Apply media effects

Turn an image or video into ASCII, halftone print, tape damage, CRT, painted art, and more — without touching the original file.

An effect changes how a photo or video looks, not what it is. The file on disk never changes. You can adjust the effect later, animate it, or take it off entirely.

Here is the whole range on real footage:

Eighteen effects, sixteen color looks and four LUT paths — all on a single media layer, and all still editable afterwards.

What each family is for

Essentials — Blur, Pixelate, Bloom. Hide something, pull focus onto something else, or make bright areas glow.

Retro and glitch — Tape Damage, Film Artifacts, Scanlines, CRT Curvature, Channel Separation, Digital Glitch, Chroma Softening. Make footage look like old tape, old film, an old monitor, or a broken signal. The damage is built to behave like the real thing — tracking wobble, color bleed and tearing — not random colored noise.

Print — Halftone, Two-Ink Print, Ordered Dither, Mono Screen. Turn the picture into printed dots or a two-color poster.

Art — ASCII, Engraving, Crosshatch, Kuwahara Paint. Redraw the picture as text characters, engraved lines, hatching or paint. ASCII alone has eight styles, not one switch.

One source, four finishes: original, pixelated, two-ink print, and ASCII.

For grain and darkened edges, use Grain and Vignette in Color grading. For a HUD, light leak or flash, use a Catalog overlay.

Try one in Studio

Select an image or video, then open Effects in the Inspector. Pick one effect, adjust it, and play the clip all the way through — some effects only look wrong once things move.

An effect covers the whole media layer. It does not follow a face, a screen or an object. If only part of the frame should change, crop or mask that part into its own layer first.

Blur, Bloom and Kuwahara Paint are the expensive ones. Several of them stacked across large layers will slow down both preview and rendering.

Or just ask the agent

Describe what you want it to look like. You do not need to know the control names:

Make this product clip feel like a clean two-ink editorial print.
Keep the product shape and label readable.

The agent can look up what is available before it changes anything:

npx hyperframes media-treatment --capabilities --json
npx hyperframes media-treatment --capability twoInkPrint --json

Then apply it:

npx hyperframes media-treatment \
  --selector '#product' \
  --grading '{"preset":"two-ink-print"}' \
  --apply --json

Add --dry-run to see the change without writing it, --analyze to measure the source first, or --clear to take an effect off. This writes the same data-color-grading data that Studio reads, so the two never disagree.

Keeping it useful

Use blur or pixelation when you actually mean to hide or reveal something. If you pick a strong look, commit to it — a half-strength ASCII just reads as a mistake. Compare against the original, and take the effect off when it starts competing with the story.

Two limits worth knowing

HDR. Effects run on the standard (SDR) pipeline. A native HDR layer keeps its HDR pixels through a separate path, so these effects will not appear on it. Convert to SDR if the effect has to survive into the final file.

Remote files. Keep media inside the project. A file loaded from another server only works if that server sends the right CORS headers, and it can disappear between now and render time.

The Color grading guide covers correction, curves, selective color and LUTs. The HTML schema has the exact data format.

Related topics

• Color grade images and footage
• Use images and video
• Browse ready-made visual effects