Changelog

1.0 (in development)#

The first release.

• One effect asset, three ways to play it. A Blendable Effect plays as a transition over any change of shot, as an impact that strikes once, or as an overlay held on screen, from Blueprint, on a view target change, across a level loading, from a volume in the level, or on every camera cut in the game.
• Ninety-two looks, from fades, irises and pattern dissolves to film burns, videotape, lens swaps, mirror shutters and anime impact frames; devices worn or held to the eye, camera lenses and film stocks; grades, grain, fog and vignettes; drawn and retro looks; and your own post process material.
• Night Vision, worn: an image intensifier rather than a green tint, amplifying the light the scene really has, with auto gain, focus, an aperture down to a pinhole, focus that keeps the room sharp and the weapon in your hands soft (its blur spilling over what's behind it), one, two or four tubes (a panoramic's four running into one view as one block), blemishes that ride with the tubes, a housing in four round shapes, folding down from the helmet in an arc as a real one does and settling as it snaps into place (or pulled down, or folded then swung in, its arms bouncing as the fold lands, or faded in) on a curve and with a shake, a blur quality to trade smoothness for cost, grain that follows the light and the quality of the tube, its bright sparkles as many and as big as you like, a thermal clip-on drawn in a colour of its own (orange unless you pick another) with its glow, detail, noise and lag to tune, and an auto shutoff in bright light. Nodes to equip, unequip, toggle, set the gain, light its illuminator and power it off, and a monocular, a binocular and a four-tube panoramic, each with old tubes or new, in green or white phosphor.
• Infrared that only night vision sees: illuminators lighting the dark for the tubes alone, with shadows, glints and a soft-edged beam, aiming lasers with a beam through the air, flickering and dusty to taste, and a glowing dot where they land, round from any angle, and strobes, on a Blendable IR Emitter component or actor; a goggle's own illuminator; and emitters that glow and bloom when they face the tube.
• Thermal Vision in seven palettes, and Scope, Binoculars, Weapon Sight and Worn Mask, moving against the eyes as the head does, with soft, blurred edges, edge blur, lens distortion and aberration to tune; scopes and binoculars zoom with the camera, sharp at any magnification; masks fog with breath like a cold visor, in time with breath sounds and events either way round.
• Lenses and film: Anamorphic Lens, Vintage Lens, Petzval Lens, Orthochromatic Film, Fisheye Lens, Tilt Shift and Everyday Camera.
• Text and Colour Grade: words over the picture, and a grade with split toning or your own look-up table.
• Listen: the world drained to a cold grey and darkened, and the people it can hear drawn through the walls as light, near ones as their own shapes with a glow and far ones as softer, fainter blobs, a ring of sound sweeping out as it begins. Every character shows itself while it plays, with nothing to set up.
• World Code: the world made of falling code, columns of characters running down its walls and across its floors, each column's head bright and its trail dimming, the outlines of things lit. As an overlay, or as a transition into the code and out.
• Veins creeping in from the edges and swelling with each heartbeat, for low health, pain, a hit from one side, poison and infection, and bleeding out as a transition.
• Lens Drop: one big drop landed on the lens, rain on a visor or blood in the eye. The picture behind it is bent as a lens bends it and blurred, a softer blur spreads round it, its rim is darker, the light catches its top, and its colour stains what's seen through it, deep red for blood or near white for water. It lands and spreads as it comes in.
• Fifteen looks for style and story: Colour Shift, Retro Palette, Grain, Vignette, Fog, Sonar Pulse, Force Field, Dazed, Dirty Lens, Patterned Glass, Sketch, Text Screen, Mirror, Endless Zoom and Progressive Load. Fog and Sonar Pulse measure real distance in the world.
• Impact frames with smears, explosions, colour switches and exposure, struck on the player, at a point in the world or on an actor as it moves.
• Tuning: every look's own settings on the effect's panel, at the numbers each was designed with.
• Layers over any look: distortion (shake, judder and your own texture among them), aberration, motion blur, a feathered mask in a shape or your own texture, a falloff, Blend With The Picture in a paint program's layer modes, and Cracks in the glass, grown from each hit as damage mounts.
• Shakes: an effect can play a camera shake as it starts, when it's in and as it goes.
• Driven by the game: an effect's Drivers read a number such as Health from the player's pawn, controller or state and drive how far it's on screen or any of its settings. Hits from a direction with Play Impact From, and nine hit starters to strike that way.
• The FX Volume, playing effects as the player walks in: the first, each in turn or one at random, from a list and from whole folders.
• Previews of every effect, all three ways, from its own panel with no game running.
• The look browser: every effect the game has, in a panel over the running game, to play any of the three ways and tune live on a copy, opened from a Blendable FX button on the editor's toolbar; hide the panel and it's a photo mode. Live Tune on the same button tunes whatever is running as it plays.
• Three hundred and thirty-three starter effects in Transitions, Impacts and Overlays folders, the overlays with folders of their own for devices, cinematic looks, lenses, grades and text.
• Blendable picks the effects up on its fixed cameras, presets and hooks, with neither plugin needing the other.