All the FX. One window.

The classic combined tonal adjustment, with a movable pivot.

Brightness is an additive shift; contrast scales around a pivot you can drag toward shadows or highlights.

Brighten or darken in real photographic stops.

Multiplicative like a camera — each stop is a factor of two, +1 doubles the light, -1 halves it.

Rotate hue, push saturation, lift or drop value.

Standard HSV colour-space adjustment; hue rotates a full ±180°, saturation and value scale multiplicatively.

Bend the midtones brighter or darker without touching the ends.

A power-curve tonal response, per-channel selectable to match Levels — below 1 darkens mids, above 1 lifts them.

Crisp up detail without amplifying flat-area noise.

Unsharp mask — subtract a blur, add the scaled difference back, with a threshold that protects flat regions from noise gain.

A clean, true softening, smooth at any radius.

A real two-pass separable Gaussian on the compute engine — no blockiness or aliasing as the radius grows.

Add colour intensity, gently or hard.

Standard saturation plus Vibrance, which protects already-saturated colours and skin tones from over-cooking.

Flip tones, all channels or one, at any strength.

Channel-selective tonal inversion with a strength control for partial blends.

One-tap full-range normalisation.

A two-pass compute effect — pass one scans the image for peak brightness, pass two stretches every pixel to use the full range.

Set black point, white point and gamma by hand.

The foundational tonal tool — remap the input range per channel, cheap and visibly powerful.

The flagship tonal control: drag the curve, remap the tone.

An interactive control-point editor baked to a 256-entry monotone-cubic LUT at render time.

A directional streak, as if the camera moved.

N taps marched symmetrically along an angle — the directional companion to the isotropic Gaussian blur.

Ordered dithering down to real console palettes.

Selectable Bayer / blue-noise threshold masks plus named palettes — Game Boy, PICO-8, CGA, EGA, NES, C64 — quantising toward the nearest palette colour.

The single-screen print-dot look.

An angled screen of dots whose size tracks tone, with selectable cell size, angle and dot shape.

Crush the tonal range into flat steps.

Quantises each channel to a set number of levels, with a gamma pre-bias to shift where the steps land.

Blocky, low-res down-sampling.

Averages the image into fixed cells, square or shaped — the classic mosaic.

Hard two-tone cut to black and white.

Splits the image at a level into dark and light, with an adjustable softness on the edge and choosable two colours.

Organic, grain-like diffusion dithering.

True sequential Floyd–Steinberg / Atkinson error propagation in compute — quantise per pixel, push the error to unprocessed neighbours in scan order.

True four-colour process halftone — print, not a print filter.

Real CMYK separation, four screens at the traditional C15/M75/Y0/K45 angles, subtractive ink-on-paper recompose with misregistration. No named competitor does this.

Outline the image for line-art and blueprint looks.

Three classical detectors — Sobel (smooth), Roberts (sharp/aliased), Laplacian (fine etched), with ink/paper recolour.

Shatter into cellular, stained-glass regions.

Cellular tessellation — each region takes the property of its nearest seed point, via a fast 3×3-neighbourhood lookup.

Grow Turing patterns — spots, stripes, mazes — out of the image.

A Gray–Scott reaction-diffusion simulation seeded by the picture; curated F/K presets pick the known-good pattern regimes.

Push pixels around with smooth noise.

Noise-field displacement of the sampling position, by amount, frequency, angle and axis.

Hard line-screen and frequency-modulation patterning.

Carrier/modulator frequency-modulation that re-renders the image as modulated line density and width.

Mirror the frame into radial symmetry.

Segmented angular mirroring around a movable centre, with zoom and per-axis mirror.

Colour smeared along invisible currents, like slow flow.

~20 taps accumulated along a curl-noise direction field — fluid, not blur and not glitch; colour lags behind its position.

Light-trails and motion accumulation on a still.

Bright-weighted accumulation along a path (directional / radial / flow) — light persists in the trail, darks barely register.

Re-draw the image as pen-plotter marks.

Hatch / flow / contour / circuit toolpath styles — line density follows tone, direction can follow image gradients.

The image redrawn as 3D-print cross-sections.

Posterise into tonal regions, wall each with concentric perimeter rings, fill the interior with a selectable infill pattern.

A wet, melting, dissolving smear.

A directional flow that blends gravity-style dripping with form-following runs — reads as "did this get wet?" rather than a known filter.

Painterly flattening that follows the image's structure.

Structure-tensor-guided anisotropic Kuwahara — an oriented elliptical neighbourhood splits into sectors; the lowest-variance sector wins, abstracting detail along the flow.

Irreducible marbled, organic distortion.

Recursive fbm domain warping (Quilez f(p+h(p))) displacing the sampling field — high complexity for low cost, with dispersion.

Dendritic coral / frost branching grown from the image.

Diffusion-limited-aggregation on feedback buffers, seeded from image structure — empty cells stick with a tip-biased probability.

A breathing, alive cellular membrane.

Continuous cellular automata — a ring kernel and Gaussian growth function on feedback buffers, seeded from the image, with a discrete Conway-style fallback.

Bring another image into the stack and place it.

Composites a source — your base image or an imported one — with position, scale and angle, held at its own aspect; it outputs coverage alpha, so the layer's blend and mix treat it like any other effect.

Move, scale, rotate, or skew the whole frame — with Position X/Y and a projective corner-pin.

A 3×3 homography built about the image centre, inverse-warped per pixel, driven by a movable canvas-centre handle and camera-move presets; edges reveal as transparent, mirror, or clamp.

Map the tonal range across two (or three) colours.

Shadow/highlight (optionally midtone) colour mapping with selectable interpolation — OKLCH-capable for even blends.

Remap tone through a full gradient ramp.

The luminance drives a position along an editable multi-stop gradient, baked to a LUT, with presets.

The darkroom tone-inversion effect.

Inverts tones above a threshold — Hard for an abrupt graphic flip, Smooth for the gentle Sabattier bell-curve inversion.

Tint shadows one way, highlights another, keep the luma.

The colourist's shadow/highlight tinting with a movable pivot and preserve-luma — it grades, it doesn't replace.

Limited spot-ink riso print, mis-registration and all.

Luminance-separated into 2–3 inks, each screened at its own angle with mottled grain, multiplied over tinted paper.

CRT scanline raster and vignette.

Frequency/depth scanline modulation with an optional CRT-style vignette.

VHS, NTSC and broadcast-format artifacts.

Format-accurate signal simulation — chroma bleed/bandwidth, signal noise, distortion and scanlines, by mode.

A deep display engine: eight devices, modelled to the hardware.

Palette → subpixel/cell mask → grid/gutter → glow → curvature/convergence pipeline — real CRT shadow-masks down to the Trinitron damper wires, LED, LCD and more.

Real film and sensor grain that responds to tone.

Tonally-responsive grain (strongest in the midtones, a 4·L·(1−L) curve) across film/digital/dust modes, with size, chroma and seed.

Real hardware breaking — a magnet on the tube, a failing panel, a dying cable.

Each device is simulated by its mechanism, not its appearance: a magnet warping CRT convergence, a stuck-driver LCD, an HDMI link failing, and generation loss — the photocopy-of-a-photocopy — with an optional dead colour channel.

A 1973 scan processor, driven by depth.

Bends every scan line into a 3D relief by deflecting it along luminance or the depth map — the Rutt/Etra technique — with the space between lines left black, filled with the image, or punched transparent.

A clean optical RGB fringe.

Symmetric channel spread along an axis with radial falloff — lens-style, not corruption.

Sorted pixel streaks within tonal spans.

A true per-span insertion sort along rows or columns, bounded by luma thresholds — the real sort, not a smear.

Broadcast-error band slipping and tearing.

Horizontal bands slip sideways with RGB channel tears, rare sync-tears, and bright corruption noise rows.

Datamosh-style buffer corruption.

Block-aligned corruption — macroblocks smear, colour-tear (channel byte-shift), or collapse to a flat DC block, with optional quantize banding.

Hard structural slab and block tearing.

Slice / block / row displacement with wrap-or-clamp seams and optional per-segment channel recolour — structural, not noise.

A fully broken transmission.

Layered sync tear, frozen roll bar, RF multipath ghosts, tape dropout, head-switch noise and SNR collapse to snow (roll is a single honest frozen frame).

An honest melt / smear on one still.

Iterative backward advection on feedback buffers — seed, advect along a flow field with colour-bleed and decay, render. Internal iteration, not cross-frame datamosh.

Real JPEG compression pushed until it breaks — the look from the math.

A true 8×8 DCT pipeline — RGB→YCbCr, forward DCT, quantise against real JPEG tables scaled by quality, inverse DCT, with selectable chroma subsampling and ringing. Real artifacts, because it's real compression.

The "ran it through Audacity" look.

Flatten the image row-major into a 1-D stream and apply audio filters — echo, amplify with overflow-wrap (the wrap is what tears colour), reverse, fade.

Break the image into depth-based shards.

Displaces the layer by an amplified, noisy depth gradient — stack it after a mark FX like ASCII to scatter the marks; chroma splits the channels and edge-focus concentrates the break on depth discontinuities.

Overlapping-grid shimmer and interference.

Rotated line, dot, or wave gratings beat into moiré patterns; the image can modulate their frequency and phase so the interference bends around the picture.

Stretch pixels into long streaks.

A slit-scan pull — pixels are dragged from a movable source line along an axis, with a luminance threshold gating which regions streak.

The image in Unicode block characters.

Font-atlas cell rendering tuned for an orthogonal geometric look — square cells, curated block ramps, ink/paper colour.

Classic text-art, your charset or one of five ramps.

Per-cell luminance mapped to a character ramp via the font atlas, with cell aspect, colour modes (mono → ANSI-16) and custom charsets.

Schematic / blueprint, drawn in box-drawing glyphs.

Per-cell Sobel gradient classified into edge categories (horizontal, vertical, corner, diagonal) and matched to the box character that fits.

Two colours per cell — the BBS-era ANSI art trick.

Renders an upper-half-block per cell, sampling top and bottom halves for fg/bg colours — doubles vertical resolution over ASCII.

The image as a field of raised braille dots.

A 2×4 ordered dither decides which dots in each cell light, each drawn as a round dot with a gap — the braille lattice itself, not a font.

Bright highlights spread and bleed.

Threshold-gate the bright pixels and spread them by radius and intensity — the classic bright-bleed.

A long horizontal cinematic lens streak.

Threshold-gated highlights sampled along a directional axis with gaussian falloff and a tint — the anamorphic-lens streak, angle-rotatable.

Cross / star rays from highlights.

The same directional sampling at N angles at once — 4 for a cross, 6 for a hex star, 8 for a burst.

A soft, ethereal halo.

A denser radial multi-tap than Bloom — larger radius, gentler falloff, no ringing — an aura rather than a spread.

The lens-whacking light-leak and tilted-focus look.

A tilted focus plane plus a warm light leak that refracts relative to a virtual light source — a recognisable free-lensing optical character with a haze lift.

Move the light after the shot — real form, real texture.

Surface picks the heightfield: Depth for the picture's real 3D form, Luminance for fine surface texture (the classic emboss), or Both — the default — with the luma's detail riding on the depth's shape. Normals by true per-UV derivatives, then a movable light with cavity AO, specular sheen, and a ray-marched cast shadow in honest units: lower the light, longer the shadow.

Darken (or colour) the frame edges.

Aspect-aware roundness blending a frame-following ellipse and a circle, toward a chosen colour — not just a darken.

Warp the image through textured glass.

Bends the layer beneath through the depth relief like a glass sheet, with a self-frost, a fresnel sheen, and a chromatic split.

Coat the subject in chrome or liquid metal.

Reflects a procedural studio environment off the depth-normal — chrome, iridescent, or liquid metal wrapping the form (reflection, not lighting, is what reads as 3D).

See the inferred depth itself, styled.

Renders the content-aware depth channel — false-colour ramp, topographic iso-contours, or parallax displacement. The depth is inferred once per image, in the browser, and cached for every depth effect to share.

A cutaway cross-section through the image.

A movable slice plane cuts away the near material to a solid fill face, with 3D-print layer lines behind and anti-aliased edges.

A luminous sci-fi scanner band at a depth plane.

A patterned glow band sits at a depth position and screen-blends over the image, leaving it intact (distinct from Slice, which cuts away).

Sunlit aerial haze and light through air.

Contrast and saturation fall off with distance, plus a screen-space sun with warm/cool inscatter and optional crepuscular shafts — light travelling through air, not a flat veil.

Warm the near, cool the far — grading by distance.

A depth-driven split-tone (near tone / far tone), luma-preserving, with adjustable balance and falloff.

Distance-driven volumetric atmosphere.

A falloff curve plus a ground-fog vertical gradient and frozen turbulence wisps — depth-driven, honest about being a still.

A real lens: focus that falls where the depth actually is.

A per-pixel circle of confusion from inferred depth, gathered through a configurable aperture — polygonal blades, catadioptric or anamorphic bokeh, highlight-weighted. Competitors fake focus with a flat radial mask; this uses the real depth.

Soft shadows in the depth crevices.

Screen-space ambient occlusion from the inferred depth: a golden-angle ring of depth taps darkens contact points and crevices where the surface curves away.

Rebuild the image as floating 3D dots.

Lifts every pixel into a real 3D point cloud with true depth-buffer occlusion — billboarded splats pushed in Z, a frontal camera, procedural scatter fields, and a top-down key light.

Zoom and push into the image in 3D.

A dolly-zoom driven by depth value: content at the focus depth stays locked while nearer and farther content scales from centre — the classic vertigo effect.

Shift the view in 3D — near things move more than far.

Displaces each pixel by its depth relative to a focal plane, shifting the viewpoint in 3D; disocclusions are filled by smear or by pulling a farther neighbour into the hole. It carries no motion of its own — drive it from FX Motion for a living-parallax loop.

Show surface-facing directions as colour.

Derives a tangent-space normal map from the depth (or luminance) heightfield — the classic purple normal-map encode, plus a shaded clay preview.

Mesh the image — the wires follow its edges.

Points trace the image's contour ridges and scatter through the flats, then Delaunay-triangulate into an irregular mesh; each wire's width follows the contour strength, so the subject reads. Turn up Depth Seams and the triangles snap to the depth silhouette too. Draw it as wire, facets, or both — and Warp displaces the vertices on the loop.