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Table Of Contents ----------------- Page 2 -- userload - arexx (9.50) Page 2 -- simpload - arexx (9.50) Page 2 -- forcewbfront - arexx (9.50) Page 2 -- forcefront - arexx (9.50) Page 2 -- ehlp - arexx (9.50) Page 3 -- New Color Separation module (9.50) Page 3 -- Swap Primary and Secondary keystroke (9.50) Page 3 -- Perspective Compose Operation (9.50) Page 4 -- perspect - arexx (9.50) Page 4 -- Add/Subtract a constant (9.50) Page 4 -- Multiply/Divide a constant (9.50) Page 4 -- Multiply by Secondary (9.50) Page 4 -- Divide by Secondary (9.50) Page 4 -- Logarithm (9.50) Page 5 -- Raise to Power (9.50) Page 5 -- 1-D Profile (9.50) Page 5 -- 1-D Spectrum Analysis (9.50) Page 5 -- Variance Conversion (9.50) Page 5 -- Scientific Ops - General Information (9.50) Page 6 -- Sharpen III (9.50) Page 6 -- Intelligent Loader (9.50) Page 8 -- plugin extended structure - arexx (9.50+) Page 8 -- AGA Palette Display (9.50) Page 9 -- Exact Aspect (9.50) Page 9 -- Set Display Aspect (9.50) Page 10 -- pcontrol - arexx (9.50) Page 10 -- pcontask - arexx (9.50) Page 11 -- Rendering - Creating Amiga IFF images (9.50) Page 19 -- New morphing documentation (9.23) Page 19 -- New AGA modes supported (9.21) Page 19 -- New Render Panel (9.21) Page 19 -- Dither control in Display Panel (9.21) Page 20 -- Distance Calculator Page 20 -- Pad Canvas Page 20 -- Virtual Memory accommodation Page 21 -- Custom Area Shape Selections Page 22 -- ANIM OP-5 Generation from Sequencer Page 23 -- Automatic Custom Display Updating Page 24 -- Roll Image Geometric Process Page 25 -- Compose and Process panels reorganized Page 26 -- Zoom Clip Page 27 -- Image masks Page 28 -- Shadows in Compositing Page 29 -- FilmStrips Page 30 -- Sequence Processing Page 35 -- Morphing Page 36 -- A Tour of single-image morphing: Page 41 -- A Tour of dual-image morphing: Page 44 -- Single Image Morphing Tools Reference Page 44 -- Quick Reference to Warp Morphing Page 47 -- Detailed Warp Morphing Reference Page 62 -- Quick Reference to Dual-Image Morphing Page 65 -- Detailed Dual-Image Morphing Reference Page 81 -- Some Morphing Hints Page 83 -- List Requester (ARexx-based capability) Page 83 -- Load Image as Secondary Page 83 -- Load Image as Blend Page 83 -- Load Image as Brush Page 84 -- Co-ordinates Page 84 -- Grid Page 85 -- Adding Noise Page 85 -- Clip to exact size (F/x) Page 85 -- X-Specs Over-Under Page 85 -- X-Specs Interleave Page 85 -- X-Specs Separate Page 86 -- F/x User Transforms Page 86 -- Stretch (Scale, Zoom) Page 86 -- Map to Range Page 87 -- Color Balance Page 87 -- Numeric Area Selection Page 88 -- Black Balance Page 88 -- Force Dynamic Page 88 -- X-Specs Conversion Page 89 -- Absolute Resample - no anti-aliasing Page 89 -- Merge with Render from Range Page 90 -- Additional Render Controls and Capabilties Page 91 -- Compose with Logical OR Page 91 -- Compose with Logical AND Page 91 -- Multiple Blend Technique Application Page 91 -- Smooth Edge Blending as a Percentage Page 91 -- Masks Page 92 -- Color Separations Page 94 -- CMYK and RGB Recombination Page 95 -- Genlocking Page 96 -- DCTV Page 96 -- Brushes Page 96 -- Color Definition Page 97 -- Palette Mapping Page 97 -- Paint Settings To Disk Page 98 -- New fill modes Page 99 -- Dual Range Fills Page 101 -- DPI operations Page 101 -- Initialize buffer to Color Page 101 -- Setup Panel Page 101 -- Information Panel Page 101 -- Display Panel Page 102 -- Dither Off Page 102 -- Public Interface Modules Page 116 -- ARexx Port Names Page 116 -- Render command changed Page 116 -- Filerequest command changed Page 116 -- Newbuf command (changed) Page 116 -- Firecracker-specific manipulation (new commands) Page 117 -- Finding the mouse location from ARexx (new command) Page 117 -- coords <show> <top> (new command) Page 117 -- grid <on> <xgrid> <ygrid> <xoff> <yoff> (new command) Page 117 -- newasprimary (new command) Page 117 -- newbuf (changed) Page 117 -- fromdigiview (changed) Page 118 -- dome (changed) Page 118 -- caric (changed) Page 118 -- askrgb (added) Page 119 -- imagemaspect (new command) Page 119 -- loadimask (new command) Page 119 -- saveimask (new command) Page 119 -- loadmask (new command) Page 119 -- savemask (new command) Page 120 -- backuptoundo (new command) Page 120 -- coords <show> [showattop] (new command) Page 120 -- grid <on> [xgrid] [ygrid] [xoffs] [yoffs] (new command) Page 120 -- autoactivate (new command) Page 121 -- setpalette (new command) Page 121 -- newtargetted (new command) Page 122 -- DISPLAYMODE (new command) Page 122 -- pal (new command) Page 123 -- autoprimary <mode> (new command) Page 123 -- newbrush <bufferNumber> (new command) Page 123 -- newblend <bufferNumber> (new command) Page 124 -- render (changed) [obsolete - see AmigaRender command] Page 125 -- CANCEL command (new command) Page 126 -- AmigaRender command (new command) Page 127 -- actpri (new command) Page 127 -- addasr (new command) Page 127 -- addasg (new command) Page 127 -- addasb (new command) Page 127 -- addasc (new command) Page 127 -- addasm (new command) Page 128 -- addasy (new command) Page 128 -- addask (new command) Page 128 -- allowcancel (new command) Page 128 -- emboss (new command) Page 128 -- punch (new command) Page 128 -- loadasprimary (new command) Page 128 -- loadassecondary (new command) Page 128 -- loadasbrush (new command) Page 128 -- loadasblend (new command) Page 129 -- newcurrent (new command) Page 129 -- rectarea (new command) Page 129 -- tofront (new command) Page 129 -- imtofront (newcommand) Page 129 -- iptofront (newcommand) Page 129 -- wbtofront (newcommand) Page 129 -- version (new command) Page 129 -- whiten (new command) Page 130 -- Public Interface Page 130 -- Installing the PI Modules Page 130 -- Image Locking Page 131 -- Unlock Buffer (in Buffer Panel) Page 133 -- PI Module Code Examples Page 135 -- Changes List (from v7.00 onwards) Information Updated March 17th, 1992 ============================================================== I M A G E M A S T E R for the Amiga (Also applies to F/c and HAM-E versions) ============================================================== Information current to version 9.50 of these programs Document Author: Ben Williams Software: Barry Chalmers, Ben Williams, Pete Patterson +-----------------NOTICE------------------+ | This information is copyright 1991-1993 | | Black Belt Systems, ALL RIGHTS RESERVED | | under the Pan-American Conventions. | +-----------------------------------------+ The latest versions of our image processing software have many additional functions which are not described in the manual. This document describes those capabilities until a new manual is released. For developers, please note that we have included much more detailed information on the Public Interface; and that the release disk is able to provide you with a directory containing a complete example of how to write a PI Module using SAS C. Unlike competing systems from less developer-friendly companies, we give you everything you need to develop add-on modules for Imagemaster. Until we do formally reprint the manual, additional documentation will be provided in this on-disk format, ready for printing on your own printer. We had originally planned to print continual addendums, but there is no way we can keep up with the fast pace of development of this program using something as conventional as paper. We will eventually reprint the image processor manual with this new information included. Assuming you are a registered user, you will be notified at that time what you'll need to do to obtain the new paper manual. Make certain you register! This on-disk documentation has been carefully formatted to be printable on virtually any printer providing it has at least 60 lines per page, is able to print at least 80 columns of text, and understands the industry standard "$0C" (decimal 12) character as a "form feed". There are no other control characters of any type in this file. For a quick update on what changes have been made to the image processor, see the changes list at the end of this document, just before the index. The latest changes are at the end of the list. The features described there will be at the beginning of the main descriptions, except if there was already a section on that subject. Remember to use the comprehensive index to help you find what you're looking for, both here and in the main manual! -1- userload - arexx (9.50) ======================= <> = required [] = optional usage; userload <filename> This command provides the ARexx user with a simple command to load a file and have it automatically use the various new buffer options through the standard user interface - without any ARexx programming. simpload - arexx (9.50) ======================= <> = required [] = optional usage; userload "filename" This command provides the ARexx user with a command that will load an image to a new, unspecified buffer - no selection of Primary, etc, is done. forcewbfront - arexx (9.50) =========================== <> = required [] = optional usage; forcewbfront Brings the WB to front immediately, regardless of the state of the auto- activate setting in Imagemaster. forcefront - arexx (9.50) ========================= <> = required [] = optional usage; forcefront Brings Imagemaster to the front, regardless of the state of the aauto- activate setting in Imagemaster. ehlp - arexx (9.50) =================== <> = required [] = optional usage; ehlp <errornumber> example, after any Imagemaster ARexx command: if rc ~= 0 then do options results; ehlp rc; options; end; This command returns a text string describing an Imagemaster error number. -2- New Color Separation module (9.50) ================================== The following changes have been made to how color separations are created: * GCR is the amount of grey subtracted from CMY and replaced with black. Gadget must show 0 to 100 %. * UCR is the amount of color removed from heavily inked areas (where ink coverage approaches 300 %). The gadget represents the percentage 0 to 100% that this removed color will be replaced by black. * UCR_Threshold The maximum ink coverage before UCR kicks in. The gadget must show 200 % to 400 %. * Pure Grey areas must translate to black ink only. Swap Primary and Secondary keystroke (9.50) ========================================== The S key will now immediately swap the primary and secondary buffers. Perspective Compose Operation (9.50) ==================================== Perspective placement will place the secondary image onto the primary using a 3-dimensional perspective projection. There are nine numeric controls: X Rotn - rotation about the X axis (pitch) (in degrees) Y Rotn - rotation about the Y axis (yaw) Z Rotn - rotation about the Z axis (roll) X Translate - movement left and right Y Translate - movement up and down Z Translate - depth movement into the screen X Scale - horizontal stretching Y Scale - vertical stretching Z Scale - depth stretching Each of these controls has a Grab button so that the control can be moved on screen using the mouse. X Scale and Y Scale together constitute the equivalent to 'zoom' on each axis. They are independant to allow aspect ratio distortions. Z Translate brings the image closer to the 'camera' therefore making it bigger on screen. Very close objects will show the distortion nomally seen through a wide angle lens. Z Scale (depth stretching) affects the degree of the perspective distortion. Setting Z Scale = 0 will produce orthographic projections. -3- Anti-alias button defaults to on. Each of these controls has full floating point precision. It is recommended that the Imagemaster Default 'Lace Panel' be set for adjusting the perspective position. perspect - arexx (9.50) ======================= usage; 'perspect [Xrotn=N.n] [Yrotn=N.n] [Zrotn=N.n] [Xtrans=N.n] [Ytrans=N.n] [Ztrans=N.n] [Xscale=N.n] [Yscale=N.n] [Zscale=N.n]'; example of use: /* ARexx Perspective tumble */ address('IM_Port'); 'perspect Xr=330 Yr=0 Zr=0 Xt=405 Yt=-240 Zt=656 Xs=300 Ys=300 Zs=100'; do i=1 to 10 YR=i*36; XT=405-i*80; YT=-240+i*36; 'perspect Yr='||YR||' Xt='||XT||' Yt='||YT; end; 'finish'; ARexx support for perpective compose operation. Add/Subtract a constant (9.50) ============================== Simply adds or subtracts a constant value from each of red,green or blue. Multiply/Divide a constant (9.50) ================================= Simply multiplies or divides the r,g,b levels by a constant. This is effectively a brightness operation. Multiply by Secondary (9.50) ============================ Multiplies the primary image brightness values by the secondary. Divide by Secondary (9.50) ========================== Divides the primary by the secondary. Logarithm (9.50) ================ Takes the log base N of the primary. -4- Raise to Power (9.50) ===================== Raises primary image to a constant power. 1-D Profile (9.50) ================== Draws a graph of the brightness levels over a line. 1-D Profile graphs the Red, Green, Blue and average (as white) brightness levels along the graph. The profile is sampled at one pixel intervals. 1-D Spectrum Analysis (9.50) ============================ Does a spectrum analysis (power spectrum) over a line. 1-D Spectrum Analysis does an FFT of the profile sampled at intervals of 1/1024 of the line length ( 1024 samples altogether). Red shows the real (in phase) and blue the imaginary (out of phase) components. The vertical minimum and maximum levels are shown above the graph. Variance Conversion (9.50) ========================== Changes the primary image to a map of the variance between each pixel and its neighbors. This is often a good measure of high frequency noise. Scientific Ops - General Information (9.50) =========================================== For each of these functions, the Red, Green, and Blue channels are treated as Decimal values ranging from 0.000 to 1.000 with a precision of +/- 0.0019 . Each function uses a constant (N) for each channel (x). The Monochrome button forces the constant to be the same for each of red, green and blue channels. Note, that the Inverse button causes the inverse functions to be used as follows: NORMAL INVERSE -------------- --------------- + (add) - (subtract) * (multiply) / (divide) log base N of x N raised to x x raised to the N power x raised to 1/N -5- When multiplying or dividing by a negative number the result is folded into the positive domain according to the following formulae. For multiplication (Normal function): X' = | x * constant when constant >= 0.0 | x * constant + 1.0 when constant < 0.0 For division (Inverse function): X' = | x / constant when constant >= 0.0 | (x-1.0) / constant when constant < 0.0 This ensures that the inverse function will always 'undo' the normal function. As a general rule, the inverse should 'undo' the normal function to the limits of precision and domain. For example, multiplication by 2 then division by 2 will produce a ceiling at 0.5 Absurd mathematical requests (there are at least seven types), like log to a negative base or division by zero, are stopped and reported with a message. But we do allow you to destroy your image. That's your prerogative. After all,... there are an infinite number of ways to do it. And... it might be destroyed in a meaningful way. Sharpen III (9.50) ================== A broader sharpening filter. This works well on higher resolution images and can have a more dramatic effect than Sharpen I and Sharpen II. Intelligent Loader (9.50) ========================= Imagemaster now identifies image files that require external PI loaders and calls the appropriate loader. For this to work, functionality changes were made, as follows: + While a PI Loader is in operation, button presses on the main panel, and keyboard input are ignored, even though the load is actually asyncronous. Hitting the Exit button, however, will re-awaken the gadgets. Processing of any script (except the PI loader) is halted until the loader completes. A PI loader must include a 'finish' command to work correctly. + External loaders will be called even if the ARexx 'load' command initiated the image load. PROGRAMMERS: Imagemaster keeps account of whether the loader was initiated by the main panel or by an ARexx 'load' command using the variable fromrexxdepth2. -6- + Imagemaster always wakes up every 0.5 seconds (using a timer) but will not activate the main window if triggered by one of these timer events even if autoactivate is on. + If the image file was not recognised, a message will be displayed. + A loader's existence is checked before it is run. If the loader is not found then a message will be displayed. Loaders done so far: (Internal) IFF Amiga 24-bit and standard IFF HAME Black Belt's high color images for the HAM-E DCTV Digital Creation's video like DCTV images HAM Amiga HAM HLFBRT Amiga 64 color half bright images HICOLR Amiga hi-color images (External) TARGA TIFF All known Tag Image File Format BMP Windows and OS/2 bitmaps (DIB's) RENDITION SHAM Amiga Sham DHRZ PMBC Black Belt's lossless PMBC compressed images. UPB8 Amiga (RegPaint) 256 color brushes RGBN RGB8 PBM GIF Compuserve's Graphic Interchange Format PCX PC Paintbrush PCX MFLM WinImages:morph 24-bit FiLMstrip files IRAW I-raw graphics ANIM Amiga anim files JPEG J.P.E.G. high compression images NASA Nasa/JPL images on CD BMASTER Black Belt's Board Master circuit board layout NBOOK Black Belt's NoteBook files FLICK Autodesk Animator (Pro) FLC & FLI animations HICOLR AmigCON (Amiga .INFO) file Other loaders which can never be auto-identified: RAW Raw color files GE_NMR G.E.'s NMR scans ...they will have to be loaded manually. All the Rexx scripts for the external loaders have changed and some have also had changes to the executable (cmpi:) modules. Between 9.23 and 9.50 the following PI modules were extended to handle more file sub-types: TARGA, PCX, TIFF, GIF, BMP, IRAW -7- There are some files which have a measurable chance of being mis-identified: PCX 1 in 256 raw files could be mis-identified as PCX some TARGA 1 in 64 raw files could be mis-identified as TARGA We don't know of other of our formats which have fields at the appropriate places with ranges that would cause a mis-identification. By checking the strongest ID formats first chances are minimized. For example, even though the PCX ID is contained inside the ICON (.INFO) ID, ICON files are checked first. The internal IFF loader will show a busy pointer during the pre-read. plugin extended structure - arexx (9.50+) ========================================= the 'plugin' Arexx command now returns an extended structure: struct plugin { struct jackinbuff *buffer; /* pointer to buffer */ unsigned char id[4]; /* PLUG */ struct Screen *showscr; /* IM's main gadget screen */ unsigned char pname[4]; /* IP\0\0 IM\0\0 or IMFC */ long ver; /* (short)ver || (short)rev */ }; AGA Palette Display (9.50) ========================== HAM8 precise colors are used throughout the new display; 24-bit color registers are also used to good effect. "New Look" display. Resizes for Hi-Res and Super72 display resolutions so it is friendly to Super72 800x600 mode - won't cause a "multisync" monitor to have a kitten every time it is opened. Render flag for each register: 0 = GREY = Normal 1 = AQUA = Usable but not changable by the renderer 2 = BLACK = Skip / unusable ...these render flags are saved with each palette. They allow you to choose with total precision which colors are to be used when an image is created - you can choose any combination of colors yourself, you can completely ensure that any combination of color registers are not used at all, and you can have Imagemaster pick the best colors for any registers you want to leave open for that use. Overall, this is the most flexible Amiga image rendering capability ever available! Range is seen and selected on the palette screen; no more range screen... plus the ranges look much better due to the use of the HAM8 modes. Undo - on elevel undo allows you to un-oops. -8- Color mixing area - spray painting in a typical "painter's mix area" allows you to fluidly create all kinds of mad colors with ease - it's a LOT of fun. You use the FKEYS to set the "flow rate" of the paint. F1 is slow, F10 is fast. CMYK color space adjustments - for those with print needs, this capability is very useful. For the rest of you, it'll probably be educational but that's about it. Exact Aspect (9.50) =================== New operating display mode that (in combination with Set Display Aspect) allows you to inform Imagemaster of the aspect ratio of your complete system - including any distortions introduced by width and height settings of your display monitor - and see images exactly as they are intended to appear in print or on film. This new mode enhances the usability of the software considerably. Set Display Aspect (9.50) ========================= In the display panel, this tool allows you to set the exact aspect ratio of your entire SYSTEM - not just the default Amiga aspect ratio. You do this by holding up a standard 3.5 inch floppy disk (one with no data on it!) to the screen of your monitor. We have drawn an outline of the floppy there with some visual cues so you can orient it correctly. Use the mouse to drag the on-screen outline so that it surrounds the diskette as closely as possible, also so that it is spaced evenly from each edge of the diskette. Once you have the adjustment performed, saving your defaults will allow you to "know" this at all times; and it ensures that the Exact Aspect mode will do what it is supposed to do. If the aspect ratio of your system is incorrect, then the display will not be correct either. Note that each display mode of Imagemaster has it's own aspect information, and you are well advised to set each mode indpendantly and save them all. Particularly on AGA machines with multisyncs, as some multisyncs have differing widths and heights depending on the sweep rate of the monitor and other factors. Remember that if you adjust the height and/or width of your monitor's display, you have modified the aspect of the SYSTEM and you will need to re- perform the Set Display Aspect operation to get the best display from Imagemaster. When the system is in exact aspect mode, the filmstrip is also in that mode. -9- pcontrol - arexx (9.50) ======================= This sets the render state for a register as per AGA palette screen. 0 = Normal 1 = Usable but not changable by the renderer 2 = Skip / unusable Palettes loaded and saved will contain the control information. pcontask - arexx (9.50) ======================= Returns the palette control flag value for that register. -10- Rendering - Creating Amiga IFF images (9.50) ============================================ Imagemaster offers the highest quality Amiga mode image generation of any software available at the time this is being written. The most important factors that go into this are these two: Color-picking ------------- Choosing the best colors to use for the Amiga's color registers; Imagemaster does this using proprietary methods developed at Black Belt Systems. Most other software uses a statistical (most common color) method; we don't, and the difference is easily visible. Dithering --------- Mixing those colors in such a way as to create other colors. Imagemaster uses the absolute most advanced dithering techniques available; state of the art artificial intellegence methods are used to force maximum pattern-avoidance, resulting in fewer "rivers" and other visible artifacts from the dither process itself. All in all, Imagemaster can do a wonderful job of creating Amiga mode images for you. Following is the information you need to use these fine Amiga mode image rendering capabilities. The Basics ---------- In order to create an output image, Imagemaster requires that you set up a number of pieces of information so that it knows what you want it to do. Here are the basic steps you usually take to create an Amiga mode image: Set Amiga Render Mode --------------------- First, you choose the type of Amiga image you want created. Set Render Size --------------- Next, you set the output size of the image. Set Dither Type --------------- Next, you choose one of a number of dithering techniques. Set Render Palette ------------------ Lastly, you tell Imagemaster how to choose the colors for the image. Each of these steps offers many options; but we think you'll find that a certain set of them usually produces the best image. We'll point them out as we go. Set Amiga Render Mode --------------------- In this panel, there are several types of options. You should choose the option that suits your needs the best. Each group is detailed as follows: -11- Image Encoding: --------------- Register: Register mode can be described as a mode where each pixel in the image is described by a single color register. In the Amigas which have the "AGA" chipset, these color registers are 24-bits accurate. In older model Amigas, the color registers are only 12-bits. The number of color registers available depends upon the setting of the "Bit Depth" options; you may have from 2 to 256 colors in a register mode image. Extra Half Brite: Extra Half Brite is a mode that was developed for the older Amigas in order to add extra colors without having to add more color registers. Here, the image is always 6 bitplanes, providing 64 possible values for each pixel. If the pixel contains a value from zero to 31, then the color produced is equal to that specified in color registers zero to 31. However, if the pixel contains a value from 32 to 63, then the color produced is that of a color register chosen from the first 32, but only half as bright - hence the name "half brite". The register from the first 32 is chosen by dividing the value (which is 32-63), by two. For instance, if the pixel contains the value 60, color register 30 is used, except it will be 1/2 as bright as the color in register 30. There is also a subtle catch here; a color register that contains brightness values in any combination of its R, G and B components that are odd, such as 7, 9 and 11, cannot be changed to exactly 1/2 its original brightness; this is because (for instance) 7 / 2 = 3.5, and the Amiga cannot generate a color that is accurate to .5 of a brightness step. This makes the choosing of half brite colors more challenging, since these small errors must be taken into account when generating an image. If you are generating images for AGA based machines, we suggest that you never use Half-Brite; use 64 register colors instead. It costs exactly the same amount of memory, processor time and so on, yet it gives you a much more flexible way to create an image. Remember also that Half-Brite mode is only available in Low-Res on non-AGA machines. HAM: There are two Amiga HAM modes. The first is available in all machines; the second is only available in machines which utilize the AGA chipset. HAM uses a technique whereby a pixel's color may be obtained either from one of a group of color registers, or by modifying either the red, green or blue value of the previous pixel. 6-Bit HAM mode, which is available on all machines, allows color selection from any one of 16 color registers, or modification of 4- bits (16 levels) of color from the previous horizontal pixel. 8-Bit HAM mode (which was first introduced to the Amiga marketplace by Black Belt Systems, by the way) allows color selection from any one of 64 color registers, or modification of 6-bit (64 levels) of color from the previous horizontal pixel. -12- The term "HAM" stands for "Hold-And-Modify", which refers to holding two of the color components and modifying the other one. There are always four possibilities for each pixel, as follows: 1 - Pick a color from either 16 or 64 color registers 2 - Modify the red portion of a pixel, hold green and blue 3 - Modify the green portion of a pixel, hold red and blue 4 - Modify the blue portion of a pixel, hold red and green Horizontal Pixel Size: ---------------------- Low-Res - 320 pixels in a non-overscan video line High-Res - 640 pixels in a non-overscan video line Super High-Res - 1280 pixels in a non-overscan video line Vertical Pixel Size: -------------------- Interlace - 400 pixels in a non-overscan NTSC column - 512 pixels in a non-overscan PAL column Non-Interlace - 200 pixels in a non-overscan NTSC column - 256 pixels in a non-overscan PAL column Bitplanes: ---------- 1 through 8 - each time you add a bitplane, you double the number of possible pixel codes available. 1 bitplane provides two colors, and 8 bitplanes provides 256 colors. Some display modes, such as HAM and Extra Half Brite, only allow certain bitplane combinations to be chosen. Palette Depth ------------- 12-Bit This is a "fast" palette choosing method; The name does NOT refer to the fact that some Amigas have 12-bit color registers; it refers to the accuracy of the procedure that chooses the colors. The advantage is that the choosing is much faster; the disadvantage is that images will be visibly "noisier". 24-Bit This is an "accurate" palette choosing method. The name does NOT refer to the fact that some Amigas have 24-bit color registers; it refers to the accuracy of the procedure that chooses the colors. The advantage of the 24-bit method is that the choosing of the colors is as good as it possibly can be within Imagemaster; the disadvantage is that the process takes considerably longer than the 12-bit accurate approach. If you are attepting to produce the best possible images, you should always use the 24-bit option. -13- Genlocking ---------- Identify the Genlock non-transparent area: This allows you to select a region of the image that will NOT be transparent when shown using the Amiga's genlocking capabilities. All other regions of the image will be rendered using "color-zero", which causes the hardware genlock to show video from an external source instead of the image information in the picture. Set Render Size --------------- In this panel, you set the absolute output size of the image. You also have the option to choose Interlace. The following reasonably self-explanatory controls are available: Horizontal Size Controls ------------------------ Change Maximum Dimensions: Sets the maximum slider values View Width slider No Horizontal Overscan H Overscan 1 - standard Amiga preset H Overscan 2 - standard Amiga preset H Overscan 3 - standard Amiga preset Match Image Size (also affects vertical size) Vertical Size Controls ---------------------- Change Maximum Dimensions: Sets the maximum slider values View Height slider No Vertical Overscan V Overscan - standard Amiga preset Match Image Size (also affects horizontal size) Reconstruction -------------- Often when you create an image from a 24-bit original, the output image will be a different size than the original. Imagemaster provides two different methods of generating output pixels when this is the case. If the output image is the same pixel dimensions as the input image, then it does not matter which of these methods you choose; in both cases, input and output pixels will match perfectly. Re-sample to New Size Resampling means that if the output image you are going to render is a different size than the 24-bit image data, the output image pixels will be taken from a single pixel in the closest location possible to that where the pixel would have been if the 24-bit image had been that size. This is faster, but produces images of slightly lesser quality than scaling. -14- Scale to New Size Scaling means that if the output image you are going to render is a different size than the 24-bit image data, the output image pixels are created by combining all of the pixels in the input image that are in, or partially in, the same relative location if the images were actually the same overall size. This produces the absolute best output image quality, but takes longer to process. Set Dither Type --------------- In this panel, you tell Imagemaster how to dither the chosen colors in your output image. There are many choices, some of which you are very unlikely to use; we include them for completeness. Here, we have very strong recommendations about which settings to use for the highest quality output image; these are as follows: 1 - Either (a) "Two Point EDD" - for the sharpest colors (b) "Floyd Steinberg" - for a smoother output than EDD 2 - A-I Enhanced selected - for less dither artifacts 3 - Turn Off Excursion Limit selected - for most accurate dithering We believe that you will find that over 95% of all images look the best using these settings. Some users will have special requirements; in those cases, other settings may serve to produce the output you desire. Information about the other settings is provided as follows: Dither Type ----------- No Dither This tells Imagemaster to use the closest color available in the current video mode. No dither will be used to attempt to make the colors more accurate. The advantage of this technique is almost exclusively limited to animations, where the less change occurs from image frame to frame, the faster compressed animations can run. This produces the lowest quality image of all the available dither modes, and should be avoided if at all possible. Two-Point EDD Two point EDD dithering produces the most accurate colors of all the dither modes. It does this at the expense of an increase in the amount of visible "noise" in the image; dithering is perceived more easily by the viewer of the image; the image seems "harder". Floyd-Steinberg Floyd-Steinberg dithering produces the next most accurate colors (EDD being the most accurate) but provides what almost everyone agrees to be the best compromise between color accuracy and smoothness. The images seem "softer" than EDD dithered images, yet the colors are highly effective. -15- Jarvis, Judice, Ninke Very similar to Floyd-Steinberg, but smoother, slightly less accurate. Stucki Very similar to Floyd-Steinberg, but smoother yet, and even less accurate. Random F-S (Floyd-Steinberg) This method is not recommended; it is extremely noisy. Usable only for images viewed from a consderable distance. Extremely noisy; has the advantage of being totally random, so no visual artifacts occur over large distances. Dual Random F-S (Floyd Steinberg) This method is not recommended; it is extremely noisy, although less so than "Random F-S". Usable only for images viewed from a consderable distance. Extremely noisy; has the advantage of being totally random, so no visual artifacts occur over large distances. Artificial Intellegence ----------------------- A-I Enhanced This uses proprietary techniques to reduce certain types of artifacts in the image dithering, specifically "rivers" and "trails". Not effective for HAM mode; we suggest this always be used. Deterministic This method disables the A-I techniques; all dithering techniques produce the typical artifacts. Not recommended. Modifiers --------- Chekov Forcing This will cause the color picking code to choose slightly different registers which will help portions of the image that have color "hot spots" to render more accurately. Our suggestion for the best render quality for most images (there will be a few exceptions to this) is to try Chekov Forcing if the image does not seem to be very accurately reproduced in the brightest or darkest portions. Chekov forcing is a 50-50 kind of thing. Sometimes it helps a lot, but it also can make the render worse - you have to try it and see. Entropy Enhance This causes dither to "decay" more rapidly; it can help limit "color ringing" at sharp color change edges in the image. Normally, you should leave this off; Imagemaster looks for these kinds of problems within the A-I Enhancement procedures and attempts to specifically remove them. Entropy enhancement is a general effect that will visibly affect the entire color image surface. -16- Turn Off Excursion Limit The control "Turn Off Excursion Limit" may be used to modify the quality of most render modes. It works with dithering to provide a larger color space. If you turn off the dither when rendering, this has no applicability. If you turn excursion off, the dither operations can reach more colors in the color space. The image may appear slightly rougher as a result. If you feel that the image is too rough, we suggest you try the render again with it on. Otherwise, leave it off. Almost all images will render more accurately with this button depressed. Set Render Palette ------------------ This panel provides you with the tools you need to completely control the colors used in the generation of an Amiga image. You can even let Imagemaster pick some or all of the colors for you; you can specify colors to use "as is", or, if you have an AGA machine, you can specify colors NOT to be used at all in the render. You can do this in any combination you like. Here are the options provided: Use Existing Palette This tells Imagemaster that you want it to use the colors you have set up in the palette, instead of picking colors on its own. This may be useful if you require that certain colors be available for later modification in a paint program, for intance. You can force a black and white render by providing a palette that has only grey levels in it. Generate New Palette This tells Imagemaster to create a set of colors that will be able to represent the image being rendered reasonably well. If the 24-bit color method is being used, Imagemaster will do an extrodinary job of picking colors for you. Number Of Registers This tells Imagemaster how many colors to pick. Adjust Palette This opens Imagemaster's standard palette screen; see the paint documentation for details on its use. Basically, you can set up any colors you need in the palette, and then use them by selecting "Use Current Palette". One additional feature with AGA machines running Imagemaster is the ability to specify a color in three ways by clicking on the button below the color in the palette; 1 - Imagemaster is to choose a new, optimum color (grey) 2 - Imagemaster is to use the color "as is" (aqua) 3 - Imagemaster is NOT to use the color in the render (dark) -17- Use Current Range This tells Imagemaster that you want it to use the colors you have set up in the current range, instead of picking colors on its own. This may be useful if you require that certain colors be available for later modification in a paint program, for intance. You can force a black and white render by providing a range that has only grey levels in it. Select Range This allows you to choose a range from the available loaded ranges. Quick Tour of generating an Amiga-mode Image ============================================ Follow these easy steps to make a high-resolution, 16-color image. 1 - Load an image as the primary buffer 2 - Select the "File I/O" panel 3 - Select the "Set Amiga Render Mode" panel 4 - Choose (a) "Register" (b) "High-Res" (c) "4 B P" (d) "24 Bits - 16.8m Colors displayable" (e) "Interlace" 5 - Press "Done" 6 - Select the "Set Render Size" panel 7 - Choose (a) "No Horizontal Overscan" (b) "No Vertical Overscan" (c) "Scale to New Size" 8 - Press "Done". 9 - Select the "Set Dither Type" panel 10 - Choose (a) "Two Point EDD" (b) "A-I Enhanced" (c) "Turn Off Excursion Limit" 11 - Press "Done" 12 - Select the "Set Render Palette" panel 13 - Choose (a) "Generate New Palette" (b) Set the number of registers to "16" 14 - Press "Done". 15 - Select the "Render To File" panel 16 - Choose (a) "Entire Image" Image rendering begins now; when the render completes, use the file requester to choose where the IFF file is to be saved, pick an appropriate name for it and press "Save". You're all done! -18- New morphing documentation (9.23) ================================= This addendum file now contains extensive documentation on the morphing tools. If you find any mistakes, please let tech support know. Thanks! New AGA modes supported (9.21) ============================== Imagemaster now supports 256-color and 262,144-color display and render functions. Display of images in these modes is limited to Amiga models that actually utiltize the new AGA graphics chips such as the Amiga 4000 and Amiga 1200. Rendering to these modes may be done in any model Amiga computer using Imagemaster. For display operations, the new mode controls will appear automatically when Imagemaster is run in a machine that supports AGA displays. Note that the DisplayMode ARexx command will automatically select HAM8 if told to change to "HAM" in an AGA machine. ---------- New Render Panel (9.21) ======================= Imagemaster's render panel has been re-created from scratch. It is now possible to create an image in any possible displayable Amiga mode with just a few control settings. Also, Amiga render quality has been further improved. If a render mode is not displayable, either because there is not enough "chip" ram left, or because the machine being used does not support the mode in question, then the render will be created in "fast" ram and saved from there. ---------- Dither control in Display Panel (9.21) ====================================== This control allows you to set the amount of dithering that Imagemaster performs from none to a high maximum value in varying degrees. For some images, this will aid in editing rougher areas where the dither may actually be hiding detail. ---------- -19- Distance Calculator =================== This tool is found in the analysis panel. It allows you to convert distances between Inches, cm, picas, points, Horizontal pixels, and Vertical pixels. This works with the distance and area calculation capabilties already available in Imagemaster. Pad Canvas ========== This tool is found in the resizing and clipping panel, under the process main panel. It's function is to pad the selected area to a new size, and it allows the user to position the clipped and padded area into any one of nine specific regions. You could use this to easily center an image in an otherwise blank display, for instance. Following is the ARexx coding for this operation: 'padcanvas <Xsize> <Ysize> <Position> <NewName>' ARexx command. [returns the buffer number] Xsize and Ysize are the dimensions of the new buffer, Position is 1 = Top Left 2 = Top Center 3 = Top Right 4 = Middle Left 5 = Middle Center 6 = Middle Right 7 = Bottom Left 8 = Bottom Center 9 = Bottom Right The Following is a working script : /* ARexx example of PADCANVAS operation * / address('IM_Port'); 'entire'; options results; 'padcanvas 400 400 5 NewClip'; 'newcurrent '||result; exit 0; Virtual Memory accommodation ============================ In the SETUP panel, a button marked "Use Public Memory" is now available. This button is (by default) selected; Imagemaster's philosophy about memory is that since it needs to get at its own images, and external PI modules also need to, then the image memory should be public. Some virtual memory managers, in particular GigaMem (from Innovatronics in the US), make the assumption that memory which is to be virtual is NOT public; they look at the type of memory a program asks for and if the memory is not public, they will allocate virtual memory. Since VM is very, very useful when processing large images, we have provided a way for Imagemaster to NOT use public memory. Just release the button and save the config; then quit and restart Imagemaster. -20- Custom Area Shape Selections ============================ The image manipulation software now has the capability to use an unlimited number of custom shapes for selecting areas for processing, composition, analysis, painting and so on. In the area selection panel, you will now find "Load New Shape", "Shape From Center", and "Shape From Corner". Until you load a custom shape, the other two selections will be ghosted. Shape files have the extension ".ish" attached to them. We have provided a number of them with the program, you may place them anywhere in your computer's filesystem. Once you have specified a directory to load shapes from, saving the preferences of the image manipulation program (from the setup panel) will cause this location to be remembered permanently. You can use any one custom shape at a time. Once one is loaded, it stays loaded until you load a new shape. Some that we have provided with this release are triangles, pentagons, octagons and stars. You can create these shapes yourself, too, if you're handy with graph paper and comfortable editing ASCII files. ".ish" files contain only ASCII text. Examining one will show the very simple structure of the files. Blank lines "lift the pen" which allows you to make shapes that are multiple - that is, disjoint. Lines which begin with an asterisk are comments; these are ignored by the image manipulation software. Lines with co-ordinates on them are used as active point locations for the shape. We suggest you examine the "Triangle.ish" file, as it is very easy to understand. There is also an "example.ish" file which is designed to be instructive. When drawing with a custom shape, you can reposition it by pressing the right mouse button. Note that shapes from center act differently than shapes from corner. Note also that changing the direction you move the mouse when you drag out the shape will reverse (or flip, or both) the shape you are drawing. Shapes can be used in the line drawing tools inside the paint portion of the program --- you may find this a fine aid to construction of certain types of drawings. They may also be used with the morph tools. If you design your own shape files, please feel free to upload them to CompuServe or to our company support BBS, where other users of our software will be able to benefit from them. Our support BBS number is (406) 367-2227. ---------- -21- ANIM OP-5 Generation from Sequencer =================================== We have added the capability to generate Amiga animations directly from within the image manipulation software. Both the sequencer and the morph generator can do this. You must install the latest PI Modules from the disks (or the telecomm distribution archive) for this to work. Whenever you wish to generate anims, you simply set up three of the four script entries in the sequencer or the morph generator with the names of three predefined scripts. The script entries and the exact contents are as follows: Name Of Script Exact Contents ------------------ -------------- Opening Script rxpi:animwr1.rexx Pre-Render Script Post-Render Script rxpi:animwr3.rexx Closing Script rxpi:animwr4.rexx Note that there is nothing specified for the "Pre-Render" script. This is intentional. For almost all cases of morphing, no Pre-Render script is required. For almost all cases of sequencing with the exception of batch rendering, you will want to use your own, custom script to specify what effects will occur during the sequence. For instance, the example scripts given later on in this document all belong in the Pre-Render script entry. If you use this with this anim generation capability, then all four script entries will be used. You don't have to worry about the three we provide; they will work very well with the others described here. Once you have placed the scripts named above in the proper three entries, rendered output from the sequencer or morph generator will go directly to ANIM format. You must remember to select a render mode appropriate for the animation, as well as a render output size and so forth - this will ensure that the animation is the type you want it to be. Note that some animation players require the use of a constant palette, or will simply look better if you use a constant palette. For the technically minded: --------------------------- The four scripts now available in the sequencer allow you to have total control over the disposition of the files generated. This ANIM generator is a good example of what you can do. All you need to know is that the Opening script runs once, before all other activity; the pre-render script runs just before each frame is rendered or saved; the post-render script runs just after each frame is rendered or saved; and the closing script runs once after all frames have been generated. You can use these four "launches" to completely control any external disposition of the generated files. Output to film recorders or single-frame video recorders are obvious applications. The possibilities are endless, and the flexibility is unlimited. ---------- -22- Automatic Custom Display Updating ================================= With version 9.09, we have added the capability to automatically lauch a script every time the software re-displays the current buffer to the monitor. This capability is meant to be used with pre-prepared scripts and commands provided by Black Belt or other developers. What it does for you is allows you to view on a different display than the one you normally use (for instance, the Amiga graphics output when using Imagemaster), the current condition of the primary image, automatically. We have provided the first of these automatic update display modules for Impulse's FC24 board. If you have an FC24, and are using it on a separate monitor, simply place... rxpi:imfc24.rexx ...in the entry entitled "redraw script" inside the display panel. (You must use the imfc24 script from the latest PI Module distribution; earlier versions of the PI Module are not capable of this). Once this is set, press the "Call Redraw Script" button and you're ready to go. From now on, the image you're working on will be maintained on the independant FC24 monitor as well as on the Amiga (or HAM-E) display. This only works in the standard Imagemaster. In the provided imfc24.rexx script, there are several variables at the beginning of the script that may be set by the user to control the display resolution used on the FC24 during automatic updates. For Developers: --------------- Using this new capability is simple. The scripts which are called from the "redraw script" entry are called with the following 5 parameters: "JACKIN" - structure pointer (in ASCII Hexadecimal) "X1" - leftmost point of the area which needs redrawing "Y1" - topmost point of the area which needs redrawing "X2" - rightmost point of the area which needs redrawing "Y2" - bottommost point of the area which needs redrawing An ARexx script that uses these might look like... /* Sample Automatic Display Script For Developers */ parse arg jacker x1 y1 x2 y2; /* get parameters */ address command cmpi:mydupdate jacker x1 y1 x2 y2; /* do it! */ 'finish'; /* Very Important - tells us we can continue */ ...here, the ARexx variables "jacker", "x1", "y1", "x2" and "y2" are automatically set by our software when we call your script. You can then use the data in these variables to instruct your display control program what it is it needs to do. Here, we're calling a hypothetical program called "mydupdate" which would take these variables and then deal with the display it is written to handle. Finally, we use 'finish'; to tell our software it may continue processing. ---------- -23- Roll Image Geometric Process ============================ This operation allows you to roll an image in the horizontal, vertical or both directions. Normal rolling goes down and right; negative roll amounts cause rolling to go left or up. There are three roll modes. The first is "wrap", where the portion of the image that has rolled off of the edge re-appears on the opposite edgein the newly opened area. The second is "fill with edge pixels", where the pixels rolled off the edge are lost and the incoming edge is filled with a duplicate of the receeding edge of the image. The third is "pad with color", where the pixels rolled off the edge are lost and the incoming edge is filled with a solid color you select using "set foreground color" in the process panel. This function is located in the Geometric Operations panel, which itself is located under the main Process panel. ARexx Operation --------------- rollimage <xamount> <yamount> <mode> parameters <required> [optional] : <xamount> - a positive or negative value for horizontal roll <yamount> - a positive or negative value for vertical roll <mode> - 0=wrap, 1=edge fill, 2=color fill. effects: ARexx variable RC is set to zero if no problems, nonzero if the user presses "CANCEL" while the effect is being generated example of use: /* simple test script for 'rollimage' */ address 'IM_Port'; /* allows us to talk to our software */ 'rollimage' 10 10 0; /* do the roll in edge wrap mode. */ if rc ~= 0 then say "User Pressed Cancel!"; /* informer */ exit 0; /* all done! */ ---------- -24- Compose and Process panels reorganized ====================================== With version 9.00, a major reorganization of the image processing and composition control panels was put into effect. This was done for two main reasons. First, the process panel and the F/x panel, a panel of other process operations, had both become so loaded with functions that it was quickly becoming a significant effort to locate a particular tool - especially if that tool wasn't one you used often (and so were not quite familiar with where it was placed). The compose panel, though not nearly as heavily loaded, suffered from a similar problem. The new panel organization, while quite different from the organization present in versions 1.00 through 8.02, is easier to learn and easier to use because it is more highly structured. The second reason comes about because the image manipulation software does not contain pre-drawn buttons (gadgets). Instead, it generates the buttons and other controls needed for a particular panel only when it is time to open that panel, and then discards them after that panel has been closed. We designed it this way because it saves many hundreds of thousands of bytes of ram during operation, and also reduces the main program size on disk by the same amount. These are both significant benefits; however, when a large panel needs to be generated, the time involved to create the control images and other items for display can become significant. The new organization of the panels results in more control panels, all of which contain fewer controls... so the individual panels are generated more quickly. In addition to the major panel rework, other user interface changes were also made to help ease the program's operation. The "info" panel is now accessable directly from the main panel; the render controls in the File I/o panel have been subtly re-arranged to be easier to use; the program's autoactivation capabilities have been steamlined for more efficient operation; the font list requester was widened for easier use with longer font names; you can now use the 2.0 (ASL) file requester if you prefer, and the sequence processor can now sort the file list for you. The following lists show the general organization of the new panels; the number following each new panel represents the number of basic tools in each. In many cases, these tools lead to still other tools and effects, totalling many hundreds of different operations. Process --------- Standard Adjustments ( 22 ) R,G,B Corrections ( 9 ) Filters ( 21 ) Geometric Transformations ( 19 ) Special Effects ( 33 ) Analysis ( 8 ) Resizing and Clipping ( 9 ) Set Blend ( 10 ) Compose --------- Linear Compositions ( 8 ) Color Keyed Compositions ( 8 ) Color Recombinations ( 7 ) Algebraic Compositions ( 4 ) Logical Compositions ( 3 ) Special Compositions ( 7 ) Composition Controls ( 5 ) -25- Zoom Clip ========= This operation allows you to zoom in a specific amount "into" the image in the primary buffer. It is located in the Process, Resizing and Clipping panel. The intention is to allow zooms within animation sequences to be generated in a natural manner. You can specify the percentage to zoom in, and also the output resolution for the resulting clip. Note that the output resolution will always default to the same resolution as the current primary image. Remember that the higher the resolution of the source image, the more detail will result in the zoom. Extreme magnifications, while smooth, will very likely not appear realistic. We suggest that for extreme zoom effects, you may wish to generate several sequences using different resolution sources. ARexx Operation --------------- zoomclip <xzoom> <yzoom> <xc> <yc> <name> [xs] [ys] parameters: <xzoom> - required Percentage from 101% to 2000% <yzoom> - required Percentage from 101% to 2000% <xc> ---- required Horizonal (X) Center, in pixels <yc> ---- required Vertical (Y) Center, in pixels <name> -- required Name for the newly created clip [xs] ---- optional (X) Size for newly created clip [ys] ---- optional (Y) Size for newly created clip effects: ARexx variable RC is set to zero if no problems, nonzero for error if OPTIONS RESULTS is in effect, returns ARexx variable "RESULT" as the number of the newly created clip. example of use: /* test script for 'zoomclip' in sequence processor */ options results /* let image processor return results */ 'tween 101 200'; /* get value for this frame, 101% to 200% */ Z = result; /* copy to variable named "Z" */ 'zoomclip' Z Z 100 100 "zoomed image" 320 200; /* do the zoom */ 'finish'; /* tell image processor script is done */ ---------- -26- Image masks =========== General ------- In the image processor, images may have a local mask. This mask is permanently associated with the image, and its purpose is to define the usable (valid) region of the image. For instance, if you create a text object image, there is a mask that is the shape of the text which "masks off" the rest of the image area, which is actually rectangular. In addition, when you specify a region of an image you want to do something to with any of the region selection tools, you are creating a temporary mask within which the effect is to occur. In normal operation, if the image has a local mask, both the local mask and the temporary main (area selection) mask are used to specify the region to be affected. Loading and Saving Masks ------------------------ You may load,and save masks from and to both the main (area selection) and local (validation) masks. In addition, you can specify logical operations to occur when you load a mask; you can 'or' it with the currently existing mask, replace the current mask with it, and so on. Note that there are corresponding ARexx commands for loading and saving both masks. Virtual Resolution ------------------ Masks are saved in the resolution of the image they are associated with, so this is the limit of detail you can save. When masks are loaded, however, they are scaled to the same size as the current image. This "virtual" resizing allows you to use a mask as a cookie- cutter on any size image simply given that you've defined it the way you want to. One example of this might be to create a text object, and then save the mask. Now, reload that mask as the image mask using replace, and the only parts of the image that are valid are those regions within the shapes of the letters. This is a very powerful capability. Masks from ARexx ---------------- From ARexx, you can use masks with the sequence processor very handily. Say you have a series of images within which you wish to affect the same relative region. Load one of the images, and carefully define the area to be affected. Save the main mask. Now, in the sequence processing script, you can reload that mask using REPLACE mode and each image processed in the sequence will be affected in the same region. The ARexx commands are 'loadmask', 'savemask', 'loadimask' and 'saveimask'. All are explained later in this document. The load commands have logical variations; and, or, xor, subtract, replace. ---------- -27- Shadows in Compositing ====================== General ------- Shadows can be generated as an additional effect during compositing operations. There are two controls in the Compose panel that facilitate this. The "switch" that controls whether a shadow is generated is called "Shadow Enable". When this is selected, a shadow is generated. How the shadow appears is controlled by the panel that appears when you select "Shadow Control" from the compose panel. In this panel you will find the means to set the direction of the shadow to any angle, its intensity (how dark the shadow appears) and the length of the shadow. The angle should be set to the opposite direction that you want the illumination to appear to be coming from. '0' degrees is straight up, and as the angle increases, the shadow proceeds clockwise from that position. 1/4 of a turn is 90 degrees. Shadow intensity is least (lightest) when it is set to zero, and most intense (darkest) when it is set to 255. Note that if you are using any blending techniques, the shadow will also obey the blend parameters; a partially transparent object will produce a lighter shadow than a non-transparent object. The shadow will follow the transparency curve of the object exactly unless you specifically tell it not to. The length of the shadow is specified in pixels, and it essentially defines the distance that the shadow position is offset from the position you placed the original item being composited. This capability allows you to create shadows with realistic soft edges easily. One technique you might like to try is setting a blend with very soft edges, and with shadow on, compositing the images together. Next, turn the shadow off, and the blending off; now re-composite the images using "Previous Region". This will generate a perfect shadow with soft edges, yet the composed image will be sharp. This effect duplicates what happens when an object is removed a significant distance from the surface where the shadow is cast. ---------- -28- FilmStrips ========== General ------- The image processor's film strip capability provides you with two distinct capabilities; - you can have a visual record of what you've been doing - you can animate the contents of a filmstrip as a test The filmstrip contents may be saved and reloaded; you can view the filmstrip in interlace or non-interlace; you can manually insert frames or let the image processor do it for you, automatically; you can use a VCR-style control panel to go anywhere in the filmstrip; and you can set the filmstrip to any length you like (based upon how much memory you have, of course). You can choose between either a B&W filmstrip, or a color filmstrip. There is a tradeoff here; B&W filmstrips are very good for detail, but you can't see any color effects that may be important to you. Color filmstrips, while very good at generally representing color, are very rough by comparison due to the dithering techniques that must be used to make full color images from a 16-color preset Amiga palette. Color filmstrips work much better as an interlace filmstrip since there are twice as many pixels available for the dither to use. If you use a color filmstrip and want it to be viewed with the supplied viewer (FilmView), then you'll need to ensure that version 1.01 of the viewer is being used (this is supplied on the current release disks). When you change the length of the filmstrip, if the new length is longer than the previous length, the filmstrip contents are retained. If the new length is shorter, then any frames which were "deeper" into the filmstrip than its new length will be lost. You can change the animation playback from "pong" to "loop"; this will come in handy often. Reverse animation is also available. Other controls available include insertion, deletion and swapping of frames. Frames are numbered to facilitate these operations. You'll find the filmstrip controls in the DISPLAY, Morph and Sequence panels. Filmstrip allocation (creation) is performed only in the display panel. ---------- -29- Sequence Processing =================== General ------- In the File I/o panel, the control "Set Up Multi-frame Sequence" provides access to the sequence processor. This is a capability that allows you to select a group of images to be loaded (or you can select a single image to come from the secondary buffer), processed, and optionally resaved in either 24-bit IFF format or rendered to another display mode - or both. We strongly suggest you have the FilmStrip operating when you do sequence processing. This will allow you to see each frame as it is processed as a history, which is very enlightening. Also, if you elect to run the sequence without generating any output, you can use the filmstrip to examine the general effect to see if it was what you wanted. Processing is done using a very simplified form of an ARexx script, which can be as simple as three lines of text, or as complex as you like. The script you choose is executed once for each frame in the sequence - we'll show you how to do it here. It is very important that you take the time to look at the example scripts presented here, even if you are NOT an ARexx user; we have designed this capability so that you can use it VERY easily and if you elect to ignore it you're going to be shooting yourself in the foot - no kidding. Brief Description ----------------- Essentially, multi frame sequence processing is broken up into two stages. First, you need to prepare a simplified ARexx script that will process your images in the fashion you desire. Second, you use the sequence processing control panel to select a set of images to apply these effects to; you also select what you want done with the results - save them as IFF, render them to a particular output mode, or discard them (this last is useful to test scripts to see if they have the desired effect). As we mentioned previously, we strongly suggest you leave the filmstrip turned on. One of the most revealing things you can do to a sequence to see if it's what you wanted is to animate it using the filmstrip. You can see if the results are smooth enough; if not, you should use more frames. Perhaps you'll determine that you can get away with fewer frames. Even if you got everything perfect on the first try, it's nice to have that confirmed by the filmstrip animation. -30- We describe two example ARexx scripts in painstaking detail further on in this document; we'll begin with a description of the options available to you in the sequence control panel. Sequence Control Panel ---------------------- This control panel presents you with two lists, one on each side of the display. The list on the left acts like a file requester; you use it to navigate through the Amiga's filesystem and choose files. Each file you choose from the left hand list is placed into the right hand list, which is the list of files that will be processed for this sequence. Below the lists are the name of the ARexx script that will be used to process each of the selected images, and the number of image files that have been selected for processing. Finally, at the bottom of the display are a set of controls which allow you to set up various items used in the sequence processing. Here is a description of each control: "Set Path" allows you to set the path where the list requester will begin looking for image files. "Parent" causes the left list requester to change directories to the parent directory of where it is currently located. "Set Script" allows you to specify up to four ARexx scripts to be used to process the sequence of images. "Save List" and "Load List" allow you to save and reload the right-hand list of images for later use. "Delete Entry" allows you to remove a particular image file from the right hand list after clicking on that entry. "Film" provides access to the filmstrip controls. "Run List" opens a new control panel where you specify the output filenames for the results of the sequence process operation; you can cancel out of this panel if needed, or you can execute the operation there. You can also use the secondary or primary buffer as the source for the operation, repeatedly. "Done" exits the sequence processing panel without actually doing a sequence. ARexx Script Particulars ------------------------ There is one new command which must be used at the end of any script that is built for multi-frame processing. This command is 'finish'; It tells the image processor that all operations in the script have completed, so another image may be loaded (or the operation can terminate, if the last frame has been processed. If you neglect to include the 'finish' command, only the first frame of the sequence will be processed. -31- In addition to the 'finish'; command, we have provided the 'tween'; command. You'll use it in scripts where you want various parameters to change from frame to frame. We'll show you how to use this command a little further on. For the user who really wants to get into the "nitty gritty" of working with these scripts, two arguments are always passed to the ARexx script which you may use if you like. The first argument is the current image number. In other words, if you have selected 20 images to be processed, and this is the third image, then this argument will be "3". For a sequence of 20 images, the argument will go from 1 to 20; it will never be zero. The second argument passed is the total number of frames. In the example we explained just previously, the second argument would be 20. These two arguments can be used to control anything you can imagine, but require you to be fairly sophisticated in your script-writing. For the vast majority of users, the 'tween'; command will handle everything you need to do. Constant Effects Across Multiple Frames --------------------------------------- Here is a very simple example of how to apply a particular set (constant) effect across a sequence of images. /* SimpleSeq.rexx - minimal demonstration script */ 'entire'; /* specify do entire image */ 'contrast 50'; /* 50% contrast increase */ 'finish'; /* mandatory final command */ SimpleSeq.rexx is a good example showing just how really simple a script can be. It selects the region to be affected (the entire image), applies a 50% contrast to that region, then informs the image processor that it may proceed to the next image in the sequence. If you select 60 images, all of them will have this exact amount of increased contrast. Variable Effects Across Multiple Frames --------------------------------------- We'll look at how you might gradually apply the contrast effect over time now, using the 'tween'; command. The example script here has only three more lines than the example that showed you how to apply a constant level of contrast; this clearly shows how easy it is to create extremely powerful, perfectly sequenced effects automatically. If you've been avoiding ARexx, it's time to have some real fun! Here is the actual script, ready to use: /* Contrast.rexx - shows how to get varying effects across frames */ options results; /* this tells IM, IMFC or IP to return "result" */ 'entire'; /* select entire image as operation target */ 'tween 0 100'; /* get "tween" value into autovariable "result" */ 'contrast '||result; /* apply the tweened amount, changing smoothly */ 'finish'; /* mandatory final command - end of script */ <detailed explanation provided on next page> -32- Here is a line by line explanation of the script. /* Contrast.rexx - shows how to get varying effects across frames */ -------------------------------------------------------------------- This line is an ARexx "comment". It serves two purposes here. First, the ARexx language says that the first line of an ARexx script MUST be a comment - so you have to at least put the comment delimiters in the first line, shown here... /* */ ...or ARexx won't even attempt to execute the script. The other purpose is to inform you what the script is about. After all, since you are required to put the comment there, it might as well be useful, eh? Comment lines may appear anywhere and have no effect upon the actual operation of the script. options results; ---------------- This is a command to the ARexx language itself which informs any program receiving a command (the image processor, in this case) that it is ok to return a value if a macro command is executed that should return one. If this line is not present, then you won't get a value back from the image processor. We need it here because the 'tween' command does need to return a result to the script (see the next explanatory paragraph for details on this). 'entire'; --------- This is a command to the image processor which tells it that the region we want to affect by the next process we execute is the entire image. You might have used 'oval' or 'rect' here instead, if you just wanted to contrast a portion of the image. 'tween 0 100'; -------------- This command to the image processor is the key to easy variable processes over multiple frames. What it is saying is that over the course of this sequence, the starting value (for the first frame processed) is to be "0"; and the ending value (for the last frame processed) is to be "100". The tween command uses this information with internal information the image processor maintains about how many frames there are and which one is being processed now, to determine the appropriate value to return for this particular frame in the sequence - no matter what frame it is. The 'tween' command can start with a low value and go to a high one, or vice- versa. It can also handle negative numbers. For operations where there are multiple parameters, just use multiple 'tween' commands and put the "result" from each into it's own variable. The 'tween' command is simple, and very powerful. Here are some examples... 'tween -100 100'; var1 = result; 'tween 100 0'; var2 = result; 'tween -75 50'; var3 = result; ...now var1, var2 and var3 could be used later as different parameters for a script that needed several different values. <explanation continued on next page> -33- 'contrast '||result; -------------------- This is the actual command to the image processor which instructs it to apply a certain amount of contrast to the image of the sequence that is currently being processed. The image processor's contrast command can take values from -100 to 100, and the variable "result" contains a value within these limits, which we got from the 'tween' command. Note that the variable "result" is set whenever you call ANY command to the image processor after executing "options results", so it is constantly being reset to a new value. Often, the best course is to copy the value in "result" to a new variable, like we showed you in the explanation for the 'tween' command. Here's another example... 'tween -25 25'; tweenvalue = result; ...where the semicolons serve to separate ARexx commands. The next command changing the contents of "result" won't unintentionally lose you your returned value here. In the script example, because we use "result" immediately after we get it from the 'tween' command, we don't need to copy it, it's still got the value we wanted in it. The dual vertical bars are a concatination operator; they "glue" text together. Let's say that the variable "result" contains the number "25". The result of this line will be sent to the image processor and it will look like this... contrast 25 ...which is exactly what you want. 'finish'; --------- This line tells the image processor that the script is complete. The sequence processing then knows to go on and load the next frame to be worked upon, or to terminate if the last frame has been completed. Note that the scripts described here belong in the "Pre-Render" script entry. The other three script entries are used to control more complex batch operations. ---------- -34- Morphing ======== The word conjures up pictures in the mind of something normal-looking twisting and turning, features running like wax and through some film- maker's voodoo, finally turning into... something else, maybe normal looking, but maybe not. Imagemaster can do every bit of that; and do it well, too. The process is not really very complex, either. The following section contains everything you need to understand how to use Imagemaster to create outstanding looking morphs, including two carefully constructed tutorials. We'll begin with a concise description of what we mean by morphing in a technical sense, and then go immediately into a pair of tutorials designed to get you going, quickly. Once you've been through the tutorials and have a basic understanding of how the morphing works, you can begin exploring all of the extra-special "extra" morphing tools available! What Morphing means ------------------- The concept of "morphing images" has two meanings in Imagemaster: 1 - Distorting a single image into a new image using positional control information supplied by the user. This is also known as "warping" an image, or "warp morphing". 2 - Combining distortions of two images to form a new image, using color information from both source images, along with positional control information supplied by the user. Morphing can also be taken generally to mean the generation of a sequence of images using either method (1) or (2) as just discussed, instead of just a single image. Such a sequence provides a continuous (or as nearly so as possible) change from one image to the other when these images are played back in real time as in a video or a movie. If a sequence of images is desired as morph output, then the user can supply a second control element, timing, in addition to the positional controls. -35- One further extension of these ideas is that of "Motion Morphing". The idea here is to create a series of morphs from a varying sequence of input images. An example of this would be two sets of 30 frames of two different people walking down a street, where the desired effect is to have one person change into the other during the (moving) 30 frames. This requires that you provide the two complete sets of images to be used as input to the morphing tools and then specify the control information that is needed to control the morph in a realistic manner. This is perhaps the type of morph with the greatest complexity. It requires the most from the user in terms of setting up the input images for the best results, and then specifying the proper control information to the software. The morphing capability implemented in Imagemaster provides the tools to generate individual frames as needed, or a sequence of frames to your specifications using either of the two basic methods. Series of frames may be generated from either static (non-moving) images, or from sequences of pairs of images as motion morphs. When using Imagemaster to generate morphs from static images, you have excellent control over the three most important factors in the process: 1 - Geometry - Localized positional changes of the image surface 2 - Colorimetry - Transparency changes between two images) 3 - Velocity - Rate of change of each localized positional change When using Imagemaster to generate motion morphs, in addition to the above three elements of the morph, you also have control over the the following additional issue: 4 - Tweening - Automatic generation of control information for frames in which you have not specifically defined controls. As mentioned previously, there are two kinds of morphing available in Imagemaster: single image (warp) morphing and dual image morphing. We'll talk about warp morphing first. A Tour of single-image morphing: ================================ To access this operation, you'll need to load an image so that the process panel becomes available. You'll need an image of a face, viewed from the front to follow along with the examples presented here. Also, it's important to note that when we talk about right and left, we're talking about your right and left as the user of the software; not the right and left orientation as viewed from the perspective of the person in the image. Once you've loaded an image of a face, the Process button in the main panel becomes available. Press it; then press the "Special Effects" button, and finally the "Warp Morphing" button. You are now located in the Warp Morphing control panel. -36- Warp morphing is the least complex of the various morphing operations, and working with it will provide a good general understanding of the basic tools available for all types of morphing within Imagemaster. The working area consists of two displays; one of images on a full-size Amiga screen, and one of controls, on a "short" Amiga screen. Useful Note: You can hide the control area at any time by pressing the right mouse button. This allows you to see the entire image display area. Looking at the image display area, you will see two greyscale, identical copies of the image in your primary buffer. These images are used to guide you in placing your control points and edges. Looking at the control panel, the button at the top left of the panel is a multiple- choice one with the following options: Add Points Delete Points Move Points Edges This is the "Mode" button. Click on the Mode button until it reads "Add Points". Now, using the mouse, point right at the center of the right eye and click once. You will see a small blue cross appear where you clicked. This is a "start" control point. Look at the image to the right; you should see a control point in exactly the same location on that image - that is an "end" control point. Now, use the mouse to click on and drag the end control point in the right image somewhat off-center (if you're using a face as we suggested, drag it to the right of the eye about the width of the eye). What you have done is told Imagemaster that the part of the image identified by that control point on the left image (the starting point) is to be moved, or distorted, to the location indicated by the ending control point. Let's take a look and see what kind of results you get from this single control point. To see a preview of the morph result, click the button on the control panel which has the legend "Do 1 Frame". Imagemaster will ask you if you wish to save the changed control points; select "Proceed without saving". Now, you are presented with a panel which indicates the total number of frames, allows you to choose a particular frame, and has buttons for Preview, Cancel and Done in it. First, click on the Preview button so that it is selected. Then look at the frame number control - it tells you (underneath the text box) how many total frames there are. It might say 6, 15 or something else. Whatever this number is, enter it in the text box provided and press return. If the numbers already match, then just press "Done". Imagemaster will now generate a preview image of the warp morph, using the single control point you placed to create a new image. A progresss bar will indicate how far the morph operation has to go to completion. When the morph completes, the preview image will be drawn in the bottom of the display area. To view it, press the right mouse button. -37- Depending on just how far you moved the end point, the morphed image may look slightly distorted or very distorted. Now, add a second start point by clicking on the left image, and again move the corresponding end point. Put the new start point in the middle of the other (left) eye and drag the end point on the right frame to the left of the eye, again by about the width of the eye. Now, click on "Do 1 Frame", "Proceed without saving" and "Done". Imagemaster will re-generate the preview frame. When the morph is complete, use the right button to temporarily hide the control panel to see the new result. You should be getting the idea now; many unique and interesting warp morphs can be specified using control points just the way we've been showing you. Here's another way you can look at the motions implied by the control points you placed. Click on the button with the legend "Arc Vectors". Imagmaster will generate a new view of your image, with both the start and end points visible, and a "vector" connecting the two. Start points are indicated by the solid box end of the vector, and end points are indicated by the hollow box end of the vector. You should be able to imagine the direction of motion implied by these vectors without any problem here. For the moment, don't click on any points; although you can perform several types of operations in the vector display, we don't want to get into those at this point. When you're done looking at the vectors, press the button with the legend "Done" and you will be returned to the main editing display. Usually, a large number of control points are used to completely specify the exact distortions required. The more points you use, the better the resulting morph will be. For the best results, you would completely outline features you want to change (like the eyes) and then change the endpoints in the right-hand window to represent the new form you want the image to take. The right window contains the same image as the left so you have a reference of just how far to go, or how much distortion you want. We'll go through a quick example of this and in the process teach you how to use "edges" and a few more of the morphing tools. First, you'll want to delete the two points you've already placed. To do this, click on the button with the legend "Del All Points". You'll be asked if you want to save the points. Choose "Proceed without Saving" and the points will be removed. -38- Next, since we're going to be doing a bit more exacting operation, let's zoom in on the area where we'll be working, the left eye. To zoom, first click on the button with the legend "Zoom". Now point about 1/2 inch above and to the left of the left eye, click the mouse and drag down and to the right. A box will appear; keep pulling until the box entirely encloses the eye (about 1/2 inch below and right) and then let go of the mouse button. The image will now be zoomed in. If the result is not to your liking, click on the Zoom button again and the zoom will be turned off. Repeat these steps, beginning with re-selecting the zoom button, to get a better zoom around the eye. When you have the eye nicely centered in a zoomed image, continue. The Mode control button should still read "Add Points". If it does not, click on it until it does. Now, point at the left image and drop points all around the edge of the eye. About 8 points should be fine. Looking at the right image, the same points should be visible; just leave them alone for the moment. When we do this, we place the points as follows; one at each corner of the eye; one directly above, and one directly below the pupil; and the final four, one at a time between the corners of the eye and the points by the pupil; The final placement looks somewhat like this: * * * * * * * * Now we're going to add edges. Point at the Mode button again and click on it until it reads "Edges". In the left image, beginning with any point you like, click on each point in turn all the way around the eye. As you go, you'll see blue edges appear between each point. Continue until the eye is completely surrounded by edges. When you get to the last point, click on it twice to de-select it. Looking over at the end frame, you'll see the edges are there as well. Change the mode from "Edges" to "Move Points". In the end image, move each of the points in turn away from the eye - we're going to make the eye "swell up". Adjust each of the points in turn until the outline is about the same shape as the outline in the start (left) image, but larger. When you've got them adjusted to your satisfaction, click on the Arc Vectors button and take a look at the vectors and the edges. Remember that you can use the right mouse button to hide the control panel and reveal the entire image. The vector format view may help you imagine what the results will be. When you're done looking at the vectors, click on Done. Now in the main morphing panel, press "Do 1 Frame", "Proceed Without Saving" and Done. When the preview completes, you should have a nice image of a face with an enlarged eyeball staring at you. -39- More complex morphs are usually made up of several regions such as the one you just created around the eye. As is the case with many things, even the most complex morph is the sum of a series of simpler operations. Have any Problems? ------------------ If you didn't get the results described here, we suggest you go back and go through the tour again. Most likely, you've missed a step somewhere. Nuts and Bolts -------------- Now that you've seen the morphing tool in operation, let's briefly go over what you did from a more specific, technical point of view. You placed "control points". These actually consist of two elements, "start" and "end" points. These specify an exact amount of movement for the point of the image which is exactly under that particular control point. Areas of the image which are not directly underneath a control point move in such a way as to agree with all the control points nearby; the closer a control point is to a portion of the image, the more the image will move in a manner similar to the motion of that point. Control points which are very far away from a location on an image will have little or no effect on that location. You also placed "edges". These are lines that go between two control points. They suggest to the software that no image information should "cross" the edges; while control points alone may not exactly control an area, the combination of edges and control points can create almost any needed distorting motion that is reasonable. We brought up an interesting issue in the last paragraph - what kinds of motions are reasonable and what kinds are not? It is a fact that the kinds of motion that can be specified with control points and edges is nearly infinite, but not all of them are reasonable. Imagemaster has to attempt to keep the motions you specify for the image surface "connected", so that portions of the image flow together in a natural manner. It is possible to specify motions that cause tearing or "folding" of the image, though, and normally this will not be what you want. As you attempt more complex motions, you'll begin to encounter these situations. To solve them, you can either eliminate the offending motions or try to be more specific in those regions by adding more control points and edges. Note that when we were discussing edges earlier, we said they "suggest" control. This is because some types of edge combinations are impossible, such as where two edges cross each other, and edges in those situations will either be ignored or will cause image tearing and/or folding. Odd things also happen when the vectors specified by control points cross each other. You can spot these easily by looking at your vectors in the Arc Vector panel. A good rule of thumb is to have as few as possible crossing vectors or edges in any morph you attempt to do. -40- A Tour of dual-image morphing: ============================== Dual image morphing is available as a compose operation, under special compositions. In order to access it, you need to have two images loaded, one as the primary buffer and one as the secondary buffer. As always, if no secondary buffer has been specified, then the compose control panel will be inaccessable. To work through this tour with us, you'll need two images, each of a different face. They can be similar, like brothers, or they can be quite different, like a cow and a dog - just so they are faces viewed from the front. Note that we are assuming that you have already worked through the warp morphing tour - if you have not, please go back and do that first. Once you've loaded two images of a face, one as Primary and one as Secondary, the Compose button in the main panel becomes available. Press it; then press the "Special Compositions" button, and finally the "Morph" button. You are now located in the Morphing control panel. The working area again consists of two displays; one of both your images on a full-size Amiga screen, and one of controls, on a "short" Amiga screen. Looking at the image display area, you will see two greyscale images, one of your primary buffer and one of your secondary buffer. These images are used to guide you in placing your control points and edges. Begin by clicking on the Set Controls button. When the new panel opens, you'll see a text entry field marked "Total Frames". If it does not read 15, then click in this field with your left mouse button and replace whatever was there with 15. Now press Done. For the best results when testing a dual image morph, you should always have an odd number of frames; this is so that there is a frame number that is exactly in the "middle" of the sequence. For instance, an 8-frame morph has frames 4 and 5, neither of which is in the middle; there is no middle frame. Back in the main morphing control panel now, click on the Mode button (at top left of the control panel) until it reads "Add Points". Let's zoom in on the area where we'll be working, the left eye. To zoom, first click on the button with the legend "Zoom". Now point about 1/2 inch above and to the left of the left eye on the left (starting) image, click the mouse and drag down and to the right. A box will appear; keep pulling until the box entirely encloses the eye (about 1/2 inch below and right) and then let go of the mouse button. The image will now be zoomed in. If the result is not to your liking, click on the Zoom button again and the zoom will be turned off. Repeat these steps, beginning with re- selecting the zoom button, to get a better zoom around the eye. When you have the eye nicely centered in a zoomed image, continue. -41- Now, because you are working with two completely different images, the image in the right (ending) frame may not be properly centered around its left eye after the zoom; we need to get it well-centered before we proceed. It's really very easy to do. First, press the "R" key on the keyboard. This tells Imagemaster to limit zooming and panning to the right (ending) frame only. Now, using the cursor key pad, pan the right frame around until the left eye of the ending image is entirely visible. If the eye is too large, you can press the "<." key on the keyboard to zoom out a bit; if it is too small, you can press the "<," key on the keyboard to zoom in a bit. When the right image's, left eye is well centered, continue. Click on the mode control button until it reads Add Points. Now, point at the left image's eye and drop points all around the edge of the eye, just as we did in the warp morph tour. And again, about 8 points should be just fine. When we do this, we place the points as follows; one at each corner of the eye; one directly above, and one directly below the pupil; and the final four, one at a time between the corners of the eye and the points by the pupil; The final placement looks somewhat like this: * * * * * * * * Looking at the right image, the same points will be visible, but they won't be correctly arranged around the right image's eye - that's because these are different eyes, unlike the warp morph, and Imagemaster can't know exactly what you're trying to do. So, it's your job to get those points arranged in just the same manner around this other eye. It should be very obvious what needs to be done - the points should be in the same relative positions as they are in the left frame. You can point and move the points in the right frame now, even though you are not in Move Points mode; Add Points works such that the left frame adds points and the right frame moves points. By the way, if you need to adjust any of the points in the left frame, change the mode button to read Move Points and you can do it easily. When you have the points arranged around both left eyes to your satisfaction, continue. Now we're going to add edges, again, just as we did for the warp morph tour. Point at the Mode button again and click on it until it reads "Edges". In the left image, beginning with any point you like, click on each point in turn all the way around the eye. As you go, you'll see blue edges appear between each point. Continue until the eye is completely surrounded by edges. When you get to the last point, click on it twice to de-select it. Looking over at the end frame, you'll see the edges are there as well. -42- When you've got the entire group of points connected with edges, click on the Arc Vectors button and take a look at the vectors and the edges. Remember that you can use the right mouse button to hide the control panel and reveal the entire image. Note that there is a new control in the Arc Vectors window which allows you to set the amount of the start and end images visible called "Show Through". Play with the control until you can see a nice mix of both images. The vector format view may help you imagine what the results of the morph will be. When you're done looking at the vectors, click on Done. Now, click on the Zoom button to turn off the zoom, then click it once more to allow you to zoom in a new area. This time, zoom the right eye of the left image. Once you have it positioned properly, press "R" on the keyboard and pan the right image so it's right eye shows also. Now, simply repeat the process of adding points to the left image's eye, moving the points on the right image's eye to match up, and then adding edges. You should be familiar with the methods needed to do this; if you have problems, refer to the preceeding paragraphs for more detail on what controls to select, and when. When you have the right eye set up, continue. Now in the main morphing panel, press "Do 1 Frame", and "Proceed Without Saving". Make sure the Preview button here is selected. If it is not, click on it once to select it. Now, you need to pick the middle frame of the total number of frames. The panel should indicate there are 15 frames, click in the text entry field, type the number 8, and press return. When you press return, the morph is generated. When the preview completes, you should have an image of the two faces mixed together, with the eyes tied perfectly together. You'll note that the rest of the face(s) are not perfectly matched up; that's because you don't have control points specified for the various matching features. The more features you tie together, the better the overall morph will look. More complex morphs are usually made up of several regions such as the ones you just created around the eyes. As is the case with many things, even the most complex morph is the sum of a series of simpler operations. To continue learing, we suggest that you work to make the rest of the features match up. You should be able to get the morph completely matched just using the techniques we've gone over - have fun! Have any Problems? ------------------ If you didn't get the results described here, we suggest you go back and go through the tour again. Most likely, you've missed a step somewhere. -43- More Help ========= As you can see, the term "morphing" covers a lot of ground. We have attempted to make Imagemaster's morph tools both comprehensive and easy to use. However, should you find some portion of the process particularly difficult and not well explained by the documentation, please don't hesititate to call the user support line for help. Technical support is available from 9am to 5pm MST, excluding an hour between noon and 1pm, at (406) 367-5509. You must be a registered user to obtain technical support, of course. Single Image Morphing Tools Reference ===================================== The following information details the capabilities of the tools available to you when using the Warp Morphing operation. Note that not all morphing tools are usable when creating single-image warps. Note also that the explanations provided here for dual-image morphing may look similar to those provided for warp morphing, but there are a number of key differences in many areas of the text. We felt it would be better to present the explanations separately than to provide one explanation with dozens of parenthetical notes. Quick Reference to Warp Morphing ================================ Convenient Misc. User Interface Operations - - - - - - - - - - - - - - - - - - - - - - Right mouse button - hides control panel, then brings it back backspace key - demotes a single curve to vector or vector to point FilmStrip - automatically loaded, if enabled by user User Interface Modes (Cyclic button, 4 states): - - - - - - - - - - - - - - - - - - - - - - - - Add Points - Add start and end control points Delete Points - Remove previously added control points Move Points - Move previously added control points Edges - Add or Remove edges to control point pairs Set Controls - - - - - - Total Frames - Set # of frames in the morph X Res - Horizontal output frame resolution Y Res - Vertical output frame resolution Enhanced Anti-Alias - Higher quality output images (slower generation) FilmStrip Res - Set X Res & Y Res to same as FilmStrip Set View - Set brightness and contrast for work images Opening Script - ARexx script runs once, before any frames created Pre-Render Script - ARexx script runs before each frame is created Post-Render Script - ARexx script runs after each frame is created Closing Script - ARexx script runs once, after all frames were created -44- Lock Edges - - - - - On - Images stretch at the edges Off - Images pull in black at the edges Shape Add - - - - - Without Edges - Adds points and edges in custom shapes With Edges - Adds points only in custom shape Big C/R key - Drops second copy of shape exactly where first is Drop Grid - - - - - Without Edges - Drop array of control points With Edges - Drop control points and edges as well Big C/R key - Drops second grid exactly where first is Load Points - - - - - - Loads sets of control points, edges, velocity curves, transparency curves. New sets may be added to the current set or they may replace the current set. Save Points - - - - - - Saves complete sets of points, edges, velocity curves, transparency curves. Delete All Points - - - - - - - - - Removes all points, the edges associated with the points, and the associations between the points and the two types of curves. Zoom - - - Mouse - pull out rectangle in either image R key - limit panning to Right frame only L key - limit panning to Left frame only B key - panning/zooming enabled in Both frames > key - increase zoom level < key - decrease zoom level Arc Vectors - - - - - - Lace - use interlace working area S Con - Start image contrast (does not affect image data) S Bri - Start image brightness (does not affect image data) Show Singly - Show one path (vector or curve) at a time Show Edges - Any edges defined are made visible Zoom - Turns zoom on and off as per main panel Curve Handle Mode (Cyclic button, 3 states) - - - - - - - - - - - - - - - - - - - - - - I Bracket - single line to center of curve V Bracket - dual lines to ends of curves No bracket - handle "floats" near curve -45- Set Velocities - - - - - - - Load Curve - Load a previously saved velocity curve Save Curve - Save a velocity curve Create a new curve - Add a curve to the loaded library by hand Choose a curve - Pick a curve from the loaded library Curve Name - Name the current curve being edited Vertical Graph Markings - frame indicators, number = frames Horizontal Graph Markings - Undershoot and Overshoot range controls (movable) Pnt Vel - - - - Selects a velocity curve for a single point from the loaded set Group Operations - - - - - - - - Set Group Velocity - selects a velocity curve for a group of points Demote Group - changes curves to vectors or vectors to points Delete Group - Removes multiple points and associated edges Swap Points - - - - - - Swaps points and edges and associations; in case images are reversed Lace - - - use interlace work display for main editing area Show Edges - - - - - - Show any edges that are defined Motion Control - - - - - - - Motion Morph - Enables motion mode controls Project Name - Allows you to set a custom name for project Frames - Specifies total # frames in project Current - Pick a new frame to work on From Frames - Select set of from frames To Frames - * Not used in Warp Morphing Go To Start - Go to frame 1 of morph, load images, etc Go To Finish - Go to last frame of morph, load images, etc Load Project - Load previously saved project Save Project - Save the current project ---------------------------------------- These next two really belong in Group Ops... sorry! ---------------------------------------- Move + Size - select group of points and scale, translate Move + Rotate - select group of points and rorate, translate Film - - - Use filmstrip player. (You must turn on film in display panel) -46- Do Seq - - - - Path - set path for files to go to Name - set name for files (number is added) Extension - set extension for files Starting Frame - frame to begin generating with End Frame of (n) - frame to end generation with Render Results - use Imagemaster rendering as output file Save as 24-bit - use Imagemaster 24-bit save as output file Test Run (Do Not Save) - generate only to filmstrip Cancel - never mind... Done - generate sequence now Do 1 Frame - - - - - - Frame Number (Of (n)) - which frame to generate: <enter> = Do it Preview - make 320x200 preview image in morph panel Cancel - never mind... Done - Do it Detailed Warp Morphing Reference ================================ Warp Morphing and Frames ------------------------ When we speak of frames with regard to warp morphing, we are referring to the concept that many morphs are intended to be animated. Because of this, the morphs would be performed over a series of intermediate frames where the effect is slightly more apparent in each of the frames. For instance, when someone says thay are creating a 15-frame warp morph, the idea they are conveying is that in frame 15, the effect of the morph is fully apparent. In frame 8, the middle frame, the effect would be 50% of the final result, and so on for each intermediate frame. When a sequence of frames are rendered, the "flow" of the surface of the image under control of the points and edges is apparent as the frames are viewed in series. When the object of the morph is a single final image and not a sequence of images, the convention is to assume that the desired image is the final image of a sequence (of any length). As an example, if Imagemaster has been set for a 17-frame sequence, rendering frame 17 will provide a result with the effect 100% apparent. Imagemaster allows you to choose a frame from anywhere within the currently set sequence length when you render a single frame instead of a sequence of frames. Simply remember that when you are creating a single warped image you should set the frame to be rendered to be the same as the length of the sequence. This is done in the "Do 1 Frame" control panel, which is described in more detail further on in this document. -47- Points ------ Control points are used to define the flow of the image surface over the frames of a morph; when the object is one single warped image instead of a sequence, you should still think of the control points this way - it's just that you're only interested in the last frame of the sequence. The start point defines the portion of the image that will be moved, and the end point defines the location for that portion of the image for the final frame of the morph. Control points can be thought of in two ways. First, and most conveniently, as a series of pairs of points, just as you see them in the main dual-window interface. Secondly, you can consider the two points as the endpoints of a path, over which the image must "flow" to accomplish the changes you are specifying with the points. You can actually see these paths in the Arc Vectors window. It is not strictly correct to think of control points as the endpoints of vectors, for Imagemaster can make the course between the two points a complex curve instead of a straight line. That is why you should think of them as paths, rather than vectors. The default course between two points is a straight line (vector). Extension from a vector to a more complex path is done in the Arc Vectors interface, where you can "grab" the vector and shape it into a curve. This is described in more detail in the portion of this document that describes the Arc Vectors control panel. Placement of points should be done such that they are deposited at all key corresponding locations on the image surface. If we take the case of a face as an example, the corners of the eyes and mouth are obvious candidates. In addition, placement of points regularly along the edge of the profile will help control the image more exactly. Points are never discarded by Imagemaster's morphing procedures, even if they are defined in a conflicting manner. For this reason, you need to be careful that you do not place your points in such a way as to cause a conflict - one example of this is when the paths of two points cross each other during the course of a morph. This, and similar situations, will create folding and/or tearing in the image. Often you will find it easy to determine if such a condition exists by observing the paths defined by the endpoints in the Arc Vectors interface. Points cannot completely restrain an image, because they only exactly control the portion of the image directly underneath where they are placed. Areas of the image which are not directly underneath a point (or an edge) are adjusted according to the motions of the points which are nearest. Even points which are quite far away may add motion to an otherwise uncontrolled region. When a portion of an image needs more exact control, you should use points in conjunction with edges, described next. -48- Edges ----- Edges are similar to points in that they specify movement for the surface of the image. They differ in that they control a much larger region, the entire area exactly under the line. Edges also differ in that Imagemaster's morphing procedures may discard an edge under certain circumstances, such as when two edges are defined that cross each other. When creating edges, you should take care to ensure that you do not create a situation like this, as the results are undefined and will result in the image tearing or folding. Placement of edges should generally be done along lines in the image such as the edges of eyes or a profile. They will restrict the motion of the image surface such that it will not transfer image data across the line, retaining colors precisely within the regions which are bounded by edges. Most high-quality morphs will use almost as many edges as they do points. Morphing Time ------------- The time it takes Imagemaster to generate morph output frames is based almost entirely upon the size of the output images in the sequence. Anti- aliasing also adds a certain amount of time to the generation of each frame, again directly proportional to the size of the output image. A small amount of additional time is needed to compute frames that contain custom point-velocity computations. The size of the input images has no effect (and they may even be different resolutions, also with no effect on time); Imagemaster always scales images as needed during operations. Operating Modes --------------- Operating mode is set by the four-state button at the upper left of the main morphing control panel. Clicking on this button with the mouse will cycle it through its four states: Move, Add, Delete and Edges. Move Points When Move Points mode is active, clicking in either the left window (start points) or the right window (end points) selects the nearest point to the mouse pointer; dragging the mouse with the left button held down also drags the selected point. Add Points When Add Points mode is active, clicking in the left window (start points) places points. Once a point has been placed in the left window, the corresponding end point appears in exactly the same relative position in the right window. While in Add Points mode, you can also adjust the position of any point in the right (end points) window, which remains in Move Points mode - this is done so that you can naturally add and adjust points. One consequence of this organization is that you cannot add points by clicking in the right window. -49- Delete Points When Delete Points mode is active, clicking on a point in either the left (start points) or right (end points) window removes that point. Any edges that were attached to that point are also automatically deleted. Edges When Edges mode is initially made active, any point that was selected is automatically de-selected. To add an edge, first select (by clicking upon) the point where the edge is to begin in either window. Next, select the point where the edge is to end in either window. The edge will be created at this point; also, the last point you clicked on is now the current point, so to create the next in a series of linked edges, just click on the next point in turn. When you have completed a series of edges, remember to click one more time on the last point to deselect it. If you forget this step, the next point you click on will inconveniently connect to this one. To delete an edge, click on one of the points attached to that edge. Next, click on the other point attached to that edge; the edge will be removed. Remember to click again upon the last point to deselect it unless you are continuing edge creation/deletion from that point. Set Controls ------------ Total Frames The Total Frames entry box is used to set the total number of frames in a morph sequence. If you wanted to create a 30-frame morph, you would enter the number 30 in this box before attempting to generate any frames. X Res and Y Res These two entry boxes set the output resolution of the morph frames that are to be generated in all cases except for single-frame preview generation. Preview frames are automatically generated at 320x200 resolution and do not affect the resolution settings made here. The time it takes Imagemaster to generate morph frames is based almost entirely upon the size of the output frame, so if time is a consideration, you may want to generate a lower-resolution morph output. Enhanced Anti-Alias This button, when selected, causes Imagemaster's morphing procedures to use special smoothing methods during the generation of the output frames of a morph. The result is always a better image, however this can add considerably to the completion time of each frame to be generated. Filmstrip Res This button provides a convenient way for you to setup the exact resolution required to generate frames that fit perfectly within the filmstrip. It automatically loads the X Res and Y Res text fields with 96 and 60, the X and Y resolution of the filmstrip. -50- Set View Set View allows you to set the brightness and/or contrast of the image being warped. The purpose of this is to allow you to work on images which may not provide enough detail in the morph area without some enhancement. Adjusting either the brightness or contrast here does not modify the image itself, only the display routines in the morphing procedures are affected so you can use them without concern. ARexx Scripts The morphing tools have the ability to call ARexx scripts before, during and after the generation of a sequence of output frames. One use of this capability is to take rendered output from Imagemaster and use it to create an animation directly as each frame is produced, and then automatically delete the individual frames. In order to do this, fill in the script entry fields as follows: Opening Script: rxpi:animwr1.rexx Pre-render Script: Post-render Script: rxpi:animwr3.rexx Closing Script: rxpi:animwr4.rexx Remember that if there are any scripts in these fields, they will automatically be called. If you're not using ARexx scripts, be sure to delete the contents of these four fields to avoid problems. Opening Script The Opening Script text entry field is used to contain the full path and name of an ARexx script that will be executed once, before any frames are generated. For example, when generating animations, the Opening Script text entry field should be filled in with "rxpi:animwr1.rexx" (without the quotes). Pre-render Script The Pre-render Script text entry field is used to contain the full path and name of an ARexx script that will be executed just before each frame in the sequence is generated. Post-render Script The Post-render Script text entry field is used to contain the full path and name of an ARexx script that will be executed just after each frame in the sequence is generated. For example, when generating animations, the Post-render Script text entry field should be filled in with "rxpi:animwr3.rexx" (without the quotes). Closing Script The Closing Script text entry field is used to contain the full path and name of an ARexx script that will be executed once, after all frames have been generated. For example, when generating animations, the Closing Script text entry field should be filled in with "rxpi:animwr4.rexx" (without the quotes). -51- Lock Edge --------- The Lock Edge button, when selected, causes the very edges of the image to be "pinned down". This usually provides better results in the final morph. In some cases it may be better to let the edges float. We suggest that normally you leave this selected, and only if you are having problems with the edges of a morph should you de-select it. Shape Add --------- The Shape Add facility uses IShapes, Imagemaster's unique custom shape definitions. IShapes are essentially complete pre-defined shapes, circles, lines and so on. These shapes are selected from a file requester and then placed on the the image to be warped using the mouse. IShapes may be moved and scaled during placement, a feature that makes them ideal for surface control in morph applications. The procedure for adding an IShape is to select the shape from the list in the file requester; place the IShape on the starting image, and then place the IShape on the ending image. You have the opportunity to move and size during both placements. One extra feature is the convenient immediate-drop capability; just press the newline key on the keyboard and the second IShape is dropped exactly in the same location as the first IShape. This is useful for "locking down" regions of the image. Step by Step use: - - - - - - - - - (1) When in morph hit the 'Shape Add' button. (2) Use the requestor to choose an ISHAPE or cancel to retain the current one. (Ovals/polygons with 3 to 95 points/sides are supplied in the IShapes drawer.) (3) Click and drag with the left mouse button in either view area to size and position the shape over the feature you want. Holding down the right mouse button at the same time will move the shape. (4) When you release the left mouse button, the shape will be duplicated in the other view area. The shape has an orientation arrow shown on it. Click with the left mouse button in this other view area and position it on the matching feature. Its orientation arrow will follow the cursor. You should make the arrow point the same way in each view, because Morph is going to use each corner in order. (5) When you release the left mouse button this time, morph control points will be placed at the corners of the shape. -52- Add Edges + Points / Just Points When adding an IShape, you will be asked if you want just the points that make up the shape, or edges as well. We find that we almost always want the edges - and if that is not the case, it is easy to delete the edges you don't need after the shape has been added. Drop Grid --------- Dropping grids work in many ways similar to IShapes. You have the opportunity to select either a rectangular region or the entire image. If you select the entire image, the grid is dropped evenly over the image without any further control from you. If you select rectangular area, then you get to place the grid just as if it was an IShape, with all the repositioning and immediate-drop capabilities. You may add grids with or without edges, and you can set the number of horizontal points and vertical points independantly of each other. Load Points ----------- Load Points gives you the ability to load a previously saved set of points in at a later date than the session during which they were designed. Loading points gives you more, however - it also provides a way to work on a morph in sections. For instance, in some complex morphs you may have points and edges defined for many different regions of the image; it may be more convenient to work only on those points without having all the other points around to distract you. If you'd like to do this, simply save each set as you create them under a new name and then delete all the points before moving on to the next set to be generated. Then, which it comes time to assemble all the points, simply load each individual set and select "Add To Current Set" for each one. Once you've loaded all the point sets, simply proceed with the morph generation. You can save all the points together at this time also, if you like. Imagemaster doesn't care one way ot the other - it's very flexible in this regard. When loading a new set of points, if points already exist in the image you will be given an opportunity to save them before loading the new set. If you're going to add to the current set. select "discard current set", which simply means that you're willing to have the current set modified by the new set you are loading in. Save Points ----------- This operation is very simple. It simply saves everything about the current set of points - the points and edges, any velocity or transparency information that has been applied to them and so on. You should save your work often to prevent accidents from losing what may be a creative stroke of genius. -53- Del All Points -------------- This operation deletes all the point, edge, velocity and transparency information that is currently defined. Zoom and Pan ------------ Imagemaster's morphing tools have extremely flexible and powerful zooming and panning capabilities. Not only can you get in close and pan around, but you can pan the two images independantly of each other, which allows you to get at both ends of even highly separated control points. Zoom levels are kept the same between the main interface and the Arc Vectors interface. This allows you to go back and forth quickly and with a minimum of disorientation. To zoom with the mouse, press the Zoom button so that it is selected. now simply drag out a rectangle with the mouse. Drag using the left button only. If, while dragging with the left mouse button, you depress the right mouse button as well, the rectangle will stop sizing and begin to move around. You can go back and forth between sizing and moving until the rectangle surrounds the area of interest - then release any mouse buttons you are holding and the area will be zoomed. You may zoom in as close as 8 pixels for placement of control points with sub-pixel accuracy. To unzoom, simply click on the Zoom button so that it unselects and the images will be redrawn normal size. You may also use keyboard commands to zoom. Keystroke commands are asynchronous so that you can pan and zoom at near real-time speed, even though the zoom or pan has not completely redrawn. The following keystrokes are available: Press the "<" key to decrease zoom 25% Press the ">" key to increase zoom 25% Press the "R" key to restrict zoom key commands to start frame Press the "L" key to restrict zoom key commands to end frame Press the "B" key to allow zoom key commands in both frames Press the left cursor pad to.... pan left Press the right cursor pad to... pan right Press the up cursor pad to...... pan up Press the down cursor pad to.... pan down -54- Arc Vectors ----------- The Arc Vectors interface provides another way to look at the control points and edges which together define the warp effect you want to take place on the surface of the image. In the Arc Vectors interface, start control points are shown as solid red boxes; end control points are shown as hollow red boxes; and the paths between them are shown as blue lines, except when the path is selected, in which case it is shown as a dashed white and blue line. You'll notice an additional symbol, that of a hollow red triangle in the center of each line. This triangle is a "handle" you can pull on if you would like to extend the path from a vector (straight line) to a more complex curved shape. You can also "demote" any path from a curve to a vector by first selecting either end of the path and then pressing the "backspace" key. If the path was a curve, you'll be asked if you want to demote it to a vector; if it was a vector, you'll be asked if you want to demote it to a point (where the start and endpoints are in the same location). You'll also have the opportunity to cancel if you change your mind for any reason. When a path is a curve, as a convenience you can select three types of representations to link the triangular handle with the path; "No Bracket" - where the triangle "floats" near the vector "I Bracket" - where the triangle is attached by a straight line "V Bracket" - where the triangle is attached by two lines You may select either all paths visible at once, or "Show Singly", where only one path at a time is visible. You use the left and right cursor keys to select the next and previous path; this means you cannot pan left and right. In order to pan, turn off show singly temporarily. You may also elect to show or hide any edges that may be present. Zooming may be performed in the Arc Vectors window exactly as it is in the main panel - all the same conveniences work here as well. User Interface conveniences --------------------------- You may select an interlaced display or a non-interlaced display for the Arc Vectors panel by pressing the Lace button. You can also adjust the brightness and/or contrast of the image with the S Con and S Bri sliders. -55- Set Vels -------- The Set Velocity facility allows you to work with velocity curves. These are curves which defines the rate at which a particular path is traversed over the course of a series of frames in a particular morph sequence. Normally, the default is a linear curve, which essentially says that over a certain number of frames, the motion is stepped at the same rate as there are frames. For instance, if you are generating a 30-frame morph, then a linear velocity curve causes each the motion in each succeeding frame to be 1/30th more developed than the previous one. Imagemaster provides three default curves; "normal", "early" and "late". The normal curve is the linear curve. You can define new curves easily by simply drawing them in the provided graph using the mouse. Looking at the velocity graph, you'll notice that there are two additional lines, one at the top and one at the bottom, which have small arrows attached to the at the right edge of the graph. These lines indicate where the start and stop points of the morph are. You can actually create velocity curves which go past either the beginning or the end of the control paths, which generates an "emphasis" which will likely be dear to animators. This feature, used in conjunction with the curved path capability allows you to create truly organic-looking morph output. The graph is also marked to indicate start and finish image frames, so that you can easily orient yourself with respect to how the velocity curve affects the morph generation over time. Each individual frame in the morph is marked on the graph with a vertical line; you can identify any frame by its position among the group displayed unless there are a very large number of frames to be controlled. You have the ability here to load and save curves, although there is really no need to save the three default curves - they are always available. On the other hand, you do have the ability to change the default curves, and in that case, they are automatically saved with the morph's control point sets. The reason that you might want to save a velocity curve by itself is in case you particularly like the motion it imparts and wish to use it in a future effort. If you create a new curve, you'll want to name it - this is done in the text entry field just below and to the right of the control graph. Point Vel --------- This button, when selected, allows you to choose a velocity curve for a single point from those selected. You also have the option to cancel the operation if you change your mind. Note that changing the velocity of a point can create a conflicting motion where there was none previously; if changing velocity causes tearing or folding in your image, then a conflict has developed and you will either have to restore the previous velocity to the point in question or develop another solution using other points and edges to eliminate the problem. -56- Group Ops --------- Imagemaster's morph capability allows you to perform several operations upon groups of control points. There are three main simple group operations at present, and an additional two complex group operations which are located in the panel brought up by the the Motion Control button. Here they are: Under "Group Op" ---------------- Set Group Velocity - like Set Vels, but for groups Demote Group - like backspace, but for groups Delete Group - like delete point, but for groups All three of these operations share the sme operating technique. Select the button for the function you want, draw a freehand line surrounding the points you want to affect with the operation and then release the mouse button. Under "Motion Control" ---------------------- Move + Size - scale and translate groups of points Move + Rotate - rotate and translate groups of points These two operations start like the previous three, but once the points have been selected, you have some additional control you can use. For Move + Size, dragging with the left mouse button will scale the points. Dragging with both mouse buttons will translate - or move - all the points. For Move + Rotate, dragging with the left mouse button will rotate the points. Dragging with both mouse buttons will translate - or move - all the points. After selecting the group of points to be affected, Set Group Velocity will present you with a list of the available velocity curves. Choose the one you want to use from the list, or select Done if you change your mind. Swap Points ----------- This simply exchanges entire set of start and end points. This operation is not often used in warp morph operations, although it is very useful in dual-image morphing. Lace ---- You can set the main morph panel to interlace mode independantly of the similar control in the Arc Vectors panel. Show Edges ---------- This aloows you to choose whether you wish to have any edges which may be present in the morph control information to be displayed. -57- Motion Control - General ------------------------ To perform a motion warp morph, Imagemaster requires that you... (1) completely specify the single stream of images which are to be contained in that warp morph... (2) set up the points for two (or more) key frames, and optionally... (3) specify the transparency, arc vectors, and velocity controls. Imagemaster will then able to generate a full-motion morph for you in an automated fashion. NOTE: At present, to specify a motion morph, you will have to load both a primary and a secondary image so that you can get to the Compose panel. This is a temporary condition; we suggest that for the moment, you create a very small RGB image such as a brush, that you can load since these will not actually be used in the motion morph. Load it as both the primary and secondary buffers and you'll be ready to go. When you begin, there are two options; (a) load a project file, created from a previous session with the motion morph operations, or... (b) select the "motion morph" button in the "motion control" panel inside the morph tools area to start a new project. If this is a new project, specify the number of frames in the project; then choose the From frames, and the To frames using the buttons provided for that purpose. Once you've done this, press Done in the motion control panel. Now, you'll be setting up the control points for the start frames. When you have these points set up to your satisfaction, return to the motion control panel Select End Frame, saving your new points when prompted to do so. This will load the final images. Now, return to the main morph controls by pressing Done. Select Move Points - this is very important! Now, this may be enough to completely run your motion morph, if the images are moving in a very straight line. If not, you'll also need to set up one or more intermediate frames to account for non-linear motion. If you need to do one or more frames, do so now. When you are satisified, save the project from the motion control panel. How motion morphs work: ----------------------- Motion morphs are controlled by a special project file. This file contains the names of all the images that are involved in the morph; as well as the names of any sets of points that are defined (by you) for any of the frames. The minimum information in one of these files would be the names of all the frames, and the point file names for the starting and ending frames. -58- Using this information, Imagemaster can determine the likely positions for all frames for which you did NOT specify the control points in an exact manner. Note that the guesses which Imagemaster makes for this are based upon the assumption that the motion is linear - that is, the morphing objects are moving in straight lines between the two nearest specified frames. You always need to determine if this is so; after a few tries, you should be able to tell quite easily if it is, or not. One thing to be aware of is you need to be careful about changing any point file that is involved in a motion morph outside of the motion control panel; that can get things quite out of sync, and cause you problems later. Motion Control - Details ------------------------ In order to work with a motion morph, you must switch on the Motion Morph button. Until you do, all the motion morph tools will be ghosted (unselectable). Once on, the first thing to do is to tell Imagemaster how many frames you are going to be working with by entering a value in the "frames" text entry field. Then, select the set of "from" frames, and the set of "to" frames. This is done by using the From Frames and To Frames buttons. Now, you'll need to begin working with the start of frame. So click on the Go To Start button. This will automatically set you to frame 1 and load the starting image. Exit the motion control panel, and set up the control information just as you would for a non-moving warp morph. Then, when the first frame has been prepared, re-enter the motion morph panel and click on the Go To Finish button. This will automatically set you to the last frame in your sequence, and it will ask you to save the points for frame 1. You need to save the points, as they will be used later. Now, set up the points for the end frame. This is all you have to do for the most basic type of motion morph. All the intermediate frames will have sets of points that are created from the two sets you have currrently defined. The process of creating the intermediate points is called "tweening". If the motion morph is not controlled accurately enough, then you'll want to go into a frame near the middle of your series and specifically place the points for that frame as well. Imagemaster can now tween the frames from the start to the middle and then the middle to the end, which will be considerably more accurate. You simply continue this process until the resulting morph is controlled well enough to suit you. You can have motion morphs with anything from just the start and end frames defined, to every frame define - it's up to you. -59- Save Project ------------ This saves everything to do with this motion morph. It saves the number of frames, the names of the frames, the point files, transparencies, velocities and so on. It is important that you do remember to save your project if you want to be able to re-create it accurately later. Load Project ------------ This is used to begin work on a motion project that has been saved. It loads the current frame and point set automatically, so you can begin work right away. Film ---- * See filmstrip documentation Do Seq ------ The Do Sequence panel provides you with the tools you need to generate a sequence of frames either for final output, or for a test. Although this panel does specify the output stream, it depends on the settings in a number of other locations to get the job done exactly the way you want it. Obviously, one of those things is the proper control points, edges, velocities and tranparencies as defined by you. Another important element is the resolution of the output frames and the total number of frames to be generated - those values are chosen in the Set Controls panel. Finally, if you're going to be using Imagemaster's render to Amiga mode capabilities, the settings in the File I/o panel (reached from Imagemaster's main control panel) for Amiga mode, dither, palette and size are all important here. If you're going to be either generating a test sequence for the filmstrip or generating 24-bit output images, you don't have to worry about any of those settings. Having said that, operation of the actual Do Seq panel is very simple. There are text entry fields for the path to the location where you want to save the 24-bit or rendered files to, the name of the file to be generated, and the extension to be added to the filename (none of which you would care about if you're just generating a test to the filmstrip) You can generate partial sequences by using the two fields which specify starting and ending frames - for instance, if you're generating a 30- frame morph you can generate frames 5 to 11 by simply setting those values. One huge advantage this provides is the ability to use multiple Amigas on a network to each create a portion of a morph sequence for really big jobs, such as those in film resolution (4000x4000) which take a long time to create. This is true distributed processing! -60- Do 1 Frame ---------- The Do 1 Frame facility allows you to generate any single frame from a sequence. Imagemaster can generate the frame as a standard buffer, in which case you'll automatically be returned to the main Imagemaster control panel when the frame is ready. You can also generate a single frame as a "preview", in which case the frame is automatically generated in 320x200 resolution and displayed underneath the other two images in the main morphing display area. Note that the 320x200 resolution is used no matter what resolution you have selected in the set controls panel - this is a convenience that makes it easy to generate a preview at any time. To generate as a preview, you must make sure that the preview button is selected before you either press Done or press the Enter key in the frame number text entry field. Examining the text entry field for the frame number will show you that the total number of frames currently set in the Set Controls panel is shown conveniently right here. Make sure that you select a frame from 1 to that number. Remember that for a warp morph, the very last frame number, no matter how long the sequence, is the only frame that has the completely warped image represented. Exit ---- When you exit the warp morphing panel, you will be asked if you want to save any changed points. If you're not planning to re-enter this panel, it's a good idea to save your work, of course. If you will be coming back here, then you may choose not to save the points - Imagemaster will retain all point and control information until the program is exited or you specifically change that information in the morphing user interface. Dual Image Morphing Tools Reference =================================== The following information details the capabilities of the tools available to you when using the Compose Morph operation. Note that the explanations provided here for dual-image morphing may look similar to those provided for warp morphing, but there are a number of key differences in many areas of the text. We felt it would be better to present the explanations separately than to provide one explanation with dozens of parenthetical notes. -61- Quick Reference to Dual-Image Morphing ====================================== Convenient Misc. User Interface Operations - - - - - - - - - - - - - - - - - - - - - - Right mouse button - hides control panel, then brings it back backspace key - demotes a single curve to vector or vector to point FilmStrip - automatically loaded, if enabled by user User Interface Modes (Cyclic button, 4 states): - - - - - - - - - - - - - - - - - - - - - - - - Add Points - Add start and end control points Delete Points - Remove previously added control points Move Points - Move previously added control points Edges - Add or Remove edges to control point pairs Set Controls - - - - - - Load Curve - Loads transparency curves from disk, adds to set Save Curve - Saves currently edited curve to disk Create a New Curve - Adds new named curve to loaded set Choose a Curve - Picks a curve to edit from loaded set Curve Name - Allows renaming curve being edited Warp Morph - Transparency preset allows warp morphing (convenience) Transistion Morph - Transparency preset allows dual-image morphing Total Frames - Set # of frames in the morph X Res - Horizontal output frame resolution Y Res - Vertical output frame resolution Enhanced Anti-Alias - Higher quality output images (slower generation) FilmStrip Res - Set X Res & Y Res to same as FilmStrip Set View - Set brightness and contrast for both work images Opening Script - ARexx script runs once, before any frames created Pre-Render Script - ARexx script runs before each frame is created Post-Render Script - ARexx script runs after each frame is created Closing Script - ARexx script runs once, after all frames were created Lock Edges - - - - - On - Images stretch at the edges Off - Images pull in black at the edges Shape Add - - - - - Without Edges - Adds points and edges in custom shapes With Edges - Adds points only in custom shape Big C/R key - Drops second copy of shape exactly where first is Drop Grid - - - - - Without Edges - Drop array of control points With Edges - Drop control points and edges as well Big C/R key - Drops second grid exactly where first is -62- Load Points - - - - - - Loads sets of control points, edges, velocity curves, transparency curves. New sets may be added to the current set or they may replace the current set. Save Points - - - - - - Saves complete sets of points, edges, velocity curves, transparency curves. Delete All Points - - - - - - - - - Removes all points, the edges associated with the points, and the associations between the points and the two types of curves. Zoom - - - Mouse - pull out rectangle in either image R key - limit panning/zooming to Right frame only L key - limit panning/zooming to Left frame only B key - panning/zooming enabled in Both frames > key - increase zoom level < key - decrease zoom level Arc Vectors - - - - - - Lace - use interlace working area S Con - Start image contrast (does not affect image data) S Bri - Start image brightness (does not affect image data) E Con - End image contrast (does not affect image data) E Bri - End image brightness (does not affect image data) Show Singly - Show one path (vector or curve) at a time Show Edges - Any edges defined are made visible Zoom - Turns zoom on and off as per main panel Curve Handle Mode (Cyclic button, 3 states) - - - - - - - - - - - - - - - - - - - - - - I Bracket - single line to center of curve V Bracket - dual lines to ends of curves No bracket - handle "floats" near curve Set Velocities - - - - - - - Load Curve - Load a previously saved velocity curve Save Curve - Save a velocity curve Create a new curve - Add a curve to the loaded library by hand Choose a curve - Pick a curve from the loaded library Curve Name - Name the current curve being edited Vertical Graph Markings - frame indicators, number = frames Horizontal Graph Markings - Undershoot and Overshoot range controls (movable) Pnt Vel - - - - Selects a velocity curve for a single point from the loaded set -63- Pnt Trn - - - - Selects a transparency curve for a single point from the loaded set Group Operations - - - - - - - - Set Group Velocity - selects a velocity curve for a group of points Set Group Transparency - selects a transparency curve for a group of points Demote Group - changes curves to vectors or vectors to points Delete Group - Removes multiple points and associated edges Swap All - - - - - Swaps points, edges, associations and images. Reverses entire morph. Swap Points - - - - - - Swaps points and edges and associations; in case images are reversed Lace - - - use interlace work display for main editing area Show Edges - - - - - - Show any edges that are defined Motion Control - - - - - - - Motion Morph - Enables motion mode controls Project Name - Allows you to set a custom name for project Frames - Specifies total # frames in project Current - Pick a new frame to work on From Frames - Select set of from frames To Frames - Select set of to frames Go To Start - Go to frame 1 of morph, load images, etc Go To Finish - Go to last frame of morph, load images, etc Load Project - Load previously saved project Save Project - Save the current project ---------------------------------------- These next two really belong in Group Ops... sorry! ---------------------------------------- Move + Size - select group of points and scale, translate Move + Rotate - select group of points and rorate, translate Film - - - Use filmstrip player. (You must turn on film in display panel) -64- Do Seq - - - - Path - set path for files to go to Name - set name for files (number is added) Extension - set extension for files Starting Frame - frame to begin generating with End Frame of (n) - frame to end generation with Render Results - use Imagemaster rendering as output file Save as 24-bit - use Imagemaster 24-bit save as output file Test Run (Do Not Save) - generate only to filmstrip Cancel - never mind... Done - generate sequence now Do 1 Frame - - - - - - Frame Number (Of (n)) - which frame to generate: <enter> = Do it Preview - make 320x200 preview image in morph panel Cancel - never mind... Done - Do it Detailed Dual-Image Morphing Reference ====================================== Morphing and Frames ------------------- When we speak of frames with regard to dual-image morphing, we are referring to the concept that many morphs are intended to be animated. Because of this, the morphs would be performed over a series of intermediate frames where the effect is slightly more complete in each of the frames. For instance, when someone says thay are creating a 15-frame dual-image morph, the idea they are conveying is that in frame 15, the morph has fully converted from the starting image to the ending image. In frame 8, the middle frame, the effect would be a 50% mix of both frames, and so on for each intermediate frame. When a sequence of frames are rendered, the "flow" of the surfaces of the images under control of the points and edges is apparent as the frames are viewed in series. When the object of a dual-image morph is a single final image and not a sequence of images, the convention is to assume that the desired image is the middle image of a sequence (of any length). As an example, if Imagemaster has been set for a 15-frame sequence, rendering frame 8 will provide a result with the mix of the two images most obvious. Imagemaster allows you to choose a frame from anywhere within the currently set sequence length when you render a single frame instead of a sequence of frames. Simply remember that when you are creating a single frame result of a dual-image morph you should set the frame to be rendered to be the middle of the length of the sequence. This is done in the "Do 1 Frame" control panel, which is described in more detail later. -65- Points ------ Control points are used to define the flow of the image surface over the frames of a morph; when the object is one single image instead of a sequence, you should still think of the control points this way - it's just that you're only interested in the middle frame of the sequence. The start point defines the portion of the image that will be moved, and the end point defines the location for that portion of the image for the final frame of the morph. Control points can be thought of in two ways. First, and most conveniently, as a series of pairs of points, just as you see them in the main dual-window interface. Secondly, you can consider the two points as the endpoints of a path, over which the images must "flow" to accomplish the changes you are specifying with the points. You can actually see these paths in the Arc Vectors window. It is not strictly correct to think of control points as the endpoints of vectors, for Imagemaster can make the course between the two points a complex curve instead of a straight line. That is why you should think of them as paths, rather than vectors. The default course between two points is a straight line (vector). Extension from a vector to a more complex path is done in the Arc Vectors interface, where you can "grab" the vector and shape it into a curve. This is described in more detail in the portion of this document that describes the Arc Vectors control panel. Placement of points should be done such that they are deposited at all key corresponding locations on the two image's surfaces. If we take the case of a face as an example, the corners of the eyes and mouth are obvious candidates. In addition, placement of points regularly along the edge of the profile will help control the images more exactly. Points are never discarded by Imagemaster's morphing procedures, even if they are defined in a conflicting manner. For this reason, you need to be careful that you do not place your points in such a way as to cause a conflict - one example of this is when the paths of two points cross each other during the course of a morph. This, and similar situations, will create folding and/or tearing in the image. Often you will find it easy to determine if such a condition exists by observing the paths defined by the endpoints in the Arc Vectors interface. Points cannot completely restrain an image, because they only exactly control the portion of the images directly underneath where they are placed. Areas of the images which are not directly underneath a point (or an edge) are adjusted according to the motions of the points which are nearest. Even points which are quite far away may add motion to an otherwise uncontrolled region. When a portion of an image needs more exact control, you should use points in conjunction with edges, described next. -66- Edges ----- Edges are similar to points in that they specify movement for the surface of the image. They differ in that they control a much larger region, the entire area exactly under the line. Edges also differ in that Imagemaster's morphing procedures may discard an edge under certain circumstances, such as when two edges are defined that cross each other. When creating edges, you should take care to ensure that you do not create a situation like this, as the results are undefined and will result in the images tearing or folding. Placement of edges should generally be done along lines in the images such as the edges of eyes or a profile. They will restrict the motion of the image's surface such that image data will not be transferred across the line, retaining colors precisely within the regions which are bounded by edges. Most high-quality morphs will use almost as many edges as they do points. Morphing Time ------------- The time it takes Imagemaster to generate morph output frames is based almost entirely upon the size of the output images in the sequence. Anti- aliasing also adds a certain amount of time to the generation of each frame, again directly proportional to the size of the output image. A small amount of additional time is needed to compute frames that contain custom point-velocity computations. The size of the input images has no effect (and they may even be different resolutions, also with no effect on time); Imagemaster always scales images as needed during operations. Operating Modes --------------- Operating mode is set by the four-state button at the upper left of the main morphing control panel. Clicking on this button with the mouse will cycle it through its four states: Move, Add, Delete and Edges. Move Points When Move Points mode is active, clicking in either the left window (start points) or the right window (end points) selects the nearest point to the mouse pointer; dragging the mouse with the left button held down also drags the selected point. Add Points When Add Points mode is active, clicking in the left window (start points) places points. Once a point has been placed in the left window, the corresponding end point appears in exactly the same relative position in the right window. While in Add Points mode, you can also adjust the position of any point in the right (end points) window, which remains in Move Points mode - this is done so that you can naturally add and adjust points. One consequence of this organization is that you cannot add points by clicking in the right window. -67- Delete Points When Delete Points mode is active, clicking on a point in either the left (start points) or right (end points) window removes that point. Any edges that were attached to that point are also automatically deleted. Edges When Edges mode is initially made active, any point that was selected is automatically de-selected. To add an edge, first select (by clicking upon) the point where the edge is to begin in either window. Next, select the point where the edge is to end in either window. The edge will be created at this point; also, the last point you clicked on is now the current point, so to create the next in a series of linked edges, just click on the next point in turn. When you have completed a series of edges, remember to click one more time on the last point to deselect it. If you forget this step, the next point you click on will inconveniently connect to this one. To delete an edge, click on one of the points attached to that edge. Next, click on the other point attached to that edge; the edge will be removed. Remember to click again upon the last point to deselect it unless you are continuing edge creation/deletion from that point. Set Controls ------------ Total Frames The Total Frames entry box is used to set the total number of frames in a morph sequence. If you wanted to create a 30-frame morph, you would enter the number 30 in this box before attempting to generate any frames. X Res and Y Res These two entry boxes set the output resolution of the morph frames that are to be generated in all cases except for single-frame preview generation. Preview frames are automatically generated at 320x200 resolution and do not affect the resolution settings made here. The time it takes Imagemaster to generate morph frames is based almost entirely upon the size of the output frame, so if time is a consideration, you may want to generate a lower-resolution morph output. Enhanced Anti-Alias This button, when selected, causes Imagemaster's morphing procedures to use special smoothing methods during the generation of the output frames of a morph. The result is always a better image, however this can add considerably to the completion time of each frame to be generated. -68- Filmstrip Res This button provides a convenient way for you to setup the exact resolution required to generate frames that fit perfectly within the filmstrip. It automatically loads the X Res and Y Res text fields with 96 and 60, the X and Y resolution of the filmstrip. Set View Set View allows you to set the brightness and/or contrast of the images being morphed. The purpose of this is to allow you to work on images which may not provide enough detail in the morph area without some enhancement. Adjusting either the brightness or contrast here does not modify the images themseves, only the display routines in the morphing procedures are affected so you can use them without concern. ARexx Scripts The morphing tools have the ability to call ARexx scripts before, during and after the generation of a sequence of output frames. One use of this capability is to take rendered output from Imagemaster and use it to create an animation directly as each frame is produced, and then automatically delete the individual frames. In order to do this, fill in the script entry fields as follows: Opening Script: rxpi:animwr1.rexx Pre-render Script: Post-render Script: rxpi:animwr3.rexx Closing Script: rxpi:animwr4.rexx Remember that if there are any scripts in these fields, they will automatically be called. If you're not using ARexx scripts, be sure to delete the contents of these four fields to avoid problems. Opening Script The Opening Script text entry field is used to contain the full path and name of an ARexx script that will be executed once, before any frames are generated. For example, when generating animations, the Opening Script text entry field should be filled in with "rxpi:animwr1.rexx" (without the quotes). Pre-render Script The Pre-render Script text entry field is used to contain the full path and name of an ARexx script that will be executed just before each frame in the sequence is generated. Post-render Script The Post-render Script text entry field is used to contain the full path and name of an ARexx script that will be executed just after each frame in the sequence is generated. For example, when generating animations, the Post-render Script text entry field should be filled in with "rxpi:animwr3.rexx" (without the quotes). -69- Closing Script The Closing Script text entry field is used to contain the full path and name of an ARexx script that will be executed once, after all frames have been generated. For example, when generating animations, the Closing Script text entry field should be filled in with "rxpi:animwr4.rexx" (without the quotes). Transparency Curve The transparency curve is used to describe the amount of image information that comes from each image over the course of the morph. When a typical morph begins, all color and brightness comes from the start image. At the middle of the morph, 1/2 the image information comes from each image, and when it ends, all the image information comes from the final image. The transparency curve describes how much information comes from which image. Imagemaster provides three standard curves: "normal", "early" and "late". The normal curve acts as described in the previous paragraph. The early curve begins showing the color and brightness information from the end image quite early; and the late curve transforms into the end image quite late. You can define new curves at any time by coming here, selecting Create a New Curve and then drawing the curve with your mouse. You can then save the curve itself if you like using Save Curve, or when you save your morph points and edges, the curve will be saved with them (in the points file, not by itself). If you create a new curve, remember to name it. If you attempt to modify any of the three preset curves, Imagemaster will warn you, because normally, you would want to keep these three curves around - it's just as easy to make a new curve. However, if you really want to, you can change the standard curves by simply indicating that is what you want to do. Note that the transparency curve showing in the graph here in the set controls window may, or may not, be the curve that applies to your image. Imagemaster allows you to assign any point or group of points to any transparency curve. There are no limits on how many transparency curves you may use. If you wish to see which curve a point uses, select Move Points mode, click on the point in question, and then press Pnt Trn; the correct curve will be displayed. Lock Edge --------- The Lock Edge button, when selected, causes the very edges of the image to be "pinned down". This usually provides better results in the final morph. In some cases it may be better to let the edges float. We suggest that normally you leave this selected, and only if you are having problems with the edges of a morph should you de-select it. -70- Shape Add --------- The Shape Add facility uses IShapes, Imagemaster's unique custom shape definitions. IShapes are essentially complete pre-defined shapes, circles, lines and so on. These shapes are selected from a file requester and then placed on the the images to be morphed using the mouse. IShapes may be moved and scaled during placement, a feature that makes them ideal for surface control in morph applications. The procedure for adding an IShape is to select the shape from the list in the file requester; place the IShape on the starting image, and then place the IShape on the ending image. You have the opportunity to move and size during both placements. One extra feature is the convenient immediate-drop capability; just press the newline key on the keyboard and the second IShape is dropped exactly in the same location as the first IShape. This is useful for "locking down" regions of the image. Add Edges + Points / Just Points When adding an IShape, you will be asked if you want just the points that make up the shape, or edges as well. We find that we almost always want the edges - and if that is not the case, it is easy to delete the edges you don't need after the shape has been added. Drop Grid --------- Dropping grids work in many ways similar to IShapes. You have the opportunity to select either a rectangular region or the entire image. If you select the entire image, the grid is dropped evenly over the image without any further control from you. If you select rectangular area, then you get to place the grid just as if it was an IShape, with all the repositioning and immediate-drop capabilities. You may add grids with or without edges, and you can set the number of horizontal points and vertical points independantly of each other. Load Points ----------- Load Points gives you the ability to load a previously saved set of points in at a later date than the session during which they were designed. Loading points gives you more, however - it also provides a way to work on a morph in sections. For instance, in some complex morphs you may have points and edges defined for many different regions of the image; it may be more convenient to work only on those points without having all the other points around to distract you. If you'd like to do this, simply save each set as you create them under a new name and then delete all the points before moving on to the next set to be generated. Then, which it comes time to assemble all the points, simply load each individual set and select "Add To Current Set" for each one. Once you've loaded all the point sets, simply proceed with the morph generation. You can save all the points together at this time also, if you like. Imagemaster doesn't care one way ot the other - it's very flexible in this regard. -71- When loading a new set of points, if points already exist in the image you will be given an opportunity to save them before loading the new set. If you're going to add to the current set. select "discard current set", which simply means that you're willing to have the current set modified by the new set you are loading in. Save Points ----------- This operation is very simple. It simply saves everything about the current set of points - the points and edges, any velocity or transparency information that has been applied to them and so on. You should save your work often to prevent accidents from losing what may be a creative stroke of genius. Del All Points -------------- This operation deletes all the point, edge, velocity and transparency information that is currently defined. Zoom and Pan ------------ Imagemaster's morphing tools have extremely flexible and powerful zooming and panning capabilities. Not only can you get in close and pan around, but you can pan and zoom the two images independantly of each other, which allows you to get at both ends of even highly separated control points. Zoom levels for both images, which may be different, are kept the same between the main interface and the Arc Vectors interface. This allows you to go back and forth quickly and with a minimum of disorientation. To zoom with the mouse, press the Zoom button so that it is selected. now simply drag out a rectangle with the mouse. Drag using the left button only. If, while dragging with the left mouse button, you depress the right mouse button as well, the rectangle will stop sizing and begin to move around. You can go back and forth between sizing and moving until the rectangle surrounds the area of interest - then release any mouse buttons you are holding and the area will be zoomed. You may zoom in as close as 8 pixels for placement of control points with sub-pixel accuracy. To unzoom, simply click on the Zoom button so that it unselects and the images will be redrawn normal size. -72- You may also use keyboard commands to zoom. Keystroke commands are asynchronous so that you can pan and zoom at near real-time speed, even though the zoom or pan has not completely redrawn. The following keystrokes are available: Press the "<" key to decrease zoom 25% Press the ">" key to increase zoom 25% Press the "R" key to restrict zoom key commands to start frame Press the "L" key to restrict zoom key commands to end frame Press the "B" key to allow zoom key commands in both frames Press the left cursor pad to.... pan left Press the right cursor pad to... pan right Press the up cursor pad to...... pan up Press the down cursor pad to.... pan down Arc Vectors ----------- The Arc Vectors interface provides another way to look at the control points and edges which together define the morph effects you want to take place on the surface of the images. For dual image-morphing, the Arc Vectors interface operates in an "Onionskin" mode. This is a display mode where you can actually see both the start image and the end image at the same time; you can adjust the brightness and contrast of both images indpendantly of each other for the best visual mix, and as in the main interface, you can zoom and pan the two images completely independantly of each other. In the Arc Vectors interface, start control points are shown as solid red boxes; end control points are shown as hollow red boxes; and the paths between them are shown as blue lines, except when the path is selected, in which case it is shown as a dashed white and blue line. You'll notice an additional symbol, that of a hollow red triangle in the center of each line. This triangle is a "handle" you can pull on if you would like to extend the path from a vector (straight line) to a more complex curved shape. You can also "demote" any path from a curve to a vector by first selecting either end of the path and then pressing the "backspace" key. If the path was a curve, you'll be asked if you want to demote it to a vector; if it was a vector, you'll be asked if you want to demote it to a point (where the start and endpoints are in the same location). You'll also have the opportunity to cancel if you change your mind for any reason. When a path is a curve, as a convenience you can select three types of representations to link the triangular handle with the path; "No Bracket" - where the triangle "floats" near the vector "I Bracket" - where the triangle is attached by a straight line "V Bracket" - where the triangle is attached by two lines -73- You may select either all paths visible at once, or "Show Singly", where only one path at a time is visible. You use the left and right cursor keys to select the next and previous path; this means you cannot pan left and right. In order to pan, turn off show singly temporarily. You may also elect to show or hide any edges that may be present. Zooming may be performed in the Arc Vectors window exactly as it is in the main panel - all the same conveniences work here as well. User Interface conveniences --------------------------- You may select an interlaced display or a non-interlaced display for the Arc Vectors panel by pressing the Lace button. You can also adjust the brightness and/or contrast of either of the two images with the S Con, S Bri, E Con, and E Bri sliders. You may select the level of mix between the two images by using the "Show Through" slider. All of these controls operate in an asychronous mode so that you can use them in realtime - you don't have to wait for a redraw to complete to change to a new setting. Set Vels -------- The Set Velocity facility allows you to work with velocity curves. These are curves which defines the rate at which a particular path is traversed over the course of a series of frames in a particular morph sequence. Normally, the default is a linear curve, which essentially says that over a certain number of frames, the motion is stepped at the same rate as there are frames. For instance, if you are generating a 30-frame morph, then a linear velocity curve causes each the motion in each succeeding frame to be 1/30th more developed than the previous one. Imagemaster provides three default curves; "normal", "early" and "late". The normal curve is the linear curve. You can define new curves easily by simply drawing them in the provided graph using the mouse. Looking at the velocity graph, you'll notice that there are two additional lines, one at the top and one at the bottom, which have small arrows attached to the at the right edge of the graph. These lines indicate where the start and stop points of the morph are. You can actually create velocity curves which go past either the beginning or the end of the control paths, which generates an "emphasis" which will likely be dear to animators. This feature, used in conjunction with the curved path capability allows you to create truly organic-looking morph output. The graph is also marked to indicate start and finish image frames, so that you can easily orient yourself with respect to how the velocity curve affects the morph generation over time. Each individual frame in the morph is marked on the graph with a vertical line; you can identify any frame by its position among the group displayed unless there are a very large number of frames to be controlled. -74- You have the ability here to load and save curves, although there is really no need to save the three default curves - they are always available. On the other hand, you do have the ability to change the default curves, and in that case, they are automatically saved with the morph's control point sets. The reason that you might want to save a velocity curve by itself is in case you particularly like the motion it imparts and wish to use it in a future effort. If you create a new curve, you'll want to name it - this is done in the text entry field just below and to the right of the control graph. Point Velocity (Pnt Vel) ------------------------ This button, when selected, allows you to choose a velocity curve for a single point from those currently available. You also have the option to cancel the operation if you change your mind. Note that changing the velocity of a point can create a conflicting motion where there was none previously; if changing velocity causes tearing or folding in your image, then a conflict has developed and you will either have to restore the previous velocity to the point in question or develop another solution using other points and edges to eliminate the problem. Point Transparency (Pnt Trn) ---------------------------- This button, when selected, allow syou to choose a transpaarency curve for a single point from those currently available. You also have the opportunity to cancel if you change your mind. Group Ops --------- Imagemaster's morph capability allows you to perform several operations upon groups of control points. There are four main simple group operations at present, and an additional two complex group operations which are located in the panel brought up by the the Motion Control button. Here they are: Under "Group Op" ---------------- Set Group Velocity - like Set Vel, but for groups Set Group Transparency - Like Set Trn, but for groups Demote Group - like backspace, but for groups Delete Group - like delete point, but for groups All four of these operations share the sme operating technique. Select the button for the function you want, draw a freehand line surrounding the points you want to affect with the operation and then release the mouse button. -75- Under "Motion Control" ---------------------- Move + Size - scale and translate groups of points Move + Rotate - rotate and translate groups of points These two operations start like the previous three, but once the points have been selected, you have some additional control you can use. For Move + Size, dragging with the left mouse button will scale the points. Dragging with both mouse buttons will translate - or move - all the points. For Move + Rotate, dragging with the left mouse button will rotate the points. Dragging with both mouse buttons will translate - or move - all the points. After selecting the group of points to be affected, Set Group Transparency will present you with a list of the available transparency curves. Choose the one you want to use from the list, or select Done if you change your mind. After selecting the group of points to be affected, Set Group Velocity will present you with a list of the available velocity curves. Choose the one you want to use from the list, or select Done if you change your mind. Swap Points ----------- This simply exchanges entire set of start and end points. You would most often use it when you loaded the images backwards into the primary and secondary buffers. Swap All -------- This exchanges the entire set of points and both images as well. This is used to set the morph to go in the reverse direction. Lace ---- You can set the main morph panel to interlace mode independantly of the similar control in the Arc Vectors panel. Show Edges ---------- This aloows you to choose whether you wish to have any edges which may be present in the morph control information to be displayed. -76- Motion Control - General ------------------------ To perform a motion morph, Imagemaster requires that you... (1) completely specify the two streams of images which are to be contained in that morph... (2) set up the points for two (or more) key frames, and optionally... (3) specify the transparency, arc vectors, and velocity controls. Imagemaster will then able to generate a full-motion morph for you in an automated fashion. NOTE: At present, to specify a motion morph, you will have to load both a primary and a secondary image so that you can get to the Compose panel. This is a temporary condition; we suggest that for the moment, you create a very small RGB image such as a brush, that you can load since these will not actually be used in the motion morph. Load it as both the primary and secondary buffers and you'll be ready to go. When you begin, there are two options; (a) load a project file, created from a previous session with the motion morph operations, or... (b) select the "motion morph" button in the "motion control" panel inside the morph tools area to start a new project. If this is a new project, specify the number of frames in the project; then choose the From frames, and the To frames using the buttons provided for that purpose. Once you've done this, press Done in the motion control panel. Now, you'll be setting up the control points for the start frames. When you have these points set up to your satisfaction, return to the motion control panel Select End Frame, saving your new points when prompted to do so. This will load the final images. Now, return to the main morph controls by pressing Done. Select Move Points - this is very important! Now, this may be enough to completely run your motion morph, if the images are moving in a very straight line. If not, you'll also need to set up one or more intermediate frames to account for non-linear motion. If you need to do one or more frames, do so now. When you are satisified, save the project from the motion control panel. -77- How motion morphs work: ----------------------- Motion morphs are controlled by a special project file. This file contains the names of all the images that are involved in the morph; as well as the names of any sets of points that are defined (by you) for any of the frames. The minimum information in one of these files would be the names of all the frames, and the point file names for the starting and ending frames. Using this information, Imagemaster can determine the likely positions for all frames for which you did NOT specify the control points in an exact manner. Note that the guesses which Imagemaster makes for this are based upon the assumption that the motion is linear - that is, the morphing objects are moving in straight lines between the two nearest specified frames. You always need to determine if this is so; after a few tries, you should be able to tell quite easily if it is, or not. One thing to be aware of is you need to be careful about changing any point file that is involved in a motion morph outside of the motion control panel; that can get things quite out of sync, and cause you problems later. Motion Control - Details ------------------------ In order to work with a motion morph, you must switch on the Motion Morph button. Until you do, all the motion morph tools will be ghosted (unselectable). Once on, the first thing to do is to tell Imagemaster how many frames you are going to be working with by entering a value in the "frames" text entry field. Then, select the set of "from" frames, and the set of "to" frames. This is done by using the From Frames and To Frames buttons. Now, you'll need to begin working with the start pair of frames. So click on the Go To Start button. This will automatically set you to frame 1 and load both starting images. Exit the motion control panel, and set up the control information just as you would for a non-moving morph. Then, when the first set of frames has been prepared, re-enter the motion morph panel and click on the Go To Finish button. This will automatically set you to the last pair of frames in your sequence, and it will ask you to save the points for frame 1. You need to save the points, as they will be used later. Now, set up the points for the end frames. This is all you have to do for the most basic type of motion morph. All the intermediate frames will have sets of points that are created from the two sets you have currrently defined. The process of creating the intermediate points is called "tweening". If the motion morph is not controlled accurately enough, then you'll want to go into a air of frames near the middle of your series and specifically place the points for that frame as well. Imagemaster can now tween the frames from the start to the middle and then the middle to the end, which will be considerably more accurate. -78- You simply continue this process until the resulting morph is controlled well enough to suit you. You can have motion morphs with anything from just the start and end frames defined, to every frame define - it's up to you. Save Project ------------ This saves everything to do with this motion morph. It saves the number of frames, the names of the frames, the point files, transparencies, velocities and so on. It is important that you do remember to save your project if you want to be able to re-create it accurately later. Load Project ------------ This is used to begin work on a motion project that has been saved. It loads the current frame and point set automatically, so you can begin work right away. Film ---- * See filmstrip documentation Do Seq ------ The Do Sequence panel provides you with the tools you need to generate a sequence of frames either for final output, or for a test. Although this panel does specify the output stream, it depends on the settings in a number of other locations to get the job done exactly the way you want it. Obviously, one of those things is the proper control points, edges, velocities and tranparencies as defined by you. Another important element is the resolution of the output frames and the total number of frames to be generated - those values are chosen in the Set Controls panel. Finally, if you're going to be using Imagemaster's render to Amiga mode capabilities, the settings in the File I/o panel (reached from Imagemaster's main control panel) for Amiga mode, dither, palette and size are all important here. If you're going to be either generating a test sequence for the filmstrip or generating 24-bit output images, you don't have to worry about any of those settings. Having said that, operation of the actual Do Seq panel is very simple. There are text entry fields for the path to the location where you want to save the 24-bit or rendered files to, the name of the file to be generated, and the extension to be added to the filename (none of which you would care about if you're just generating a test to the filmstrip) -79- You can generate partial sequences by using the two fields which specify starting and ending frames - for instance, if you're generating a 30- frame morph you can generate frames 5 to 11 by simply setting those values. One huge advantage this provides is the ability to use multiple Amigas on a network to each create a portion of a morph sequence for really big jobs, such as those in film resolution (4000x4000) which take a long time to create. This is true distributed processing! Do 1 Frame ---------- The Do 1 Frame facility allows you to generate any single frame from a sequence. Imagemaster can generate the frame as a standard buffer, in which case you'll automatically be returned to the main Imagemaster control panel when the frame is ready. You can also generate a single frame as a "preview", in which case the frame is automatically generated in 320x200 resolution and displayed underneath the other two images in the main morhping display area. Note that the 320x200 resolution is used no matter what resolution you have selected in the set controls panel - this is a convenience that makes it easy to generate a preview at any time. To generate as a preview, you must make sure that the preview button is selected before you either press Done or press the Enter key in the frame text entry field. Examining the text entry field for the frame number will show you that the total number of frames currently set in the Set Controls panel is shown conveniently right here. Make sure that you select a frame from 1 to that number. Remember that for a dual-image morph, the center frame number, no matter how long the sequence, is the only frame that has the 50% mixed images represented. Remember also that in order to have a proper middle frame, you need to generate an odd number of frames total. Exit ---- When you exit the morphing panel, you will be asked if you want to save any changed points. If you're not planning to re-enter this panel, it's a good idea to save your work, of course. If you will be coming back here, then you may choose not to save the points - Imagemaster will retain all point and control information until the program is exited or you specifically change that information in the morphing user interface. -80- Some Morphing Hints =================== Building a morph project in subgroups ------------------------------------- Imagemaster allows you to work on a morph in discrete subgroups. An example of this would be where you were morphing a face, and wanted to separate the job into subtasks consisting of the vectors for an eye, for the mouth, for the border of the face. To do this, simply create the first subgroup of vectors, such as the eye. Arrange it to your liking - and then save the points under a name like "eye". Now, delete all the points. Create your next subgroup for the mouth, and save it under mouth, and again delete the points. Finally, create the subgroup that defines the edge of the face and save that - if this is the last group, you won't need to delete it. What you have now are three sets of points saved which define your complete morph. To perform the morph, load all the subgroups that have been saved to disk but are not yet loaded, and add them to the current set of points by first selecting "discard" and then "Add to Current Set". Then, simply perform the morph as you usually would. To edit any particular subgroup at one time, delete all the current points and then load that subgroup - it's quick, and easy to do. Remember to save your changes when you are done. How Many Points? ---------------- We have found that you typically need at least 100 control points to create the most effective morph results. Fewer points tend to leave areas "uncontrolled". More (usually) result in higher output quality. By all means experiment - you may achieve effects we did not expect, which please you. Folds & Tears ------------- When generating a morph, you may run into situations where the output image appears to "fold over" onto or into itself. That happens when two control influences contradict each other; an "influence" in this context is the "pull" from one, or more, control points. For instance, if you have an area that is largely uncontrolled but intentionally place an edge with the intent of stopping any image data from moving across a boundry, a fold may occur there if there are enough points nearby to accumulate a strong enough push on the uncontrolled area. Folds are usually easy to prevent, once spotted - just place some control points in the previously uncontrolled area that have exactly the motion you want. -81- Tears occur where points are placed close together, but have extremely differing path force, or "push". The situations that create them are quite complex, and solving a tear usually requires the removal or serious revision of one or more control points - the exact opposite of what you do to repair a fold. A Few Things to Avoid --------------------- * Don't cross edges over each other, ever; only one will function, and which one is going to be totally random, and may change with ANY change to the rest of the morph * Don't mix different velocities in one area; one area will tend to go "under" another if you do, and the results are not at present very predictable (a solution is coming in the future, however) * Try to morph images that have at least some topological similarity. There is a strong tendancy to think that 2-d image morphology can perform the entire set of morphs as 3-d packages can; that's just not true, and never has been. 2-D morphs are very, very powerful, and in many cases can do MOST of what a 3-D package can do with FAR less effort, but some types of motion are simply not doable with a pair of image maps and a pair of topological transforms. What does "similar" mean? That's a good question - one for which we don't have an answer that wouldn't take a chapter or two. We think you'll figure it out, though, as long as we make you aware of the issue. An example would be faces - the vast majority of animal faces on the earth, including the human animal, are highly similar - two eyes, nose, mouth, two ears. Conversely, a human face is not (very) topologically similar to a scientific calculator, and that case might be a pretty difficult morph to make look nicely real. -82- List Requester (ARexx-based capability) ======================================= This capability allows you to bring up a list requester inside the image processor from which the user can select an entry; once an item is selected, a value (selected by you) is returned to the calling ARexx script or macro. The list environment for the PI Modules is implemented using this capability. For more details, see the information describing the list environment for PI Modules. In particular, see the script "launch.rexx" and the file "list.list" for a complete example of how to use this powerful capability. Here is the format of the ARexx command: 'listreq "Title text",listfilename,"keywords,etc"' ---------- Load Image as Secondary ======================= This option will appear when you already have a Primary image buffer, it allows you to load the next image in automatically assigned as the secondary buffer. If buffers besides the primary are already loaded, then you will also be presented with the option to replace an old buffer as secondary. ---------- Load Image as Blend =================== This option will appear when you already have a Primary image buffer, it allows you to load the next image in automatically assigned as the blend buffer. If buffers besides the primary are already loaded, then you will also be presented with the option to replace an old buffer as blend. ---------- Load Image as Brush =================== This option will appear when you already have a Primary image buffer, it allows you to load the next image in automatically assigned as the brush buffer. If buffers besides the primary are already loaded, then you will also be presented with the option to replace an old buffer as brush. ---------- -83- Co-ordinates ============ The image processor now provides you with the option of displaying image X and Y co-ordinates while you work in the display. This option is controlled by a button in the Display panel called ``Show Cords''. There is another button that affects the co-ordinates, also in the Display panel. This one is called ``Drag Relative''. If you select it, then the co-ordinate display will show you the size of the object, or the distance of the pointer from the location you started drawing or selecting. This is useful if you need to create a specific size object. You can use the ``Cords at bottom'' button to switch the display from the top right to the bottom right. The ``s'' key will do the same thing when pressed while you are drawing. The following two ARexx commands allow to to set these conditions up: COORDS <show> [showattop] ------------------------- Here, <show> is required, 0 means no, 1 means yes GRID <on> <xgrid> <ygrid> <xoffs> <yoffs> ----------------------------------------- Here, <on> is required and should be 1 for on, 0 for off. If <on> is present, then the other four parameters must also be. <xgrid> and <ygrid> define the spacing of the grid. <xoffs> and <yoffs> define the offset from the top left edge of the image where the first vertice of the grid will occur. These last two parameters MUST be values less than the first two. ---------- Grid ==== The image processor provides a grid capability. This is enabled in the Display panel by the ``Use Grid'' button, and when on, allows you to draw only on the selected grid size. Grid size and position is controlled by two buttons in the Display panel called ``Set Grid Interactive'' and ``Set Grid Numeric''. If you use the interactive mode, you are presented with the main image, and you use the mouse to pull out a rectangle. That rectangle sets both the gird size (the same as the rectangle) and its origin (the same as the rectangles corners). If you use the numeric method, you are prompted for an X and Y size, as well as an X and Y origin. The sizes represent the width and height of each grid cell. The origin represents the distance from the upper left hand corner (0,0) of the image that the first ``snap'' point occurs. ---------- -84- Adding Noise ============ The function F/x Random Dither allows you to add noise to an image if the region is too smooth for your taste. You can set the amplitude of the noise to your liking. You can select luma or an indpendant RGB dither. ---------- Clip to exact size (F/x) ======================== This capability allows you to specify a rectangular region, for instance 100 by 75, and then clip that exact size region from the primary image. This is useful when you are trying to create a smaller output image from an already existing larger image. ---------- X-Specs Over-Under ================== This function takes an image that is interleaved for the X-Specs glasses and modifies that image to the X-Specs Over-Under format, used by some X-Specs viewers. The conversion takes place entirely in the Primary buffer. ---------- X-Specs Interleave ================== This function takes an image that is over-under, that is, has one field over the other, and changes it to the interleaved format. The conversion takes place entirely in the Primary buffer. ---------- X-Specs Separate ================ This function takes an interleaved X-Specs image in the Primary buffer and separates the two fields into two new buffers. You have the opportunity to name these buffers if you like; if not, they will be called Clip_N and Clip_N+1, where N is the current clip number. Note that this process creates two new buffers which have half the number of lines of the Primary buffer in addition to the Primary buffer, and as a result will require as much additional memory as the Primary buffer consumes. ---------- -85- F/x User Transforms =================== This is one of the most flexible, and potentially complicated, operations in the entire image processor. In simple terms, this provides you with a graph, where you have the opportunity to specify the resulting output from every level in a buffer. You can cause this function to create the exact operations for contrast, brightness, gamma, negative, histogram equalization and more. You can save (and reload later, of course) any transform curve you create; several are provided as ``boilerplate'' for you to try out. A special function also sets the transform curve to the current curve of the image itself; this can be used to equalize the image. The files that are saved are in a textual format. The file should contain at the beginning the four letters ``TFRM''. Following that first line, you can have one of three things on any line of the file. (1) a blank line, which will be ignored; (2) a line that begins with the ``*'' character, which allows the line to contain any comment; (3) or a number from zero to 255. Only the first 256 lines which contain numbers are read from the file. You can create, or modify, these files with any good text editor (but not a word processor). The curve itself can be drawn with the mouse, smoothed, or as mentioned previously, generated from the image. Note that there is a smaller graph area which contains the current transform curve of the image at the upper left. ---------- Stretch (Scale, Zoom) ===================== The Stretch Clip operation now has the ability to stretch to a particular percentage, as well as the original stretch to a particular pixel size. ---------- Map to Range ============ This tool is similar to the Map To Palette capability, except it uses the current range, and (since ranges may be smaller than 256 colors) the range will be automatically interpolated (smoothed) if the range is 255 or less colors. ---------- -86- Color Balance ============= Color Balance is a tool that re-balances the entire image, based upon a region you specify. The principle underlying Color Balance is the same as that used by Grey and White balance operations, but with a twist. The assumption made is that you can (by observing) locate an area on the image that you want to be tinted to an exact shade of a particular color. If you can, you identify this area using the region select tools, and the function will re-balance the entire image based upon that information. What you end up with is a tinted image; similar to using a dye when developing film. ---------- Numeric Area Selection ---------------------- This is an area selection tool which allows you to create a selected rectangle using numbers instead of the interactive tools. This provides a very specific area selection for precision operations. -87- Black Balance ============= Black Balance is a tool that re-balances the entire image, based upon a region you specify. The principle underlying Black Balance is the same as that used by Grey and White balance operations. The assumption made is that you can (by observing) locate an area on the image that should have been black. If you can, you identify this area using the region select tools, and the function will re-balance the entire image based upon that information. This is very effective for images that have low contrast or coloration. ---------- Force Dynamic ============= This operation is similar to the Dynamic Range operation. To understand the difference, we need to look at Dynamic Range. The Dynamic Range operation examines the entire image, finds the darkest and lightest regions, and then linearly expands the contrast and moves the brightness center appropriately. This results in the maximum possible contrast without losing any image information. Force Dynamic does the same thing, except that the examination for maximum and minimum regions is only performed in the region you specify, not the entire image. As a result, Force Dynamic can indeed lose image data. One possible use would be for an image that was contained as a sub- image within another --- for instance, a picture on a television in a larger image. You can use Force Dynamic on the TV image, and that image will be brought to its maximum non-destructive contrast (and portions, or all of the rest of the image may be seriously damaged). ---------- X-Specs Conversion ================== This operation allows you to create an X-Specs interleave format image from the image in the Primary buffer and the image in the Secondary buffer. You can even do this with dissimilar size images! ---------- -88- Absolute Resample - no anti-aliasing ==================================== The stepped Zoom operation now allows you to reduce an image's resolution without averaging neighboring pixels; this was added so that the automatic expansion of HAM-E images to hi-resolution pixels (with synthesis of intervening pixels using the same method as our advanced hardware Anti-Alias engine) could be reversed without any unintended smoothing of the image. Suggested use is to run it on the horizontal axis only. ---------- Merge with Render from Range ============================ This operation will take a range of colors you have defined in the palette and render the secondary image into the primary image using only those colors. The operation is similar to a merge, in that the entire secondary image is rendered into the region you specify. For instance, if you have a 4 color range that consists of black, white, and two intermediate grey levels, then that's how the image will be placed into the primary image. This allows you to use unlimited creativity in color compositions. One option is to use dither when rendering using the range colors. Dither effectively increases the available color space, and images will look more accurate, as well as somewhat ``rougher''. Another option is to turn ``Excursion Off'' for the render. This is only effective if dither is on; the effect is to increase the number of colors available in dither, but it will also make the iamge appear even rougher. Another option allows you to select a stretched merge, or a sub- sampled merge. You can use blending in the normal fashion with this operation, also. You should be aware that when blending is on, more colors are used to composite the image, as various levels of the colors in the range are blended with the colors in the primary image. ---------- -89- Additional Render Controls and Capabilties ========================================== The image processor's Amiga mode rendering procedures have been completely re-written during the production of revisions 7.02 and 7.03. We are confident that our rendering capabilities now meet or exceed those of any other product currently available for final image quality. Comparison renders performed at Black Belt Systems using the latest releases of commercial Amiga packages which also render to Amiga mode images provide the basis for this confidence. If you have other software which performs these tasks, we encourage you to make the same comparisons. Knowing what package performs better in this regard will serve you well as your create your Amiga mode images. Details ======= The control "Turn Off Excursion Limit" may now be used to modify the quality of most render modes. It works with dithering to provide a larger color space. If you turn off the dither when rendering, this has no applicability. If you turn excursion off, the dither operations can reach more colors in the color space. The image may appear rougher as a result. We suggest you try things both ways before committing to a final render. Most images will be better with this button depressed. All Amiga render modes now have multiple dither choices for your rendering convenience; you may currently choose from: No Dither ------- Uses the nearest color in the palette; contours. 2-Point EDD ----- Most color accuracy; roughest image. Heavy dithering >Floyd-Steinberg - Best compromise; not too rough, good color accuracy Jarvis ---------- A bit smooth; begins to show contouring (mach bands) Stucki ---------- Extremely smooth; contouring is quite evident Random F-S ------ Rough; good color accuracy, tends to hide errors Dual Random F-S - Not so rough; good color accuracy. Less clumping. You may modify any dither method with either Left->Right scan or Serpentine scan. Serpentine is almost always better. For low color renders that pick new color registers, 16 colors for instance, you should try "Chekov Forcing" and see if your image renders better with it on. This will cause the color picking code to choose slightly different registers which will help portions of the image that have color "hot spots" to render more accurately. Our suggestion for the best render quality for most images (there will be a few exceptions to this) is to use the Floyd-Steinberg dither, serpentine scan, excursion limiting off. Chekov forcing is a 50-50 kind of thing. Sometimes it helps a lot, but it may make the render worse. ---------- -90- Compose with Logical OR ======================= This image composition operation will combine the Secondary image into the Primary image using the logical OR operation. ---------- Compose with Logical AND ======================== This image composition operation will combine the Secondary image into the Primary image using the logical AND operation. ---------- Multiple Blend Technique Application ==================================== You can now use any of the three blending techniques in combination with each other. The manual implies that the blending techniques are independant and exclusive. While you can still use them independantly, you can also use them together in any combination. ---------- Smooth Edge Blending as a Percentage ==================================== The smooth edge blending capability now has the ability to be specified as a percentage of the region's size. The specify by number of pixels is still intact, of course. This will help you use the technique on larger images, and also allows you to apply similar looking edge blends without having to re-specify the blend lengths. ---------- Masks ===== The image processor can now save masks with images, contrary to the statement in the printed manual that it does not. These masks are in a proprietary format readable by our image processing software, and will be (should be) ignored by other IFF readers automatically if they are written correctly. The PMBC Public Interface module will also save and load masks with images. ---------- -91- Color Separations ================= General ------- The image processor now has full RGB, CMY and CMYK color separation capability for both 12 and 24 bit images. The color separation tool is located in the File I/O panel; it is extremely flexible and allows you to save multiple control parameter settings for your various color separation needs. Color separations are positive, and so where you expect a lot of ink to be on the paper, the image on screen will have the most color (``ink''). If you use a color map, the image will be the color of the separation (cyan, for instance) where the paper is white, which is somewhat counter-intuitive, and it will be black where it is maximum cyan. ---------- Under Color Removal ------------------- This control sets the amount of color (cyan, magenta, yellow) ink removed when they can be replaced by black. ---------- Gray Component Replacement -------------------------- This control sets the amount of black ink that replaces what was removed by the Under Color Removal tool. ---------- Magenta Ink Mix Correction -------------------------- This control compensates for impure ink colors, IE, the cyan ink is not pure cyan. The default value is set for Inkum Inks, which we strongly recommend for inkjet use. ---------- Yellow Ink Mix Correction ------------------------- This control compensates for impure ink colors, IE, the magenta ink is not pure magenta. The default value is set for Inkum Inks, which we strongly recommend for inkjet use. ---------- Output 12 Bit ------------- This setting allows you to create 12 bit color separations, needed for some Amiga DTP programs. You should always use 24 bit separations for professional work. ---------- -92- Output 24 Bit ------------- The setting allows you to create 24 bit accurate color separations. ---------- Gray CMAP --------- This section causes a grey CMAP to be placed in the output file, which is required for proper color separation operation. The alternative, Color CMAP, makes the images easier to understand and view, but is not useful for real separations. Color CMAP ---------- This places a color CMAP in the separation file, which will let you visually cue in to how much ink will be used when observing the files. Do not use this settings for final work; You must place a Gray CMAP in the file for it to be useful. ---------- Set To Default -------------- This control forces the Under Color Removal, Gray Component Replacement, Magenta Ink Correct, and Yellow Ink Correct to their respective default values. Set To No Correction -------------------- Just as it says. The colors are created via a straight mathematical transform with no correction for the shortcomings of inks and paper. Generate CMYK Separation ------------------------ This produces four output files, cyan, magenta, yellow and black. This is what you will typically use for professional separations. Generate CMY Separation ----------------------- This produces three output files, cyan, magenta and yellow. This is what you will typically use for three color printer ribbons. Generate RGB Separation ----------------------- This allows you to separate the image into it's respective R, G and B components. We don't know what use it is, but others have this capability, so we added it also. -93- Save Settings ------------- This allows you to save the current settings of the Color Separation panel. This is very useful for situations where you'll be outputting to various print agencies or printers, and the settings are different. Note that if you save a settings file and name it ``Default.csep'', it will be automatically loaded when the software starts. It should be located either in the current directory or drawer (not recommended) or in the s: assignment (highly recommended). ---------- Load Settings ------------- This loads any settings that you saved. ---------- Extensions ---------- You can preset the extensions used on the color separation files if you like, using the four text entry fields provided. ---------- CMYK and RGB Recombination ========================== Recombinations are done with the compose panel. The general idea here is that you prepare a blank buffer (White for CMYK, Black for RGB) to receive the recombined image. Each portion of the image to be recombined is loaded as a secondary buffer, then processed using the matching recombination function. For instance, to recombine a CMY image, you would create an all-white buffer of the size you want the output image. Now, load the Cyan (C) portion of the separated image. Make it the secondary and recombine that portion. Now load the M and Y portions and do the same. For CMY or CMYK recombination, you need to know what the UCR, GCR and ink correction settings were or the image colors will come out wrong. To do this with an RGB image, the process is the same except for one thing; you need to start with an all-Black buffer instead of a white one. This is technically because RGB colors are additive and CMYK colors are subtractive. -94- Genlocking ========== Creating a Transparent Region ----------------------------- Rendering now allows you to specify Transparency for genlocking by marking a region that you do not want to be transparent. So, if you have drawn a graphic you want to appear in the top right of the frame, just move the object there using the usual tools, then when you render, just define that object as the ``non-transparent'' region. The entire remaining portion of the image will be drawn using the Amiga (or HAM-E) ``color zero'', which will make it transparent for genlocking purposes. Keep in mind that not using the color zero color can substantially reduce the render quality of an image, especially when you are using fewer colors. ---------- Color-Keying: Transparency by Color ----------------------------------- You can also create a genlock (transparent) region by selecting the Color Gen Mask button. This will cause the image to have transparent (genlock) areas wherever the color in the image matches the color selected in the process panel using "define color". The color radius also affects the genlock area generation. An example would be where you have a picture of a model you have taken against an aqua background. Select the aqua area as the "defined color", and then use Color Gen Mask to build the genlocked image. The image will be transparent everywhere but where the model is. Of course, if the model is wearing any aqua color, or has aqua eyes, that region will be transparent as well. You can fix this up by changing the colors of that region using the paint tools. Keep in mind that not using the color zero color can substantialy reduce the render quality of an image, especially when you are using fewer colors. ---------- Creating Non-transparent Renders -------------------------------- If you want a render to be totally non-transparent (that is, doesn't use the Amiga color zero anywhere), then select the "Identify the genlock non-transparent area" button an choose "entire image" as the region. The entire image will be non-transparent. Keep in mind that not using the color zero color can substantialy reduce the render quality of an image, especially when you are using fewer colors. ---------- -95- DCTV ==== Compatibility ------------- The image processor can now load DCTV files from the 1.1 version of the DCTV software as well as the original software format and the library format. Filtering --------- The DCTV library allows you to filter the RGB image that is used to create the final DCTV image. If you select the "Use DCTV RGB Filter" button when you render DCTV images, this filter is called into action. Again, this function is entirely dependant upon the code in the DCTV.library software. Black Belt Systems is not responsible for any image degradation you may experience in the final DCTV image. ---------- Brushes ======= Transparent Brush Cutting ------------------------- When you select "Cut Out New Brush", you will now get a two button panel that asks you if you'd like to do this as a transparent operation or just as a solid area. If you do select transparency, the transparent portion of the cut will occur where the background color (See Color Definition, next) is similar to the color in the cut region. The color radius affects the transparent region calculations. ---------- Color Definition ================ Adjust Foreground Color ----------------------- This new option within the paint panel allows you to immediately adjust the foreground color using RGB controls. ---------- Sample to Foreground Color -------------------------- This new option within the paint panel allows you to immediately adjust the foreground color by selecting a region on the Primary image. ---------- -96- Adjust Background Color ----------------------- This new option within the paint panel allows you to immediately adjust the background color using RGB controls. ---------- Sample to Background Color -------------------------- This new option within the paint panel allows you to immediately adjust the background color by selecting a region on the Primary image. ---------- Palette Mapping =============== In the main paint panel there is a new option called "Palette Mapping". This function is for artists who wish to change colors which have already been painted with, from the palette or from a range. To do this:- (1) Copy the range that you have drawn with into the current palette, (2) Choose "Palette Mapping" and "Establish Map", you will then be able to select the area to be affected, (3) Adjust the colors in the palette to the new colors you want, (4) Choose "Palette Mapping" and "Apply Palette Changes"; This will change the drawn colors in the image in the same way you changed the palette colors. Note that the "Establish Map" function only works on colors that exactly match those in the palette. Also, "Toss Map" can be used to free up some memory after you have finished Palette Mapping. ---------- Paint Settings To Disk ====================== In the Paint Panel are Load and Save Paint Settings buttons. This saves all the settings you are then using to paint with including the foreground and background colors. ---------- -97- New fill modes ============== Brush Emboss ------------ This fill mode will emboss the image with a pattern derived from the brightness of the current brush. The fill proceeds in a regular rectangular fashion. ---------- Brush Brick Emboss ------------------ This fill mode is similar to Brush Emboss, but every other line of repeated brush patterns is offset by 1/2 the brush width, resulting in a fill that has the 50% offset characteristic of brick architecture. ---------- Poly-range Fills ---------------- Polyrange fills are a new and unusual type of fill developed by Black Belt specifically for our image processing software. The best way to describe a polyrange is to begin with a polygon. Let's take a polygon in the form of a triangle as our example. A triangle has three points. What polyfill will do is assign a color to each of those points from the range you supply, assuming only that the range you supply has three points. So, if you have a range that is red, green, blue, yellow... etc, then the triangle will have red, green and blue assigned to the three points of the corners. Now, there are two different ways that polyranges will work, depending on the Smooth Range fill setting. If smooth range fill is off, then the pixels inside the triangle will be filled according to the vertex (point) they are nearest to. So, pixels near the red vertex will also be red, and so on. If smooth range fill is on, then the pixels inside the triangle will be filled with all three colors, proportionally to how near they are to that particular vertex. So, for pixels right at the red vertex, you get red. For one halfway between red and green, but far away from blue, you'll get a yellow color. Keep in mind that polyranges can work with any number of points, so you can make some really spectacular fills. Note that large numbers of vertexes will cause long computation times, however. Rectangles and full screen polyrange fills act like four vertex polygons, and so require a four color range. If you have less colors in the range than there are vetexes in the polygon, then the range will repeat along the vertexes untill all vertexes are assigned a color. ---------- -98- Freehand and Elliptical Polyranges ---------------------------------- We've done something wild, here. Since a freehand area or an ellipse are not composed of vertexes as polygons, polyarcs, rectangles and so on are, we needed a different way to apply polyranges to them. What we have done is to find out the length of the edge of the freehand area or ellipse, and then we distribute the entire range of colors around the perimeter of the region. Let's say you have a 6 color range (you might want to try this, the results are stunning!) or Red, Yellow, Green, Aqua, Blue, Purple. These colors are placed at points equidistant from each other around the perimiter of the object. So, if you draw a very round ellipse, with smooth range on, you get a gorgeous ``color wheel''. Freehand areas provide very strange and beautiful results. Again, be careful not to use ranges with very many colors unless you are prepared to wait more time. ---------- Dual Range Fills ================ The image processor now provides for a new type of fill that uses two separate color ranges to derive fill colors. These can be utilized once you have selected two ranges; you can select both from the paint panel, the new button to pick the secondary range is called ``Select Second Range''. Once you have picked the two ranges, you can use the following fill tools: Dual Horizontal Range --------------------- This fill mode places the two ranges above, and below the region to be filled. The pixels in the filled area are derived as a function of the distance between the top range, and the bottom range; they change horizontally across the filled region as they utilize different pixels from the two adjacent ranges. Dual Vertical Range ------------------- This fill mode places the two ranges left, and to the right of the region to be filled. The pixels in the filled area are derived as a function of the distance between the left range, and the right range; they change vertically across the filled region as they utilize different pixels from the two adjacent ranges. Dual Horizontal Warp Range -------------------------- This fill mode places the two ranges above, and below the region to be filled. The pixels in the filled area are derived as a function of the distance between the top range, and the bottom range; they change horizontally across the filled region as they utilize different pixels from the two adjacent ranges. The ranges are ``pinched'' together near the edges of the filled region. -99- Dual Vertical Warp Range ------------------------ This fill mode places the two ranges left, and to the right of the region to be filled. The pixels in the filled area are derived as a function of the distance between the left range, and the right range; they change vertically across the filled region as they utilize different pixels from the two adjacent ranges. The ranges are ``pinched'' together near the edges of the filled region. ---------- Dual Range Example ------------------ You need to create two different ranges. You can use as few as two colors in the first range, and five in the second range. You're going to be using the "Smooth Range" modifier, so you'll get a beautiful spread of colors anyway. Make the first range all dark blue. That's right, NO color change in the range. Make the second range go from aqua to orange to aqua. That's easy to do, just set one end of the range of colors to orange, one to aqua, and choose mirror range. From the palette display, select the aqua-orange-aqua range and place this in the range panel. Return to the palette, and then place the Blue-Blue range in the range panel. Since the Blue-Blue is the last range you entered, it is the current range. Now, exit back to the paint panel. Here, select the Second range (the aqua-orange-aqua one) using the control provided for that purpose. Go into the Fill panel, select "Smooth Range" and also select the fill mode as "Dual Horizonal Range". In this context, "Horizontal" means the way that the range lies on the image - NOT the way that the fill occurs. Here is how the fill will work: Top of fill Range 1 Blue <----------------------> Blue | | | | | | | | | Filled area where color | | | <-- changes smoothly between | | | the two adjacent ranges | | | | | | Range 2 Aqua <-------Orange---------> Aqua Bottom of fill You're ready to try the fill itself now. Select a rectangular region and fill it, or do the entire image if you'd like. You should have blue at the top, and this should fade down to an orange glow in the middle where the sun has just dissapeared. ---------- -100- Any Angle Range Fill -------------------- This powerful fill mode consists of an angle entry field and a mode button in the fill modes panel. You can specify any possible angle, either positive or negative. ---------- DPI operations ============== There are several operations that work within the concept of "Dots- Per-Inch". One is accessed in the Buffer panel; it allows you to "Set Current DPI and Size" for a buffer. For instance, you can say, this buffer is 8.5x11, or that it is 200 DPI. There is an operation in the F/x panel that allows you to rescale using DPI as the criteria. You may find this particularly useful if you are into printed graphics. The distance calculator also understands DPI very well. ---------- Initialize buffer to Color ========================== This brings up the RGB panel and allows you to create the buffer filled with a specific color. ---------- Setup Panel =========== There is now a setup button in the image processor that provides you with the ability to specify Interlace or Non-interlace when the program starts. ---------- Information Panel ================= Other Buffers ------------- This tool allows you to obtain X:Y pixel information, total memory used, parent, and other information about any buffer in the system. ---------- Display Panel ============= Fast HAM draw mode ------------------ This display mode uses a pre-calculated palette for fast drawing. Future updates of the image processing software will concentrate on improving the speed of this tool; it will be the very first to be re- coded into assembly language. ---------- -101- Dither Off ========== The display can now be generates without dither, to reproduce images which already have dither in them more effectively. This option is not normally expected to be used. Public Interface Modules ======================== Support Summary --------------- Readers: Targa, JFIF/JPEG, IFF Palettes, RGB8, RGBN, ANIM OPT-5, PMBC, Raw, SHAM, DHR, ARZ0, ARZ1, AHAM, DKB Trace, NJPL (Mac or IBM a & b), UPB8, DEC "IRAW" format (1, 8 and 24-bit chunky format), Rendition-6rn, Rendition ALPHA- channel data, PCX files, Board Master PCB files, HotLinks Subscribe, & HotLinks Info (HotLinks is from SoftLogic, Inc). Writers: Targa, JFIF/JPEG, RGB8, PMBC, Raw, VistaPro binary altitude maps, ANIM OPT-5, Rendition-6rn, Hotlinks Publish, Hotlinks Update. Effects: Tesselate, Koch fractal Snowflake, Graph generation, Erode/Dilate, Detailed Histogram Reporter, transision generator (used in sequence generation only). Display: GVP IV24, DMI Resolver, Firecracker 24; Harlequin; also auto-display for FC24, DMI Resolver and Harlequin. Also BCD-2000A controller driver scripts for single frame recording animations from the IV24 board. Capture: None available from us at this time; note that an EPSON ES300c driver is available from: Metadigm at (714) 253 2828. The driver may be purchased as an upgrade from the ASDG ES300c driver, if you own it, or as a new product. Metadigm operates some rather strange hours at the time this was written, so don't discouraged if you don't get ahold of them on the first call - keep trying! We endorse this scanner driver very highly; we use it every day. Introduction ------------ This portion of the document describes, very briefly, each of the Public Interface (PI) modules which are supplied with Imagemaster. All of these modules are installed by the procedure on the main release disk. In order to use the PI Modules described here, you must complete that installation. -102- Using PI Modules ---------------- Once the PI Modules have been installed, using them is very, very easy. PI Modules are grouped into five logical ``classes'' of operations: F1 - Load ------ decode and load a specific file format F2 - Save ------ encode and save a specific file format F3 - Operate --- perform a function on an image in Imagemaster F4 - Capture --- fetch an image from a device such as a scanner F5 - Generate -- display an image devices such as a 24-bit card To use a module from one of these classes within Imagemaster, you simply press one of five function keys, F1 through F5, as shown at the left of the list in the previous paragraph. After pressing a function key, you will be presented with a list of the available PI Modules of that particular type - pressing F1 brings up a list of all the image reader types available. Simply click upon the reader module you wish to use and select ``done'', or double-click on the module; either way starts the reader running. In the following portion of this document, we will briefly explain each of the modules for all five classes so that you have a reference for the types of operations each PI Module performs; also, each of the five classes will be explained further. Load Modules (F1) ----------------- Load Modules are used to decode and load images into Imagemaster, from files which have been saved in unusual or alien (from another machine) file formats. Load Modules present you with one (or more, in some cases) file requester(s) and allow you to specify where in your computer (on which disk and in which directory) the file is, so that the reader can find it and load it. HotLinks Subscribe ================== The subscribe module allows you to read in a hotlinks ILBM image. After invoking the subscribe module, you will be presented with the hotlinks subscribe requester. The particulars of this and all other hotlinks requesters and operations are covered in the documentation which accompanies the HotLinks Editions package from SoftLogik. Once you have selected a hotlinks image object, it will be loaded into your chosen buffer. At this time, ImageMaster will not automatically re-read buffers that were loaded with the Subscribe module. This is not a bug, but an implementation decision. Generally, ImageMaster will be used to feed PageStream high quality processed image data; given the current state of Amiga software, there are few programs that are likely to be providing Imagemaster with updated images on a regular basis. This situation may change in the future. -103- JPEG/JFIF ========= Loads JPEG files which are in JFIF format. JPEG is a file format which is ``lossy'', which means that when the image is changed into JPEG format, some of the image information is lost. For this reason, JPEG images may not be of as high a quality as you usually expect from a 24-bit file format. Note that the compression used by the JPEG process is extremely effective; so much so that images may be only 1/50th of their uncompressed size. Because of this, you may find that a JPEG file which appears to be quite small uncompresses to a very large image, which you may not be able to load into Imagemaster without having additional RAM memory available. JPEG images contain a full 24-bits of color information. For more information on the JPEG format, see the JPEG save module documentation. IFF Palette =========== Loads IFF Palettes from IFF images created by most Amiga software. These palettes are loaded into Imagemaster's internal paint system palette for later use. The currently loaded image is not affected by the loading of this palette. IFF Palettes usually contain 12 bits of color information. On occasion, they will contain 24-bits of color information. PMBC ==== PMBC image files are loaded by this module. PMBC files are true color, 24-bit images in a completely lossless format, along with an alpha channel and image shape mask. For more information on PMBC, see the PMBC save module documentation. RAW === RAW image files are files of literally raw image data. There are no extra bits of information describing anything about the image, such as it's size or resolution. For color raw images, there need to be three separate (but related) image files. One will contain the red information, one the green information and one the blue information. The RAW reader will present you with a file requester for each of these files so that you can specify each one. In addition, you need to tell the RAW reader what size the image is, since that information is not in the image file itself. RAW files contain a full 24-bits of color image data. For more information on RAW files, refer to the documentation for the RAW save module. Rendition ========= Rendition format files are likely to have been produced by software from Octree corporation, makers of the Caligari line of image rendering systems. Rendition files contain 24-bits of color information, and possibly alpha (transparency) information. Rendition Alpha Channel Data ============================ This reader creates a buffer which you may then use as transparency information from the alpha data in a rendition file. -104- Board Master ============ This reader can load any Board Master file as a B&W graphic image of the PCB traces and structures. PCX reader ========= This reader will load 2-256 color PCX files. Animation Frames ================ Animations, in this context, are IFF ANIM OP-5 animations such as those produced by Electronic Arts DPaint program, or Imagemaster itself. This reader asks you which frame it is you wish to load from within the animation. ANIM files may contain normal Amiga images, HAM-E images, or DCTV images. Targa ===== Targa images (usually) come from IBM computers. There are a number of different Targa formats; some are 24-bits, some 16-bits and so on. So what you get when you load the image will depend upon the particular file format ebing used. These images were invented by Truevision, Inc. SHAM (and AHAM) =============== SHAM, or ``Sliced HAM'', is a format especially designed for the Amiga. These HAM-mode files contain palette information for every scan line, or some groups of scan lines. When these images are loaded, Imagemaster obtains the correct palette information and applies it to the 24-bit image it creates in the new buffer. These images were invented by NewTek Inc. AHAM is a compatible clone from ASDG. DHRZ (and ARZ0/ARZ1) ==================== DHRZ, or ``Dynamic Hi-Res'', is a format especially designed for the Amiga. These hires mode files contain palette information for every scan line, or some groups of scan lines. When these images are loaded, Imagemaster obtains the correct palette information and applies it to the 24-bit image it creates in the new buffer. These images were invented by NewTek Inc. ARZ0 and ARZ1 are compatible clones from ASDG. DKB Trace ========= These images are created by the PD Ray-Trace program of the same name. They are 24-bit full color images. DKB Trace was written by David K. Buck. RGB8/RGBN ========= These formats contain 24-bit and 12-bit color images, respectively. They are created by programs such as Turbo Silver and Imagine, from Impulse Inc. -105- FITS ==== These images are created by software from NASA (National Aeronautic and Space Administration) and JPL (Jet Propulsion Laboratories). These images (usually) contain images obtained by space probes, or similar data. There are many FITS formats; we have attempted to support the most common ones. The FITS specification is incomplete and contradictory, so some images may not load with this PI Module. If this happens to you, please send one or more of these image to us on a floppy disk and we will attempt to update the reader to handle them. UPB8 ==== These files are saved from our own 256 color paint system for the HAM-E. UPB8 files contain images with up to 256 24-bit colors. Save Modules (F2) ----------------- Save Modules are used to take an image which is already available (loaded) inside Imagemaster, encode them (compress and/or encrypt) and then save them to a file in a specific format suitable for loading by another program, possibly on another type of computer. Save Modules present you with a file requester, which you use to specify a location for the newly created file to be placed. HotLinks Publish ================ The Publish module allows Imagemaster to create new hotlinks image files. You will be given a choice of several image types to create. The choices are as follows: RGB - Saves the Image as triplets of RGB data. CMYK - Saves the image as quadruplets of CMYK data GREY - Saves the image as grey scale data BW - Saves the image as pure black or pure white pixels With the exception of the BW format, all other formats ask for the number of bits per color channel. The slider bar allows you to choose from one to eight. This option allows you to cut down the image size at the expense of color resolution. If you do not plan on doing color output, we recommend that you use the GREY format at eight bits. This will give you fairly small image sizes. For color work, use RGB or CMYK at eight bits unless you really need to save space. In that case, cut the number of bits down as needed. If you choose the BW option, you will be asked for a number between 1 and 99 which will become the percentage threshold for assigning black or white to each pixel. The luma value of each pixel is computed using the standard NTSC RGB weighting, and is compared against this value. Pixels below the threshold are written as black, while those above the threshold are written as white. After choosing an image type and color resolution (or BW threshold), you will be presented with the hotlinks Publish requester. Fill in the requester and select OK. The buffer will be Published under the new name and will be available to other hotlinks clients. -106- HotLinks Update =============== The Update module is almost identical to the Publish module. It differs only in the requester that is offered by hotlinks. You will be given a list of available hotlinks image objects and you must choose one of them to update. Note that you may update any hotlinks image with any image you wish. You do not need to subscribe to the image before you can update it, nor does the new image need to be the same size or type as the old image. You may get a hotlinks error if another hotlinks program has the hotlinks image locked. You should be able to fix this by closing the file in the other application. For example, if you have a hotlinks image open in Soft Logik's BME, you cannot update it from within Imagemaster until you close it in BME. JPEG/JFIF ========= JPEG (Joint Photographic Experts Group) format images are highly compressed, 24-bit color accurate images. No mask or alpha channel information is saved; the image compression method used is ``lossy''. This save module provides you with the ability to set the compression used from light to heavy. More compression results in more loss of image detail. JPEG is great for some things... and absolutely the worst thing to use for others. Consider: JPEG loses some quality when it compresses an image. Not a lot, if you use minimum compression, but still, some loss of quality occurs. If you're a scientist or a doctor, don't think "loses quality", instead think "loses and changes data"! Consider what happens if you're working on this image over a number of sessions. Each time you save and load the image in JPEG format, it deteriorates a little more (or a lot, if you compress it a great deal). The lesson, and the rule that comes from it, is obvious: Don't EVER use JPEG as a storage format for an image you're working on, or for an image that will be used in another image (unless you positively KNOW that the loss of quality won't matter, for whatever reason). JPEG is really good for archival storage of images you like, but aren't "serious" about. On minimum compression, a single use of the JPEG technique on an image will not seriously degrade it. And that's what you'd normally do with an archived image. Store it once, then load it as you please to view it, as many times as you like. -107- PMBC ==== PMBC stands for Plane Minimizing Bitmap Compression. It is a format invented at Black Belt Systems for lossless compression of high-color images. Using PMBC results in an image file which generally will be considerably smaller than the same file in 24- bit IFF format, the normal Amiga standard. PMBC is especially good at compressing images with gradients and areas of monochrome color in them. PMBC is not good at compressing images which contain large amounts of dither, such as an image which has been rendered to 256 colors for VGA use. You can expect an average improvement in storage requirements of about 16% over IFF-24; many images will exceed this average by a large amount, particularly those with monochromatic (by which we mean B&W, cyan, magenta, yellow, red, green or blue) information. Rendition ========= These images are 24-bit color files. Used with Octree Software products on the Amiga. Vista Binary ============ These images are actually altitude maps in a special binary format that Virtual Reality's VistaPro can read. Once saved in this format, VistaPro can load the file, and then generate a landscape from the data Imagemaster placed in the file. RAW === RAW images contain no control information. Images are saved left to right, top to bottom, one byte per pixel in three files: red, green and blue. A five-by-five black image that had a dark red spot near the upper left would be saved as follows: red file green file blue file ---------------------------------------------------- 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 33 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 For each of the preceeding three files, the bytes are saved in the following order: All Files -------------- 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 -108- RGB8 ==== This file format is an Impulse file format. Images saved in this format can be loaded into Imagine as various brushes and maps. RGB8 is a 24-bit byte-level non-lossy compressed format, which is generally not as efficient as IFF24 or PMBC; for this reason, you normally would only use this for compatibility with Impulse products. Targa ===== This file format is used with Truevision's Targa boards and related software on the IBM PC. Process Modules (F3) -------------------- Process Modules are used to perform operations upon an image which is already loaded into Imagemaster. These operations could be something as simple as applying contrast, or very complex, somthing like the morph function in Imagemaster. Each process will present you with a series of control panels appropriate for it's particular needs. HotLinks Info ============= The Info module simply presents you with the hotlinks file requester and then allows you to examine and modify the information associated with a hotlinks file. HIST ==== This module will create a text-file containing detailed numeric reports on all 256 levels each of red, green, blue, average (R + G + B) / 3, and Luma ((R x .30) + (G x .59) + (B x .11)). The file will detail each of these five reports, mark the name of the image and the total number of pixels involved in the analysis. Each level will have a number of pixels data item. Lines in the text file which begin with the asterisk (*) character are not data lines. Other lines have the format: cNNN:v Where "c" is R, G, B, L or A for Red, Green, Blue, Luma and Average; where "NNN" is a three digit number from "000" to "255", leading zeros always present. The colon character ":" is always present in a data line. "v" is a number without leading zeros that may range from "0" to the number of pixels in the region being analyzed. This module is specifically intended for those analyzing image data. KOCH ==== This PI Module generates a Koch fractal snowflake into the image which is the primary image. -109- Transition Generator (Wipe) =========================== This capability is designed to be used in the multi-sequence processor. The idea is that often, you'll want to create a transition of some kind between two images. The simplest type of transistion is a "cut", where the images being displayed suddenly and completely change from one to another. Cuts are easy - you just do them. Another kind of transition, which you can often do with a moderately sophisticated VCR, is a "fade". Fades are transitions where one image fades out as another fades in. This is much more sophisticated (to perform) than a cut, because it involves processing the two images against each other. Another type of transitions include geometric, or pattern transitions. These allow a second image to "show through" a pattern of some type; the pattern changes shape in such a way during the operation of the transition so that one image dissapears and another appears. An ellipse that grows larger than the display is an example of this type of transition. Finally, we have the class of transitions call "Wipes". A wipe is a transition where one image actually moves onto the display, for instance, from the left edge, covering the image that was there previously. Imagemaster can produce many types of all of these transitions, and often will do so with finer detail than a particular hardware transition generator in common use in the Amiga community. It is really quite easy to use the transition generator: First, you need two images. Load one as primary, and then load one, or assign one, as the secondary. Next, in the sequence control panel, select Set Scripts and place the following line in the Pre-Render script: rxpi:wipe.rexx Once you have done this, you can use the "Primary" option in the Run Scripts panel of the sequencer to generate transitions. When you press the Primary button, the transition generator will be invoked; it "knows" you have not (yet) selected the particular transition you want to use, so it will pause and ask you which one you want; select from the list presented to you and off it goes. <continued next page> -110- <Transition Generator, continued> If you'd like to test the transitions, then turn on the filmstrip and make sure that TEST is selected in the Run Scripts panel of the Sequencer... that way, the generated transitions are placed in the filmstrip only, not rendered or saved as 24-bits. Here is a list of some of the currently available transitions: BLToTR ---- Bottom Left (to) Top Right BRToTL ---- Bottom Right (to) Top Left TLToBR ---- Top Left (to) Bottom Right TRToBL ---- Top Right (to) Bottom Left LToR ------ Left (to) Right RToL ------ Right (to) Left BToT ------ Bottom (to) Top TToB ------ Top (to) Bottom Ellipse --- Elliptical Pattern(s) Rect ------ Rectangular Pattern(s) VBlind ---- Vertical Blind pattern(s) HBlind ---- Horizontal Blind pattern(s) Fade ------ Fade from (to) The pattern fills (Ellipse and Rectangle) can be "tiled", where there can be any number of the chosen pattern across, and any number of them down, the image during the course of the transition. In addition, you'll have the opportunity to select with or without fading for any pattern fill; in fact, there are a number of options you can select such as "inverse time", "inverse pattern", and fading as mentioned. As with many of Imagemaster's poweful tools, playing with this will reveal the flexibility available; talking about it won't, at least not very well. So play! Note that we will be supplying more types of transitions with future upgrades; the transition generator is "open-ended"; unlike hardware solutions, new transitions can be added just a few at a time, or even one at a time! If you are a technically inclined type, new transitions can be added by creating new .rxwp files; you can do this also. If you're curious, call tech support and enquire into writing your own. -111- Platform ======== This PI Module allows you to create raised or depressed "bevel- boxes" on your images. This operation works with rectangular regions, or the entire image (which is of course rectangular). The bevel-edge width is set to 10% of the narrowest portion of the selected rectangle; this affords a good compromise for highly non- regular rectangles, and also looks good for squares. Graphs ====== Executing the graph PI Module will bring up a file requester. You should select a graph file such as EXAMPLE.GRAPH . The graph will then be drawn in a new buffer. There is also an example graph file called EXAMPLE.table which you can use to see how to prepare graphs. Tesselate ========= The PI Module will provide you with a choice of triangle edge length. This is the size of each smooth area on the final result. Then you are presented with the normal area selection panel to identify the area you want to tessellate on. Erode ===== 'Brightness Erode' thins brighter areas of the image and expands darker areas. This can result in a water color paint like effect, especially on dithered images. 'Brightness Dilate' does the opposite to Erode. It has a dramatic effect on human portraits. Small cell sizes of 2 to 4 are recommended. Pressing F1 will provide you with a choice between 'Erode' and 'Dilate'. Then you adjust the cell size. A larger cell size will yield more dramatic results. Then you are presented with the normal area selection panel to identify the area you want to change. -112- Capture Modules (F4) -------------------- Capture Modules operate external equipment in such a way as to allow you to bring an image into Imagemaster from a real-life source, such as an electron microscope, video camera, flatbed or handheld scanner, etc. Each Capture Module will provide you with the appropriate controls to perform the operation it is intended for. ES-300c ======= This module is commercial; it is available from Metadigm, Inc. You can contact Metadigm at (714) 253-2828. The ES-300c scanner module is available stand-alone or as an upgrade from the ASDG software for the ES-300c (the upgrade allows you to use the cable that came with the ASDG software). If you do own the ASDG scanner module, we strongly recommend the Metadigm upgrade; the module's performance is better and the module is much easier to use. Display Modules (F5) -------------------- Display Modules are essentially the opposite of Capture Modules. They allow you to take an image currently loaded into Imagemaster and ``send'' it to a display device such as a 24-bit display card, or a photographic imager like the Polaroid Digital Palette. The most common use of a Display Module is to view an image on a high-color device. IV-24 ===== This PI Module supports GVP's 24-bit display card, the IV-24. It provides output to the IV-24 display only. It cannot be used for automatic update operations, as the IV-24 shares the screen with the Amiga's display. FC24 ==== This PI Module supports Impulses FireCracker 24 display card. If you place the script (rxpi:imfc24r.rexx) in the "Redraw Script" text entry field found in the Display panel, and activate the "Call Redraw Script" button in the display panel, then as soon as Imagemaster completes redrawing on the Amiga screen, it will also redraw on the FC24 screen. This allows continuous monitoring of the image on the second monitor. DMI Resolver ============ This PI Module supports Digital Micronics ``Resolver'' 256-color 24-bit display board. If you place the script (rxpi:resolver.rexx) in the "Redraw Script" text entry field found in the Display panel, and activate the "Call Redraw Script" button in the display panel, then as soon as Imagemaster completes redrawing on the Amiga screen, it will also redraw on the Resolver screen. This allows continuous monitoring of the image on the second monitor. -113- Adding new aftermarket PI modules --------------------------------- To add any new PI Module (PIM), you'll follow these simple steps: 1 - Copy the ARexx portion of the PIM into RXPI: 2 - Copy the command portion(s) of the PIM into CMPI: 3 - Edit the file CMPI:list.list to activate the PIM (Each PIM .doc file should show you the single line needed) 4 - Print out the PIM documentation file for future reference The first two steps are basically self-explanatory. The third is easy to do, but you do need to understand what the file CMPI:list.list does for you. Essentially, the file CMPI:list.list is a list (no surprise, eh?) of the available PIMs you have installed. The list also contains "keywords" that indicate what "class" of PIM it is. We have currently defined the following classes of PIMs: 1 - Reader; these load various file formats 2 - Writer; these save various file formats 3 - Effect; these perform effects upon an already loaded image 4 - Capture; these retrieve images from peripheral hardware devices 5 - Display; these provide images to peripheral hardware devices At times, a PIM may fall into more than one catagory, particularly in the case of file handling PIMs. For instance, the JFIF/JPEG PIM can load and save JPEG files, so it is both a reader and a writer. We have configured the system so that the module will show in both lists in a clear fashion. When you add a PIM to the CMPI:list.list file, you add one line of text which names the ARexx script, describes the capabilties the PIM provides, and has the keywords which let the image processor know what class(es) the PIM falls into. Here's a possible list entry for the IFF Palette reader PIM as an example: "palrd", "IFF Palette reader", load The first portion of the line ("palrd") is the name of the ARexx script without the ".rexx" extension and without any path. The extension ".rexx" is added to the end of this field automatically and the string "rxpi:" is used as the path. The second portion of the line ("IFF Palette reader") is the description of the PIM's capabilities. This portion of the line actually appears in the list requester inside the image processor. The third portion of the line (load) consists of a keyword which defines the class which the IFF Palette reader PIM falls into; load is the keyword for a Reader. You can add comments to the list file on any line by simply beginning the line with an "*" (asterisk) character. -114- You will also see lines in the CMPI:list.list file which begin with an "!" (exclamation point) character. These lines are text lines which are placed next to the list requester when it appears; generally, you won't want to change these lines, although you certainly can. Here are the three types of lines together: * comment line; has no effect and may contain anything ! appears on-screen, next to the list requester itself * the next lines add entries to the list requester "jpeg load", "JPEG/JFIF file load", load "jpeg save", "JPEG/JFIF file save", save RGBxr, "Impulse RGB8/RGBN file load", load eroder, "Erode (F/X)", effect imiv24r, "GVP IV-24 Display", display Examining the CMPI:list.list file will be instructive if you're interested in custom modifications. Note ---- When you install a new PI system, the "list.list" file will be replaced with a new version. Your old list.list file will be renamed to list.list.old; you'll still find it in the CMPI: assigned location. In order to reinstall your aftermarket PI modules, you'll have to use a text editor to copy the lines from the .old file to the current list.list file. Until this is done, your aftermarket PI modules will not show in the PI requesters. Removing PI Modules from the list: ---------------------------------- Edit the file "CMPI:list.list" and simply remove the single line that describes the PI Module you want to delete. This line will not begin with either a "!" or a "*" character. If you do not wish to remove the line, but only want to temporarily disable it, place an asterisk (*) before all other characters on that line, and the line will be treated as if it were a comment (that is, it will be ignored). -115- ARexx Port Names ================ Here's something we inadvertantly left out of the manual... the port name for the ARexx ports in Imagemaster, Imagemaster F/c, or Image Professional. Here it is: IM_Port ---------- Render command changed ====================== On page 177 of the manual, the parameters given are not complete. Parameter number six <name>, described on page 178 (correctly), is missing. Make sure you take this into account if you are using the render command. Here is the correct command string: render <lace> <width> <height> <mode> <usep> <name> [cols] ---------- Filerequest command changed =========================== This command now returns the string 'FR_CANCELLED' if the user cancels the file requester. This allows you to abort operations in progress. ---------- Newbuf command (changed) ======================== The newbuf command now has the following syntax: newbuf <width> <height> [name] [MASK] The new keyword MASK allows you to specify a new buffer with a local mask plane available. This is required if you are writing a PI Load module that will need a local mask (for a non-rectangular image). Note that there are two optional parameters here; you'll need to provide a NULL string for the "name" parameter if you want the automatic naming to work, as in the following example: 'newbuf "'||width||'","'||height||'","","MASK"'; ---------- Firecracker-specific manipulation (new commands) ================================================ The ARexx commands FCHIDE and FCSHOW have been added; these turn the FC24 display on and off. They have no effect (and cause no error) in the other versions of the image processor. ---------- -116- Finding the mouse location from ARexx (new command) =================================================== The ARexx command "WHEREMOUSE" returns the mouse's current co- ordinates using the image resolution. ---------- coords <show> <top> (new command) ================================= This allows you to turn the co-ordinate facility on and off from ARexx, and also to control the placement of them. If show is 1, then co-ordinates are on. If 0, then they are off. If top is 0, then the co-ordinates are displayed at the top of the screen. If 1, then at the bottom. ---------- grid <on> <xgrid> <ygrid> <xoff> <yoff> (new command) ===================================================== This command allows you to set a particular grid. When on is 0, the grid is off. When 1, grid is on. xgrid and ygrid allow you to set the spacing between grid lines; xoff and yoff allow you to set any offset from the top left corner (0,0) of the image. ---------- newasprimary (new command) ========================== This is similar to the newbuf ARexx command, except that the buffer it creates is always the primary buffer. The newbuf command would create the new buffer as the primary buffer only if there was no previously existing primary buffer; otherwise, the new buffer was just added as ``another'' buffer in the system. When you use OPTIONS RESULTS in the ARexx script so that the image processor knows it can return data to you, the number of the buffer created will be returned. This new command ensures that the newly created buffer will be the primary buffer, regardless of previously existing buffers in the system. ---------- newbuf (changed) ================ The ARexx newbuf command now returns the number of the buffer it creates if you use OPTIONS RESULTS in the ARexx script. ---------- fromdigiview (changed) ====================== The ARexx fromdigiview command now returns the number of the buffer it creates if you use OPTIONS RESULTS in the ARexx script. ---------- -117- dome (changed) ============== The ARexx dome command now has an optional extra parameter, "effect". You call it this way: 'dome 60 50'; /* dome <radius> [effect] */ or... 'dome 60'; If you don't use the extra parameter, it defaults to 100% ---------- caric (changed) =============== The ARexx caric command now has an optional extra parameter, "effect". You call it this way: 'caric 60 50'; /* caric <radius> [effect] */ or... 'caric 60'; If you don't use the extra parameter, it defaults to 100% ---------- askrgb (added) ============== This command allows you to get a set of RGB values from the user in the course of executing a script or macro. Use it like this: options results; 'askrgb'; colors = result; parse var colors red','grn','blu; options; After running this, the variables RED, GRN and BLU contain the rgb values, from 0 to 255, that the user selected. -118- imagemaspect (new command) ========================== This command returns the aspect ratio of the chosen buffer. 'imagemaspect '||BUFFERNUM'; /* get aspect ratio */ loadimask (new command) ======================= saveimask (new command) ======================= This command loads the image mask (the valid image area mask) from a saved mask file. 'loadimask <complete_filename> [mode]' where... mode 1 = Replace existing mask (default) 2 = OR 3 = AND 4 = XOR 5 = MINUS The opposite command is: 'saveimask <complete_filename>'; loadmask (new command) ====================== savemask (new command) ======================= This command loads the main mask (the region selection mask) from a saved mask file. 'loadmask <complete_filename> [mode]' where... mode 1 = Replace existing mask (default) 2 = OR 3 = AND 4 = XOR 5 = MINUS The opposite command is: 'savemask <complete_filename>'; -119- backuptoundo (new command) ========================== This command has specifically included to enhance the public interface capabilities. If you are writing an external process, and are operating upon the contents of the Primary buffer, using this command before you perform your process will copy the initial contents of the Primary buffer into the UnDo buffer, allowing the user to UnDo the changes caused by your process. ---------- coords <show> [showattop] (new command) ======================================= Here, <show> is required, 0 means no, 1 means yes. ---------- grid <on> [xgrid] [ygrid] [xoffs] [yoffs] (new command) ======================================================= Here, <on> is required and should be 1 for on, 0 for off. If <on>=1, then the other four parameters must be present. [xgrid] and [ygrid] define the spacing of the grid. [xoffs] and [yoffs] define the offset from the top left edge of the image where the first vertice of the grid will occur. These last two parameters must be values less than the first two. ---------- autoactivate (new command) ========================== The autoactivate ARexx command has been added so that you can change the state of the image processor's automatic re-activation of it's main control panel when it completes all pending operations. Since there may be times when you have another process running, and don't want the image processor to reactivate it's window during that time, this command was added. Use it as autoactivate 0 to turn autoactivation off, and use it as autoactivate 1 to turn it back on again. If you are passing control to another program, make sure that autoactivate 0 is in the ARexx script before the other program is called; and when control is returned to the image processor, make sure that autoactivate 1 is in the script before you bring up the the image processor screens. Bringing the the image processor's display to the front with autoactivate off may seriously confuse the user. ---------- -120- setpalette (new command) ======================== This ARexx command has been added so that the color of any of the 256 palette entries may be set from a script. The PI Module which is now supplied uses this command to set palette entries once it has read the IFF file and extracted the CMAP (color map) chunk from within the image file. Use is simple: 'setpalette' entry R G B; Where the parameters are defined as: entry: [0-255] (which palette color of 256) R: [0-255] (intensity) G: [0-255] (intensity) B: [0-255] (intensity) Here is an ARexx fragment that sets the palette to a grey scale: do i=0 to 255 'setpalette' i i i i; end; Here is an ARexx fragment that sets the palette to all black: do i=0 to 255 'setpalette' i 0 0 0; end; Here is an ARexx fragment that sets the palette to a reverse grey scale: do i=0 to 255 'setpalette' i 255-i 255-i 255-i; end; ---------- newtargetted (new command) ========================== 'newtargetted <xw> <yx> <name> [mask]' (ARexx) creates a new image buffer and prompts the user for its target ie. New as primary, Old as secondary, etc. Returns the buffer number. Meant to be used in PI modules so user has a flexible choice with the loaders. ---------- -121- DISPLAYMODE (new command) ========================= DISPLAYMODE <mode> <lace> [quality] ------ for Image Professional DISPLAYMODE <mode> <lace> ----------------- for Imagemaster DISPLAYMODE <mode> <res> ------------------ for Imagemaster F/c This command allows you to change the current display mode within the image processing software. It has no effect upon the image itself, nor upon output render results. In the following table, "Q" is used to specify the [quality] switch. for IP <mode> is 0 = luma 1 = avg 2 = reg Ord Dither 3 = HAM-E 24 bit (also depends on Q flag) 4 = HAM-E 18 bit (also depends on Q flag) 5 = EDD 256 colors <lace> 0 = non-lace 1 = lace display [quality] 0 = normal 1 = high quality (HQ) for IM <mode> is 0 = luma (in 16 shades) 1 = avg 2 = 16 color hi-res 3 = 32 color lo-res 4 = half-brite 5 = HAM (fast) 6 = HAM (quality) for IMFc <mode> is 0 = luma (256 shades) 1 = avg 2 = color (24 bit) (the second parameter is then <resolution>) 0 = low res 1 = med-res 2 = med-res 2 3 = hi-res ---------- pal (new command) ================= This is used with options results in ARexx. Reports 0 for NTSC and 1 for PAL modes. Used to determine how Imagemaster is running at the time of macro execution. ---------- -122- autoprimary <mode> (new command) ================================ This command puts the image manipulation software into a mode where any newly allocated buffer is automatically made the primary buffer. This makes ARexx scripting, especially in Sequence or Morph scripting, much easier to deal with. mode = 0 new buffers do not become the primary unless there are none mode = 1 " always become primary ---------- newbrush <bufferNumber> (new command) ===================================== Selects the chosen buffer as the current brush, as used in the paint tool panel. ---------- newblend <bufferNumber> (new command) ===================================== Selects the chosen buffer as the current blend, as used for alpha control purposes (under the Set Blend panel). ---------- -123- render (changed) [obsolete - see AmigaRender command] ================ The following replaces the description of the RENDER Arexx command on pages 177 and 178 of the manual. Summary of changes: - * 19 new render modes * No more size restrictions, except when rendering for DCTV (as required by the device). * Number of colors defaults to the maximum for that render mode. Detail for ARexx render command ------------------------------- render <lace> <width> <height> <mode> <usepalette> <name> [numcolors] --------------------------------------------------------------------- <lace> 0 = no, 1 = yes. Ignored for GIF and the non-viewable IFF renders. <width> render image width. Only restricted to between 640 and 736 for DCTV. <height> render image height. Only restricted when rendering for the DCTV to between 200 and 241 for non-lace and between 400 to 481 for lace. <mode> 1 = HAM-E mode, 18 bit 2 = HAM-E mode, 24 bit (extended color space dithering) 3 = Register mode for the HAM-E device, undithered 4 = Register mode for the HAM-E device, dithered (EDD) 5 = Register mode for the HAM-E device, Black and White average 6 = Register mode for the HAM-E device, Black and White luma 7 = 256 color GIF 8 = 16 shade Amiga hi-res - Black and White Average 9 = 16 shade Amiga hi-res - Black and White Luma 10 = 16 color Amiga hi-res - color 11 = 32 color Amiga lo-res 12 = 64 color Amiga half-brite 13 = Amiga HAM 14 = DCTV 3-bitplane (width must be 640 to 736, and height 200 to 241, or 400 to 482) 15 = DCTV 4-bitplane (width must be 640 to 736, and height 200 to 241, or 400 to 482) <continued next page> -124- 16 = Amiga Hi-Res with 1 bitplane and 2 colors 17 = Amiga Hi-Res with 2 bitplanes and 4 colors or less 18 = Amiga Hi-Res with 3 bitplanes and 8 colors or less 19 = Amiga Lo-Res with 1 bitplane and 2 colors 20 = Amiga Lo-Res with 2 bitplanes and 4 colors or less 21 = Amiga Lo-Res with 3 bitplanes and 8 colors or less 22 = Amiga Hi-Res with 4 bitplanes and 16 colors or less 23 = Amiga IFF render (not displayed ) with 6-bitplanes and 64 colors 24 = Amiga IFF render (not displayed ) with 7-bitplanes and 128 colors 25 = Amiga IFF render (not displayed ) with 8-bitplanes and 256 colors <usepalette> If 0 the image colors will be chosen; if 1 then the currently loaded palette will be used. <name> The image name used to save the rendered image to. The full name will be a combination of the render path that was set with the RENDERPATH command, this name, and the extension that was set with the RENDEREXT command. [numcolors] The number of colors used to render with. This defaults to the maximum number of colors possible for each render method. This only indicates the number of registers for Amiga HAM and HAM-E modes even though the actual number of displayable colors is much higher. (Ignored for DCTV renders.) ---------- CANCEL command (new command) ============================ This command is to be used in sequence processor scripts. Its effect is the same as when the user presses cancel with the mouse; it provides a method for a script to terminate the sequence operation because of some internally detected reason (failure, usually). -125- AmigaRender command (new command) ================================= New ARexx command for rendering Amiga modes (supports AGA) This uses a new method of parameter handling, which looks like this: 'amigarender [PARAM:value] ...' There are nine possible parameters, which may be in any order, and are all optional. If a parameter is ommitted, in each case, the last setting is used, except COLORS which is set to the 'normal' value for this mode and bit depth. Parameter names for 'AmigaRender' can be abbreviated right down to one character. Parameter values can be abbreviated as long as they remain non-ambiguous. ON,OFF or 1,0 values may replace YES,NO. Case is not important. Parameters: ----------- RES:xxx LO,HI,SUPER Display resolution PLANES:n 1 through 8 Image Bit depth DEPTH:n 12 or 24 Palette depth MODE:xxx REG,HALFBRITE (or HB),HAM Display mode LACE:xxx YES or NO Display interlace WIDTH:nnnn Render output width HEIGHT:nnnn Render output height USEPALETTE:xxx YES or NO Use existing palette NAME:ttttttt Output name (without path, extension) COLORS:nn 2 to 256 Number of colors to render with For example: 'renderpath ram:' 'renderext .iff' 'entire' 'amigarender RES:hi MOD:reg PLANES:4 D:12 NAME:myimage' 'finish' ...would render in high-res 16 color to the file "ram:myimage.iff" from the sequencer. ---------- -126- actpri (new command) ==================== This ARexx command is meant to be used when the sequencer is in operation. The Sequencer operates by making buffers primary that are either new (temporary) buffers taken from the list, or other buffers. In some cases, you may wish to know what buffer was the "actual" primary, that is, the buffer that was the primary before you started the sequence. The ARexx 'actpri' command will return the buffer number of the actual primary when used during sequencer operation. ---------- addasr (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a red-only component. This is used to recombine RGB images along with addasb and addasg. ---------- addasg (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a green-only component. This is used to recombine RGB images along with addasr and addasb. ---------- addasb (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a blue-only component. This is used to recombine RGB images along with addasr and addasg. ---------- addasc (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a cyan-only component. This is used to recombine CMYK images along with addasy, addasm and addask. ---------- addasm (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a magenta-only component. This is used to recombine CMYK images along with addasc, addasy and addask. ---------- -127- addasy (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a yellow-only component. This is used to recombine CMYK images along with addasc, addasm and addask. ---------- addask (new command) ==================== This command causes the secondary buffer to be added to the primary buffer as a black-only component. This is used to recombine CMYK images along with addasc, addasm and addasy. ---------- allowcancel (new command) ========================= This command is intended for use during the operation of the sequencer. It allows the script to make the CANCEL button unavailable if needed; this allows the ARexx script to control its own destiny to some extent, which is needed when the ARexx script is managing resources on its own. ---------- emboss (new command) ==================== This ARexx command has a parameter of 0 to 255, which sets the depth of the effect. The effect is made by applying the secondary image to the primary image, after an area-selection process. ---------- punch (new command) ==================== This ARexx command has a parameter of 0 to 255, which sets the depth of the effect. The effect is made by applying the secondary image to the primary image, after an area-selection process. ---------- loadasprimary (new command) loadassecondary (new command) loadasbrush (new command) loadasblend (new command) ============================== These ARexx commands all do essentially the same thing: Load a new image and then make that image the particular class of buffer mentioned in the command name. All four commands use tthe paths and extensions set with the IMAGEPATH and IMAGEEXT commands (or what was last typed into the program's file requester); they all return the buffer number of the newly created buffer. ---------- -128- newcurrent (new command) ======================== This command allows you to take a specifed buffer and make it the current primary buffer. The command takes one parameter, the buffer number. ---------- rectarea (new command) ====================== This command allows you to specify a rectangular area selection from within an ARexx script. It takes four parameters: x1,y1,x2 and y2. X1,Y1 X2,Y1 *-------------------* | | | | Use this chart to select | | the x,y values you need. | | | | *-------------------* X1,Y2 X2,Y2 ---------- tofront (new command) imtofront (newcommand) iptofront (newcommand) wbtofront (newcommand) ====================== These commands manipulate Amiga screens. All except the 'wbtofront' command cause the image processor to become the front screen or screens. 'wbtofront' forces the Amiga WorkBench screen to the front. ---------- version (new command) ===================== This command returns a text string in the format "version, revision". ---------- whiten (new command) ==================== This command makes the primary buffer solid white. This is useful when you're planning on recombining CMYK images - you would start with an all-white buffer first. ---------- -129- Public Interface ================ Provided PI Modules ------------------- We have provided a number of PI modules with the image processor. These PI Modules provide: * JPEG load and save capability * PMBC load and save capability * RAW load and save (both color and B&W) * Direct insertion of an image to the FireCracker 24 Black Belt Systems has accomplished a number of ``firsts'' with these PI Modules; Our image processing software is the first commercial software on the Amiga to provide JPEG load and save capability, and the only software of any kind to provide PMBC save and load capability. Our PI system is the very first example of a free and open image processing system, not to be confused with "fee" systems from other manufacturers where the developer must pay for the "privilege" of expanding the product. To develop modules for Imagemaster, all you need are the skills to do so; we'll help all we can, and for free! Call our technical support line at (406) 367-5509 anytime during mountain time business hours for developer support. ---------- Installing the PI Modules ========================= To install the provided modules, go into the disk in the release set that contains them and read the file entitled PI_Exec.doc. This gives explicit directions on installation and use. ---------- Image Locking ============= This capability provides a safety net under all Public Interface Modules. What happens is that when an ARexx script LOCKs a buffer, it cannot be changed from inside the image processing software; this allows external processes to run long operations without the concern that user might quit the program and pull the rug out from under, so to speak. Image locking is done with the following commands: LOCKIMAGE <buffer number> UNLOCKIMAGE <buffer number> UNLOCKALL Note that the NEWBUF command now returns the buffer number if you set OPTIONS RESULTS before you call it. This conveniently provides the buffer number to lock without any further ARexx manipulation. ---------- -130- Unlock Buffer (in Buffer Panel) =============================== This is the "escape hatch" for the user if they believe that a buffer has been left locked by mistake. This should rarely, if ever, be used by the normal user. However, if you are developing PI Modules, it may come in very handy. Unlocking a locked buffer when it is still being accessed by an external process means that the image processor can delete the buffer, or even exit and delete everything - which means that the task that was writing into the buffer will now be writing in what the system thinks is free memory - very scary stuff. This button warns the user that unlocking isn't advised normally. ---------- Access to any buffer for PI Modules ----------------------------------- This is similar to what you can do with the JACKIN operation, but it is specific to a single buffer. The intent is to allow an ARexx script to create a new buffer which is NOT the primary buffer, and begin working on it without getting in the user's way; the user can continue to work normally, yet this other buffer is "happening"; for instance a ray tracer can render right into it while you do other things. Here are the relevant commands: plugpointer = PLUGIN <buffer number> UNPLUG <plugpointer> (You should always UNPLUG when done!) which returns a pointer to a structure as follows: struct plugina { struct jackinbuff *buffer; unsigned char id[4]; / * 'P','L','U','G' * / }; ...where "buffer" points to: struct jackinbuff { unsigned char *red; unsigned char *green; unsigned char *blue; unsigned char *mask; unsigned short x; unsigned short y; }; The expected sequence of operations is to allocate a buffer, PLUGIN to it, LOCK it, do "stuff" to it, UNLOCK it, and finally UNPLUG it. Before you use a "plugina" structure, you should check the "id" array and make sure that the four characters P, L, U and G are in positions 0, 1, 2 and 3. If not, the structure isn't valid and your command should fail with a warning to the user. ---------- -131- Structures ---------- If you are working with the Public Interface, you'll find these structures useful: /* * Structure that represents each buffer in IM */ struct rgbu { unsigned char *red; /* X by Y size array */ unsigned char *green; /* X by Y size array */ unsigned char *blue; /* X by Y size array */ unsigned char *mask; /* X by Y size array (?null?) */ unsigned short x; /* X size */ unsigned short y; /* Y size */ }; The rgbu structure represents the data built for you about each of the buffers (Primary, Secondary, Brush, Blend, Undo). In the case of the UnDo buffer, the mask pointer will always be NULL. The red, green and blue pointers point to a linear array of unsigned bytes where 0 is fully dark, and 255 is fully bright for that color. The mask pointer, if present, points to an array of unsigned bytes that will contain non-zero values where the image exists, and zero where it does not. If you write image data in regions of the red, green and/or blue buffers that is masked (mask is zero), the user will never see it. The memory is there and you may write in it if you feel you have a good reason (temporary storage?). The x and y values represent the x and y dimensions of the buffer. Buffer data is arranged X first, then Y. If an image is 320 by 200, the first pixel of the first line is at offset 0 in the buffer; the second pixel in the third line is at offset 961. You can locate pixel data using the following formula, where ``x'' is the width, Y is the current Y position and ``X'' is the current X position: p = (Y * x) + X This should be all the information you need to utilize the data in the rgbu structure. <continued next page> -132- /* * Represents the main info struct in IM */ struct jacker { struct rgbu *pr; /* Primary Buffer */ struct rgbu *se; /* Secondary Buffer */ struct rgbu *un; /* UnDo Buffer */ struct rgbu *bl; /* Blend Buffer */ struct rgbu *br; /* Brush Buffer */ unsigned char *msk; /* User Mask (Primary-size) */ char jack[4]; /* verify: chars J,A,C,K */ struct Screen *showscr; /* screen of gadget panel */ unsigned char pname[4]; /* processor name: 'IP'00 'IM'00 or 'IMFC' */ long ver; /* version of the program */ }; The jacker structure contains only two types of data. First, there is a group of pointers to the various rgbu structures that represent the state of those buffers within the system. If one of these pointers is NULL, then that buffer does not currently exist. Next, there is a pointer to a mask. This mask is always the same size as the Primary buffer; it will only exist if there is a Primary buffer; and as a result, you can get the X:Y size of the mask by examining the X:Y sizes specified in the rgbu structure for the Primary buffer. ---------- PI Module Code Examples ======================= The following code fragment assumes the use of the above structures. It is the beginning of a CLI command which accepts the pointer passed in from the ARexx script fragment shown, and then checks for reasonable values in the structures. There is an additional item in the jacker structure which is a short character array that is loaded with the four ASCII characters J, A, C and K. This is not documented in the manual, but it is there in all cases and you should ALWAYS check for it before assuming that everything is ok to proceed. <continued next page> -133- You should always do this, or it's equivalent, when beginning a process operation upon the primary buffer: void main(argc,argv) int argc; char *argv[]; { int tot,i; struct jacker *j; unsigned short dx,dy,x,y; if ((argc != 2) || (strcmp(argv[1],"?")==0)) { printf("%d arguments...\n",argc-1); printf("Requires one argument:\n\n"); printf("'JACKIN' hex pointer\n\n"); exit(1); } sscanf(argv[1],"%x",(int *)&j); /* *jackin */ if (j->pr == 0) { printf("No Primary Buffer!\n"); exit(2); } if ((j->pr->x == 0) || (j->pr->y == 0)) /* bad */ { exit(3); } if (j->jack[0] != 'J') exit (4); /* check sanity */ if (j->jack[1] != 'A') exit (5); if (j->jack[2] != 'C') exit (6); if (j->jack[3] != 'K') exit (7); /* * We got here, so there IS a primary * buffer. We can now proceed... */ The previous example used a value passed by the following ARexx code fragment: address 'IM_Port'; /* talk to the image processor */ options results; /* allow replies */ 'jackin'; /* get pointer to structs */ jackadr = result; /* copy return value */ options; /* disallow replies */ 'wbtofront'; /* bring WorkBench up */ address command 'c:ccpr '||jackadr; /* send... */ This ARexx fragment, or something extremely similar to it, is what you use to send the Public Interface pointer to your custom process, image reader, or image render program. Note that in combination with the other ARexx commands for panels, file requesters, area control specifiers and so on you can create a great deal of the required logic for your tool(s) using nothing more than the ARexx interface. There is a complete example of a "process" type of PI Module on the release disks, with SAS C source code, ARexx, and linkable object modules which provide progress bar indication and control panel based message services. -134- Changes List (from v7.00 onwards) ================================= The following information provides a terse list of changes applied to each revision of the image processors listed. For details, refer to the text in the preceeding sections. The most recent changes are at the end of the list. When reading the changes list, you can interpret items which have a leading (+) symbol to be features added; items which have a leading (-) symbol are items which have been removed or bugs we've fixed. v7.00 ----- + New ARexx command 'listreq "Title text",listfile,"keywords,etc"' If there is more than one keyword they should be put inside double quotes but separated by spaces or commas. + All new buffer creation operations that can have a choice for the destination bring up . New as Secondary . New as Brush . New as Blend and when an existing buffer can be replaced, there is also . Old as Secondary (Hold Primary) . Old as Brush (Hold Primary) . Old as Blend (Hold Primary) -135- v7.01 ----- + Change to ARexx command DISPLAYMODE <mode> [lace] [quality] in IP only modes are 0 = luma 1 = avg 2 = reg Ord Dither 3 = HAM-E 24 4 = HAM-E 18 5 = EDD 256 colors lace 0 = non-lace 1 = lace display quality 0 = normal 1 = high quality - Now all display mode changes intelligently do not re-allocate display screen. Helps reduce memory fragmentation problems + Image composition Logical And + Image composition Logical Or + New compose operation Add as Cyan (from color separation) and ARexx command 'addasc' + New compose operation Add as Magenta (from color separation) and ARexx command 'addasm' + New compose operation Add as Yellow (from color separation) and ARexx command 'addasy' + New compose operation Add as Black (from color separation) and ARexx command 'addask [ucr] [gcr]' These <ucr> <gcr> values are the user's best estimates of what was used to create the separation and only the ratio is significant. Normally they are 64, 64. If they are ommitted then the program supplies the last values it used, so separating and reloading will work simply. + New ARexx command 'WHITEN' which makes the primary image all white (faster than newbuf can) + New ARexx command 'VERSION' which returns the version,revision -136- v7.02 ----- + Compose Morph screen and operations enabled for release + New File I/O buttons 'Set Render Mode' 'Set Render Size' 'Set Dither Type' And 'Render to File' just asks for area select + Dither types added are No Dither Normal Edd Floyd-Steinberg Jarvis,Judice,Ninke Stucki + Lace gadget in Render Size panel now changes the Vertical Size + Amiga mode renders now update the paint palette with the rendered palette. So that before rendering 'PALETTELOAD name' will load colors and after rendering 'SAVEPAL name' will save rendered colors Note! All renders from ARexx always took note of the <usepalette> parameter which causes the renders to use colors from the palette. + File I/O panel now has a 'Set Render Mode' option. The Render to File operation no longer asks about render settings. + Aspect ratio is now saved with rendered images, and all IFF file loading sets the aspect ratio of the incoming image. + Renders to IFF with more than 100 colors use Ben's Spectral method less colors use Barry's method. + IP 'gate" enabled for release. Only HAM-E owners will now be able to use IP, as we originally intended. -137- 7.03: ----- + Dither Type panel provides 'Left->Right Error Prop' or 'Serpentine Error Prop' - 16 color Hi-Res Render and 32 color Lo-Res render had their vbar titles swapped. Fixed. + New dither methods Random F-S Dual Random F-S + Excursion limit gadget now in dither panel + Render and Morph path and settings now get saved with default file + Chekov Forcing in dither panel added. Significant render improvements are possible using this option in low color renders + Match Image Size in Render Size panel sets props + DCTV 1.1 images can now be read as well as 1.0 and library generated ones -138- 7.04: ----- + New compose operation Add as Red (from color separation) and ARexx command 'addasr' + New compose operation Add as Green (from color separation) and ARexx command 'addasg' + New compose operation Add as Blue (from color separation) and ARexx command 'addasb' + You can now select rendering as the output of the morph capability instead of only 24-bit files. Uses the current render settings - Panning in IP would confuse at the bottom edge, fixed - Changing display in IP from non-lace to lace when panned to the bottom sometimes crashed. + Auto-Activate control in Display control panel for multitasking friendly operations. If Auto-Activate is off, no window will activate and no screen will come to the front automatically. - In Morph sequence after the 'Total Frames' is decreased to less than the 'End Frame', the end frame was reset to one too high. + Special keystroke operation 'C' now saves the canvas to disk as an IFF in most areas of the program. Special keystroke 'G' still active for all gadget panels. - Special keystroke operation 'P' (show display palette) is only active when an image has just been drawn in the canvas. + File requester now <selects> when return is hit in the file name gadget. Also, pressing return in the path and extension gadgets does not blank the other fields. The next active gadget then becomes the file name gadget. -139- 8.00: ----- + 68030 and FPU version of IM, IMFC and IP now available + Sequence Processor added for multiple image handling + Shadow generation added to all compose operations + Morph processor can now tack down image edges + Filmstrip capability added + ARexx command "finish" added for sequence processor + ARexx command "tween" added for sequence processor + Panel may now be hidden during progress bar activities (right mouse) + Caricature operation now has "effect" control as well as radius + Dome operation now has "effect" control as well as radius + Caricature ARexx macro now has extra parameter for effect (def to 100%) + Dome ARexx macro now has extra parameter for effect (def to 100%) + GIF reader taught how to deal with faulty image size info - Errors from 7.02 onwards in 256 color image generation fixed - ARexx oval and rect commands fixed -140- 8.01: ----- - Error that caused 68000 version of 8.00 to crash instantly if the user attempted to morph fixed - A number of "enforcer hits" fixed, all harmless (byte reads from low memory) - Bug that caused 250 ms delay (1/4 second) each time a morph point was added in a 3000-class machine fixed -141- 8.02: ----- + Balance to Color in process panel + The File I/O panel now allows render settings to be changed even when no buffer is loaded. Inappropriate gadgets are ghosted. + Render and Save as 24-bit can both be selected in multi-frame processor + Load and save main mask + ARexx commands 'loadmask <complete_filename> [mode]' mode 1 = Replace existing mask (default) 2 = OR 3 = AND 4 = XOR 5 = MINUS ...and 'savemask <complete_filename>' + Load and save image mask + ARexx commands 'loadimask <complete_filename> [mode]' mode 1 = Replace existing mask (default) 2 = OR 3 = AND 4 = XOR 5 = MINUS If the image does not already have a mask, [mode] is forced to 1 ...and 'saveimask <complete_filename>' + Amiga draw modes in IM improved + ARexx command 'imageaspect <picnum>' reports aspect ratio + Multi-frame processor has 'Execute Using Primary' - Cancel in multi-frame processor now resets the 'finish' status - The script in the multi-frame processor was clipping in the wrong place and clipping in this panel could disturb the actual script and path strings - Trying to run the multi-frame processor without a script is handled with a message - Dome and caricature could not handle large negative effect amounts that can be passed from ARexx - Number of frames was not being reset in display panel after a new film strip was loaded -142- 9.00: ----- + Process panel and sub-panel reorganization + Compose panel reorganization + User can now select either the 2.0 (ASL) file requester or the Black Belt Systems file requester, as they prefer. Khalid Aldoseri's ASL replacement file requester has also been tested and now works with this software. ARexx supported. + "Zoom Clip" operation added. Provides a scaled zoom into the primary image. ARexx supported. + The font list requester can now handle fonts with names (including the point size) up to 46 characters in length + Sort directory list button in Multi-frame Processor allows you to optionally sort the list of files + Info button put back into main panel for ease of access + Color Separation button in File I/o panel moved to the second line so that all render controls would locate in the first line - Numerous small bug fixes applied. -143- 9.01: ----- - problem when calling FR from ARexx with new requesters only -144- 9.02: ----- - Jarvis and Stucki dither were broken - The Info gadget needed to be ghosted when IP started until the code is entered - Zoom Clip prop gadgets would drop percent by 1 on re-entry -145- 9.03: ----- - Radial Wave ran out of precision in images higher than 400 lines -146- 9.04: ----- + Entire image area selection made about 4 times faster - Radial Wave, Dome, and Caricature were unprotected against zero wavelengths/radius passed from ARexx - Radial wave prop gadgets got thrown back to zero after being last set at max -147- 9.05: ----- + The multi-frame and morph sequencer can now both handle four scripts: (1) Opening before all frames. :-- (2) Pre-render after image load or morph + ops, loop | but prior to the save or render. :-- (3) Post-render after each render. (4) Closing after all frames. Any of these script names may be blank and will then be skipped. If any script exists, you MUST complete it with a 'finish'; command! The objective here is to allow you to create a "setup" script, a "do the job" script, a "clean up" script, and a "finish everything" script. We have used this to build in a complete ANIM generator... rxpi:animwr1.rexx - for the "setup" script [optional script] - for the "do the job" script rxpi:animwr3.rexx - for the "clean up" script rxpi:animwr4.rexx - for the "finish everything" script ...for any set of effects you run in the sequence processor or the morph generator. For just morphing or rendering, you won't need to use a "do the job" script. The morphed output from a sequence becomes the current buffer temporarily. The displaced current buffer and the old secondary buffer are locked until they are returned after the sequence. + The gadget panel can be displayed in lace via a default settings button (you have to set it, save defaults, and then restart) + ARexx command 'setpalette <pos> <red> <green> <blue>' added + Aspect ratios default to 44 / 52 rather than 10 / 11 + Render Palette from Image now uses the A method for number of colors under 100 and B method over 100 + New Process/Special Effect - 'Render Palette for Amiga Ham' - When a non-primary buffer is being rendered, the 'Selected Area' should be automatically set to 'entire', and if 'Match Image Size' is selected then output resolution is set to the full image size - Color assignment for 16 color Hi-res just after image colors had been mostly but not radically changed, were sometimes throwing in a strange color causing renders to be noisy. - 16 color Hi-Res and 32 color Lo-Res gadgets in render mode panel were inverted text-wise - cosmetic change only for panel - Render from ARexx would not render sometimes - Morph and multi-frame sequence now appends .0001,.0002,.. to output filenames instead of "_" character + number - Clip with exact size will now remember its parent -148- 9.06: ----- - Cancelling the multi-frame processor will replace the displaced buffers + The multi-frame processor can run without any scripts at all - When rendering from the multi-frame process the entire area is marked for rendering -149- 9.07: ----- - Color preview not showing when the gadget panel is in lace - Define color from composition panel was not running -150- 9.08 ---- + Post-render Script gets passed three parameters instead of two, used in the animation writer for the sequence processor and morph tools; they are: thisframe totalframes "renderfilename" NOTE: The ANIM generation tools MUST be run using 9.08 or later; they require this particular capability and will not operate properly on earlier versions of the image manipulation s/w. -151- 9.09 ---- + VERY IMPORTANT For Image Professional Users!!! In Image Professional, the ARexx port name has been CHANGED from "IP_Port" to "IM_Port"! For all of our scripts, this should cause no problem, as they have been written (up to this date) to use either the IP_Port name or the IM_Port name. From now on, we will write ONLY for the IM_Port name. This will simplify many ARexx scripts, and will ensure that third- party scripts have fewer problems between the various versions of our image manipulation software. At this point, Imagemaster, Imagemaster F/c and Image Professional ALL have the same port name. + Many new PI Module capabilities (see PI_EXEC.DOC from the PI disk or the PIE.LZH archive for telecomm updates) + New capabilities which provide for automatic display updating on external/additional display dedvices. FC24 PI Module updated to utilize this capability. Display updating is very efficient, information on the rectangular sub-region that was changed is used to limit display refreshes. + Added ANIM writer capability (this also requires latest PI Mods) + If the morph generator is not calling any scripts, it will not redraw the main display for each frame (this saves time). + Roll image geometric process added - Palette from image operation would disturb the display. This has been fixed. - Bug where Image Professional only could not always reach the bottom scan line of an image using the area selection tools such as rectangle. Fixed. - ASKPROP ARexx command would not return values larger than four digits. Fixed. -152- 9.10 ---- + Random dither now has luma mode; this is a VERY nice addition to the random dither effect - try it and see! + Pressing 'r' when the morph display is on will redraw the two morph windows as well as the control points + Added "Exclude Black" button to histograms... this has the effect of amplifying the histogram by removing what is often a high content, but low-information portion of the histogram data. + Select ALL button added to sequence processor + Filmstrip frames are now numbered + Added "reverse" animation button to filmstrip controls + You can now delete filmstrip frames by number + You can now insert filmstrip frames by number + You can now swap filmstrip frames by number + Filmstrip re-allocation is now non-destructive so that you may change the number of frames as a way to shorten or lengthen an existing filmstrip. - Loading images which did NOT have masks would not work properly as a brush. - Emboss positioning works better now + New ARexx commands 'emboss <contrast>' and 'punch <contrast>' Contrast is usually from 0 to 255. A secondary image needs to be assigned, and an area selection should be made prior to the emboss or punch command. - Clip with exact size would miss the bottom line in Imagemaster - Imagemaster palette foreground/background selection could get confused - Certain "short" windows in the control panels would show a bit of underlying data because they were too short - we've added some height so that this harmless, but unsightly artifact is gone. -153- 9.11 ---- + The pointer is invisible when moving points in a morph + Filmstip now has speeds up to 30 + Loading and saving filmstrips has progress bar + Redraw scripts are sent a 'finish' parameter when the redraw script option is turned off or the image processor ended + The Redraw script name cannot be changed while the redraw script option is ON. + New ARexx command 'pal' which reports 0 for NTSC 1 for PAL + New ARexx command 'autoprimary <mode>' mode = 0 new buffers do not become the primary unless there are none mode = 1 " always become primary + DCTV renders go to 566 vertically if IM is in PAL - Dual Vertical and Horizontal Warp range could divide by zero when the area is 1 pixel wide - Undo in Imagemaster now takes care of the color space so that undo-ing to an image with a different palette will no longer break during partial redraws. -154- 9.12 ---- + Pre-defined shape area selections! Area select panel now has - 'Shape from Corner' 'Shape Centered' 'Load Shape' See EXAMPLE.ISH for an example shape file format. - Perspective scale was not correctly using the image local mask when it existed - EXTRA_HALFBRITE flag was not being set in IFF saves - Area print allowed area to be 1 pixel past image right and bottom causing the wrong area to be printed - Drawing an elipse on a <= 2x2 image would crash - Palette and range screens would draw with the wrong colors when the main display was in 16-color HI-Res - Palette and range screens would disturb main canvas color redraw color space - Hue change window overwrote the left text field - New/From Blend/From Digiview selection shows below gadgets - Message window was also too short - Buffer rename window was also too short - Paint fill operations did not clear mask second time through - New buffer did not initialize to color if there was no primary buffer - 2-way vertical blend was not using lower transparency curve correctly - Map to range went past the range in bright areas - Workaround for DCTV overscan limit of 704 under AmigaDOS 2.0 - Painting redraw in IM could redraw outside screen area - AmigaDOS file requester interface returned extension twice -155- 9.13 ---- + Distance Calculator in analysis panel. Converts distance measured (or typed in) between Inches, cm, picas, points, Horizontal pixels, and Vertical pixels. + Pad Canvas operation in Re-Sizing and Clipping in Process Panel pads the selected area to a new size allowing the user to position the clipped area in any of 9 arrangements. + 'padcanvas <Xsize> <Ysize> <Position> <NewName>' ARexx command. It returns the buffer number. Xsize and Ysize are the dimensions of the new buffer, Position is 1 = Top Left 2 = Top Center 3 = Top Right 4 = Middle Left 5 = Middle Center 6 = Middle Right 7 = Bottom Left 8 = Bottom Center 9 = Bottom Right The Following is a working script :- /* ARexx example of PADCANVAS operation * / address('IM_Port'); 'entire'; options results; 'padcanvas 400 400 5 NewClip'; 'newcurrent '||result; exit 0; + Horizontal and Vertical Flip operations now work outside of and move the image local mask + Morph 'Drop Grid' button + Composition using color keying now keys the area before doing transparency channel generation, so that the transparency edges follow the keyed area. + Filmstrip has a Color mode; Display control has 'Color Film' button just like 'Lace Film' (FILMVIEW 1.01 is required to view color filmstrips) + 'newbrush <bufferNumber>' ARexx command selects a new brush + 'newblend <bufferNumber>' ARexx command selects a new blend control buffer <continued next page> -156- Imagemaster 9.13 changes, continued ----------------------------------- + The following LOADAS... ARexx commands all use the image path and extension that were set with 'IMAGEPATH' and 'IMAGEEXT' commands or last typed into IM's file requester, and return the buffer number of the new buffer. 'loadasprimary <name>' ARexx command loads an image file and makes it the primary. + 'loadassecondary <name>' ARexx command loads an image file and makes it the secondary. + 'loadasbrush <name>' ARexx command loads an image file and makes it the brush. + 'loadasblend <name>' ARexx command loads an image file and makes it the blend control buffer. + Morph Discrete Velocity Control The Morph panel has added :- . 'Set Point Velocity' button to set the associated velocity of each point; . 'Set VELs' to load or draw new velocity curves. The default velocity curve for control points is <normal>. The associated velocity curves are saved with the points file. Three standard Velocity curves are available at startup: <normal>, <early>, and <late>. If these curves are changed by the user, they are no longer standard and will therefore be automatically saved with the points file. - Pointer remained busy after palette screen closure - Palette mapping did not do entire image area selection - Cut out brush in Paint Control with entire image or previous region was being ignored -157- 9.14 ---- - Selecting display modes and then changing the mode in the display control panel caused the image to be scrambled - zoomclip ARexx command was not working if a previous region was not selected. - 'Unknown Internal error' messages replaced with meaningful messages - Exact image mode change was broken -158- 9.15 ---- + New Enhance anti-alias operation available in morph controls + Morph view creation now done faster and subsequent redrawing or partial redrawing is very fast. + New 'Grp Vel' button added to morph controls which lets the user draw an area on either morph frame and set the velocity of all enclosed points. Therefore, 'Set Point Vel' button has been changed to 'Pnt Vel'. After selection, the changed points are highlighted. + Multi-frame processes retain the altered current buffer until after the post-render script. This has a huge effect on the ability to perform operations in the post-render phase; our new single-frame controller scripts use this capability. + New Area selection option 'Numeric Rectangle' which takes keyboard typed coordinates for the rectangle edges. + New: IM has 'Dither' setting in display control, so dither can be turned off + New: 'CANCEL' ARexx command equivalent to hitting the cancel button for use within multi-frame sequences, kills the sequences immediately. + Further anti-piracy mods made (only) to IP for thieves who were using ASDG's AdPro to steal the entry codes. + IP panning in 256 color mode is now much faster. -159- Imagemaster 9.15 changes, continued ----------------------------------- + 'Shape Add' button in morph adds control points at the corners of an ISHAPE. It is used as follows : (1) When in morph hit the 'Shape Add' button. (2) Use the requestor to choose an ISHAPE or cancel to retain the current one. (new Ovals/polygons with 3 to 95 points/sides are supplied in the IShapes drawer.) (3) Click and drag with the left mouse button in either view area to size and position the shape over the feature you want. Holding down the right mouse button at the same time will move the shape. (4) When you release the left mouse button, the shape will be duplicated in the other view area. The shape has an orientation arrow shown on it. Click with the left mouse button in this other view area and position it on the matching feature. Its orientation arrow will follow the cursor. You should (normally) make the arrow point the same way in each view, because Morph is going to use each corner in order. (5) When you release the left mouse button this time, morph control points will be placed at the corners of the shape. - IP (only) was confused when panning in exact image mode. - Morph one frame came out with bad display -160- 9.16 ---- + Button in Setup panel to switch MEMF_PUBLIC off, to help virtual memory managers. + In Morph 'Zoom' button, used as follows: . When in Morph press the Zoom button . Draw a rectangular area to zoom in to, on either the left or right frame. Holding down the right mouse button while drawing will reposition the zoom rectangle. . Click on the Zoom button to undo the magnify. While in the zoomed state the arrow keys can be used to pan. The L key will isolate panning to the Left frame. The R key will isolate panning to the Right frame. The B key will allow panning to both frames. The < key will also reduce the amount of zoom 25%. The > key will increase the amount of zoom 25%. - The amount of image redrawn when moving a point in Morph is reduced. - In IP; Hi-Quality mode was switched off for Exact Image display. IP did not correctly draw in Exact Image / Hi-quality HAM-E mode. If the HiQ switch-off was over-ridden, leaving exact image mode could disturb entire image HiQ redraws. Fixed. - Panning large images (>640 wide) in Exact Image mode would not move all the way to the edge (IP & IM). Fixed. -161- 9.17 ---- + New morph engine; faster, (about 2 minutes per broadcast resolution frame) and more accurate. + ARexx command 'actpri' reports the preserved old primary buffer during a multi-frame sequence. + Display in morph panels is 4-8x faster + New "onionskin" capability in morph + New arbitrarily curved control vectors in morph + Main document updated to contain PI information, "pi.doc" obsolete + PI Modules to support PageStream (Soft Logik) "HotLinks" + Ability to abort when Imagemaster is drawing (if this leaves you with a partially drawn display, press "R" to redraw the image. A much requested addition! + IV24 Display PI Module - updated, portions re-written in assembler for considerable speed improvement; also an ARexx port was added to facilitate its use with single frame controller scripts. One ARexx command is supported, "QUIT". The port address is 'IMIV24'. This allows you to display an image and then kill it as soon as the single frame controller has recorded it. See the macros "setframe.rexx" and "postiv.rexx" in RXPI:, these go in the first and third script positions for the sequencer and/or the morph scripts. This script works with the BCD 2000A SF controller. Note that you must run the supplied (by BCD) BCDARexxHandler program for this script to work. + Informative vector display is not done while morphing with the film strip showing. + Morphing Velocity control now also affects transparency. Areas of the image will have different transparency depending on neighboring control points' velocity curves. + 'Warp Morph' from the Process/Special Effects panel. + 'Add Points','Move Points','Delete Points' in the morph panel are now combined in one cycle gadget + Transparency can be set per control point, or group of control points New buttons in morph panel: * 'Pnt Trn' for setting the transparency curve of the hilighted point. * 'Grp Trn' for setting the transparency curve of points identified by drawing a lassoo around the group. <continued next page> -162- 9.17 changes, continued... -------------------------- + 'Set Controls' option in morph now also has buttons for choosing from a list of transparency curves. The default curves are <normal>, <late>, and <early>. - DMI Resolver Display PI Module- crashing bug fixed. - Bug with ANIM reader PI module fixed where loading a frame would nuke the previous frame - Bug with CBM/Khalid requesters not parsing paths correctly fixed. -163- 9.18 ---- + Smoother morphs generated overall + HotLinks (PageStream) support added in PI modules (This was supposed to happen in v9.17, but we mistakenly included the previous revision of the PI module archive - sorry) * Publish * Subscribe * Update * Info - Bug in morph where more-or-less random crashes occured for 9.17 fixed - Bug where using the up and down arrow keys in the onionskin display would result in a disturbance of the presentation (cosmetic only), fixed. -164- 9.19 ---- + Capability to handle motion morphing between two images added, with full intersticial tweening for the control points involved in the morph; any number of frames and/or key frames, any number of points, all options usable (velocity, transparency, arc vectors). + Transition Generator added to PI distribution; this capability provides literally thousands of possible 24-bit transisions between two images to be smoothly generated over any number of output frames. + Example.table added to PI distribution; should have been there all along, sorry. You'll find it in the CMPI: directory after installation. This is a sample table for use with the graph PI module. + New ARexx command, ASKRGB, added. Allows you to get a RGB value from the user of a macro or script using Imagemaster's standard color requester. - Bug where user transform interaction with UnDo didn't work properly fixed. - Bug in INSTALLER script which made RE-installs fail, although a new install would work fine, fixed. - Bug in INSTALLER script where re-installs of docs or developer docs would quietly fail, fixed. - Edge line prop gadget text was not put on the correct gadgets; fixed -165- 9.20 ---- + Morph now gets from edge instead of getting black; this makes morphs easier to do "nicely" if the subject material overlaps the edges. + 'Restrain Edge' switch in morph replaces 'Tack Down Edges' with points This has two benefits; not adding points for the edge means that the morph itself will run MUCH faster; and the entire edge is nailed down, not just some areas where there are points so edge tacking is essentially perfect - no bulges. You will find that the quality of morphing near the edge is much higher than it used to be; this is a combination of the effects of both Restrain Edge and getting from the edge instead of arbitrarily getting black. + DCTV images are now loaded using the new Digital Creations library instead of our internal loader. Digital Creations has kindly provided a complete solution to reading dctv images, a benefit for developers and users alike. Kudos to them for doing the right thing! + IFF register-mode, HAM-mode and HalfBright-mode images which have old EA-style palette info in them (12-bit) are now automatically caught and scaled for a fully corrected 24-bit palette. This improves instantaneous rendering of Amiga images with fewer colors than available in the current render mode. For complex images, no effect. - GIF loader will no longer consider images too large if they are correctly formatted. - Increasing the number of frames in morph would cause a freeing error when exiting the program. Fixed. From 9.19 only. - After moving, sizing or rotating points in morph, the points could be drawn off the view area. Fixed. - Bug in install from 9.19 where docs would not print from ICON fixed - Print-docs script has had the (silly) "send log to printer" option suppressed by the tricky use of a little known "feature" in the installer code. No more confusion about what is printing, where! -166- v9.21 ----- + AA (AGA) chip set (Amiga 4000) 8 bit display modes * File I/O panel is laid out more clearly * Amiga mode and 'Other' modes are separated * 'Set Amiga Mode' covers all possible combinations - when a render combination is not displayable, it will be rendered in Fast Ram and not visible. * 'Set Render Palette' panel is now the same for all render modes (but not available for DCTV renders). * 'Adjust Palette' for direct palette manipulation and 'Select Range' are available from the 'Set Render Palette' panel. * The 'Set Render Palette' panel does not come up automatically any more when a render mode is selected. * Number of colors and width and height are adjusted to standard sizes based on previous overscan settings when a new render mode is selected. * The Display Control panel on an AGA capable machine will show the new modes automatically. + HAM8 images can now be loaded as part of the main IFF loader * Amiga-mode renders have been improved, as have displayable, editable modes + Dither button in Display control has been replaced by a slider for dither amount (0 to 64); this provides user-controllable dither level in all display modes + New ARexx command for rendering Amiga modes (supports AGA) This uses a new method of parameter handling, which looks like this: 'amigarender [PARAM:value] ...' There are nine possible parameters, which may be in any order, and are all optional. If a parameter is ommitted, in each case, the last setting is used, except COLORS which is set to the 'normal' value for this mode and bit depth. <9.21 changes continued next page> -167- Parameter names for 'AmigaRender' can be abbreviated right down to one character. Parameter values can be abbreviated as long as they remain non-ambiguous. ON,OFF or 1,0 values may replace YES,NO. Case is not important. RES:xxx LO,HI,SUPER Display resolution PLANES:n 1 through 8 Image Bit depth DEPTH:n 12 or 24 Palette depth MODE:xxx REG,HALFBRITE (or HB),HAM Display mode LACE:xxx YES or NO Display interlace WIDTH:nnnn Render output width HEIGHT:nnnn Render output height USEPALETTE:xxx YES or NO Use existing palette NAME:ttttttt Output name (without path, extension) COLORS:nn 2 to 256 Number of colors to render with For example: 'renderpath ram:' 'renderext .iff' 'entire' 'amigarender RES:hi MOD:reg PLANES:4 D:12 NAME:myimage' 'finish' /* * would render in high-res 16 color to the file "ram:myimage.iff" * from the sequencer. */ ! The multi-frame processor would wait at the closing phase + 'Do 1 Frame' in Morph has a cancel button + Edges can be added to a morph ++ 'Edges' added to control cycle gadget ++ 'Show Edges' buttons added to normal and onion-skin view panels ++ Edges are loaded and saved with control point files. ++ Number of edges are shown on the morph screen + 'rectarea' ARexx command for rectangular area selection added + Morph output rippling completely eliminated; morph output quality improved in several major ways. + Adding points to a morph no longer incurs ANY time penalty. Users are now encouraged to add as many points as they feel are needed; the more points, the better controlled the morph will be. + Morph sequence scripts are now set in the 'Set Controls' panel + 'Del Grp' button added to main morph panel ! Group Velocity and Transparency operations in the morph panel while zoomed could draw off the view areas. + Accuracy of IShape placement is higher -168- v9.22 ----- + Morph views draw during rendering with no vbar; part of changes for live, interactive drawing. + Morph views are interruptable - panning, zooming all stop the current drawing and restart in the new position, brite or contrast or zoom level. + Morph Grid can be added with edges + Morph Grid can be added into a rectangular or entire image + Morph ishapes can be added with edges + Edges move during a point move in Morph + OnionSkin display has zoom capability added + Zooming is now multi-level - images accept different zoom levels + Brightness and contrast added to morph interfaces + Overshoot capability added to velocity controls + Ability to reduce arc to vector and vector to point + Point sets are now mergable for group editing capability ! In 9.21, if user had selected quality HAM as default in AGA machine, Imagemaster would lock up when the display control panel was used. Fixed in 9.22 ! In 9.21 Certain types of more complex morphs would result in regions which were left out of the morph. Fixed in 9.22 ! Motion morph would crash with over 6 image pairs. Fixed in 9.22 -169- v9.23 ----- + 'newtargetted <xw> <yx> <name> [mask]' (ARexx) creates a new image buffer and prompts the user for its target ie. New as primary, Old as secondary, etc. Returns the buffer number. + Morph/Controls panel has 'FilmStrip Res' which sets the output resolution to film strip size (96 x 60) - Memory manager no longer reports on each and every failure to get memory + 'Do 1 Frame' morph option has a 'Preview' button which puts a single 320 x 200 morph image into the lower morph preview area. * Morph group operations are now under a 'Group Op' button + 'Demote Group' operation in Morph Group Ops + $VER identifier put into Imagemaster executable + 40-page Morph documentation rewrite to i_addendum -170- ----- + New ARexx command "userload filename" - UI targetted load. + new ARexx command "simpload filename" - NON targetted load. Not pri, not sec, not anything but a free-floating buffer. + New AGA ANIM creation/reading capabilities in ANIMWR scripts + ARexx command "forcewbfront" (ignores autoactivate) added. + ARexx command "forcefront" (ignores autoactivate) added. + Changed 256-color working display to our preset colors + Added TIFF PI Module Loader + Added TIFF PI Module Saver + Added Poster Printer PI Module + ARexx 'EHLP' command added. This command will return a text string when passed any integer number. The number should have been taken from the ARexx variable RC when RC is found to be non-zero after any of Imagemaster's ARexx commands have been used. A sample procedure is to be provided in the docs to show how to take the RC error, pass it to a little procedure and use that to report the error's text explanation to the user. This eliminates the user having to look up an error in the docs. * When doing a morph preview, or a do 1 frame which is cancelled, the user will no longer be bothered by the request to save the points. Only when the do 1 frame will be exiting the panel will this occur. * Amiga render default settings changed for optimum output * Sequence processor no longer exits file i/o panel on way out * Color Seps no longer exit file i/o panel on way out * Interlace button is now in the modes panel, where it belongs. * DCTV filter button is now in modes panel, where IT belongs. : * Morph move/rotate moved to GROUP panel * Morph move/scale moved to GROUP panel ! In Arc Vectors, Show Singly button could get trampled. ! Fixed ANIM Write to write correct AGA animations (OPT5) ! Fixed ANIM Read to read correct AGA animations (OPT5) -171- ! When adding points via an IShape or Grid, the points were not internally known as having changed, and so you would not get prompted to save them with no other changes. This is fixed. ! ARexx "save" (24bitIFF) command fixed. Finally! Sorry about this one... - "Credits" removed - getting a little thick, it was (BW) : - In motion WARP morph, "TO" frames should not have been available; ! Variable transparency morphs incorrectly calculated transparency if velocity curves were involved. ! ARexx commands 'zoom2' duped to 'clip2' and 'zoomhalf' duped to 'cliphalf' to match manual. 'clip2 [newCLIPname]' 'cliphalf [newCLIPname]' ! ARexx command 'macrodefs' added to match manual. Returns macro path and extension. ie. path, .extension ! The following ARexx commands were duped to match the different spelling in the manual - 'asterize' to 'ast' 'cellular' to 'cell' 'paletteext64' to 'paleteext64' 'pixelize' to 'pix' 'posterize' to 'poster' 'rubthrough' to 'rubthru' ! Scale to Size in render caused enforcer hits and sometimes crashing. ! Adding a second set of morph points would corrupt or lose the previous edges. ! Independant scrolling/zooming in the morph screen would be disturbed by 'Swap All'. ! Rendering to horizontal widths less than 1/4 of the image width would sometimes fail. ! Re-loaded morph point sets would not retain their arcs. ! Memory was getting fragmented by VGad panels that re-used buttons. For example, the 'Done' buttons in the compose panels. Fixed. ! Area of influence was being retained when a mask was loaded off disk. * Vertical flip now also flips the local image mask if there is one. ! Combine operation now pays attention to the image's local mask. -172- ! Intuiticks were taken out of all loops that run scripts. All independant timers were replaced with a single global timer. ! Enforcer hits occurred on panels that had offset buttons (such as the File I/O panel) when offset buttons were pressed. Fixed. ! Place with Anti-alias was not able to create a drop shadow. ! Exact image display mode did not save with the defaults. ! Panning with images smaller than the display width would move the image to the bottom right of the display. - Load buffer from DigiView button, operation and ARexx command removed. NewTek has been very poor on support, and we've given up on them. ! GIF files wider than 2049 pixels would cause an alert. Size is now unlimited - and the GIF loader is smarter, too. ! Paint redrew twice after a cancelled draw operation. ! Point cellular left gaps at the edge of areas with 'cells at edge' off. + Auto-activate now saves with the defaults. ! GIF loader would not stop after encountering an unexpected EOF. ! Paint area fill Redo did not remember the mask after a right mouse click finish. ! Rotate90 by 180 degrees caused enforcer hits. ! Enforcer hit after cancelling 'set standard brush'. ! ARexx command 'cdef' returned the color values of the area specified, but without commas separating the numbers. ! Single color images did not show any XOR line drawing. + Pad Canvas gives a notice if the new size is the same as the old size therefore providing NO room to actually PAD. ! bbl was left unfreed after the multi-frame processor was used. ! Enforcer hit in Process->Special Effects->melt. ! The back up to the UNDO buffer did not copy the last (size%4) pixels. ! Print area could over-run memory. ! Done gadget used twice in Color Recombination causing auto-free. ! Smooth edge transparency - entire image could cause enforcer hit. -173- + Radial Wave (ripple) now uses the image aspect ratio. ! Poly-arc areas on large images were sometimes left unfilled. ! Undo is now forced to redraw if entire/exact display mode has changed. (Undo operation sped up about 25%.) *! Color separations changed according to recommendations from Customers: * GCR is the amount of grey subtracted from CMY and replaced with black. Gadget shows 0 to 100 %. * UCR is the amount of color removed from heavily inked areas (where ink coverage approaches 300 %). The gadget represents the percentage 0 to 100% that this removed color will be replaced by black. * UCR_Threshold The maximum ink coverage before UCR kicks in. The gadget shows 200 % to 400 %. * Pure Grey areas translate to black ink only. + 'S' key swaps the primary and secondary buffers if both are assigned. + New Compose->Special->Perspective Placement operation Perspective placement will place the secondary image onto the primary using a 3-dimensional perspective projection. There are nine numeric controls: X Rotn - rotation about the X axis (pitch) (in degrees) Y Rotn - rotation about the Y axis (yaw) Z Rotn - rotation about the Z axis (roll) X Translate - movement left and right Y Translate - movement up and down Z Translate - depth movement into the screen X Scale - horizontal stretching Y Scale - vertical stretching Z Scale - depth stretching Each of these controls has a Grab button so that the control can be moved on screen using the mouse. X Scale and Y Scale together constitute the equivalent to 'zoom' on each axis. They are independant to allow aspect ratio distortions. Z Translate brings the image closer to the 'camera' therefore making it bigger on screen. Very close objects will show the distortion nomally seen through a wide angle lens. Z Scale (depth stretching) affects the degree of the perspective distortion. Setting Z Scale = 0 will produce orthographic projections. -174- Anti-alias button defaults to on. Each of these controls has full floating point precision. It is recommended that the Imagemaster Default 'Lace Panel' be set for adjusting the perspective position. + ARexx command: 'perspect [Xrotn=N.n] [Yrotn=N.n] [Zrotn=N.n] [Xtrans=N.n] [Ytrans=N.n] [Ztrans=N.n] [Xscale=N.n] [Yscale=N.n] [Zscale=N.n]'; Requires both a primary and secondary image. All parameters are optional and may be in any order. The '=' may be replaced with ':'. Parameters that are ommitted will use the last setting. All parameter identifiers can be abbreviated down to 2 characters. For example, the following script will perform a tumble: / * ARexx Perspective tumble - (Trim the *'s from each line) * / address('IM_Port'); 'perspect Xr=330 Yr=0 Zr=0 Xt=405 Yt=-240 Zt=656 Xs=300 Ys=300 Zs=100'; do i=1 to 10 YR=i*36; XT=405-i*80; YT=-240+i*36; 'perspect Yr='||YR||' Xt='||XT||' Yt='||YT; end 'finish'; + New Process->Scientific Functions panel Add/Subtract a constant - Simply adds or subtracts a constant value from each of red,green or blue. Multiply/Divide a constant - Simply multiplies or divides the r,g,b levels by a constant. This is effectively a brightness operation. Multiply by Secondary - Multiplies the primary image brightness values by the secondary. Divide by Secondary - Divides the primary by the secondary. Logarithm - Takes the log base N of the primary. Raise to Power - Raises primary image to a constant power. 1-D Profile - Draws a graph of the brightness levels over a line. 1-D Spectrum Analysis - Does a spectrum analysis (power spectrum) over a line. Variance Conversion - Changes the primary image to a map of the variance between each pixel and its neighbors. This is often a good measure of high frequency noise. -175- NOTE! For each of the SCI functions, the Red, Green, and Blue channels are treated as Decimal values ranging from 0.000 to 1.000 with a precision of +/- 0.0019 . Each function uses a constant (N) for each channel (x). The Monochrome button forces the constant to be the same for each of red, green and blue channels. Note, that the Inverse button causes the inverse functions to be used as follows: NORMAL INVERSE -------------- --------------- + (add) - (subtract) * (multiply) / (divide) log base N of x N raised to x x raised to the N power x raised to 1/N When multiplying or dividing by a negative number the result is folded into the positive domain according to the following formulae: For multiplication (Normal function): X' = | x * constant when constant >= 0.0 | x * constant + 1.0 when constant < 0.0 For division (Inverse function): X' = | x / constant when constant >= 0.0 | (x-1.0) / constant when constant < 0.0 This ensures that the inverse function will always 'undo' the normal function. As a general rule, the inverse should 'undo' the normal function to the limits of precision and domain. For example, multiplication by 2 then division by 2 will produce a ceiling at 0.5 Absurd mathematical requests (there are at least seven types), like log to a negative base or division by zero, are stopped and reported with a message. But we do allow them to destroy their image. That's their prerogative. After all,... there are an infinite number of ways to do it. And... it might be destroyed in a meaningful way. 1-D Profile graphs the Red, Green, Blue and average (as white) brightness levels along the graph. The profile is sampled at one pixel intervals. 1-D Spectrum Analysis does an FFT of the profile sampled at intervals of 1/ 1024 of the line length ( 1024 samples altogether). Red shows the real (in phase) and blue the imaginary (out of phase) components. The vertical minimum and maximum levels are shown above the graph. -176- + Process->Filters->Sharpen III a broader sharpening filter. This works well on higher resolution images and can have a more dramatic effect than Sharpen I and Sharpen II. + Universal Loader. Imagemaster now identifies image files that require external PI loaders and calls the appropriate loader. For this to work, functionality changes were made, as follows: + While a PI Loader is in operation, button presses on the main panel, and keyboard input are ignored, even though the load is actually asyncronous. Hitting the Exit button, however, will re-awaken the gadgets. Processing of any script (except the PI loader) is halted until the loader completes. A PI loader MUST include a 'finish' command to work correctly. + External loaders will be called even if the ARexx 'load' command initiated the image load. [PROGRAMMERS: Imagemaster keeps account of whether the loader was initiated by the main panel or by an ARexx 'load' command using the variable fromrexxdepth2. ] + Imagemaster always wakes up every 0.5 seconds (using a timer) but will not activate the main window if triggered by one of these timer events even if autoactivate is on. + If the image file was not recognised, a message will be displayed. + A loader's existence is checked before it is run. If the loader is not found then a message will be displayed. -177- Loaders done so far: (Internal) IFF Amiga 24-bit and standard IFF HAME Black Belt's high color images for the HAM-E DCTV Digital Creation's video like DCTV images HAM Amiga HAM HLFBRT Amiga 64 color half bright images HICOLR Amiga hi-color images (External) TARGA TIFF All known Tag Image File Format BMP Windows and OS/2 bitmaps (DIB's) RENDITION SHAM Amiga Sham DHRZ PMBC Black Belt's lossless PMBC compressed images. UPB8 Amiga (RegPaint) 256 color brushes RGBN RGB8 PBM GIF Compuserve's Graphic Interchange Format PCX PC Paintbrush PCX MFLM WinImages:morph 24-bit FiLMstrip files IRAW I-raw graphics ANIM Amiga anim files JPEG JFIF/JPEG high compression images NASA Nasa/JPL images on CD BMASTER Black Belt's Board Master circuit board layout NBOOK Black Belt's NoteBook files FLICK Autodesk Animator (Pro) FLC & FLI animations HICOLR AmigCON (Amiga .INFO) file Other loaders which can never be auto-identified: RAW Raw color files GE_NMR G.E.'s NMR scans They will have to be loaded manually. All the Rexx scripts for the external loaders have changed and some have also had changes to the executable (cmpi:) modules. (Between 9.23 and 9.50 the following PI modules were extended to handle more file sub-types: TARGA, PCX, TIFF, GIF, BMP, IRAW ) There are some files which have a measurable chance of being mis-identified: PCX 1 in 256 raw files could be mis-identified as PCX some TARGA 1 in 64 raw files could be mis-identified as TARGA I don't know of other formats which have fields at the appropriate places with ranges that would cause a mis-identification. By checking the strongest ID formats first chances are minimized. For example, even though the PCX ID is contained inside the ICON (.INFO) ID, ICON files are checked first. -178- + The internal IFF loader will show a busy pointer during the pre-read. ! The 8-bit HAM display did not get its palette restored during an undo. + the 'plugin' Arexx command now returns an extended structure: struct plugin { struct jackinbuff *buffer; unsigned char id[4]; struct Screen *showscr; / * IM's main gadget screen * / unsigned char pname[4]; / * IP\0\0 IM\0\0 of IMFC * / long ver; / * (short)ver (short)rev * / }; ! Motion morphing was broken in 9.23 - now its fixed. ! Morph sequences would hold mid-way until a key was pressed. ! The list memory was not freed from motion morph's file lists. + The File Requester now uses the main gadget screen and has the AmigaDOS 2 look. + The 'Lace Panel' option button has been moved from the Defaults panel to the Display Control panel. If the setting is changed, the gadget panel is immediately replaced by one with the new mode. + AGA machines have a NICE palette screen. New features are: HAM8 precise colors on screen AmigaDOS style Resizes for Hi-Res and Super72 display resolutions so it is friendly to Super72 800x600 mode Render flag for each register 0 = GREY = Normal 1 = AQUA = Usable but not changable by the renderer 2 = BLACK = Skip / unusable These render flags are saved with each palette. Range is seen and selected on the palette screen Undo Color mixing area CMYK color space -179- ! Sprites are replaced with cycling highlights. Sprites sometimes had problems on some AGA displays. + New display mode 'Aspect Correct' and a panel from Display Control to set the Aspect Ratio of the current (or all) display resolutions. This is now the default mode for new IM installations. ! Exact Image draws would leave trailing lines from the side of the image. ! HAM-8 draw mode drew a non-zero color around image in Exact Image display mode. + New ARexx commands 'pcontrol' <register> <state>; This sets the render state for a register as per AGA palette screen. 0 = Normal 1 = Usable but not changable by the renderer 2 = Skip / unusable Palettes loaded and saved will contain the control information. and 'pcontask' <register>; which returns the palette control flag value for that register. -180- ) ............................................................. Page 171 ). ............................................................ Page 172 .ish .......................................................... Page 21 absolute resample ............................................. Page 89 actpri (ARexx) ................................................ Page 127 addasb (ARexx) ................................................ Page 127 addasc (ARexx) ................................................ Page 127 addasg (ARexx) ................................................ Page 127 addask (ARexx) ................................................ Page 128 addasm (ARexx) ................................................ Page 127 addasr (ARexx) ................................................ Page 127 addasy (ARexx) ................................................ Page 128 affects entire image, balancing ............................... Page 87 allowcancel (ARexx) ........................................... Page 128 AmigaRender (ARexx) ........................................... Page 126 and, logical composition ...................................... Page 91 angle, of shadows ............................................. Page 28 angled range (fill mode) ...................................... Page 101 ANIM OP-5 ..................................................... Page 22 ANIM PI reader ................................................ Page 105 animations .................................................... Page 22 ARexx port name ............................................... Page 116 ARexx simplification .......................................... Page 30 Arguments, sequence processor ................................. Page 32 ARZ0 PI reader ................................................ Page 105 ARZ1 PI reader ................................................ Page 105 askrgb (ARexx) ................................................ Page 118 autoactivate (ARexx) .......................................... Page 120 automatic update display modules .............................. Page 23 autoprimary (ARexx) ........................................... Page 123 B&W filmstrips ................................................ Page 29 background color setting ...................................... Page 97 backuptoundo (ARexx) .......................................... Page 120 batch operations .............................................. Page 22 BBS number .................................................... Page 21 black balancing ............................................... Page 88 Blend loading (ARexx) ......................................... Page 83 blend type combinations ....................................... Page 91 Board Master PI reader ........................................ Page 105 brush brick emboss (fill mode) ................................ Page 98 brush emboss (fill mode) ...................................... Page 98 Brush loading (ARexx) ......................................... Page 83 brushes, transparent .......................................... Page 96 cancel (ARexx) ................................................ Page 125 capture, PI ................................................... Page 113 caric (ARexx) ................................................. Page 118 centering images .............................................. Page 20 changes list .................................................. Page 135 Chekov forcing ................................................ Page 90 clipping, exact size .......................................... Page 85 CMAP type, color separations .................................. Page 93 co-ordinates .................................................. Page 84 color balancing ............................................... Page 87 Color filmstrips .............................................. Page 29 color keying, for genlocking .................................. Page 95 color recombinations .......................................... Page 94 color separations ............................................. Page 92 color zero, in genlocking ..................................... Page 95 color, setting new buffer to .................................. Page 101 constant effects in sequences ................................. Page 32 constant palette .............................................. Page 22 coords (ARexx) ................................................ Page 84 coords (ARexx) ................................................ Page 117 coords (ARexx) ................................................ Page 120 custom shapes ................................................. Page 21 dctv .......................................................... Page 96 DHRZ PI reader ................................................ Page 105 Dilate PI Process ............................................. Page 112 display updating (external), automatic ........................ Page 23 display, PI ................................................... Page 113 displaymode (ARexx) ........................................... Page 122 distance calculator ........................................... Page 20 dither, in display ............................................ Page 102 dither, random ................................................ Page 85 dithering (in output renders) ................................. Page 90 DKB Trace PI reader ........................................... Page 105 DMI Resolver PI Display ....................................... Page 113 dome (ARexx) .................................................. Page 118 DPI operations ................................................ Page 101 dragging and co-ordinates ..................................... Page 84 dual ranges (fill mode) ....................................... Page 99 emboss (ARexx) ................................................ Page 128 Erode PI Process .............................................. Page 112 ES-300c PI Capture ............................................ Page 113 exact size clipping ........................................... Page 85 Fades ......................................................... Page 110 fast ham draw mode ............................................ Page 101 FC24 PI Display ............................................... Page 113 FCHIDE (ARexx) ................................................ Page 116 FCSHOW (ARexx) ................................................ Page 116 filerequest (ARexx) ........................................... Page 116 filmstrip ..................................................... Page 29 finish (ARexx) ................................................ Page 31 FITS reader ................................................... Page 106 force dynamic ................................................. Page 88 foreground color setting ...................................... Page 96 format, user transform files .................................. Page 86 fromdigiview (ARexx) .......................................... Page 117 FR_CANCELLED .................................................. Page 116 GCR (Grey Component Replacement) .............................. Page 92 genlocking tools .............................................. Page 95 Graph PI Process .............................................. Page 112 grid (ARexx) .................................................. Page 84 grid (ARexx) .................................................. Page 117 grid (ARexx) .................................................. Page 120 grid .......................................................... Page 84 Hist PI Process ............................................... Page 109 history, using the filmstrip .................................. Page 30 HotLinks Info ................................................. Page 109 Hotlinks Publish .............................................. Page 106 HotLinks subscribe ............................................ Page 103 HotLinks Update ............................................... Page 107 IFF PI reader ................................................. Page 104 image locking (ARexx) ......................................... Page 130 image structures (ARexx) ...................................... Page 132 imageaspect (ARexx) ........................................... Page 119 imtofront ..................................................... Page 129 info, about any buffer ........................................ Page 101 Info, HotLinks ................................................ Page 109 ink correction ................................................ Page 92 install, pi modules ........................................... Page 102 installation of PI modules .................................... Page 130 intensity, of shadows ......................................... Page 28 introduction .................................................. Page 1 iptofront ..................................................... Page 129 IV24 PI Display ............................................... Page 113 JPEG PI reader ................................................ Page 104 JPEG PI Writer ................................................ Page 107 KOCH PI Process ............................................... Page 109 library, DCTV ................................................. Page 96 list requesters (ARexx) ....................................... Page 83 lists, sequence ............................................... Page 31 loadasblend (ARexx) ........................................... Page 128 loadasbrush (ARexx) ........................................... Page 128 loadasprimary (ARexx) ......................................... Page 128 loadassecondary (ARexx) ....................................... Page 128 loadimask (ARexx) ............................................. Page 119 loadmask (ARexx) .............................................. Page 119 local mask .................................................... Page 27 locking images (ARexx) ........................................ Page 130 logical composition, and ...................................... Page 91 logical or, composition ....................................... Page 91 map to range .................................................. Page 86 mapping, palette .............................................. Page 97 masks ......................................................... Page 27 masks, saving ................................................. Page 91 Memory, Virtual ............................................... Page 20 merge, with render from range ................................. Page 89 mouse position (ARexx) ........................................ Page 117 names, ARexx port ............................................. Page 116 NASA reader ................................................... Page 106 new panels .................................................... Page 25 newasprimary (ARexx) .......................................... Page 117 newblend (ARexx) .............................................. Page 123 newbrush (ARexx) .............................................. Page 123 newbuf (ARexx) ................................................ Page 117 newbuf command (ARexx) ........................................ Page 116 newcurrent .................................................... Page 129 newtargetted .................................................. Page 121 noise, random ................................................. Page 85 Numeric Area Select ........................................... Page 87 octagons ...................................................... Page 21 on-disk documentation ......................................... Page 1 or, logical composition ....................................... Page 91 pad canvas .................................................... Page 20 paint settings, saving ........................................ Page 97 pal (ARexx) ................................................... Page 122 palette mapping ............................................... Page 97 panel organization ............................................ Page 25 PCX PI reader ................................................. Page 105 pentagons ..................................................... Page 21 PI code examples (C and ARexx) ................................ Page 133 PI modules (ARexx) ............................................ Page 130 pi modules, install ........................................... Page 102 Platform PI Process ........................................... Page 112 plugging in (ARexx) ........................................... Page 131 PMBC PI reader ................................................ Page 104 PMBC PI Writer ................................................ Page 108 polyranges (fill mode) ........................................ Page 98 process, PI ................................................... Page 109 public interface (ARexx) ...................................... Page 130 Public Memory ................................................. Page 20 Publish, HotLinks ............................................. Page 106 punch (ARexx) ................................................. Page 128 RAW PI reader ................................................. Page 104 RAW PI Writer ................................................. Page 108 readers, PI ................................................... Page 103 recombinations, color ......................................... Page 94 rectarea (ARexx) .............................................. Page 129 relative co-ordinates ......................................... Page 84 render changes (ARexx) ........................................ Page 124 render command parameters (ARexx) ............................. Page 116 Render controls ............................................... Page 90 Rendition Alpha PI reader ..................................... Page 104 Rendition PI reader ........................................... Page 104 Rendition PI Writer ........................................... Page 108 resolution of separations ..................................... Page 92 Resolver PI Display ........................................... Page 113 respositioning shapes ......................................... Page 21 RGB8 PI Writer ................................................ Page 109 RGB8 reader ................................................... Page 105 RGBN reader ................................................... Page 105 roll modes .................................................... Page 24 rollimage (ARexx) ............................................. Page 24 rolling ....................................................... Page 24 saveimask (ARexx) ............................................. Page 119 savemask (ARexx) .............................................. Page 119 savers, PI .................................................... Page 106 scale ......................................................... Page 86 scripts, sequencer ............................................ Page 22 Secondary loading (ARexx) ..................................... Page 83 sequence lists ................................................ Page 31 sequence processor ............................................ Page 30 sequencer scripts ............................................. Page 22 setpalette (ARexx) ............................................ Page 121 Shadows ....................................................... Page 28 SHAM PI reader ................................................ Page 105 shapes ........................................................ Page 21 smooth edge blending .......................................... Page 91 smooth range, in polyrange fills .............................. Page 98 soft edges, on shadows ........................................ Page 28 stars ......................................................... Page 21 stretch ....................................................... Page 86 structures, image (ARexx) ..................................... Page 132 subscribe, HotLinks ........................................... Page 103 Targa PI reader ............................................... Page 105 Targa PI Writer ............................................... Page 109 tech support line ............................................. Page 130 Tesselate PI Process .......................................... Page 112 tofront ....................................................... Page 129 transforms, user .............................................. Page 86 Transition Generator .......................................... Page 110 transparency, in genlocking ................................... Page 95 transparent brushes ........................................... Page 96 triangles ..................................................... Page 21 tween command in sequencing ................................... Page 32 UCR (Under Color Removal) ..................................... Page 92 undo in ARexx ................................................. Page 120 unlocking images .............................................. Page 131 unplug ........................................................ Page 131 UPB8 reader ................................................... Page 106 Update, HotLinks .............................................. Page 107 user transforms ............................................... Page 86 variable effects in sequences ................................. Page 32 version ....................................................... Page 129 Virtual Memory ................................................ Page 20 virtual resizing of masks ..................................... Page 27 Vista Pro Binary PI Writer .................................... Page 108 wbtofront ..................................................... Page 129 wheremouse (ARexx) ............................................ Page 117 whiten ........................................................ Page 129 Wipes ......................................................... Page 110 writers, PI ................................................... Page 106 x-specs ....................................................... Page 85 x-specs conversions ........................................... Page 88 zoom .......................................................... Page 26 zoomclip (ARexx) .............................................. Page 26 zooming, by scaling ........................................... Page 86