THE BRUSH SOURCE CONTROL PANEL

All of these controls are explained in the Brush Source section of the Paint Synthesizer chapter in the User Guide. But i'll provide some detail below for you.

Colors that people perceive in the world can be represented in a 3-component color space. This is because the human visual system has 3 different kinds of color sensing cones. Here's an article on color vision if you aren't familair with it.

There are several different 3 component color spaces that can be used for digital image processing.

RGB refers to red, green, blue color space. It loosely corresponds to the 3 different types of color cones. It also loosely corresponds to the 3 phosphor primaries in color television displays. Here's an article on the RGB color model.

YIQ is another 3 component color space. It was also developed for color television systems. Y is a luminance channel, I and Q are 2 chrominance channels.

The 2 brush mapping you refer to analyze all of the different images in the brush (frames if movie brush, images in a folder is folder brush), compute the overall error between each image and the color that should be painted to represent the source image in that area, and then choose the image closest in overall color. If it's RGB mapping, then the error computation is in RGB color space. If it's luminance mapping, then the error computation is in luminance space (the chrominance is ignored).

Movie Brush indexing can be 1 dimensional, or 2 dimensional.

MB 1D Frame Mod is associated with 1-dimensional movie brush indexing.

The MB 1D Frame Mod parameter lets you choose a modulator to index through the individual frames in the movie brush, or the individual images in the image folder brush. The frame position or index is pretty obvious in a movie. For the images in an image folder brush, it's going to to be the alphabetical ordering of the individual image names. Giving them all the same name and adding numerical indexing at the end is one easy way to control that.

So if you choose pen pressure for the MB 1D Frame Mod, then as you press the pen down light and then harder into the canvas, you will move from the beginning frame to subsequently higher indexed frames until max pressure will index to the last frame in the movie brush.

If you choose luminance, them the luminance of the source image will be used to index into the stack of images. So black (0 luminance) will index to the first frame of the movie, while white (255 luminance) will index to the last frame of the movie.

Now, unless you specifically generated your movie brush so that the individual frames in the movie were ordered from the darkest to the lightest, just using luminance to index into movie frames might generate somewhat random results.

The MB Attribute Index lets you choose how the individual movie frames are ordered for the purposes of the frame modulation. Cycle Fwd (forward) just uses the physical index positions. Luminance or Orientation will remap the frame positions internally so that they are ordered by increasing luminance or orientation.

So, if you changed it to use Luminance, and you were using the pen pressure frame modulation, then you would always modulate from the darkest movie frame image to the lightest as you pressed down with increasing pressure. This is because the individual frame had been internally re-index based on their luminance.

The frame modulation options that have mapping in their names (RGB Mapping, Luminance Mapping), work differently than the other modulators like pen pressure for example. They work as i explained above, analyzing the entire set of images in the brush, and choosing the one that gives the lowest error in the appropriate color space.

2-dimensional movie brush indexing lets you have 2 different modulators to modulate through the movie frame indexing. Here's a hypothetical use of 2d modulation. you could organize your movie brush to allow pen modulation with pen pressure and pen tilt orientation. Your movie could be composed of a set images of different sized objects, where each object would be imaged at several different orientations. The pen pressure would be indexing through the set of different sized frames, and the pen orientation would be indexing through the individual object orientations.

You can also use 2d modulation so that frame time in an animation is used for 1 dimension of the indexing, and some other modulator is used for the second frame of indexing. You then stack several different movies together sequentially into a single longer movie file. they all have to be the same # of frames. So you can use the animation frame time to be indexing the frame timing in the individual movies, while the other modulator is being used to index between the different movies. This lets you have a series of movies being played back in the movie brush of an animation. So you could do things like photo mosaic movies.

This has been discussed previously here on the user forum in great detail. Look through the archives for more discussion about it.

Replies

Synthetik December 7, 2017 at 9:33am

All of these controls are explained in the Brush Source section of the Paint Synthesizer chapter in the User Guide. But i'll provide some detail below for you.

Colors that people perceive in the world can be represented in a 3-component color space. This is because the human visual system has 3 different kinds of color sensing cones. Here's an article on color vision if you aren't familair with it.

There are several different 3 component color spaces that can be used for digital image processing.

RGB refers to red, green, blue color space. It loosely corresponds to the 3 different types of color cones. It also loosely corresponds to the 3 phosphor primaries in color television displays. Here's an article on the RGB color model.

YIQ is another 3 component color space. It was also developed for color television systems. Y is a luminance channel, I and Q are 2 chrominance channels.

The 2 brush mapping you refer to analyze all of the different images in the brush (frames if movie brush, images in a folder is folder brush), compute the overall error between each image and the color that should be painted to represent the source image in that area, and then choose the image closest in overall color. If it's RGB mapping, then the error computation is in RGB color space. If it's luminance mapping, then the error computation is in luminance space (the chrominance is ignored).

Movie Brush indexing can be 1 dimensional, or 2 dimensional.

MB 1D Frame Mod is associated with 1-dimensional movie brush indexing.

The MB 1D Frame Mod parameter lets you choose a modulator to index through the individual frames in the movie brush, or the individual images in the image folder brush. The frame position or index is pretty obvious in a movie. For the images in an image folder brush, it's going to to be the alphabetical ordering of the individual image names. Giving them all the same name and adding numerical indexing at the end is one easy way to control that.

So if you choose pen pressure for the MB 1D Frame Mod, then as you press the pen down light and then harder into the canvas, you will move from the beginning frame to subsequently higher indexed frames until max pressure will index to the last frame in the movie brush.

If you choose luminance, them the luminance of the source image will be used to index into the stack of images. So black (0 luminance) will index to the first frame of the movie, while white (255 luminance) will index to the last frame of the movie.

Now, unless you specifically generated your movie brush so that the individual frames in the movie were ordered from the darkest to the lightest, just using luminance to index into movie frames might generate somewhat random results.

The MB Attribute Index lets you choose how the individual movie frames are ordered for the purposes of the frame modulation. Cycle Fwd (forward) just uses the physical index positions. Luminance or Orientation will remap the frame positions internally so that they are ordered by increasing luminance or orientation.

So, if you changed it to use Luminance, and you were using the pen pressure frame modulation, then you would always modulate from the darkest movie frame image to the lightest as you pressed down with increasing pressure. This is because the individual frame had been internally re-index based on their luminance.

The frame modulation options that have mapping in their names (RGB Mapping, Luminance Mapping), work differently than the other modulators like pen pressure for example. They work as i explained above, analyzing the entire set of images in the brush, and choosing the one that gives the lowest error in the appropriate color space.

2-dimensional movie brush indexing lets you have 2 different modulators to modulate through the movie frame indexing. Here's a hypothetical use of 2d modulation. you could organize your movie brush to allow pen modulation with pen pressure and pen tilt orientation. Your movie could be composed of a set images of different sized objects, where each object would be imaged at several different orientations. The pen pressure would be indexing through the set of different sized frames, and the pen orientation would be indexing through the individual object orientations.

You can also use 2d modulation so that frame time in an animation is used for 1 dimension of the indexing, and some other modulator is used for the second frame of indexing. You then stack several different movies together sequentially into a single longer movie file. they all have to be the same # of frames. So you can use the animation frame time to be indexing the frame timing in the individual movies, while the other modulator is being used to index between the different movies. This lets you have a series of movies being played back in the movie brush of an animation. So you could do things like photo mosaic movies.

This has been discussed previously here on the user forum in great detail. Look through the archives for more discussion about it.
- ASARE CHRISTIAN > Synthetik December 8, 2017 at 9:49am
  
  Hi
  
  Thanks for the reply.
  
  Please how do you paint ensuring that the brush nibs follow the contour or orientation of the source image when using the mouse to paint.
  
  Thanks.
  - Synthetik > ASARE CHRISTIAN December 8, 2017 at 10:01am
    
    Are you asking about modulating the orientation of the brush nib itself to match the source image? Or making sure the paint path follows the orientation of the source image.
    
    The orientation modulation of the brush nib is controlled by the appropriate parameter settings in the Brush Modulation control panel.
    
    The paint path direction is modulated by the setting sin the Path Angle control panel.
    - ASARE CHRISTIAN > Synthetik December 8, 2017 at 10:12am
      
      Please I want the brush nibs itself to match the orientation of the source image.
      - Synthetik > ASARE CHRISTIAN December 8, 2017 at 10:33am
        
        You use the orientation modulation control sin the Brush Modulation control panel.
        
        Those Brush Modulation control panel settings are all you need to work with if you are doing normal painting.
        
        If you are working with region fill as brush pen mode in path start regionizaiton presets, then you need to use a special Brush Option in the Region as Brush Mode control panel if you want the Brush Modulation orientation modulation to affect the rgb contents of the temporary brush nib generated by the region as brush pen mode.
- ASARE CHRISTIAN > Synthetik December 12, 2017 at 11:12am
  
  i'm using Graffiti preset
  
  a-01.png
  
  c-01.png
  
  b-01.png
  - Synthetik > ASARE CHRISTIAN December 12, 2017 at 11:25am
    
    Are you talking about one of the graffiti grid scan presets from V4? They don't use the Source Alpha brush type.
    - ASARE CHRISTIAN > Synthetik December 12, 2017 at 11:33am
      
      Yes please
    - ASARE CHRISTIAN > Synthetik December 12, 2017 at 12:02pm
      
      Please I am using source brush under the brush type control panel.
      - Synthetik > ASARE CHRISTIAN December 12, 2017 at 12:19pm
        
        If you want to use the image brush's alpha channel for the brush shape (and associated anti-aliasing), you need to use the Source Alpha brush type. Otherwise, 255 white in the brush rgb channels masks the brush out, and 254 to 0 blends if your Fill Option is set to Blend. If it's set to From, then there is no anti-aliasing.

This reply was deleted.

All forums

THE BRUSH SOURCE CONTROL PANEL

Replies

Is anybody making a copy of all the material in the Tutorials Forum

Studio Artist is in Italy!

The Overload

Teenage Tongue Cult

Note: this page contains paid content.

Note: this page contains paid content.