dark energy for after effects userguide v1.2.9462
TRANSCRIPT
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
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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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Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
tal Film Central, Cinnafilm, Inc. All Rights Reserved
Dark Energy Matter? ................................................................
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................................................................................................
................................................................................................................................
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
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 license, no part of this guide may be reproduced or
transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without prior written permission
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
License Agreement (EULA), and all content in this guide are protected under copyright law. Usage of Cinnafilm software
cense, no part of this guide may be reproduced or
transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without prior written permission
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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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 Philosophy of Texture Management
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!
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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
manage texture on countless feature films, television series and commercials throughout the world.
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 Philosophy of Texture Management
The term “Texture Management” has evolved out of modern professional post-
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 Dark Energy Professional
The Texture Management field of post-production has grown to be an incredibly important aspect of
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 control standards set by broadcasters and distribution
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
/ 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
manage texture on countless feature films, television series and commercials throughout the world.
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
to describe the process whereby film grain and digital video “noise” is abated, entirely or in part,
fessional and ARRI Relativity.
production has grown to be an incredibly important aspect of
film and digital finishing. Image “noise” in any production must be carefully managed in order to create
ntrol standards set by broadcasters and distribution
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 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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
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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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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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
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.
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 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.
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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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
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.
Generates an automatic “noise profile” of the current image in the timeline. In the display, three colored
boxes will appear, representing an ideal noise profile from each of the three color channels of RED,
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.
Saves all the current settings to a single .den file. Hitting the “Save” button opens up a browser and asks
the timeline. In the display, three colored
boxes will appear, representing an ideal noise profile from each of the three color channels of RED,
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
tal Film Central, Cinnafilm, Inc. All Rights Reserved
Because the spatial analysis of the image is “temporally informed”, you will need to select a frame within
not the first or the last frame of your sequence.
please see “Process In” below and choose the correct color processing for
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.
Analyze Current Frame: In this step, “smart” auto-analysis algorithms seek out
ideal, uniform areas of the image, for each color channel of RGB. This resulting “noise
profiles” are used for the initial Spatial filtering; separating image noise from image
detail. (Cineon converter added as a viewing LUT only.)
8
Because the spatial analysis of the image is “temporally informed”, you will need to select a frame within
choose the correct color processing for
This is the color space that the images are processed in. It is very important to choose the appropriate
analysis algorithms seek out
ideal, uniform areas of the image, for each color channel of RGB. This resulting “noise
filtering; separating image noise from image
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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%)
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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%)
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)
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 all currently active Spatial, Temporal and Sharpen effects simultaneously.
Intended to be used after all Spatial, Temporal and Sharpen filters have been applied.
Adjusts the overall Denoise Refinement (percentage default is 100%)
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
tal Film Central, Cinnafilm, Inc. All Rights Reserved
A switch that expands the Spatial, Temporal, Sharpen and Denoise Refinement controls, as well as
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.
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
oral 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 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
A switch that expands the Spatial, Temporal, Sharpen and Denoise Refinement controls, as well as
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
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
oral 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
: 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.
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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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.
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
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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
have chosen in your timeline. The spatial filtering however may still need to be refined to
noising.
Using the After Effects channel viewer, choose either the RED, GREEN or BLUE channel to view
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)
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
have chosen in your timeline. The spatial filtering however may still need to be refined to
GREEN or BLUE channel to view
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)
one of the three color
Analyze button).
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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Noise Profile boxes:
analysis algorithms in the Analyze function are generally very good at finding uniform
areas for each color channel that represent only the noise in the image. Depending on the
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
box that corresponds to the color channel you are viewing in the monochromatic display
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 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
areas for each color channel that represent only the noise in the image. Depending on the
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
box that corresponds to the color channel you are viewing in the monochromatic display
While holding down the click, drag the box to an area of the image that has as little
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
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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
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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 filtering and fine detail in the image. (see
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 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
It is a good idea to continue to view the individual color channels in the monochromatic display
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
position. Your new filtering results for that channel will be instantly updated. Note
filtering and fine detail in the image. (see
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
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
It is a good idea to continue to view the individual color channels in the monochromatic display
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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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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
color channel in the display viewer. You can adjust the sliders or the percentage
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
color channel in the display viewer. You can adjust the sliders or the percentage
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.
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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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
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-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
overall effect on and off to see if you have a good balance of detail and noise reduction.
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".
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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– 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.
In this next description section, we will not repeat the controls already covered previously in this manual
Please refer to the previous documentation for Simple Mode
Advanced Mode there are many more Spatial controls in the expanded toolset
allowing for better refinement of noise filtering by both noise “frequency” (coarseness) and color.
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
In this next description section, we will not repeat the controls already covered previously in this manual
Simple Mode for the description of
controls in the expanded toolset
allowing for better refinement of noise filtering by both noise “frequency” (coarseness) and color.
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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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
possible representing a good balance between filtering and detail retention. You have adjusted the
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
possible representing a good balance between filtering and detail retention. You have adjusted the
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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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)
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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)
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▼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)
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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)
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
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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
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
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
that frequency is working to balance noise filtering and detail retention. (Example
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
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
That is because you are isolating
Matter
re 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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.)
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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
repeat the same procedure of turning off and on that frequency band, until you find a band that
When you feel you have found a frequency band that requires adjustment, grab the frequency
slider that corresponds to the color channel you are currently viewing in the monochrome viewer
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
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
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
repeat the same procedure of turning off and on that frequency band, until you find a band that
ires adjustment, grab the frequency
slider that corresponds to the color channel you are currently viewing in the monochrome viewer
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
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
noising. (For fine level
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
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-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”
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
. 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
essentially the same product that has generated final textures on countless feature films, television
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,
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
. It is the tool of choice of professionals; used to generate any texture
in for After Effects is
essentially the same product that has generated final textures on countless feature films, television
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”
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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.
tal Film Central, Cinnafilm, Inc. All Rights Reserved
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
applying light textures that fool compression encoders into retaining color and detail
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,
depending on the physical size, resolution and compression attributes for that display format.
Dark Energy Anti-Matter to first remove any existing noise from all your
Dark Energy Matter on your final master sequence
designed specifically for your final display mediums and file types (deliverables).
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
applying light textures that fool compression encoders into retaining color and detail
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,
depending on the physical size, resolution and compression attributes for that display format.
to first remove any existing noise from all your
on your final master sequence to create a texture
designed specifically for your final display mediums and file types (deliverables).
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
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
tal Film Central, Cinnafilm, Inc. All Rights Reserved
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
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.
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
generation project, previously saved by the user. This can be used for calling up a favorite texture to
window for you and asks you to save a Texture Setting File (.det file) to a location on of
apply these settings later in
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
tal Film Central, Cinnafilm, Inc. All Rights Reserved
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
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Overall amount of texture for all three color channels (default=100%)
100%, default=100%)
100%, default=100%)
100%, default=100%)
Copyright ©2012, Digital Film Central, Cinnafilm, Inc. All Rights Reserved
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
tal Film Central, Cinnafilm, Inc. All Rights Reserved
Getting Started
Load your project into After Effects or apply the Dark Energy Matter plug
your footage by dragging and dropping it on to the display window or choosing it from the
Generally you should apply Dark Energy Matter plug-in after all the other effects in your
effect stack. This ensures that there will not be a color, sharpening or other enhancement to the texture
in (unless of course that is your intent).
Process In at the bottom of the Dark Energy Matter effect window. Choose
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.
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
the space between the particles which also increases their perceived temporal activity. Adjust
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
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-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
your footage by dragging and dropping it on to the display window or choosing it from the
all the other effects in your
effect stack. This ensures that there will not be a color, sharpening or other enhancement to the texture
effect window. Choose
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
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 space between the particles which also increases their perceived temporal activity. Adjust
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
into the particles while playing around with the controls to see the effect the texture generators have on
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