dark energy for after effects userguide v1.2.9462

Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights reserved

2012, Digital Film Central, Cinnafilm, Inc. All Rights reserved

Dark Energy®

Anti-Matter/Matter

Plug-Ins for After

Effects®

For Adobe®

CS6.0/5.5

Version

Manual Update: Oct. 11, 2012

Dark Energy®

Matter/Matter

s for After

Effects®

For Adobe®

CS6.0/5.5

Version 1.2.9462

Manual Update: Oct. 11, 2012

Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved

Dark Energy for

Contents

Introduction to Dark Energy® Anti

The Philosophy of Texture Management

Introduction to the Tools ................................

Dark Energy Anti-Matter ................................

Spatial Profiling ................................

Spatial Filtering ................................

Temporal Filtering ................................

Sharpen ................................

The Controls ................................

Simple Mode ................................

Load Configuration ................................

Save Configuration ................................

Analyze Current Frame ................................

Process In ................................

Simple Mode Controls ................................

Advanced Mode Controls ................................

Spatial Filtering: De-noising Technique and Approach

Spatial Filtering – Getting Started

Dark Energy Anti-Matter – Advanced Mode

Application of Advanced Mode Spatial Filtering

Advanced Mode Control Descriptions

Spatial Filtering ................................

Temporal Filtering ................................

Sharpening ................................

Denoise Refinement ................................

Advanced Mode – Getting Started

Dark Energy Matter Plug-in for After Effects

tal Film Central, Cinnafilm, Inc. All Rights Reserved

Dark Energy for After Effects

Introduction to Dark Energy® Anti-Matter™ and Matter™ plug-ins for After Effects®.

The Philosophy of Texture Management ................................................................

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noising Technique and Approach ................................................................

Getting Started ................................................................................................

Advanced Mode................................................................

Application of Advanced Mode Spatial Filtering ................................................................

Advanced Mode Control Descriptions ................................................................

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................................................................................................................................

................................................................................................

Getting Started ................................................................................................

in for After Effects ................................................................

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When and why would I use Dark Energy Matter

Dark Energy Matter ................................

Load Configuration ................................

Save Configuration ................................

Controls ................................

Dark Energy Matter – Getting Started

This guide may or may not be distributed with software that includes an end user agreement; however

this guide is furnished may only be used or copied in accordan

License Agreement (EULA), and all content in this guide are protected under copyright law. Usage of Cinnafilm software

requires acceptance of the Cinnafilm EULA. Except as permitted by any such li

transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without prior written permission

from Cinnafilm, Inc.

The content of this user guide is furnished for informational

construed as a commitment by Cinnafilm, Inc

responsibility or liability for errors, omissions, or inaccuracies that may appear in the informational content contained in

guide.


Dark Energy Matter? ................................................................

................................................................................................

................................................................................................

................................................................................................

................................................................................................................................

Getting Started ................................................................

This guide may or may not be distributed with software that includes an end user agreement; however

this guide is furnished may only be used or copied in accordance with the terms and conditions of the Cinnafilm End User


requires acceptance of the Cinnafilm EULA. Except as permitted by any such license, no part of this guide may be reproduced or


The content of this user guide is furnished for informational use only, is subject to change without notice, and should not be

construed as a commitment by Cinnafilm, Inc. or Digital Film Central. Cinnafilm, Inc. and Digital Film Central

responsibility or liability for errors, omissions, or inaccuracies that may appear in the informational content contained in

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This guide may or may not be distributed with software that includes an end user agreement; however, the premise in which

ce with the terms and conditions of the Cinnafilm End User


cense, no part of this guide may be reproduced or


use only, is subject to change without notice, and should not be

. and Digital Film Central assume no

responsibility or liability for errors, omissions, or inaccuracies that may appear in the informational content contained in this


Introduction to Dark Energy

Effects®.

Congratulations on choosing the

have purchased the premiere motion picture industry professional

previously only available in stand

Dark Energy Professional.

The same technology you have in your hands now has been used to restore, de

manage texture on countless feature films, television series and commercials throughout the world.

Now you have the power to remove and manage grain and noise from your film and video images like a

pro – producing almost any desired image texture you prefer for the final “look” of your media project.


The term “Texture Management”

to describe the process whereby film grain and digital video “noise” is abated, entirely or in part,

through the use of carefully designed software tools like

The Texture Management field of post

film and digital finishing. Image “noise” in any production must be carefully managed in order to create

a desired creative effect, as well as pass quality co

companies.

Texture Management can be used at the finishing stage of a production for a final “texture look”, or

during the shooting and conform stage, to help match the many varieties of cameras choices

the modern filmmaker.

With Dark Energy Anti-Matter /

single production – and never have to worry about the cameras’ noise characteristics having to match

during shooting.

Use Dark Energy Anti-Matter to remove the noise from the various camera sources durin

conform stage bringing everything to a completely “clean” baseline. After color correction, use

Energy Matter to produce a light and smoothly consis

master – blending all your camera sources together into a uniformly textured

35mm, 35mm can look like 8mm, digital can look like 35mm, etc.

stronger grain texture for creative purposes

footage a “gritty” texture for purely expressive reasons.

a lot of otherwise seemingly unusable noisy shots!


Introduction to Dark Energy® Anti-Matter™ and Matter™ plug

osing the Dark Energy Anti-Matter / Matter plug-in set for

have purchased the premiere motion picture industry professional Texture Management

previously only available in stand-alone high-end image processing products like

The same technology you have in your hands now has been used to restore, de


power to remove and manage grain and noise from your film and video images like a

producing almost any desired image texture you prefer for the final “look” of your media project.


The term “Texture Management” has evolved out of modern professional post-


through the use of carefully designed software tools like Dark Energy Professional

The Texture Management field of post-production has grown to be an incredibly important aspect of


a desired creative effect, as well as pass quality control standards set by broadcasters and distribution


during the shooting and conform stage, to help match the many varieties of cameras choices

/ Matter you can shoot film, RED, ALEXA and DSLR cameras

and never have to worry about the cameras’ noise characteristics having to match

to remove the noise from the various camera sources durin

bringing everything to a completely “clean” baseline. After color correction, use

to produce a light and smoothly consistent film grain or video texture across the final

blending all your camera sources together into a uniformly textured look.

35mm, 35mm can look like 8mm, digital can look like 35mm, etc. You can even push a significantly

for creative purposes – making new video look like old film, or give your final

footage a “gritty” texture for purely expressive reasons. Plus - good texture management tools can save

a lot of otherwise seemingly unusable noisy shots!

4

lug-ins for After

in set for After Effects. You

Texture Management tool –

end image processing products like ARRI® Relativity™ and

The same technology you have in your hands now has been used to restore, de-noise, de-grain, and


power to remove and manage grain and noise from your film and video images like a

producing almost any desired image texture you prefer for the final “look” of your media project.

-production terminology


fessional and ARRI Relativity.

production has grown to be an incredibly important aspect of


ntrol standards set by broadcasters and distribution


during the shooting and conform stage, to help match the many varieties of cameras choices available to

DSLR cameras – all in a

and never have to worry about the cameras’ noise characteristics having to match

to remove the noise from the various camera sources during the editorial /

bringing everything to a completely “clean” baseline. After color correction, use Dark

tent film grain or video texture across the final

look. 16mm can look like

You can even push a significantly

making new video look like old film, or give your final

good texture management tools can save


You can also use Dark Energy Matter

for various final display mediums such as Blu

Often each deliverable requires a unique texture, su

considerations and physical size and resolution of that medium.

Dark Energy products are the result of a joint venture of skills and experience between

Central of Vancouver, Canada; a world

Cinnafilm of Albuquerque, NM; a world leader in software engineering known for

accelerated motion estimation and image processing technology.

plug-ins for After Effects represent the pinnacle of design and performance used by professionals across

the globe to manage texture on their final products.

Figure 1: Dark Energy


Matter™ to manage different textures for different deliverables intended

for various final display mediums such as Blu-Ray, DCPs (Digital Cinema Prints), or broadcast masters.

Often each deliverable requires a unique texture, suitable to the display medium, compression

considerations and physical size and resolution of that medium.

Dark Energy products are the result of a joint venture of skills and experience between

of Vancouver, Canada; a world-renowned and innovative Digital Intermediate facility, and

of Albuquerque, NM; a world leader in software engineering known for

accelerated motion estimation and image processing technology. Dark Energy

represent the pinnacle of design and performance used by professionals across

the globe to manage texture on their final products.

Dark Energy Anti-Matter Plug-in for After Effects

5

™ to manage different textures for different deliverables intended

Ray, DCPs (Digital Cinema Prints), or broadcast masters.

itable to the display medium, compression

Dark Energy products are the result of a joint venture of skills and experience between Digital Film

nd innovative Digital Intermediate facility, and

of Albuquerque, NM; a world leader in software engineering known for it its unparalleled GPU

Anti-Matter and Matter

represent the pinnacle of design and performance used by professionals across


Introduction to the Tools

Dark Energy Anti-Matter

Used for de-graining of film-based footage, and de

Energy Anti-Matter it is possible to remove

picture detail.

The Dark Energy Anti-Matter system uses the following 4 steps, in a very specific order, to achieve its

awesome de-noising / de-graining:

Spatial Profiling

- Spatial profiling automatically analyses the image and builds a “noise profile”

unwanted noise from image detail.

Spatial Filtering

- Noise is separately filtered from actual image detail using the “noise profile” from the first

step.

- A unique “temporally

“heavy lifting” noise fi

- Spatial filtering happens on a “whole frame” basis

artifacts” (such as disappearing details in moving objects).

Temporal Filtering

- A lightweight temporal filtering cleans up the few “leftovers” from the spati

- This temporal filter is robust against temporal artifacts because most of the filtering is being

done spatially.

Sharpen

- The nature of noise and grain removal means that some of the frequencies of the detail are

slightly altered. This

their original state.

Using its unique Power-Spatial™ approach,

informed” spatial filtering algorithms to automatically build a

the vast majority of the filtering is done spatially, your images can be virtually 100% free of “temporal

artifacts” commonly found in temporally based noise reduction techniques on the market today.


Introduction to the Tools

based footage, and de-noising of digital or video-based footage. With

it is possible to remove all the noise and grain from an image,

system uses the following 4 steps, in a very specific order, to achieve its

graining:

Spatial profiling automatically analyses the image and builds a “noise profile”

ise from image detail.

Noise is separately filtered from actual image detail using the “noise profile” from the first

A unique “temporally-informed” spatial filtering technique does the vast majority of the

“heavy lifting” noise filtering.

Spatial filtering happens on a “whole frame” basis – allowing for virtually no “temporal

artifacts” (such as disappearing details in moving objects).

A lightweight temporal filtering cleans up the few “leftovers” from the spati

This temporal filter is robust against temporal artifacts because most of the filtering is being

The nature of noise and grain removal means that some of the frequencies of the detail are

slightly altered. This robust sharpening tool helps to “restore” some of those frequencies to

™ approach, Dark Energy Anti-Matter engages proprietary “temporally

informed” spatial filtering algorithms to automatically build a “Noise Profile” of your footage. Because



6

based footage. With Dark

the noise and grain from an image, without softening the

system uses the following 4 steps, in a very specific order, to achieve its

Spatial profiling automatically analyses the image and builds a “noise profile” – isolating

Noise is separately filtered from actual image detail using the “noise profile” from the first

informed” spatial filtering technique does the vast majority of the

allowing for virtually no “temporal

A lightweight temporal filtering cleans up the few “leftovers” from the spatial filtering pass.

This temporal filter is robust against temporal artifacts because most of the filtering is being

The nature of noise and grain removal means that some of the frequencies of the detail are

robust sharpening tool helps to “restore” some of those frequencies to

engages proprietary “temporally-

” of your footage. Because




The Controls

Dark Energy Anti-Matter has two modes:

Simple Mode (default when launched) and

Advanced Mode. We will begin by talking

about the Simple Mode first.

Simple Mode

Although it is possible to achieve excellent

results with most footage using

Mode as you get to know the tools and

approach of the Dark Energy

plug-in you will undoubtedly (at some point)

want to use the Advanced Mode

the amount of noise you can remove and

the amount of detail you wish to retain. In

Simple Mode, the plug-in launches and

appears as in Figure 2.

Load Configuration

Used for loading a pre-saved “Denoise Setting Files”(.den files). A .den file contains all the settings for a

single noise reduction set-up, previously saved by the user. Denoise Setting Files can be used to load

settings for a previous camera de

Save Configuration

Saves all the current settings to a single .den file. Hitting the “Save” button opens up a browser and asks

you to save the file in a specific location for later recall.

Analyze Current Frame

Generates an automatic “noise profile” of the current image in

boxes will appear, representing an ideal noise profile from each of the three color channels of RED,

GREEN and BLUE.


has two modes:

(default when launched) and

. We will begin by talking

Although it is possible to achieve excellent

results with most footage using Simple

as you get to know the tools and

Anti-Matter

in you will undoubtedly (at some point)

Advanced Mode to refine

the amount of noise you can remove and

the amount of detail you wish to retain. In

in launches and

saved “Denoise Setting Files”(.den files). A .den file contains all the settings for a

up, previously saved by the user. Denoise Setting Files can be used to load

settings for a previous camera de-noise setup, or a particular film stock the user


you to save the file in a specific location for later recall.

Generates an automatic “noise profile” of the current image in the timeline. In the display, three colored


Figure 2 - Dark Energy Anti-Matter

7

saved “Denoise Setting Files”(.den files). A .den file contains all the settings for a

up, previously saved by the user. Denoise Setting Files can be used to load

noise setup, or a particular film stock the user has already worked on.


the timeline. In the display, three colored



IMPORTANT ANALYZE NOTE 1

Because the spatial analysis of the image is “temporally informed”, you will need to select a frame within

your footage range that is not the first

IMPORTANT ANALYZE NOTE 2

Before analyzing a frame, please see “Process In” below and

your footage.

Process In

This is the color space that the images are processed in. It is very important to choose the appropriate

processing space for “Process In” for your footage.

Figure 3: Analyze Current Frame:

ideal, uniform areas of the image, for each color channel of RGB. This resulting “noise

profiles” are used for the initial

detail. (Cineon converte



not the first or the last frame of your sequence.

please see “Process In” below and choose the correct color processing for


processing space for “Process In” for your footage.

Analyze Current Frame: In this step, “smart” auto-analysis algorithms seek out


profiles” are used for the initial Spatial filtering; separating image noise from image

detail. (Cineon converter added as a viewing LUT only.)

8


choose the correct color processing for


analysis algorithms seek out


filtering; separating image noise from image


IMPORTANT

Select correct setting for processing. For video / digital source cameras that are

color, (e.g.: Rec. 709, video gamma, etc.) please select “

(e.g.: film log, RED Log, ARRIRAW, etc.) you should choose “

Simple Mode Controls

▼ Spatial Controls for Spatial filtering (collapsi

Enable Spatial master on/off switch (check box)

► Master Adjusts Spatial filter for all color channels together (percentage)

R Enable

► R

G Enable

► G

B Enable

► B

▼ Temporal Controls for Temporal

Enable Temporal master on/off switch (check box

► Master Adjusts Temporal filter for all color

► Intensity Adjusts aggressiveness of temporal filter

▼ Sharpen Controls for Sharpen effect (collapsible drop down menu)

Enable On/off for Sharpen effect (check box)

► Master Adjusts overall sharpen ef

▼ Denoise Refinement

Adjusts all currently active Spatial, Temporal and Sharpen effects simultaneously.

Intended to be used after all Spatial, Temporal and Sharpen filters have been applied.

(collapsible drop down menu)

► Master Adjusts the overall Denoise Refinement (percentage default is 100%)


Select correct setting for processing. For video / digital source cameras that are

color, (e.g.: Rec. 709, video gamma, etc.) please select “LINEAR”. For all other “RAW” types of footage

(e.g.: film log, RED Log, ARRIRAW, etc.) you should choose “LOG”.

Controls for Spatial filtering (collapsible drop down menu)

Spatial master on/off switch (check box)

Adjusts Spatial filter for all color channels together (percentage)

On/off Spatial filtering for the RED channel only (check box)

Spatial filtering amount for RED color channel only (percentage)

On/off Spatial filtering for the GREEN channel only (check box)

Spatial filtering amount for GREEN color channel only (percentage)

On/off Spatial filtering for the BLUE channel only (check box)

Spatial filtering amount for BLUE color channel only (percentage)

Controls for Temporal filtering (collapsible drop down menu)

Temporal master on/off switch (check box - default - off)

Adjusts Temporal filter for all color channels (percentage)

Adjusts aggressiveness of temporal filter (percentage - default is 50%)

Controls for Sharpen effect (collapsible drop down menu)

On/off for Sharpen effect (check box)

Adjusts overall sharpen effect (percentage – default 50%)



(collapsible drop down menu)

Adjusts the overall Denoise Refinement (percentage default is 100%)

9

Select correct setting for processing. For video / digital source cameras that are NOT “RAW” or LOG

”. For all other “RAW” types of footage

Adjusts Spatial filter for all color channels together (percentage)

On/off Spatial filtering for the RED channel only (check box)

color channel only (percentage)

On/off Spatial filtering for the GREEN channel only (check box)

Spatial filtering amount for GREEN color channel only (percentage)

On/off Spatial filtering for the BLUE channel only (check box)

patial filtering amount for BLUE color channel only (percentage)

channels (percentage)

default is 50%)

default 50%)



Adjusts the overall Denoise Refinement (percentage default is 100%)


Advanced Mode Controls

A switch that expands the Spatial, Temporal, Sharpen and Denoise Refinement controls, as well as

reveals the “Advanced Spatial” controls (see Advance

The Dark Energy Anti-Matter plug

standalone product called Dark Energy

research and development within the professional field of Texture Management. Although we have

strived to make the controls for this plug

understanding of the steps involved in successful de

understanding the Spatial Filtering:

clear understanding of how to approach a de

possible from your Dark Energy Anti

Spatial Filtering: De-noising Technique and Approach

You will notice on startup of the

You will probably also note that in the default settings for both the

Temporal and Sharpen tools are

Anti-Matter system is based on very powerful spatial filtering algorithms, resulting in cleaner, more

natural looking de-grain / de-noise projects.

It is therefore very important to refine your spatial filtering as much as possible prior to doing anything

other type of temporal filtering or sharpening. Too much reliance on temporal of filtering of any kind

can result in “temporal artifacts”. Too much reliance on sharpening can “fool” you into thinking that you

are getting more detail than you actually are, when in fact you may be softening the finer details in your

image by focusing too much on the sharpened portions of the im

Follow these simple general rules

1. Always Spatial First: As much as possible try to get in the habit of filtering as much as you can

spatially first before enabling

2. Look for very fine detail areas when making judgments on spatial adjustments.

3. Check OFTEN that you are not losing detail

are working on.

4. Work on one color channel at a time; viewing each channel separ

monochrome display window. (see “Getting Started”

5. Once you feel you have achieved the best spatial filtering results possible, turn on

allow it to clean up any “leftovers” that

6. Use Sharpen only to restore detail to its original definition and feel

image sharper than the original or you run the risk of “ringing” the image.



reveals the “Advanced Spatial” controls (see Advanced Mode section for further description)

Matter plug-in for After Effects product is a derivative of a much more complex

standalone product called Dark Energy Professional, which itself was the result of many years of

ment within the professional field of Texture Management. Although we have

strived to make the controls for this plug-in as simple as possible, it is necessary to have a basic

understanding of the steps involved in successful de-graining or de-noising of a project.

Spatial Filtering: De-noising Technique and Approach that follows will give you a

clear understanding of how to approach a de-grain / de-noise project and help you get the best results

y Anti-Matter plug-in.

noising Technique and Approach

You will notice on startup of the Dark Energy Anti-Matter plug-in, the Spatial filtering is already active.

You will probably also note that in the default settings for both the Simple and

tools are disabled. This is deliberate. The success and renown of the

is based on very powerful spatial filtering algorithms, resulting in cleaner, more

noise projects.



oral artifacts”. Too much reliance on sharpening can “fool” you into thinking that you


image by focusing too much on the sharpened portions of the image.

simple general rules when approaching de-noising / de-graining:

: As much as possible try to get in the habit of filtering as much as you can

before enabling Temporal and Sharpen tools.

Look for very fine detail areas when making judgments on spatial adjustments.

Check OFTEN that you are not losing detail by repeatedly turning off and on the filter effect you

Work on one color channel at a time; viewing each channel separately in the After Effects

monochrome display window. (see “Getting Started” – 10. a.)

Once you feel you have achieved the best spatial filtering results possible, turn on

allow it to clean up any “leftovers” that Spatial may have missed.

only to restore detail to its original definition and feel –

mage sharper than the original or you run the risk of “ringing” the image.

10


Mode section for further description)

in for After Effects product is a derivative of a much more complex

which itself was the result of many years of

ment within the professional field of Texture Management. Although we have

in as simple as possible, it is necessary to have a basic

project. Reading and

that follows will give you a

noise project and help you get the best results

filtering is already active.

and Advanced modes, the

. This is deliberate. The success and renown of the Dark Energy

is based on very powerful spatial filtering algorithms, resulting in cleaner, more



oral artifacts”. Too much reliance on sharpening can “fool” you into thinking that you


: As much as possible try to get in the habit of filtering as much as you can

Look for very fine detail areas when making judgments on spatial adjustments.

by repeatedly turning off and on the filter effect you

ately in the After Effects

Once you feel you have achieved the best spatial filtering results possible, turn on Temporal and

– never try to make the

mage sharper than the original or you run the risk of “ringing” the image.


Spatial Filtering – Getting Started

1. Load your file sequence

2. Find an image in your sequ

full black).

3. Make sure you are not on the first or last frame of your sequence (temporal information for the

Spatial filter may not function ideally).

4. Determine whether your footage i

appropriate setting for your footage.

5. Load Dark Energy Anti-Matter

menu, or loading it from the drop down Effects menus in After Effects.

6. You should now see an immediate de

to Analyze the image.


Getting Started

Find an image in your sequence that has some brighter areas (not a lot of full white, not a lot of

Make sure you are not on the first or last frame of your sequence (temporal information for the

filter may not function ideally).

Determine whether your footage is LOG or LINEAR. Set the Process In drop down menu to the

appropriate setting for your footage.

Matter by dragging and dropping it onto your image from the Effects

menu, or loading it from the drop down Effects menus in After Effects.

You should now see an immediate de-noising effect of your image; however, you will still need

TOOL TIP:

It is very important to set yo

working resolution (

down sample factor") to

"FULL"

image for a noise profile

Lower working

FULL will cause inaccurate noise

profiles.

11

ence that has some brighter areas (not a lot of full white, not a lot of

Make sure you are not on the first or last frame of your sequence (temporal information for the

drop down menu to the

by dragging and dropping it onto your image from the Effects

however, you will still need

TOOL TIP:

It is very important to set your

working resolution ("resolution /

down sample factor") to

FULL", before analyzing the

image for a noise profile.

working resolutions than

FULL will cause inaccurate noise

profiles.


7. Hit the Analyze Current Frame

8. You should see the following

window. (see Figure 4)

9. You now have an automa

have chosen in your timeline. The spatial filtering however may still need to be refined to

balance detail and de-noising.

10. Using the After Effects channel viewer, choose either the RED,

the color channel separately (in monochrome black and white). A colored border around the

display area indicates the color channel you are isolating. (ALT + 1, 2 or 3) (see Figure 5)

Figure 4: Noise Profile Boxes –

channels of RED, GREEN and BLUE generated from the auto


Analyze Current Frame button that says “Analyze”

You should see the following Noise Profile Sample Boxes appear in your After Effect display

You now have an automated noise profile and spatial filtering effect based on the frame you


noising.

Using the After Effects channel viewer, choose either the RED, GREEN or BLUE channel to view



Each box represents a sample of noise from one of the three color

channels of RED, GREEN and BLUE generated from the auto-analysis function (Analyze

12

appear in your After Effect display

ted noise profile and spatial filtering effect based on the frame you


GREEN or BLUE channel to view



one of the three color

Analyze button).


11. Manually Refining the Noise Profile

The auto-analysis algorithms in the

areas for each color channel that represent only the noise in the image. Depending on the

complexity of your image however

pure noise. You may w

manipulating the Noise Profile

a. Start by viewing a specific color channel in the monochromatic channel view mode as

described in step 10 above.

b. In the After Effects display window, click and grab a corner of the colored

box that corresponds to the color channel you are viewing in the monochromatic display

window.

c. While holding down the click, drag the box to an area of the image tha

actual image detail as possible. Good places to look for are flat or out of focus surfaces

like walls in the background, the sky, etc. Avoid skin tones, hair, distinct lines or

patterns, areas of high contrast transitions (lines) and areas

full white.

Figure 5: Viewing the color channel

(selector indicated in yellow),

filters on a channel-by-channel basis. The color surrounding the display window indicates

what color channel you are currently viewing.


Noise Profile boxes:

analysis algorithms in the Analyze function are generally very good at finding uniform


complexity of your image however Analyze may have a hard time discerning a uniform sample of

pure noise. You may wish to refine the starting point for your Spatial

Noise Profile boxes. There is an easy way to do this:

Start by viewing a specific color channel in the monochromatic channel view mode as

described in step 10 above.

In the After Effects display window, click and grab a corner of the colored


While holding down the click, drag the box to an area of the image tha



patterns, areas of high contrast transitions (lines) and areas of complete blackness or

the color channels individually using After Effects color channel view

ctor indicated in yellow), allows for greater refinement and adjustment of the de

channel basis. The color surrounding the display window indicates

channel you are currently viewing.

13

function are generally very good at finding uniform


may have a hard time discerning a uniform sample of

Spatial filtering by manually

Start by viewing a specific color channel in the monochromatic channel view mode as

In the After Effects display window, click and grab a corner of the colored Noise Profile


While holding down the click, drag the box to an area of the image that has as little



of complete blackness or

s individually using After Effects color channel view

allows for greater refinement and adjustment of the de-noising

channel basis. The color surrounding the display window indicates


d. When you have found an ideal area, release the mouse and drop the box into the new

position. Your new filtering results for that channel will be instantly updated. Note

whether you see an improvement to the noise

Figure 6)

e. Repeat this process until you find a good balance between filtering and detail for each

color channel. Don’t forget to switch your display view to the specific color channel you

are adjusting. You are

12. In the Simple Mode you have the following overall

MASTER Adjusts the overall spatial filtering effect.

RED Adjusts the spatial filtering effect of the RED color channel only

GREEN Adjusts the spatial filtering effect of the GREEN color channel only

BLUE Adjusts the spatial filtering effect of the BLUE color channel only

It is a good idea to continue to view the individual color channels in the monochromatic display

view for the next refinement steps. This will help enormously in isolating noise from detail on a

color channel basis and help achieve a more effective de

possible.

Figure 6: Manually adjusting

channel, try moving the

see if you can improve


When you have found an ideal area, release the mouse and drop the box into the new


whether you see an improvement to the noise filtering and fine detail in the image. (see

Repeat this process until you find a good balance between filtering and detail for each


are adjusting. You are now ready for further refinements if necessary.

you have the following overall Spatial controls:

Adjusts the overall spatial filtering effect.

Adjusts the spatial filtering effect of the RED color channel only

Adjusts the spatial filtering effect of the GREEN color channel only

Adjusts the spatial filtering effect of the BLUE color channel only


t refinement steps. This will help enormously in isolating noise from detail on a

color channel basis and help achieve a more effective de-noise with as little actual detail loss as

Figure 6: Manually adjusting Noise Profile boxes: While viewing the corresponding color

channel, try moving the Noise Profile box around to different uniform areas of the image to

see if you can improve the balance between de-noising and detail.

14

When you have found an ideal area, release the mouse and drop the box into the new


filtering and fine detail in the image. (see

Repeat this process until you find a good balance between filtering and detail for each


now ready for further refinements if necessary.

Adjusts the spatial filtering effect of the RED color channel only

Adjusts the spatial filtering effect of the GREEN color channel only

Adjusts the spatial filtering effect of the BLUE color channel only


t refinement steps. This will help enormously in isolating noise from detail on a

noise with as little actual detail loss as

boxes: While viewing the corresponding color

box around to different uniform areas of the image to


a. While viewing a specific color channel, turn off and on the “e

the corresponding

there is any amount of visible noise prior to filtering (Figure 7)

b. Adjust each color channel

color channel in the display viewer. You can adjust the sliders or the percentage

adjusters by clicking and dragging left or right. (Use CTRL + drag to do fine adjustments).

c. Too see whether you are achieving good results, turn on and off the overall

amount using either the

to zoom into areas of fine detail to judge the results of your adjustments.

Figure 7: Turning on and off the

monochrome view helps you clearly see the filtering in each channel.


While viewing a specific color channel, turn off and on the “enable” buttons for each of

the corresponding Spatial filtering color channels. You should notice a big difference if

there is any amount of visible noise prior to filtering (Figure 7).

Adjust each color channel Spatial amount separately while viewing the corresponding


by clicking and dragging left or right. (Use CTRL + drag to do fine adjustments).

Too see whether you are achieving good results, turn on and off the overall

amount using either the enable for the color channel or the master

oom into areas of fine detail to judge the results of your adjustments.

Figure 7: Turning on and off the enable switches for a filter in

monochrome view helps you clearly see the filtering in each channel.

15

nable” buttons for each of

filtering color channels. You should notice a big difference if

amount separately while viewing the corresponding


by clicking and dragging left or right. (Use CTRL + drag to do fine adjustments).

Too see whether you are achieving good results, turn on and off the overall Spatial

master amount. Remember

oom into areas of fine detail to judge the results of your adjustments.


d. Once you have achieved a good balance of de

you can then turn on (

e. Adjust the Temporal Intensity

from Spatial filtering.

f. Adjust the Sharpen

before filtering.

13. Return the display back to the full color RGB combined view to

overall effect on and off to see if you have a good balance of detail and noise reduction.

At this point you can render a preview of your de

undesirable residual noise. Make r

please see the Advanced Mode description.


Once you have achieved a good balance of de-noising and detail for each color channel,

you can then turn on (enable) the Temporal and Sharpen filters.

Temporal Intensity and Master controls to reduce residual noise left behind

filtering.

Sharpen filter until you have restored the feel of the deta

Return the display back to the full color RGB combined view to check your results. Turn the


At this point you can render a preview of your de-noise / de-grain project. Check for any possible

undesirable residual noise. Make refinements as necessary. To have finer control over

description.

TOOL TIP

For best performance results,

make sure drop down menu in

"fast previews" (represented

by the lightening bolt icon in

the display window area) is

set to "

16

noising and detail for each color channel,

filters.

controls to reduce residual noise left behind

filter until you have restored the feel of the detail to its original state

check your results. Turn the


grain project. Check for any possible

efinements as necessary. To have finer control over Spatial filtering,

TOOL TIP:

For best performance results,

make sure drop down menu in

"fast previews" (represented

by the lightening bolt icon in

display window area) is

set to "OFF".


Dark Energy Anti-Matter

In the Advanced mode, the controls for the

expanded significantly. The Spatial

for in addition to the overall Spatial

adjusters”. These are named Low, Medium, High,

Additional frequency bands in Spatial

degree. Frequency in this sense essentially means the “size” or “coarseness” of the noise particles.

refining your automated profiles through further frequency band adjustments, you ar

helping to better inform the Spatial

The purpose for expanding the Temporal

the individual color controls; allowing for more targeted

The extra controls offered in Advanced Mode

sharpening and control over the sharpening of certain frequencies of detail.

In this next description section, we will not repeat the controls already covered previously in this manual

for Simple Mode. Please refer to the previous documentation for

controls not covered here.

Figure 8: In the Advanced Mode

allowing for better refinement of noise filtering by both noise “frequency” (coarseness) and color.


– Advanced Mode

In the Advanced mode, the controls for the Spatial, Temporal, Sharpen and

Spatial filter in Advanced Mode however has the mo

Spatial amounts for each color channel, it also has 4 extra “frequency band

Low, Medium, High, and Hi-High. (Figure 8)

Spatial allow the user to refine the Spatial filtering to an extremely fine

in this sense essentially means the “size” or “coarseness” of the noise particles.

refining your automated profiles through further frequency band adjustments, you ar

Spatial filter as to what is noise and what is detail.

Temporal and Denoise Refinement tools in Advanced Mode

; allowing for more targeted refinements of filtering according to color.

Advanced Mode for the Sharpen filter is to allow for more aggressive

sharpening and control over the sharpening of certain frequencies of detail.


Please refer to the previous documentation for Simple Mode

Advanced Mode there are many more Spatial controls in the expanded toolset


17

and Denoise Refinement are

however has the most additional controls,

amounts for each color channel, it also has 4 extra “frequency band

filtering to an extremely fine

in this sense essentially means the “size” or “coarseness” of the noise particles. By

refining your automated profiles through further frequency band adjustments, you are effectively

Advanced Mode is to open up

refinements of filtering according to color.

filter is to allow for more aggressive


Simple Mode for the description of

controls in the expanded toolset



Application of Advanced Mode Spatial Filtering

Now that you have learned how to use

transition for you to start using the

You have learned the importance of

learned how to move the Spatial Noise Profile

possible representing a good balance between filtering and detail retention. You have adjusted the

Spatial filter color channel amounts

remove any residual noise left behind from the

much as you needed to “restore” the look and feel of the origina

over sharpening and ringing.

The fundamentals are the same for the

channel control, you also have an expanded range of control over four “frequency bands”:

Medium, High and Hi-High. Combining frequency band control with color control makes for an incredibly

powerful spatial filtering tool – allowing you to remove even more noise and reveal even more detail in

your image than you perhaps ever thought possible.


ed Mode Spatial Filtering

Now that you have learned how to use Dark Energy Anti-Matter in Simple Mode

transition for you to start using the Advanced Mode.

You have learned the importance of Spatial filtering and the “Always Spatial First” rule. You have also

Spatial Noise Profile boxes around to find the best


amounts to further refine that balance. You then added

remove any residual noise left behind from the Spatial filtering, and finally you used

much as you needed to “restore” the look and feel of the original image before it was filtered to prevent

The fundamentals are the same for the Advanced Mode, only now, in addition to the individual color

channel control, you also have an expanded range of control over four “frequency bands”:

. Combining frequency band control with color control makes for an incredibly

allowing you to remove even more noise and reveal even more detail in

your image than you perhaps ever thought possible.

18

it should be a fairly easy

ial First” rule. You have also

boxes around to find the best Noise Profile sample


You then added Temporal filtering to

filtering, and finally you used Sharpen only as

ore it was filtered to prevent

, only now, in addition to the individual color

channel control, you also have an expanded range of control over four “frequency bands”: Low,

. Combining frequency band control with color control makes for an incredibly

allowing you to remove even more noise and reveal even more detail in


Advanced Mode Control Descriptions

Spatial Filtering

▼Advanced Spatial

(Collapsible menu for the advanced spatial controls)

▼Low Low frequency drop down menu (for big, coarse noise)

Enable Overall low frequency on/off switch (check box)

►Master Overall low frequency adjuster (4 decimal places)

►R Low frequency adjuster for RED channel (4 decimal places)

►G Low frequency adjuster for GREEN channel (4 decimal places)

►B Low frequency adjuster for BLUE channel (4 decimal places)

▼Medium Medium frequency drop down menu (for medium to coarse noise)

Enable Overall medium frequency on/off switch (check box)

►Master Overall medium frequency adjuster (4 decimal places)

►R Medium frequency adjuster for RED channel (4 decimal places)

►G Medium frequency

►B Medium frequency adjuster for BLUE channel (4 decimal places)

▼High High frequency drop down menu (for medium to fine noise)

Enable Overall high frequency on/off switch (check box)

►Master Overall high frequency adjuster (4 decimal places)

►R High frequency adjuster for RED channel (4 decimal places)

►G High frequency adjuster for GREEN channel (4 decimal places)

►B High frequency adjuster for BLUE channel (4 decimal places)


Descriptions

(Collapsible menu for the advanced spatial controls)

Low frequency drop down menu (for big, coarse noise)

Overall low frequency on/off switch (check box)

Overall low frequency adjuster (4 decimal places)

Low frequency adjuster for RED channel (4 decimal places)

Low frequency adjuster for GREEN channel (4 decimal places)

Low frequency adjuster for BLUE channel (4 decimal places)

ency drop down menu (for medium to coarse noise)

Overall medium frequency on/off switch (check box)

Overall medium frequency adjuster (4 decimal places)

Medium frequency adjuster for RED channel (4 decimal places)

Medium frequency adjuster for GREEN channel (4 decimal places)

Medium frequency adjuster for BLUE channel (4 decimal places)

High frequency drop down menu (for medium to fine noise)

Overall high frequency on/off switch (check box)

requency adjuster (4 decimal places)

High frequency adjuster for RED channel (4 decimal places)

High frequency adjuster for GREEN channel (4 decimal places)

High frequency adjuster for BLUE channel (4 decimal places)

19

ency drop down menu (for medium to coarse noise)

adjuster for GREEN channel (4 decimal places)


▼Hi-High Hi-High frequency

Enable Overall hi-high frequency on/off switch (check box)

►Master Overall hi-high frequency adjuster (4 decimal places)

►R Hi-High frequency adjuster for RED channel (4 decimal places)

►G Hi-High frequency adj

►B Hi-High frequency adjuster for BLUE channel (4 decimal places)

Temporal Filtering

▼Temporal Collapsible Temporal drop down menu

Enable Overall Temporal on/off switch (check box)

►Master Overall Temporal

►R Temporal adjuster for RED channel (as a percentage)

►G Temporal adjuster for GREEN channel (as a percentage)

►B Temporal adjuster for BLUE channel (as a percentage)

Sharpening

▼Sharpen Collapsible Sharpen drop down men

Enable Overall Sharpen on/off switch (check box)

►Master Overall Sharpen filter adjuster (as a percentage

►Radius “Width of sharpening effect” adjuster for Sharpen filter (default is 1.0)

►Threshold Threshold adjuster for coarseness of

Denoise Refinement

▼Denoise Refinement

Collapsible Denoise Refinement drop down menu

Enable Overall Denoise Refinement on/off switch (check box)

►Master Overall Denoise Refinement filter adjuster (as a percentage)

►R Denoise Refinement adjuster for RED channel (as a percentage)

►G Denoise Refinement adjuster for GREEN channel (as a percentage)

►B Denoise Refinement adjuster for BLUE channel (as a percentage)


High frequency drop down menu (for fine to very fine noise)

high frequency on/off switch (check box)

high frequency adjuster (4 decimal places)

gh frequency adjuster for RED channel (4 decimal places)

High frequency adjuster for GREEN channel (4 decimal places)

High frequency adjuster for BLUE channel (4 decimal places)

Collapsible Temporal drop down menu

Overall Temporal on/off switch (check box)

Overall Temporal filter adjuster (as a percentage)

Temporal adjuster for RED channel (as a percentage)

Temporal adjuster for GREEN channel (as a percentage)

Temporal adjuster for BLUE channel (as a percentage)

Collapsible Sharpen drop down menu

Overall Sharpen on/off switch (check box)

Overall Sharpen filter adjuster (as a percentage – default 50%)

Width of sharpening effect” adjuster for Sharpen filter (default is 1.0)

Threshold adjuster for coarseness of sharpening (as a percentage)

Collapsible Denoise Refinement drop down menu

Overall Denoise Refinement on/off switch (check box)

Overall Denoise Refinement filter adjuster (as a percentage)

Refinement adjuster for RED channel (as a percentage)

Denoise Refinement adjuster for GREEN channel (as a percentage)

Denoise Refinement adjuster for BLUE channel (as a percentage)

20

uster for GREEN channel (4 decimal places)

Width of sharpening effect” adjuster for Sharpen filter (default is 1.0)

sharpening (as a percentage)

Denoise Refinement adjuster for GREEN channel (as a percentage)

Denoise Refinement adjuster for BLUE channel (as a percentage)


Advanced Mode – Getting Started

Follow all the steps in the Simple Mode

to the Advanced Mode and pick up from number 12 below:

12. Use the monochromatic

channel of your choice.

13. Zoom into an area of your image that represents fine detail. (e.g.: fine hairs, freckles, skin

blemishes, fine graphic patterns in walls or clothing etc.).

14. Starting with the Low

repeatedly, carefully observing the filtering for that band and color channel. Look for any loss of

detail or lack of filtering. You should immediately notice that the type of noise you are seeing is a

different than the overall noise you were seeing in

a certain size (frequency) of noise particles using the bands.

Figure 9 Detailed view of the

Figure 10: Toggle a frequency band on and off repeatedly to get a better idea of how

that frequency is working to balance noise filtering and detail retention. (Example

shown: Low frequency of the


Getting Started

Simple Mode “Getting Started” guide until step number 11, then return here

and pick up from number 12 below:

Use the monochromatic black and white display view of After Effects to view a single color

Zoom into an area of your image that represents fine detail. (e.g.: fine hairs, freckles, skin

blemishes, fine graphic patterns in walls or clothing etc.).

Low frequency band Enable switch, toggle the Low Enable



erent than the overall noise you were seeing in Simple Mode. That is because you are isolating

a certain size (frequency) of noise particles using the bands.

Figure 9 Detailed view of the Advanced Spatial controls in Dark Energy Anti-Matter

re 10: Toggle a frequency band on and off repeatedly to get a better idea of how


frequency of the BLUE channel - disabled.)

21

“Getting Started” guide until step number 11, then return here

black and white display view of After Effects to view a single color

Zoom into an area of your image that represents fine detail. (e.g.: fine hairs, freckles, skin

Low Enable on and off



That is because you are isolating

Matter

re 10: Toggle a frequency band on and off repeatedly to get a better idea of how



15. If you are happy with the balance between noise reduction and detail retention for the

frequency filtering for that color channel, move up to the next frequency band of

repeat the same procedure of turning off and on that frequency band, until you find a band that

needs adjusting.

16. When you feel you have found a frequency band that requ

slider that corresponds to the color channel you are currently viewing in the monochrome viewer

of After Effects.

17. While holding down CTRL, click and drag mouse left and right over the corresponding color

channel slider (e.g. Low and

and detail. (Figure 11)

HINT: Work on one color channel at a time and remember what color channel you are currently viewing

18. Continue to move up to

adjustments as you go.

19. When you have completed all the adjustments for this color channel, switch your viewer to the

next color channel and repeat steps 12

20. After all color and frequency bands have been adjusted to your liking, switch on the

and Sharpen filters and make the appropriate adjustments.

Keep in mind that the Temporal, Sharpen

greatly expanded – allowing you to adjust things like aggressiveness, and the effect on specific color

channels. We encourage you to experiment with all of these controls to help yield better de

and de-noising results. The more you use and understand the tool, the more effective you can be at

removing noise and grain from your project. Thank you for ch

for After Effects

Figure 11: While zooming in on an area

viewed in the monochrome display mode of After Effects. Dragging your mouse left or right will

decrease or increase the filtering effect for that frequency and color channel only. Observe the

results and stop when you have a good balance between detail and de

control, hold down CTRL button while dragging.)


If you are happy with the balance between noise reduction and detail retention for the

ncy filtering for that color channel, move up to the next frequency band of


When you feel you have found a frequency band that requires adjustment, grab the frequency


While holding down CTRL, click and drag mouse left and right over the corresponding color

and BLUE) until you are happy with the balance between noise reduction

Work on one color channel at a time and remember what color channel you are currently viewing

Continue to move up to High and Hi-High, while observing areas of fine detail and making

ou have completed all the adjustments for this color channel, switch your viewer to the

next color channel and repeat steps 12-17 for the next color channel.

After all color and frequency bands have been adjusted to your liking, switch on the

filters and make the appropriate adjustments.

Temporal, Sharpen and Denoise Refinement controls in

allowing you to adjust things like aggressiveness, and the effect on specific color

nels. We encourage you to experiment with all of these controls to help yield better de

noising results. The more you use and understand the tool, the more effective you can be at

removing noise and grain from your project. Thank you for choosing the Dark Energy

Figure 11: While zooming in on an area of detail, adjust the corresponding color channel being



and stop when you have a good balance between detail and de-noising. (For fine level

control, hold down CTRL button while dragging.)

22

If you are happy with the balance between noise reduction and detail retention for the Low

ncy filtering for that color channel, move up to the next frequency band of Medium and


ires adjustment, grab the frequency


While holding down CTRL, click and drag mouse left and right over the corresponding color

until you are happy with the balance between noise reduction

Work on one color channel at a time and remember what color channel you are currently viewing.

, while observing areas of fine detail and making

ou have completed all the adjustments for this color channel, switch your viewer to the

After all color and frequency bands have been adjusted to your liking, switch on the Temporal

controls in Advanced Mode are

allowing you to adjust things like aggressiveness, and the effect on specific color

nels. We encourage you to experiment with all of these controls to help yield better de-graining

noising results. The more you use and understand the tool, the more effective you can be at

Dark Energy Anti-Matter plug-in

of detail, adjust the corresponding color channel being



noising. (For fine level


Dark Energy Matter Plug-

The Dark Energy Matter plug-in for

“texture” to digital footage. As we discussed in the

the field of Texture Management is expanding rapidly. The creation and control of image texture and

noise across the wide variety of broadcast, home and cinema media formats, requires a professional

tool like Dark Energy Matter. It is the tool of choice of professionals; used to generate any texture

required for any media display format

Previously only available in Dark Energy Pro

essentially the same product that has generated final textures on countless feature films, television

series and commercials across the globe.

like a pro.

Figure 12: Dark Energy

Dark Energy Anti

new texture with

ensures complete control of the final image texture.


-in for After Effects

in for After Effects is used for generating and applying a film or video

“texture” to digital footage. As we discussed in the “Philosophy of Texture Management”



. It is the tool of choice of professionals; used to generate any texture

required for any media display format – now and into the future.

Dark Energy Pro, the new Dark Energy Matter plug-in for


series and commercials across the globe. Now you too have the power to achieve Texture Management

Dark Energy Matter for After Effects It is recommended to always use

Anti-Matter to de-noise or de-grain your images prior to applying a

new texture with Dark Energy Matter. Starting with a “textureless image”

ensures complete control of the final image texture.

23

is used for generating and applying a film or video

“Philosophy of Texture Management” section earlier,



. It is the tool of choice of professionals; used to generate any texture

in for After Effects is


Now you too have the power to achieve Texture Management

It is recommended to always use

grain your images prior to applying a

Matter. Starting with a “textureless image”


When and why would I use

Dark Energy Matter is used for a wide variety of Texture Management purposes:

• To generate new textures and give “life” to video or digital images that would otherwise appear

too clean.

• To “unify” disparate camera noise types in multi

texture across all the footage makes the edits look “seamless”.

• Used creatively to make images look like an old grainy film or give a “gritty” look for effect.

• To generate a matching grain or texture:

film, applying an original film grain back to digitally restored film, or

specific old film stock.

• Avoiding downstream compression artifacts such as color banding and macro

applying light textures that fool compression encoders into retaining color and detail

information.

Post-production finishing today requires you to manage the texture appropriate to the final display

devices and file formats you are delivering to; whether a mobile phone or a full sized cinema screen

anything in between. Each display format and file type nowadays requir

depending on the physical size, resolution and compression attributes for that display format.

In general you will want to use Dark Energy

footage. Next you will use Dark Energy

designed specifically for your final display mediums and file types (deliverables).

By creating a “clean master” first using

render virtually any number of different textures

type you are targeting.


When and why would I use Dark Energy Matter?

is used for a wide variety of Texture Management purposes:

ures and give “life” to video or digital images that would otherwise appear

To “unify” disparate camera noise types in multi-format camera productions; applying a single

texture across all the footage makes the edits look “seamless”.

vely to make images look like an old grainy film or give a “gritty” look for effect.

To generate a matching grain or texture: from one shot to another, such as matching video to

film, applying an original film grain back to digitally restored film, or creating the “look” of a

Avoiding downstream compression artifacts such as color banding and macro


shing today requires you to manage the texture appropriate to the final display

devices and file formats you are delivering to; whether a mobile phone or a full sized cinema screen

anything in between. Each display format and file type nowadays requires a slightly different texture,


Dark Energy Anti-Matter to first remove any existing noise from all your

Dark Energy Matter on your final master sequence


By creating a “clean master” first using Dark Energy Anti-Matter you can then use

render virtually any number of different textures – each custom designed for the display format and file

Figure 13: You can use Dark Energy

Matter to first remove all the grain and

noise from your footage, and then

a completely controlled texture using

Dark Energy Matter

24

is used for a wide variety of Texture Management purposes:

ures and give “life” to video or digital images that would otherwise appear

format camera productions; applying a single

vely to make images look like an old grainy film or give a “gritty” look for effect.

from one shot to another, such as matching video to

creating the “look” of a

Avoiding downstream compression artifacts such as color banding and macro-blocking by


shing today requires you to manage the texture appropriate to the final display

devices and file formats you are delivering to; whether a mobile phone or a full sized cinema screen – or

es a slightly different texture,


to first remove any existing noise from all your

on your final master sequence to create a texture


you can then use Dark Energy Matter to

each custom designed for the display format and file

Dark Energy Anti-

to first remove all the grain and

noise from your footage, and then apply

a completely controlled texture using


Dark Energy Matter

The Dark Energy Matter system uses the following controls to achieve texture generation:

Load Configuration

Loads a pre-saved .det file (“Texture Setting File”). A .det

generation project, previously saved by the user. This can be used for calling up a favorite texture to

apply to the current footage you are working on in your timeline.

Save Configuration

Opens a browser window for you and asks you to save a Texture Setting File (.det file) to a location on of

your choosing. The file you save contains all the information required to re

any other project you may be working on. Use this to save

Figure 14: The expanded controls of


system uses the following controls to achieve texture generation:

saved .det file (“Texture Setting File”). A .det file contains all the settings for a single texture


apply to the current footage you are working on in your timeline.

window for you and asks you to save a Texture Setting File (.det file) to a location on of

your choosing. The file you save contains all the information required to re-apply these settings later in

any other project you may be working on. Use this to save favorite settings.

Figure 14: The expanded controls of Dark Energy Matter

25

system uses the following controls to achieve texture generation:

file contains all the settings for a single texture


window for you and asks you to save a Texture Setting File (.det file) to a location on of

apply these settings later in


Controls

▼ Amount Overall amount of texture for all three color channels (default=100%)

▼ Channel Amount

(Collapsible menu for color channel amounts)

► R Controls RED channel amount only (0%

► G Controls GREEN channel amount only (0%

► B Controls BLUE channel amount only (0%

▼ Texture Size

The size of the texture (1

▼ Intensity

The coarseness of the texture (0%

▼ Channel Intensity

(Collapsible menu for color channel Intensity)

► R Controls RED channel “coarseness” only (0%

► G Controls GREEN channel “coarseness” only (0%

► B Controls BLUE channel “coarseness” only (0%

▼ Chroma Controls the overall saturation of the texture particles

Process In Drop down menu for “Linear” or “Log “processing of texture


Overall amount of texture for all three color channels (default=100%)

ollapsible menu for color channel amounts)

Controls RED channel amount only (0%-100%, default=100%)

Controls GREEN channel amount only (0%-100%, default=100%)

Controls BLUE channel amount only (0%-100%, default=100%)

The size of the texture (1-100, default = 25)

The coarseness of the texture (0%-100%)

llapsible menu for color channel Intensity)

Controls RED channel “coarseness” only (0%-100%, default=100%)

Controls GREEN channel “coarseness” only (0%-100%, default=100%)

s BLUE channel “coarseness” only (0%-100%, default=100%)

Controls the overall saturation of the texture particles

Drop down menu for “Linear” or “Log “processing of texture

26

Overall amount of texture for all three color channels (default=100%)

100%, default=100%)

100%, default=100%)

100%, default=100%)


Dark Energy Matter – Getting

1. Load your project into After Effects or apply the

your footage by dragging and dropping it on to the display window or choosing it from the

menu.

Tool Tip: Generally you should apply

effect stack. This ensures that there will not be a color, sharpening or other enhancement to the texture

being generated by this plug-in (unless of course that is your intent).

2. Go directly to the Process In

the appropriate setting to process your footage (either “Log” or “Linear”). You will notice the

processing type yields a slightly different effect to the footage, putting more or less texture in

the highlights and black areas of your image depending on the setting.

3. Start by adjusting the overall

4. If you feel the texture size is good, you can adjust the

more or less texture in a specific color channel.

5. Adjust the Texture Size to yield larger or smaller textures. Use this in combination with the

Amount or Channel Amounts

6. Intensity is essentially the “

the space between the particles which also increases their perceived temporal activity. Adjust

this up and down to yield the desired texture effect.

7. Adjust the Channel Intensity

three color channels of Red, Green or Blue.

8. Once you have found a good balance of color, size and amount of the texture particles, you

might want to adjust the overall “colorfulness” of the texture by a

default is 0 (zero) indicating a relatively colorless texture; turn the

grain particles with more color (depending on the

overall color balance of your footage).

We encourage you to experiment with the

possible to get a good feel for the many kinds of subtle and extreme textures you can achiev

into the particles while playing around with the controls to see the effect the texture generators have on

your footage. Bring in a shot with some pre

can match it using the Dark Energ

function, the better you will be at creating the perfect custom textures for your projects. Thank you for

choosing the Dark Energy Matter


Getting Started

Load your project into After Effects or apply the Dark Energy Matter plug


Generally you should apply Dark Energy Matter plug-in after all the other effects in your


in (unless of course that is your intent).

Process In at the bottom of the Dark Energy Matter effect window. Choose



the highlights and black areas of your image depending on the setting.

Start by adjusting the overall Amount and observing the effect of the texture being added.

If you feel the texture size is good, you can adjust the Channel Amounts

more or less texture in a specific color channel.

to yield larger or smaller textures. Use this in combination with the

Channel Amounts to get the perfect size and amount of texture desired.

is essentially the “coarseness” of the texture being generated. You can think of it as


this up and down to yield the desired texture effect.

Channel Intensity to weight the coarseness of the texture differently between the

three color channels of Red, Green or Blue.

Once you have found a good balance of color, size and amount of the texture particles, you

might want to adjust the overall “colorfulness” of the texture by adjusting the

default is 0 (zero) indicating a relatively colorless texture; turn the Chroma

grain particles with more color (depending on the Channel Amounts balance this may alter the

overall color balance of your footage).

We encourage you to experiment with the Dark Energy Matter plug-in for After Effects

possible to get a good feel for the many kinds of subtle and extreme textures you can achiev


your footage. Bring in a shot with some pre-existing texture that you like, split screen it, and see if you

Dark Energy Matter controls. The more you understand about how the tools

, the better you will be at creating the perfect custom textures for your projects. Thank you for

Dark Energy Matter plug-in for After Effects.

27

plug-in for After Effects to


all the other effects in your


effect window. Choose



and observing the effect of the texture being added.

Channel Amounts separately to yield

to yield larger or smaller textures. Use this in combination with the

to get the perfect size and amount of texture desired.

coarseness” of the texture being generated. You can think of it as


the coarseness of the texture differently between the

Once you have found a good balance of color, size and amount of the texture particles, you

djusting the Chroma. The

Chroma up to saturate your

balance this may alter the

After Effects as much as

possible to get a good feel for the many kinds of subtle and extreme textures you can achieve. Zoom


existing texture that you like, split screen it, and see if you

derstand about how the tools

, the better you will be at creating the perfect custom textures for your projects. Thank you for

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