Filters in Motion

Rochester Institute of Technology RIT Scholar Works

Theses

8-1-1995

Filters in motion

Piyaluk Benjadol

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Recommended Citation Benjadol, Piyaluk, "Filters in motion" (1995). Thesis. Rochester Institute of Technology. Accessed from

This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY

A Thesis Submitted to the Faculty of

The College of Imaging Arts and Sciences

In Candidacy for the Degree of

MASTER OF FINE ARTS

FILTERS IN MOTION

by Piyaluk Benjadol

August, 1995 ______A~rovals

Adviser: James Ver Hague/ _

Date: J. /0'-: 1("

Associate Adviser: Robert Keough/ _

Date: '-! - 2 - 9t;

Associate Adviser: Gordon Goodman/ _ Date:_~7Lf_6~~~~~------

Department Chairperson: Mary Ann Begland/ _

Date: /iJ' /0· Yh

I, , hereby grant permission to the Wallace Memorial Library of RIT to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit.

Date: _ Acknowledgements

movie This thesis and report would not All images used in each filter have been possible without a great and Appendix are scanned from Volume deal of support. I would like to Tony Stone Images Catalog the follow thank James Ver Hague: my chief 6 and 7 and credited to photographers: (in alphabetical adviser, Robert Keough, and ing Gordon Goodman: my associate order) advisers, who have lent their time, Battensby, Simon shared their knowledge and experi Brierley, Paul ence, and also generously support Ellis, Sean Lester ed my efforts in bringing this pro Lefkowitz, ject to its goals. McArthur, Pete Mercer, Ralph I would like to also thank my Taplin, Myron friends, my family, and my class Walker, Spike. mates in Computer Graphics Design at RIT who supported me through Fonts used in the interactive project out this endeavor. are Draft Plate from TypeCase

Volume No. 3 and Helvetica. Font

Motion" The "Filters in interactive used for thesis paper is Futura.

project and paper were created entirely on an Apple Macintosh Quadra 660AV configured with 24

MB of RAM, an APS 540 MB Hard Drive, a Wacom Graphics Tablet, 6" a 1 Apple Monitor, and an Apple Personal LaserWriter 320. Software

used for this project and paper are: Adobe Photoshop 2.5.1 Macromedia Director 4.0 SoundEdit Pro QuarkXPress 3.3 HSC Software: Kai's Power Tools 2.0 Finder Hider. Contents

Introduction 1

Review of the Related Literature Filter Categories 2 Photoshop Standard Filters 3 Plug-in Filters 4

Descriptions of Filters 7 Interface Design 21

Procedure

Working with Adobe Photoshop 23 Working with Macromedia Director 52

Chart of Navigation Structure 57

Results 58

Summary Conclusion 70 Recommendations 70

Endnotes 71

Bibliography 72

in Introduction

The purpose of this thesis is to the potential information. create and experiment with new techniques of applying Adobe These new techniques, which com Photoshop filters both standard bine the advantages of the two and plug-in to still images, and applications, would be very useful arranging them in a sequence of to be applied by viewers. A basic frames in Macromedia Director to understanding of computer technol create the effect of motion or move ogy, as well as basic familiarity ment of those still images. This study about Adobe Photoshop and will be presented as an interactive Macromedia Director, are assumed. project which lets the user explore and navigate through the informa Definition of terms used in this tion provided. project are:

Filter Photoshop's small pro Significantly, as Adobe Photoshop grams, which could be selected image- is one of the most powerful from the Filter menu to run on an editing applications for designers, entire image or a selection, work by photographers, and illustrators, the manipulating the bits of data that uses of this program with their stan make up the digital image. dard and compatible plug-in filters Motion The effect of movement are widely expanded in different which is manipulated by applying ways. Additionally, filters offer pos some filters on a still image. sibilities to combine their potentially spectacular effects with other tech niques.

In the process of experimenting,

Adobe Photoshop: a digital image processing program, and Macromedia Director: an authoring tool for interactive multimedia with animation environment, were used as tools along with other applica tions such as SoundEdit Pro, and Finder Hider.

As there are almost forty-five stan dard filters and numerous plug-ins, this project focused on seven select ed filters six standard and one plug-in. The final implementation is an interactive project which lets users experiment with these new techniques while navigating through 1 Review of the Related Literature

Adobe Photoshop is one of the most Filter Categories:1 powerful visual communication 1 . Special-effects filters have no tools. The program has expanded precedent in natural-media artwork the visual vocabulary of designers, or photography and produce a photographers, and illustrators to unique digital result. express their creativity. It also pro

vides a for laboratory synthesizing 2. Art-effects filters emulate natural textures, patterns, and special media, such as watercolor or col effects that can be applied to pho ored pencil, or cause an image to or video. tos, graphics, take on the appearance of another

medium. Photoshop's filters are small pro

grams that can be selected from the 3. Distortion filters displace pixels Filter menu to run on an entire by twisting or twirling them, or by image or a selection. These filters using any technique to shift their work the bits of by manipulating shape. data that make up a digital image. This manipulation or "pixel process 4. Production filters are used by ing" can create an unlimited num prepress houses to prepare images ber of permutations of the original for print, multimedia, or video out image. Filters can be applied direct put. They emulate darkroom tech or shown in the preview windows ly niques or produce new effects for that take the user into visual realms print or video jobs. of infinite magnification, color, and

pattern. The and scope of variety 5. Conversion filters include: con filters seem endless. version filters proper, which trans

form an image from one file format Adobe Photoshop, like many other to another; compression filters; for applications such as Adobe mat conversion filters; and special Premiere or Fractal Design Painter, types of import transformation filters has two kinds of filters: built-in and such as Photo CD. plug-in. Built-in filters also known

as native or standard filters are an 6. Hardware Plug-Ins: All filters that integral part of the program and add modular functionality to are always available in Photoshop's Photoshop and other graphics Filter menu. Plug-in filters are like "plug-ins." applications are

special-effects programs software However, not all plug-ins are into" add-ons that "plugged a "filters" as we define them. Some special folder. The Preference dialog are no more than interfaces that box allows users to inform allow a particular external device Plug- Photoshop where the ins folder (such as a scanner, printer, or is located. digital camera) to interact with Photoshop or with other graphics applications. Photoshop Standard 5. Stylize Filters: 5.1 Color Halftone Filters 5.2 Crystallize 5.3 Facet Photoshop 2.5.1 comes equipped 5.4 Mosaic with more than 40 filters. The filters 5.5 Diffuse are arranged hierarchically in the 5.6 Emboss Filter menu according to their func 5.7 Extrude tion. 5.8 Find Edges 5.9 Trace Contours 5.10 Fragment 1 . Blur Filters: 1.1 Blur 5.1 1 Lens Flare 5.12 Pointillize 1 .2 Blur More 5.13 Solarize 1 .3 Gaussian Blur 5.14 Tiles 1 .4 Motion Blur 5.1 5 Wind 1 .5 Radial Blur

2. Distort Filters: 6. Video Filters: 2.1 Displace 6.1 NTSC Colors 2.2 Pinch 6.2 De-Interlace 2.3 Polar Coordinates 2.4 Ripple 7. Special-Purpose Filters: 2.5 Shear 7.1 Custom 2.6 Spherize 7.2 High Pass 2.7 Twirl 7.3 Maximum 2.8 Wave 7.4 Minimum 2.9 Zig Zag 7.5 Offset

3. Noise Filters: 3.1 Add Noise 3.2 Despeckle 3.3 Median

4. Sharpen Filters: 4.1 Sharpen 4.2 Sharpen More 4.3 Sharpen Edges 4.4 Unsharp Mask Plug-in Filters 3.4 Colored Pencil 3.5 Diffuse Glow (These filter sets are alphabetically 3.6 Glowing Edges listed the company name.) by 3.7 Grain ALARIS 3.8 Note Paper 1. Apertura 3.9 Palette Knife 1.1 TIFF 3.10 Patchwork 1 .2 HandshakeCT 3.1 1 Photocopy 1 .3 HandshakeLW 3.12 Rough Pastels

1 .4 AccessCT 3.13 Sprayed Strokes 1 .5 AccessLW 3.14 Stamp 3.15 Texturizer ALDUS 3.16 Underpainting Gallery Effects: Three separate volumes of plug-in filters (16 filters 4. Gallery Effects; Classic Art, Volume3 per volume) apply a variety of dra 4. 1 Conte Crayon matic, photographic, and natural- 4.2 Crosshatch media effects to images. 4.3 Cut Out 2. Gallery Effects; Classic Art, 4.4 Glass Volumel 4.5 Halftone 2.1 Chalk & Charcoal 4.6 Ink Outlines 2.2 Charcoal 4.7 Neon Glow 2.3 Chrome 4.8 Paint Daubs 2.4 Craquelure 4.9 Plaster 2.5 Dark Strokes 4.10 Plastic 2.6 Dry Brush Wrap 4.1 1 Reticulation 2.7 Emboss 4. 1 2 Sponge 2.8 Film Grain 4.13 Stained Glass 2.9 Fresco 4.14Sumi-E 2.10 Graphic Pen 4. 1 5 Torn Edges 2.1 1 Mosaic 4. 1 6 Water Paper 2. 1 2 Poster Edges 2.13 Ripple 2.14 Smudge Stick ANDROMEDA FILTERS 2.15 Spatter 5. Andromeda Series 1 2.16 Watercolor 5.1 cMuIti 5.2 Designs 3. Gallery Effects; Classic Art, 5.3 Diffract Volume2 5.4 Halo 3.1 Accented Edges 5.5 Prism 3.2 Angled Strokes 5.6 Rainbow 3.3 Bas Relief 5.7 Reflection

5.8 sMuIti 5.9 Star 1 3.4 Noise Submenu: KNOLL SOFTWARE 5. 1 0 Velocity - Grime Layer 1 9. CyberMesh - Hue Protected Noise

- 6. Andromeda Series2 Special Noises; Red, KODAK - 3D Surface and Blue Mapping Green, 20. Photo CD Acquire

7. Andromeda Series3 1 3.5 Sharpen Submenu:

- Mezzo Filter - Sharpen Intensity MICROFRONTIER 21. Pattern CANDELA 1 3.6 Stylize Submenu: Workshop 21.1 Pattern Fill 8. ColorCrypt - Diffuse More 21 .2 Pattern Edit 9. PrintCal'PI - Find Edges/Invert 10. ScanCal - Find Edges/Charcoal - Find Edges/Soft PERFORMANCE

- RESOURCES DPA SOFTWARE Scatter Horizontal 22. Razza Matazz Filters

1 1 . Intellihance GS/RGB/CMYK 1 3.7 Video Submenu: 22.1 Fade 1 2. IntellihancePro GS/RGB/CMYK - Cyclone 22.2 Tremor 22.3 Sepia HSC SOFTWARE IMAGEXPRESS 22.4 Split 1 28 1 3. Kai's Power Tools 2.0: A set of 14. ScanPrep 22.5 RGB Swap over 30 special-effects filters for 22.6 FrameMaker Photoshop and other programs that N SOFTWARE 22.7 Modulus use plug-in technology. 22.8 Trig 13.1 Blur Submenu: 15. LineWorker

- Smudge Darken/Lighten 1 - PlateMaker PREPRESS TECHNOLOGY 23. Spectre Filters 1 3.2 Distort Submenu: IRONMIKE SOFTWARE 23.1 Color Correction - Glass Lens 17. commThinq 23.2 - Page Curl 17.1 commThing-TTY Unsharp Masking

17.2 commThing-T RING OF FIRE 13.3 KPT Submenu: 17.3 commThing-DIT

- 24. FotoMaqic Fractal Explorer 1 7.4 commThing-R

- Gradient Designer 24.1 Color Expander

- 24.2 Color Gradients on Paths 18. IronMikePIK Filters

- Texture Explorer 18.1 JPEG Format 24.3 Color Noise

- 3D Stereo Noise 18.2 JPEG Acquire/TIFF 24.4 Color Ranger

- Fade Contrast Acquire 24.5 Color Ranger II

- PixelStorm 18.3 JPEG Export/TIFF 24.6 Color Reversal

- PixelWind Export 24.7 Color Scaler

- PixelBreeze 18.4 Add/Edit Caption 24.1 Color Shifter

- Seamless Welder 24. 1 Color Switcher

- Selection Info - SAVITAR brushy Angles 48. Sucking Fish Series 25. ScanMatch 40. Terrazzo: Plug-in filter that gen 48.1 Deko-Boko erates pat kaleidoscopic repeating So' 48.2 Mr. Kan SECOND GLANCE terns from any PICT or native SOFTWARE Photoshop-formatted image in RGB, 49. Kas Thomas PhotoSpot 26. CMYK, or Grayscale modes. - Warm Contrast 26.1 Acetone 26.2 Chromassage SHAREWARE & FREEWARE 26.3 Chromapoint FILTERS 26.4 Laserseps 41. Adobe/Spectural 26.5 Paint Thinner 26.6 PhotoSpot 42. Paul Badger 42.1 Lumpy Noise SOUTHWEST SOFTWARE 42.2 Vector Graph Scanners 27. Color Encore for 42.3 Radar

STORM TECHNOLOGY 43. Jim Bumaardner

28. PicturePress - Expression 3.0

TOTAL INTEGRATION 44. Jeff Burton

- 29. FASTedit/CT and PRO Back Swap 30. FASTedit/DCS 31. FASTedit/TIFF 45. Chris Cox 32. Handshake/LW 45.1 Average 33. IRIS/CT 45.2 BitShift 34. FASTedit/VUE 45.3 Total Noise 35. FASTedit/Filmstrip 45.4 Fractal Noise 36. FASTedit/2.5 45.5 Plaid 37. Epilogue PS 45.6 Psycho 45.7 UnAlias Edge 3X3 ULTIMATTE 45.8 45.9 Erosion 38. PhotoFusion 45.10 Dilation 45.11 Skeleton XAOS TOOLS 45.12 Colorkey Paint Alchemy: A 39. user-config 45. 1 3 Chromakey brush-stroke filter that is fur urable 45.14 Fastkey nished with 36 predesigned brushes

and 75 preset styles such as 46. John Knoll Pointillist, Screen Door, Ripple, or - Cross-Stitch Sponge Print. In addition, any gray

as a 47. Thomos Knoll scale PICT file can be imported This project focuses on the motion effects of the filters which are applied to a still image, by experi menting with all standard filters and some plug-ins. Finally, six standard filters and one plug-in are selected Amount: 10 and discussed in detail. ^a Cancel Filters selected to be used in this project: Blur center: Standard Photoshop filters: Blur method: ** ^ > 1 . Blur: Radial Blur ff ^T Spin 2. Distort: Ripple Zoom f 1 O 3. Distort: Spherize f - \ 4. Distort: Twirl i(i;n<:Mt!in Quality: 5. Distort: Wave t : i [ J draft 6. Stylize: Extrude O good Plug-in filter: KssC^.n. Obest 7. Distort: KPT Gloss Lens Normol/Bright/Soft

Blur: Radial Blur dialog box. Descriptions of Selected Filters:

1 . Blur: Radial Blur Filter

7ype: Speciol-effects filter

Description: Rgdigl Blur shifts and blurs pixels with two different meth ods of application. The Spin method blurs pixels in a circular fashion, while the Zoom method blurs pixels as if one was moving in or out of the image. Radial Blur: 10/Spin/Good

Radial Blur: 10/Zoom/Good 2. Distort: Ripple Filter

Size: Small O Medium O Large

Distort: Ripple dialog box.

Type: Distortion filter

Description: The Ripple filter distorts the image in small, medium, or large curves that affect the image horizontally and vertically. The rip ple can be set intensively by enter ing a number from 1 to 999. Ripple: WO/Small

Ripple: 2 1 0/Medium

10 3. Distort: Spherize Filter

Spherize

Rmount: 100 CZD 2. Cancel

Mode: O Normal () Horizontal only O Uertical only

..-..-...-..-..-..--..

Distort: Spherize dialog box.

Type: Distortion filter

Description: The Spherize filter gives an image the appearance of being bubbled in an outward or inward direction, depending on the positive or negative percentage entered in the dialog box. The selection can be affected on the horizontal or vertical axis only.

When the selection is not square, the Spherize filter distorts it in a cir cular pattern by assigning the short est dimension as the circular distor tion height.

11 Spherize: 1 OO/Horizontal Only

Spherize: 100/Vertical Only

12 4. Distort: Twirl Filter

Distort: Twirl dialog box.

Type: Distortion filter

Description: The Twirl filter makes a twirling distortion on an image, using the center of the selection as the pivot point.

13 Twirl: Angle 50

400 Twirl: Angle

14 5. Distort: Wave Filter

LDaue

Number of Generators: Type:

25^ Sine O Triangle Min. Ma. O Square LUauelength: 10 250| a A

Amplitude: 5 20

z^Z^ Horiz. Uert. Scale: 100 % 100

Undefined Rreas: O LUrap Rround Repeat edge pixels Randomize

Distort: Wave dialog box.

Type: Distortion filter

Description: The Wave filter distorts

an image in different sizes of curves that affect the image horizontally and vertically. The number of wave

generators (range: 1 to 999), the

minimum and maximum wavelength

(range: 1 to 9,999), the height or

amplitude of the waves (range: 1 to 9,999), the horizontal and vertical

scale (range: -9,999 percent to

9,999 percent), and the wave type (sine, triangle, or square) can all be

specified.

15 Wave: 3/1 0-250/5-20/ 1 00%- 1 00%/

Repeat edge pixels/Sine

Wave: 3/10-999/5-15/100%-! 00%/

Repeat edge pixels/Square

16 6. Stylize: Extrude Filter

EHtrude

Type: Blocks O Pyramids

Size: 30 (piKels)

random Depth: 30 O leuel-based D Solid front faces D Mask incomplete blocks

HHaaaaaaMWMHAB

Stylize: Extrude dialog box.

7ype: Special-effects filter

Description: The Extrude filter cuts a

selection into a series of gridded,

three-dimensional chips. Either

block-shaped sections that use the

predominant color of each block as the front face, or blocks that use image areas as the front face of

each block may be specified. Alternatively, a pyramid shape may be selected as the grid block. The

size of the grid block and the depth

or length of the extrusion can be

controlled. The extrusion depth may be defined to correspond to the

light and dark areas of the image.

Light areas appear to extrude far

ther than dark areas.

17 Extrude: Blocks/30/30/Random

Extrude: Pyramids/20/40/Level-based

18 7. Distort: Glass Lens Filter (HSC Software-Kai's Power Tools 2.0)

Type: Special-effects filter

Description: The Glass Lens filter

produces an actual ray-traced 3-D

sphere within a selection, complete with highlight, an ambient light source, and a cast shadow. The

user can set the position of the highlight on the sphere and choose one of three light source intensi ties Bright, Medium, or Soft.

19 Glass Lens: Bright

Glass Lens: Soft

20 Interface Design Tools The tools for navigation such as menus, dialog boxes, and control Multimedia such as CD-ROMs, panels should make data and kiosks, presentations, and training functions appear simple. programs should provide good Appropriate organization of content information and users learn, help and layout help users to navigate use, and navigate their contents. To and interact in an effective way.

design an interface, understanding The appearance, the caption, and the users and designing an appro the size of the buttons are all

priate interface for the audience aspects that tell users how to control

important.^ movement within the project. and the contents are

Additionally, interactive content pre PI sents two design challenges: mak annmg The process for an inter ing the material interesting and planning active project is significantly differ making it easy to locate. ent from that of the more tradition

al, linear model. The way in which The more familiar and appealling one topic is accessed from another an interface, the easier it will be to reveals new challenges for users learn and use. This applies to the more comfortable with a model design controls, typography, sym where a second topic follows the bols, icons, charts, maps, diagrams, first. Planning these topical relation illustrations, photos, videos, any ships can be done using several underlying grid structure, and color methods, such as: relationship. building a flow chart

an outline Metaphor creating using an alphabetical index to Consistency and clarity are two of make topics more the most important concerns in accessible. The appropriate method developing metaphors or the inter should both match the to face design. All data and functions ability organize and complement the of should be appropriately organized complexity the content. and presented in a way that users can easily navigate through the contents.

Use concrete metaphors so that

users have a set of expectations to apply to computer environments.

Whenever appropriate, use audio and visual effects that sup port the metaphor/

21 Visual Appeal Testing Visual design within an interactive An important process between environment not only helps support design and production is testing. the content, but supports how users The finished project should be test will find and access the content. ed without the guidance of the

Consider the ways in which one author. It's the last chance to find

moves forward and backward (pre any hidden problems. Testing may vious and next), jumps to a related be partially done by the author, but topic or views a table of contents/ will be most effective if done by index page. These are all critical other people. Check the project on

aspects of good interface design. all configurations of memory and machines on which the author Simplicity intends the stack to run. Using a simple organizational strat egy, the project will be easier to "Have someone else test every but produce and will be easier for ton, command, and dialog box viewers to use. Nothing is more dis option. Check animation for speed tracting to the content of an appli and smoothness, for visual impact, cation than getting lost in a web of and for synchronization with sound. instructions. Including an index or Evaluate visual effects for consisten other master topic list will effectively cy. Check sound for volume, pace, hide the complexity and confusion and smoothness. Edit writing for introduced by facing too many flow, typographical or grammatical choices at once, yet provides the errors, and consistent font usage. functionality when it is needed. Check button, field, and graphic " placement."'

22 Procedure

Working with Adobe 1. Distort: Radial Blur Filter Photoshop Actual Size: 31 9 x 380 pixels Resolution: 72 dpi. Actual File Size: 356k In Adobe Photoshop, images were Mode: RGB manipulated and experimented with by applying seven selected filters Circle selection: Size 360 x 360 both standard and plug-in. pixels with feather 1 0 pixels

Filters selected to be used in this

project: Standard Photoshop filters:

1 . Blur: Radial Blur 2. Distort: Ripple 3. Distort: Spherize 4. Distort: Twirl 5. Distort: Wave 6. Stylize: Extrude

Plug-in filter: 7. Distort: KPT Glass Lens Normal/Bright/Soft

All images were scanned from 7bny Stone Images Catalog, Volumes 6

and 7 at 72 dpi. (RGB mode). After manipulated, they were saved as PICT files and numbered sequential ly (ex. Ripple 1, Ripple2, Ripple3, etc.). Also they were put in the same folder in order to be easily Radial Blurl arranged in the correct sequence Circle selection with Brightness -33, when imported as cast members in Radial Blur amount 26/ Macromedia Director. Zoom/Good

The following images are shown in order with the caption below.

Numerical settings are listed in the order they appear in the filter's dia log box. If the default settings were used, no settings are shown.

(Images are shown smaller than the actual size.)

23 Radial Blur2 Radial Blur3 selection with Brightness Circle selection with Brightness -31, Circle -34,

Radial Blur amount 41/ Radial Blur amount +56/ Zoom/Good Zoom/Good

24 Radial Blur4 Radial Blur5 Select All, Color Balance: Cyan Load circle selection, Inverse, - 1 00/Blue + 1 00, Radial Blur Radial Blur amount 21/Spin/Good, amount 74/Zoom/Good Brightness +30

25 Radial Blur6 Radial Blur7

Inverse selection, Radial Blur Inverse selection, amount 66/Spin/Good Brightness +60

Circle selection, Radial Blur amount 92/Zoom/Good

26 2. Distort: Ripple Filter

Actual Size: 299 x 385 pixels Resolution: 72 dpi. Actual File Size: 338k Mode: RGB

Chalk selection with feather 1

pixel

Ripple 1 Original image

27 Ripple2 Ripple3

Chalk selection then inverse, Chalk selection then inverse,

Ripple amount -56 Ripple amount -156

28 Ripple4 Ripple5

Chalk selection then inverse, Chalk selection then inverse,

Ripple amount -484 Ripple amount -999

29 Ripple6 Ripple7

Chalk selection, Chalk selection,

Ripple amount -225 Ripple amount -650

30 3. Distort: Spherize Filter

Actual Size: 298 x 380 pixels Resolution: 72 dpi. Actual File Size: 332k Mode: RGB

Circle selection (inside the

magnifying glass) with feather 2

pixels

Spherize 1 Spherize2 Spherize amount 1 Selection, Spherize amount 54%, Selection, 00%, Vertical Only Vertical Only

31 5pfier;ze3 SpherizeA Selection, Spherize amount 54%, Selection, Spherize amount 1 00%, Horizontal Only Horizontal Only

32 Spherize5 Spherize6 Spherize amount 1 Selection, Spherize amount -43%, Selection, %, Normal Normal

33 It," n V.**-'

Spherize7 Spherize8 Selection, Spherize amount 48%, Selection, Spherize amount 92%, Normal Normal

34 3. Distort: Twirl Filter

Actual Size: 344 x 248 pixels Resolution: 72 dpi. Actual File Size: 250k Mode: RGB

Imagel : Original image

Image2: Some areas were

changed into orange color

Twirl 1 Image 1 Original image (No filter)

Twirl2 Image2 Original image (No filter)

35 Twirl3 Image 1 Twirl Angle

Twirl4 Image2 Twirl Angle

36 TwirlS Image 1 Twirl Angle

|p &**' >*^ tr%-M

^Sp^- * :ti IIS

:'w ^fa.''*

Bu aiB

! fl 'A^^t%t-i ^^F^'-

.. 2k

Twirl6 Image2 Twirl Angle

37 Twirl7 Image 1 Twirl Angle

Twirl8 Image2 Twirl Angle

38 Twirl9 Image2 Twirl Angle

39 5. Distort: Wave Filter

Actual Size: 284 x 385 pixels Resolution: 72 dpi. Actual File Size: 321k Mode: RGB

Distort: Wave filter details:

Number of Generators: 5 Type: Sine Wavelength Min.: 5, Max.: 20 Amplitude Min.: 5, Max.: 16 Undefined Areas: Repeat edge

pixels

Wavel Original image

40 Wave2 Wave3 Wave: Scale Horizontal 0%, Wave: Scale Horizontal 0%, Vertical 26% Vertical 54%

41 ... .y: ::\.^: <:

Wgve4 WaveS Wave: Scale Horizontal 0%, Wave: Scale Horizontal 2 1 %, Vertical 100% Vertical 0%

42 Wave6 Wave7 Wave: Scale Horizontal 56%, Wave: Scale Horizontal 89%, Vertical 0% Vertical 89%, Blur: Gaussian Blur 2 pixels

43 6. Stylize: Extrude Filter

Actual Size: 344 x 263 pixels Resolution: 72 dpi. Actual File Size: 266k Mode: RGB

Clock selection with feather 1

pixel

Extrude 1 Original image

Extrude2 Clock selection, Extrude(Blocks) Size 10/Depth 10, Random

44 Extrude3

Clock selection, Exfrude(Blocks) Size 10/Depth 30, Random

Extrude4 Clock selection, Extrude(Blocks) Size 20/Depth 30, Random

45 Extrude5

Clock selection, Extrude(Blocks) Size 20/Depth 50, Random

Extrude6 Select All, Extrude(Blocks) Size 20/Depth 50, Random

46 Exttvde7 Select All, Extrude(Blocks) Size 20/Depth 80, Random

Extrude8 Select All, Extrude(Blocks) Size 30/Depth 100, Random

47 7. Distort: Glass Lens Filter

Actual Size: 294 x 385 pixels Resolution: 72 dpi. Actual File Size: 332k Mode: RGB

Using different sizes of circle selections (from small to large)

Glass Lensl Original image, Color balance: Blue + 1 00

48 ' ' f*. vv V '','.; / / ' '^ir a? fl

' J - ; P5 ^

v syHftMNN .hut * -SKI

8& **"

k',' . M^^l^^^^Q&^^^O^f Jw ''.j!

*%tM.Vvffl^vTO^Tfyfij^

G/ass Lens2 Glass Lens3 G/ass Lens: Soft Glass Lens: Bright, Color balance: Blue +100

49 Glass LensS Glass Lens4 Glass Lens: Glass Lens: Normal, Soft, Color balance: Blue +100 Brightness: + 1 8

50 ;-,-

"- '. vfe*i'';^i ^^Mf*Mguk

iif^^r^jiiiBF*^^8^ $ ^w^vir1 ~0 sP .i^M>*^BFyi^aB0^ ". m A. ::,

> -

'' ''IS

5%,,;'

, ./ ^

- P^wBtEr^S "J*; -fc- iP^fe *'-<**% >^'%%@SLjnMMjiBflMMi^3

, ';*% kCwhw'rl^S^^i

Glass Lens7 G/oss /.ens6 Glass Lens: G/ass tens: Normal, Soft, Color balance: Blue +100 Brightness: + 1 8

51 Working with

1 . Macromedia Pirector Distort: Radial Blur Filter

For each filter, a Director file was Frame rate: 8 frames per second separately constructed by sharing Total frames: 1 4 frames some cast members, background, Total images: 7 images Loop sound, and interactive graphic ele y ments. All graphics and texts were i 2 3 4 5 6 7 8 9 10 11 12 13 14 Frame number created in Adobe Photoshop and i 2 3 4 5 6 7 1 2 3 4 5 6 7 Image number saved as PICT files. Each filter movie was saved as a Director file, The sequence of frames and images in 1 loop except the introduction which was

saved as a projector.

In each Director file, the images manipulated with filters were

imported and arranged on the

stage in a sequence of frames. Repeating or reversing frames per formed a loop of motion. An appropriate frame rate (frames per

second) effectively brought up the visual effect of motion for each filter.

For each filter, the following infor mation provides the frame rate, the number of total frames, the number of total images, and the sequence of frames in a loop.

52 2. Distort: Ripple Filter

Frame rate: 6 frames per second Total frames: 1 5 frames Total images: 7 images

Loop r i

i 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Frame number

i 2 3 4 5 5 4 3 2 1 1 6 7 6 1 Image number