takes to
render. For efficient rendering time, use as little grain and size as possible for the
appropriate look.
Color Curves...
Color Curves are an extremely

powerful and flexible tool for
changing the look of your
footage.
With a simple understanding of

how the curves work you can
quickly create dramatic
changes to the look and feel of
your images.
A color curve is a graphical

representation of the input and
output values of pixels in the
image.
The horizontal axis represents the original value of pixels. The leftmost point
equals 0 (black) and the right most point is 255 (white).
The Vertical axis represents the output values of the pixel. In this case, the
bottom most point equals 0 and the top most pixel equals 255.
In the original
startup state, the
line is a straight
line going from 0
to 255. This
means that every
value along the
input (X) axis is
the same as the
output (Y) axis.
The gradient at
the bottom of the
image represents
the output which is a straight gradient in this case.
The more horizontal the

line gets the less
contrast an image has.
A completely horizontal
line will be a solid block
of color equivalent to
the value of the Y axis
of the line.
This is because we are

stating that no matter
where the original value
of a pixel falls along the
X axis, its output is the
same color.
The more vertical a line

gets, the more contrast
will be visible. In the
middle example on the
left, anything to the left
of the lower point is
black, everything to the
right of the top point is
white. The remaining
output values are
stretched from the
center part of the
original image and give
us a very contrasty
look.
You can also achieve special effects like this negative image (example 4) by
inverting the point. Here, you are making the darkest parts white and the
whitest parts are becoming black. Inversion of one color channel can create
many strange effects.
Film transferred to video tends to have an "S" curve similar to the one at left.
There is more contrast visible through the middle values while the lower and
higher values have a compressed range due to the transfer of films higher
original values.
You can adjust each and every channel the same as the luminance channel
in order to tweak and fine tune each part of the image. To set a point, click
click anywhere on the curve and a new point will be drawn.
To drag a point, simply click on it and drag. The current X (input) and Y
(output) values will be shown while you are dragging points around the
screen.
Since there can only be point per position on the X (input) axis, if you drag a
point into the same X value as another, the set point will disappear until you
have moved past that value. If you drag a point very near another point, the
original will be deleted. You can also delete points by right clicking on the
point and selecting "Delete Point" from the popup menu.
Straight Line or Cubic Spline...
By right-clicking you can select from a popup menu allows you to manipulate
the curve as either a straight line or a cubic spline. The spline will give
smoother transitions but the straight line can be used to do things like
posterizing effects.
Pop Up Menu...
Right click in the Color Curves to select the context
menu. This will allow you to set the line to be a cubic
spline or straight line. You can right click on a point and
select to delete it if you'd like. This is also where you can
reset a curve to its original straight line if you'd like to
start over with your tweaking.

If you are trying to get exact values with the curves, while you are dragging a
point, keep the mouse button clicked and use the keyboards arrow keys to
nudge the point exactly one value at a time. Releasing the mouse will set
the point.
Brightness...
The Brightness control adjusts

the overall brightness of the
image.
Amount...
The higher this setting, the brighter the image will appear. A setting of 0 will
result in a very dark, though not completely black image. This parameter
can be animated.

Adjusting the brightness will lower the overall contrast. To maintain the
contrast, try using the Gamma in place of the Brightness control.
Gamma...
The Gamma control allows you to adjust

image gamma as a whole or by channel.
This is one of the easiest ways to

simulate the look of film. Lower
numbers tend to quite accurately mimic
film's contrast curve.
Locked to Red...
When this is not checked, you can adjust each channel's gamma individually as a
way to balance color. When checked, all channels use the setting from the Red
slider while the plugin retains the Green and Blue settings in case you would like to
use them later.
Red, Green and Blue Gamma...

These adjust the various levels of gamma for each channel. If Locked to Red is
selected, the Green and Blue channels will maintain their settings but will not be
used for rendering. These parameters can be animated.

You can use Gamma to create many effects you might use the Color Curves to
create without the need to understand Color Curves.
Saturation...
The Saturation control allows you to

adjust the amount of chroma in the
image. It also has controls to enable
the creation of duotone image.
High and Low Color Swatches...

When using a Saturation of less than 100, you can use the click on the 2 color
swatches to select the low and high target colors. The swatch on the left is dark
color, the swatch on the right is the high color.
By using various high and low colors you can create duotone images and tints of
your original image. When the left swatch is lighter than the right swatch, the image
will appear to be negative.
These colors can be animated.
Saturation Amount...
Use this slider to set the saturation of the image. When set to 0, the image will be a
monochromatic image based on the 2 color swatches. When set higher than 100,
the image becomes more saturated. When increasing the chroma for footage
destined for broadcast, be sure that the NTSC Color Checking is turned on. This
parameter can be animated.

You can create negative images by setting the saturation to 0 and making the left
color swatch white and the right most color swatch black. Sepia toned images can
be created with a 0 saturation and setting the right swatch to a light-medium brown.
Tint...
The Tinting tools allow you to

quickly and easily add and
subtract colors to your image.
Tint Amounts...
As you move the slider toward
its indicated color, the image is
tinted that amount. These
parameters are animatable.

Large tinting values tend to lighten and darken the image. For dramatic
tinting, using Gamma, Curves or Saturation will result in better and more
controllable results.
Gate Weave...
The Gate Weave tool is designed

to simulate the motion of film in
the gate.
Gate Weave Style...

There are two separate ways to
control Gate Weave.
The TRACK MOVEMENT Weave

will move the image back and
forth, up and down, in a smooth motion between the maximums at the speed
selected.
The RANDOM PLACEMENT style will simulate damaged film or a projector
by jumping the film around the screen at random intervals based on the
Probability parameter.
Maximum X...
Use this parameter to set the maximum offset as a percentage of screen
size. The image will not exceed this amount in either direction horizontally.
For realistic weaves, very low values (i.e. 0.05) are best. This parameter is
animatable.
Maximum Y...
Use this parameter to set the maximum offset as a percentage of screen
size. The image will not exceed this amount in either direction vertically. For
realistic weaves, very low values (i.e. 0.05) are best. This parameter is
animatable.
Speed...
This parameter is only available when the weave style is set to TRACKING.
This will determine the speed that the screen moves. For realistic weaves,
very low values (i.e. 0.05) are best. This parameter is animatable.
Probability...
This parameter is only available when the weave style is set to RANDOM
PLACEMENT. Use this parameter to set probability that the image will move
on any given frame. This parameter is animatable.

Gate Weave can give an edgy look to titles. Set style to Random Placement
and apply Maximum's of about 3 to each direction with a probability of 60
and apply this to a title.
Film Roll...
The Film Roll tool allows you to simulate the rolling of film in the gate from a
poorly setup projector.
Up and Down...
This determines the direction of the roll. If the SPEED parameter is set to 0,
this parameter has no effect.
Amount...
This determines the starting position of the frame as a percentage of the
screen. This parameter is animatable so you can simulate the lining up of
the image in the gate if you set the SPEED to 0 and animate this parameter
over time.
Speed...
This determines the speed at which the image rolls across the screen. This
parameter is animatable.
Bar Width...
This determines the width of the space between the frames expressed as a
percentage of screen height. This parameter is animatable.
Bar Color...
Click on the color box to set the color of the bar between the frames. This

Set the Speed to 0 and animate an up and down curve that gets closer to 0
for the Amount and get the effect of lining up the image in the projector gate.
Flicker...
The Flicker controls darkens one field of the image so that upon playback
there is a noticeable flicker like
that created by recording a
projector that is not on a timing
chain.
Amount...
This determines how much FilmFX darkens the field. The higher the number
the more pronounced the flickering. This parameter is animatable.

High levels of this effect can be very disturbing and headache inducing. It
can create a psychotic feel. Be careful when using it for good or evil.
Film Glow...
Film Glow can give you the look of using a Pro Mist filter in post. This powerful
effect can add everything from an almost imperceptible softness to another
worldly eeriness. All of the parameters are animatable.
Size...
This determines the size of the glow. Small amounts will be more subtle and
confined to their original areas. This is the parameter that will most closely
correlate with selecting a different amount of Pro Mist filter. For example, a lower
number is like a 1/4 Pro Mist while a higher number is more like a 3/4 Pro Mist.
Amount...
The parameter determines how much brighter the softened parts of the picture
will be.
Visibility...
The parameter fades the glow in and out. Use this control the how much of the
original image is visible in the frosted image.
Clipping...
The parameter fades the glow in and out. Use this control the how much of the
original image is visible in the frosted image. When this value is set high, only
the brightest parts of the image will appear to glow. When set lower, the whole
image will begin to blur.

You can smooth your image without adding a glow by using this control Set the
Clipping and Amount to 0. Adjust Size and Visibility to taste. Settings both to
about 20 will add a creamy richness while higher settings will create a watercolor
type effect.
Burst Hue...
This control will increase the

value of a pixels color channel in
direct proportion to its relative
brightness. In other words, the
higher the value in that channel,
the more it will be increased.
For example, if you have an

image with lots of green,
increasing the green bursting
amount will make the greens
more green but will not add a green tint to the other colors the way tinting
will. While this control can create some neat effects, better control is
generally available by using the Gamma and Color Curves controls.
Red, Green and Blue Amounts...

These are how you can select which channel is increased and by what
amount. Each channel is animatable.

Try increasing all channels equally to create an interesting overblown effect
with out the glow characteristics. With the right amounts of grain this can
create a very gritty look.
Dust...
The Dust tool adds tiny specs of dust to the surface of the image. This control is very
random in nature and most of the controls are used simply to set limits upon the
randomness. All of the parameters are animatable.
Dust Color...
Click on the color chip to select the color of the dust.
Amount...
The Amount parameter limits the maximum number of dust specs possible on any given
frame.
Size...
The Size parameter limits the maximum size of any single piece of dust
Visibility...
This parameter controls how transparent the dust will be.

Keep your random effects like this one looking fresh by using different Random Number
Seeds.
Random Brightness Variations...
This controls randomly shifts the

brightness of a frame to
simulate uneven the uneven
exposure times of old and
shoddy cameras.
All of the parameters are

animatable.
Amount...
This controls the maximum amount that FilmFX will randomly increase or
decrease the brightness of an image.
Probability...
This controls the likelihood that any particular frame will be changed. If set
to 100, every frame will be randomly changed. At 50, each frame has a 50%
change of being adjusted.

The most subtle use of Random Brightness is low amounts with high
probability. For jarring effects, reverse that.
Random Defocus...
To create the look of film misfeeding in the gate, use this control. FilmFX 2
will create smooth ramps from being in focus to being out of focus. This
Defocus Style...
This controls the whether it appears the problem originates with the camera
or projector.
If Projector Problems is selected, everything in the frame will be blurred,

including dust, scratches, grain, frame bars, etc. If Camera Problems is
selected, only the original image will be blurred. All elements added by
FilmFX will remain sharp.
Amount...
This controls the maximum amount that FilmFX will randomly the image.
This parameter is animatable.
Probability...
This controls the likelihood that any particular series of frames will be
changed. If set to 100, every frame will be randomly changed. At 50, each
frame has a 50% change of being adjusted. This parameter is animatable.

The likelihood of a defocus will also show up in the speed of the ramps. For
more subtlety, set the probability higher while limiting the amount to the very
low range.
Scratches...
Vertical scratches
often found on used
and abused film
prints can be created
with the scratches
tool. All controls are
animatable.
Scratch Color...
Click on the color
chip to select the
color of the
scratches on the
film.
Amount...
This controls the
maximum number of
scratches visible on
screen at any one
time.
Speed...
This sets the
maximum speed any
of the scratches will
move horizontally
across the screen.
Length...
This controls the maximum amount of time a scratch will appear on screen
before it fades out.
Width...
This sets the maximum width of any of the scratches. The higher the
number, the thicker the lines.
Visibility...
This parameter controls how transparent the scratches will be.
Variation...
This number tells how accurately you want FilmFX to stay to the parameters
you've set. The higher the variation, the more likely the scratches are to
stray from your parameters. A 0 variation means that your other selections
will always be used exactly as they are.

Using Medium Gray for a scratch color will make the scratches visible in all
kinds of material and can look as though they have originated as both
positive and negative scratches.
Dirt and Stains...
The Dirt and Stain control will add large blotches to your film to simulate,
what else, dirt and stains. All of the parameters are animatable.
Dirt & Stain Color...

Click on the color chip to select the color of the stains.
Probability...
This controls the likelihood that any given frame will end up with a stain on
it. The higher the number, the more likely a stain will appear.
Size...
The Size parameter limits the maximum size of the stain.
Visibility...
This parameter controls how transparent the stain will be.

Select White for your stain color to simulate bleach marks.
File Menu...
The File Menu is where you

control the loading and use of
presets.
Reset...
Use this command to reset all
parameters to their defaults.
Load Preset...
Use this command to select a

FilmFX preset file (.FFX) and load it into FilmFX.
Save Preset...
Use this command to save your current parameters into a FilmFX (.FFX)
file. If you are not currently using a preset, you will prompted to name your
file. Otherwise, the old settings will be overwritten with the current settings.
Save As....
Use this command to save the current settings to a new file.
Cancel...
If you have are not happy with changes you have made to the settings and
want to keep the settings that were in place before you entered the FilmFX
dialog, use Cancel to exit.
Exit & Use...

Use this command when you have originally set or changed parameters and
want to keep them. If you have loaded a preset and changed it, FilmFX will
ask you if you want to save changes to the preset as well.
Most Recently Used Files...

This list contains the last 4 presets you have used for quick and easy
selection of your favorite presets.

Save a file called DEFAULT.FFX to your Presets folder and this will be used
as your default settings every time you enter FilmFX or choose Reset.
Change this file as often as necessary to speed your creation along.
Options Menu...
The Options Menu is where you control

non animating preferences for FilmFX.
Random Seed...
Click here to change the Random Number
Seed.
NTSC Color Check...

Use these options to make sure your images are safe for broadcast. Many
of the Color Timing utilities of FilmFX can produce illegal colors with certain
settings. This allows you to see and correct those.
Setting this control to OFF will do exactly what you would expect, nothing.
Setting it to Flag will turn all illegal colors to black so you can examine where
any problems may lie. Setting it to Clip will lower the saturation of offending
pixels to make your images broadcast safe.

Even if you aren't processing your images with FilmFX, you can use the
NTSC Color Checking tools to maintain proper levels of your footage.
Random Number Seed...
Many of the effects in FilmFX rely on random

numbers. Since computers can't pick truly
random numbers, you can change the Random
Number Seed to keep you footage from looking
all alike. You can type in one explicitly or click
the Generate button to have one chosen based
on the current time.
Help Menu...
The Help Menu is where you can learn about

FilmFX functions and what version you are
currently using.
About FilmFX 2.0...

Click here to see what version of FilmFX you are
currently using.
Online Help
Click here to access this file from within FilmFX.

In the event you need technical support, be sure to have the numbers from
the About box handy.
FilmFX 2.0 Tips and Tricks...
Animation and Timeline

Turning off the ANIMATE button does not keep the control from animating.
You MUST remove the animation via the popup menu to keep a control
static.
Brightness Control
Adjusting the brightness will lower the overall contrast. To maintain the
contrast, try using the Gamma in place of the Brightness control.
Burst Hue
Try increasing all channels equally to create an interesting overblown effect
with out the glow characteristics. With the right amounts of grain this can
create a very gritty look.
Color Curves
If you are trying to get exact values with the curves, while you are dragging a
point, keep the mouse button clicked and use the keyboards arrow keys to
nudge the point exactly one value at a time. Releasing the mouse will set
the point.
Dirt and Stains

Select White for your stain color to simulate bleach marks.
Emulsion Blur
Moving all Emulsion Blur sliders equal amounts will result in a full fledged
blur of the image.
Flicker
High levels of this effect can be very disturbing and headache inducing. It
can create a psychotic feel. Be careful when using it for good or evil.
Gamma
You can use Gamma to create many effects you might use the Color Curves
to create without the need to understand Color Curves.
Gate Weave
Gate Weave can give an edgy look to titles. Set style to Random Placement
and apply Maximum's of about 3 to each direction with a probability of 60
and apply this to a title.
Glow
You can smooth your image without adding a glow by using this control Set
the Clipping and Amount to 0. Adjust Size and Visibility to taste. Settings
both to about 20 will add a creamy richness while higher settings will create
a watercolor type effect.
Grain
The more layers of grain and the larger the size you use, the longer it takes
to render. For efficient rendering time, use as little grain and size as
possible for the appropriate look.
NTSC Color Checking

Even if you aren't processing your images with FilmFX, you can use the
NTSC Color Checking tools to maintain proper levels of your footage.
Presets
Save a file called DEFAULT.FFX to your Presets folder and this will be used
as your default settings every time you enter FilmFX or choose Reset.
Change this file as often as necessary to speed your creation along.
Preview
Quickly render a preview by pressing the SPACE BAR.
You can view and compare the source and effected footage by clicking on
the preview image. (Not available on Speed Razor 4.0 or higher)
Random Brightness
The most subtle use of Random Brightness is low amounts with high
probability. For jarring effects, reverse that.
Random Defocus
The likelihood of a defocus will also show up in the speed of the ramps. For
more subtlety, set the probability higher while limiting the amount to the very
low range.
Random Number Seed

Keep your random effects like this one looking fresh by using different
Random Number Seeds.
Roll
Set the Speed to 0 and animate an up and down curve that gets closer to 0
for the Amount and get the effect of lining up the image in the projector gate.
Saturation
You can create negative images by setting the saturation to 0 and making
the left color swatch white and the right most color swatch black. Sepia
toned images can be created with a 0 saturation and setting the right swatch
to a light-medium brown.
Scratches
Using Medium Gray for a scratch color will make the scratches visible in all
kinds of material and can look as though they have originated as both
positive and negative scratches.
Technical Support
In the event you need technical support, be sure to have the numbers from
the About box handy.
Telecine Options
You can use the Blend Fields option of the telecine option to remove the field
flicker from computer created graphics and video stills.
Tint
Large tinting values tend to lighten and darken the image. For dramatic
tinting, using Gamma, Curves or Saturation will result in better and more
controllable results.
Questions or Problems?
© 1997-1999 MVP-Soft, Inc.

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Welcome to the Interactive Manual Seite 1 von 35

FilmFX 2.0 is a visual effects plugin designed to make footage

Use this button to turn effects on and off. When an effect is

FilmFX Tips and Tricks...

Use the Preview buttons to see how your settings

Right Click Menu...

View on External Monitor...

FilmFX Tips and Tricks...

Use the OK and Cancel button to exit the program.

FilmFX Tips and Tricks...

Clicking on a color button in any

You can select from the swatches

This dialog will allow you to select

Here you can switch between cubic spline

You can select exactly which controls you

FilmFX Tips and Tricks...

The Telecine Simulation

The Telecine Simulation is

However, understanding when to use which type of Telecine is as much an

It is also NOT designed to be used with footage shot with 30 FPS

Deinterlace Even/Odd Field...

FilmFX Tips and Tricks...

The Letterboxing tool allows you to

If you are matting footage not

rendering and smooth motion.

This parameter has no effect when doing an "Anamorphic Squeeze."

FilmFX Tips and Tricks...

1.77.116x9 Anamorphic (Cannon XL-1, etc.)

The Emulsion Blur tool allows you to

In some stocks, each emulsion layer is

Red, Green and Blue Blur Amounts...

FilmFX Tips and Tricks...

The Grain tool allows you to add

By carefully adjusting this tool you can

You can apply up to 3 layers of black

The grain is animated for each frame

FilmFX Tips and Tricks...

Color Curves are an extremely

With a simple understanding of

A color curve is a graphical

The more horizontal the

This is because we are

The more vertical a line

Straight Line or Cubic Spline...

FilmFX Tips and Tricks...

The Brightness control adjusts

FilmFX Tips and Tricks...

The Gamma control allows you to adjust

This is one of the easiest ways to

Red, Green and Blue Gamma...

used for rendering. These parameters can be animated.

FilmFX Tips and Tricks...

The Saturation control allows you to

High and Low Color Swatches...

These colors can be animated.

FilmFX Tips and Tricks...

The Tinting tools allow you to

FilmFX Tips and Tricks...

The Gate Weave tool is designed