Edge Work
Combines edge detection with layered-drawing techniques to create an output that feels hand-drawn.
Compatibility
Edge Work is compatible with Final Cut Pro, Motion, Premiere, After Effects and DaVinci Resolve.
Combines edge detection with layered-drawing techniques to create an output that feels hand-drawn.
Edge Work is compatible with Final Cut Pro, Motion, Premiere, After Effects and DaVinci Resolve.
Presets contain a snapshot of your effect configuration. 30 built-in presets are available.
When you save parameter configuration to a file on disk, this file can later be loaded to recreate the same effect configuration. Presets generated in one video application can be used by the same plug-in running in a different video application.
Working with the Presets BrowserSimultaneously increases noise-removal pass on the input image, and decides whether the output focuses on larger areas with thicker contours, or allows finer details to remain visible.
This parameter can be especially helpful when dealing with noisy, heavily compressed footage.
Controls the visibility of the effect where the mask has been defined. When no mask has been defined by either Source, Mask or Depth parameters, this parameter controls the visibility of the effect as a whole.
The purpose of this parameter is clearer when considered along with the Opacity (Outside Mask and Composite With Original parameters below it. It allows you, for example, to keep effect full visibile within the current mask, but faintly visible everwhere else:
The following options are available:
Parameters in this section allow you to choose a set of pixels to apply the effect to, based on a number of techniques:
Parameters in this section define a shape used to crop the output of the effect with. When using an object tracker or face detection, the same mask shape is replicated for each object or face that appears in the frame.
Parameters in this section allow you to analyze your footage to estimate relative distance from the camera, and apply the effect only to a specific range of pixels.
On its default settings, the Depth parameters don’t affect the output at all. Click the Analyze button to being anaylsis:
A progress window will give you a preview of the estimate being made by the AI model for each frame:
When complete, the output isn’t immediately affected by the analysis. Let’s take the Edge Work filter as an example:
This is because the initial Range covers all possible values:
If you adjust the far end of the range, you will notice the effect being applied only to pixels that are nearer to the camera:
The output will reflect your choice with a clear demarcation between pixels that are within the range, and those outside:
Adjust the Softness parameter to soften this boundary, which has two side effects: blurring the contour as well as including pixels that are close to the selected depth range:
In our example, increasing Softness allows pixels that were previously excluded for being too distant from the camera, to be included again:
The Invert parameter allows you to quickly toggle the side effects of depth-based masking. If the Range initially controls what pixels are included in the effect, selecting Invert causes the range to exclude those same pixels instead.
Note that Depth parameters are applied last, after both Source and Mask parameters have already been use to compute the current mask. This allows you to combine all three features together to create a better mask for your effect.
Parameters in this section allow you to apply color distortions inspired by lens geometry, but with greater artistic range.
When Source is set to either to use object tracking or face detection, this parameter lets you rig the location of the lens to a specific object or face.
Enable and control animation progress through a set of parameters.
When the animation is Off, no transition in or out of the effect occurs.
When the effect is set to build in and out by Trimming, the following parameters are displayed:
The Trim slider defines a range where the effect has been fully built. Any time outside this range is spent building the animation in or out. For example, if the Trim range is set between 20% and 80%, the effect builds in from the start of the clip up to 20% of its duration. The effects builds out from 80% to the end of the clip. If the clip were 5 seconds long, the build in and out animations last 1 second each.
When the effect is set to build in and out through a Duration, the following parameters are displayed:
The Build In (secs) and Build Out (secs) give you an exact way to decide how long each animation should last. Should your selection not be applicable to the current clip, a warning will appear in the output. For example, if your clip lasts only 3 seconds, it would be impossible to have the build in and out animations both last 2 seconds each (as the total would be 4 seconds).
When the effect is set to build in and out through Keyframes, a single parameter is displayed:
The Build In (Easing) and Build Out (Easing) parameters let you choose the animation curve when animating by Trimming the clip or by specifying a Duration.
The Progress parameter gives complete control over the animation to you. You will need to keyframe the Progress parameter using features of the video app. Note that there are no easing options when manually animating via keyframes.
Turn this parameter on to animate the Amount value specified under the Chromatic Aberration section. A number of standard controls allow you to control the animation:
A number that controls random aspects of the effect.
Click the button to assign a new seed value. When the seed value is changed, the effect uses a different random sequence to produce a different output.
Edit the existing value to manually assign a seed number. This may help you replicate a particular sequence of random events. In Final Cut Pro and Motion, hold down the Option ⌥ key to access the button in the inspector.
This section allows you to limit the effect to specific channels, leaving others unmodified.