Definir opção binária digital

Licença.
Lua é um software livre distribuído sob os termos da licença do MIT reproduzida aqui. Lua pode ser usada para qualquer finalidade, incluindo fins comerciais, sem nenhum custo. Sem papelada, sem royalties, sem restrições de "copyleft" do tipo GNU. Basta baixá-lo e usá-lo.
Lua é um software certificado de código aberto. Sua licença é simples e liberal e é compatível com a GPL. Lua não é de domínio público e a PUC-Rio mantém seus direitos autorais.
O espírito da licença Lua é que você está livre para usar Lua para qualquer propósito, sem nenhum custo, sem ter que nos perguntar. O único requisito é que, se você usar Lua, deverá nos dar crédito ao incluir o aviso de direitos autorais em algum lugar de seu produto ou de sua documentação. Uma maneira legal, mas opcional, de nos dar mais crédito é incluir um logotipo Lua e um link para o nosso site em uma página da Web para o seu produto.
A linguagem Lua é inteiramente projetada, implementada e mantida por uma equipe da PUC-Rio no Brasil. A implementação não é derivada de software licenciado.
Antes da Lua 5.0, Lua usava sua própria licença, que era muito próxima da licença zlib e de outras, mas não exatamente a mesma. Verifique a distribuição de origem para o texto de licença exato para cada versão anterior ao Lua 5.0. No entanto, se você deseja usar essas versões antigas, você pode presumir que todas elas foram licenciadas novamente sob a licença MIT, conforme descrito acima.
É concedida permissão, gratuitamente, a qualquer pessoa que obtenha uma cópia deste software e dos arquivos de documentação associados (o "Software"), para negociar o Software sem restrições, incluindo, sem limitação, os direitos de uso, cópia, modificação e fusão , publicar, distribuir, sublicenciar e / ou vender cópias do Software, e permitir que as pessoas a quem o Software é fornecido o façam, sujeitas às seguintes condições:
O aviso de copyright acima e este aviso de permissão devem ser incluídos em todas as cópias ou partes substanciais do Software.
O SOFTWARE É FORNECIDO "COMO ESTÁ", SEM GARANTIA DE QUALQUER TIPO, EXPRESSA OU IMPLÍCITA, INCLUINDO, MAS NÃO SE LIMITANDO ÀS GARANTIAS DE COMERCIALIZAÇÃO, ADEQUAÇÃO A UM FIM ESPECÍFICO E NÃO VIOLAÇÃO. EM NENHUMA CIRCUNSTÂNCIA, OS AUTORES OU PROPRIETÁRIOS DE DIREITOS DE AUTOR PODERÃO SER RESPONSABILIZADOS POR QUAISQUER REIVINDICAÇÕES, DANOS OU OUTRAS RESPONSABILIDADES, QUER EM ACÇÃO DE CONTRATO, DELITO OU DE OUTRA FORMA, DECORRENTES DE OU EM CONEXÃO COM O SOFTWARE OU O USO OU OUTRAS NEGOCIAÇÕES NO PROGRAMAS.

digital.
Um exemplo de digital é um dedo robótico.
Um exemplo de digital é um mp3 player.
de, como ou constituindo um dígito, esp. um dedo com dígitos feitos com um dedo usando números que são dígitos para representar todas as variáveis ​​envolvidas no cálculo usando uma linha de dígitos, em vez de números no mostrador, para fornecer informações numéricas: um relógio digital, um termômetro digital designando ou de dados , imagens, sons, etc. que são armazenados, transmitidos, manipulados ou reproduzidos por um processo usando grupos de bits eletrônicos representados como 1 ou 0 de ou por meio de tal processo, como um usando uma designação de computador digital ou de uma gravação técnica em que sons ou imagens são convertidos em grupos de bits eletrônicos e armazenados em um meio magnético ou óptico: os grupos de bits são lidos eletronicamente, como por um feixe de laser, para designação de reprodução ou de um tipo de transmissão e recepção de rádio ou TV em que dados, sons ou imagens são enviados ou recebidos como grupos de bits eletrônicos.
Origem do digital.
Inglês médio de digital latim clássico.
um dedo uma tecla tocada com um dedo, como no piano.
digital.
Tem a ver com dígitos (dedos das mãos ou pés); realizada com um dedo. Propriedade de representar valores como números discretos em vez de um espectro contínuo. computador digital; & # 160; relógio digital (histórico) De ou relacionado a computadores ou à Era da Informação.
De latim digitālis, de digitus (“finger, toe”) + - alis (“-al”).
digital - Definição de computador.
Pertencendo à representação de dados por meio de dígitos, ou quantidades discretas, como números ou sinais, que podem ser interpretados como números. Por outro lado, os sinais analógicos têm significado em todos os níveis intermediários. Nas telecomunicações, os sistemas de transmissão digital fazem uso de pulsos ou níveis variados de energia eletromagnética, como eletricidade, ondas de rádio ou luz. A comunicação digital tem origem na telegrafia, na qual uma chave mecânica é usada para fechar um circuito elétrico por períodos variáveis ​​de tempo para enviar uma série de pulsos curtos (pontos) e pulsos longos (traços) que, em combinações específicas, representam caracteres específicos ou séries de personagens. Os primeiros computadores mecânicos usavam um conceito semelhante para entrada e saída. Sistemas informatizados contemporâneos se comunicam em modo binário por meio de variações na voltagem elétrica. A sinalização digital em um sistema contemporâneo de transmissão elétrica envolve um sinal que varia em voltagem para representar um dos dois estados discretos e bem definidos. Duas das abordagens mais simples são a sinalização unipolar e bipolar. A sinalização unipolar faz uso de uma tensão positiva (+) e uma tensão nula ou zero (0). Sinalização bipolar, faz uso de positivo (+) ou negativo (
(2) Anos atrás, a Digital Equipment Corporation era comumente chamada de "Digital". Veja equipamento digital.
(3) Por séculos, digital significava o uso de números, o termo vindo de dígito ou dedo. Hoje, digital é sinônimo de atividades de computador e Internet. Digital também significa que os métodos Perfect Digital causaram uma revolução mundial em todas as facetas da vida. Os 0s e 1s de dados digitais significam mais do que apenas ligado e desligado. Eles significam cópias perfeitas. Quando informação, música, voz e vídeo são transformados em forma digital binária, eles podem ser manipulados eletronicamente, preservados e regenerados perfeitamente em alta velocidade. A milionésima cópia de um arquivo de computador é idêntica à original. Embora isso tenha levado os editores de software e conteúdo a se distraírem para proteger seus direitos autorais, ainda assim é uma vantagem significativa do processamento digital. Todos os dias, trilhões de elementos de dados são carregados e baixados da Internet. Embora possam ocorrer erros na transmissão, quando os registros da empresa e os dados financeiros são enviados, erros podem ser detectados e medidas corretivas são tomadas automaticamente pelo sistema de comunicações. Veja binário e verificação de erros.
digital - Definição de Investimento e Finanças.
Um formato no qual bits de dados (informações representadas por 1s e 0s) são armazenados, transmitidos ou manipulados. Cada dígito individual é um pouco. Contrasta com o formato analógico, no qual os dados são transferidos amplificando a intensidade do sinal ou variando sua freqüência para transmitir informações.
Exemplos de sentenças.
Os únicos itens não comerciais eram um relógio digital e duas fotos emolduradas. Um eco digital completo da sua vida. Então imagine se você compartilhou seu Eco Digital com um bilhão de outras pessoas no planeta. Seu velocímetro digital leu 54 milhas por hora, mais rápido do que ele já havia surfado em sua vida, e seus olhos lacrimejavam com a brisa do ar frio. Lembre-se do seu arquivo Digital Echo, aquele registro de tudo que você faz e diz?
Como você definiria digital? Adicione sua definição aqui.
Também mencionado em.
Palavras perto de digital no dicionário.
TENDÊNCIA AGORA.
Siga YourDictionary.
Junte-se ao YourDictionary hoje.
Crie e salve cartões flash personalizados. Inscreva-se hoje e comece a melhorar seu vocabulário!
Por favor, defina um nome de usuário para você.
As pessoas vão vê-lo como nome do autor com seus cartões flash públicos.

PIC Analog to Digital Converter tutorial.
A / D Base teórica.
O papel do CONVERSOR ANALÓGICO-A-DIGITAL (A / D) é converter valores analógicos de tensão em valores digitais. Vamos explorar o princípio de operação do conversor A / D:
O CONDUTOR ATD converte a voltagem analógica em números binários. Esses números binários podem ter comprimento diferente - 2, 4, 8, 10 bits. Quanto mais bits o número binário tiver, maior a resolução do - A / D.
Por exemplo: Suponha que a voltagem fornecida ao conversor A / D varie de 0 a 5 volt e que o conversor A / D converta a voltagem de entrada em um número binário de dois bits.
Com dois bits, podemos apenas exibir 4 opções diferentes:
Ou seja, podemos mostrar as mudanças de 0 a 5 volts com 4 números ou, mais precisamente, quatro níveis.
Você pode ver os 4 níveis na ilustração a seguir:
A linha AZUL descreve as mudanças na tensão de entrada do CONVERSOR ANALÓGICO-A-DIGITAL (A / D) do microcontrolador.
A linha VERMELHA representa os níveis digitais na saída do CONVERSOR ANALÓGICO-A-DIGITAL (A / D) do microcontrolador.
Podemos ver que o sinal vermelho está longe de ser ideal, ou seja, não perto o suficiente dos valores originais de tensão de entrada analógica. Assim, podemos dizer que A / D com o número binário de dois bits possui baixa resolução e existe um grande espaço entre o valor real da tensão de entrada analógica e os valores representados pelo A / D.
Agora, suponha que a voltagem fornecida ao conversor A / D ainda varie de 0 a 5 volt, no entanto, o conversor A / D converte a voltagem de entrada em um número binário de três bits.
Com três bits podemos obter 8 opções diferentes:
Ou seja, podemos mostrar as mudanças de 0 a 5 volts com 8 números, ou mais precisamente 8 níveis.
Você pode ver os oito níveis na ilustração a seguir:
Agora podemos ver que a linha RED representa o sinal original “melhor” que a linha VERMELHA anterior. O intervalo entre o sinal analógico e o sinal digital é menor em comparação com o gráfico anterior. Com base nos "bons" resultados que recebemos, podemos dizer que o conversor A / D atual tem uma alta resolução comparada com o caso anterior.
Portanto, podemos dizer que o CONVERSOR ANALÓGICO PARA DIGITAL (A / D) do microcontrolador com uma quantidade maior de bits possui uma maior resolução e melhor precisão ao converter de sinal analógico para sinal digital.
Há outro fato a ser mencionado sobre a resolução do conversor A / D. Como o conversor converte os sinais, leva um certo tempo. O tempo de conversão da baixa resolução A / D leva menos tempo que o tempo de conversão da alta resolução A / D.
Quando você está planejando sistemas especiais, você precisa levar em conta esse fato. Se você planeja construir sistemas precisos e rápidos, você deve considerar cuidadosamente qual conversão escolher: se você selecionar A-para-D com alta resolução - o sistema não será tão “rápido; mas se você selecionar um A-para-D com resposta de alta velocidade - você perderá a resolução do sistema.
Como converter valores analógicos em valores digitais:
Se decidirmos trabalhar com um conversor analógico para digital (A / D) com comprimento de três bits, obtemos oito números binários diferentes que representam diferentes níveis de tensão. Por exemplo:
Neste exemplo, os valores de tensão analógica de 0v a 0,62v têm uma representação binária de 000; os valores de tensão analógica de 0,621v a 1,25v têm uma representação binária de 001, assim por diante.
O módulo ADCON localizado dentro do microcontrolador PIC tem uma resolução de 10 bits. Portanto, o conversor pode dividir a tensão de entrada analógica entre 0v e 5v para 2 ^ 10 níveis, que são 1024 níveis. Podemos dizer que a resolução deste componente é muito alta.
Como sabemos qual é o valor / representação binária da tensão de entrada analógica?
Podemos usar o método triangular para calcular / encontrar a representação binária de uma tensão de entrada analógica. Por exemplo, permite calcular / encontrar a representação do valor binário na tensão de entrada analógica de 3,65 volts:
A tensão de entrada analógica de 3,65v será representada pelo número decimal 748 ou pelo número binário 1011101100.Usando uma maneira similar, podemos encontrar uma representação binária para qualquer nível desejado da tensão de entrada analógica.
O módulo A / D possui quatro registradores de 8 bits. Esses registros são:
ADCON0 - Registrador de Controle A / D 0; determina o comportamento do A / D ADCON1 - Registrador de Controle A / D 1; determina a configuração do PORTA e do PORTE e como o resultado da conversão de A / D será armazenado ADRESH - Registrador de Resultado Alto A / D ADRESL - Registrador de Resultado Baixo A / D.
O tamanho desse registro é de um byte (8 bits). Cada bit tem um papel importante na definição do componente. Aqui está um detalhamento da função de bits:
Depois de definirmos os pinos apropriados na PORTA específica como entradas analógicas, podemos amostrar a tensão de entrada analógica usando um dos seguintes canais:
Você pode provar a partir de PORTA cada um dos pinos RA0 e RA5, exceto o pino RA4 (usado para outros propósitos), bem como o PORTE.
1 = Conversão A / D em andamento (configurando este bit inicia a conversão A / D)
0 = Conversão A / D não está em andamento (este bit é automaticamente limpo pelo hardware quando a conversão A / D é concluída)
1 = o módulo conversor A / D está operando.
0 = O módulo conversor A / D está desligado e não consome corrente de operação.
O tamanho desse registro é de um byte (8 bits). Cada bit tem um papel importante na definição do componente. Aqui está um detalhamento da função de bits:
ADFM: Formato de resultado A / D Selecione o bit.
1 = justificado à direita. 6 Os bits mais significativos de ADRESH são lidos como "0".
0 = Esquerda justificada. 6 Os bits menos significativos de ADRESL são lidos como "0".
Como dissemos, o conversor A / D tem uma resolução de dez bits, isto é, o resultado da conversão não pode ser armazenado em um registrador de oito bits.
. Portanto, o resultado é armazenado em dois registros: ADRESL e ADRESH. O tamanho de cada registro é de 8 bits, de modo que temos 16 (2 * 8) bits juntos. Podemos armazenar o resultado da conversão, que é de 10 bits, usando os dois registros ADRESL e ADRESH das duas maneiras a seguir:
alinhamento ao alinhamento da esquerda para a direita.
Alinhamento à esquerda - os oito bits MSB são armazenados no ADRESH e os dois bits LSB são armazenados em ADRESL. Nesse caso, os seis bits restantes aparecem como - "0".
Alinhamento à direita - os oito bits LSB são armazenados em ADRESL e dois bits MSB são armazenados no ADRESH. Nesse caso, seis bits mais altos aparecem como - "0".
PCFG3: PCFG0: bits de controle de configuração da porta A / D:
Com esses bits podemos controlar os pinos de PORTA ou PORTE. Podemos decidir um modo analógico (A) ou digital (D).
Se quisermos trabalhar com o PORTA e o PORTE como portas analógicas, selecionamos a opção PCFG3: PCFG0 = 0000; Se quisermos trabalhar com portas como digitais, selecionamos a opção PCFG3: PCFG0 = 011x.
Em geral, após o comportamento desejado especificado da unidade conversora A / D e antes de iniciarmos a operação de conversão, temos que configurar o canal através do qual a informação analógica será recebida usando o comando TRIS. Para começar a fazer a conversão, temos que definir o GO / DONE = 1. Isto é feito usando o comando ADGO = 1. Quando a conversão terminar, o resultado será carregado em 2 registros ADRESH: ADRESL. O bit de status GO / DONE (o registro ADCON0) será definido como zero e o sinalizador ADIF será definido.
DIAGRAMA DE BLOCO analógico para digital.
Para resumir, os seguintes passos devem ser seguidos para fazer uma conversão A / D:
Configurar o módulo A / D: Configurar pinos analógicos / referência de tensão e E / S digital (ADCON1) Selecionar canal de entrada A / D (ADCON0) Selecionar relógio de conversão A / D (ADCON0) Ligar módulo A / D (ADCON0) Configurar A / D interromper (se desejado): Limpar o bit ADIF Definir o bit ADIE Configurar o bit PEIE Configurar o bit GIE Aguarde o tempo de aquisição necessário. Iniciar conversão: Definir bit GO / DONE (ADCON0) Aguardar a conclusão da conversão A / D: Polling para que o bit GO / DONE seja apagado (com interrupções ativadas); OU Aguardando a interrupção A / D Lê o par de registro de resultado A / D (ADRESH: ADRESL), limpe o ADIF de bit, se necessário. Para a próxima conversão, vá para a etapa 1 ou a etapa 2, conforme necessário.

Por que os computadores usam binário.
Números binários & ndash; visto como strings de 0 e 1's & ndash; são frequentemente associados a computadores. Mas por que isso? Por que os computadores não podem usar a base 10 em vez de converter de e para o binário? Não é mais eficiente usar uma base mais alta, já que a representação binária (base 2) usa mais "espaços"?
Fui recentemente questionado por alguém que sabe muito sobre computadores. Mas essa pergunta também é frequentemente feita por pessoas que não são tão experientes em tecnologia. De qualquer maneira, a resposta é bem simples.
O que é "digital"?
Um computador "digital" moderno, ao contrário de um computador "analógico" mais antigo, opera segundo o princípio de dois possíveis estados de algo & ndash; "ligado e desligado". Isto corresponde diretamente a haver uma corrente elétrica presente ou a corrente elétrica ausente. O estado "on" recebe o valor "1", enquanto o estado "off" recebe o valor "0".
O termo "binário" implica "dois". Assim, o sistema numérico binário é um sistema de números baseado em dois dígitos possíveis & ndash; 0 e 1. É aí que entram as cadeias de dígitos binários. Cada dígito binário, ou "bit", é um único 0 ou 1, que corresponde diretamente a um único "switch" em um circuito. Adicione o suficiente desses "switches" e você pode representar mais números. Então, ao invés de 1 dígito, você acaba com 8 para fazer um byte. (Um byte, a unidade básica de armazenamento, é simplesmente definido como 8 bits; os kilobytes, megabytes e gigabytes bem conhecidos são derivados do byte e cada um é 1.024 vezes maior do que o outro. Há 1024 vezes diferença em oposição a uma diferença de 1000 vezes, porque 1024 é uma potência de 2, mas 1000 não é.)
O binário usa mais armazenamento que o decimal?
À primeira vista, parece que a representação binária de um número 10010110 usa mais espaço que sua representação decimal (base 10) 150. Afinal, o primeiro tem 8 dígitos e o segundo tem 3 dígitos. No entanto, este é um argumento inválido no contexto da exibição de números na tela, uma vez que todos eles são armazenados em binário, independentemente! A única razão pela qual 150 é "menor" que 10010110 é por causa da maneira como o escrevemos na tela (ou no papel).
Aumentar a base diminuirá o número de dígitos necessários para representar qualquer número, mas tirando diretamente do ponto anterior, é impossível criar um circuito digital que opere em qualquer base diferente de 2, já que não há estado entre "on" e "off" (a menos que você entre em computadores quânticos. mais sobre isso depois).
E quanto a octal e hex?
Octal (base 8) e hexadecimal (base 16) são simplesmente um "atalho" para representar números binários, uma vez que ambas as bases são potências de 2. 3 dígitos octais = 2 dígitos hexadecimais = 8 dígitos binários = 1 byte. É mais fácil para o programador humano representar um inteiro de 32 bits, geralmente usado para valores de cor de 32 bits, como FF00EE99 em vez de 11111111000000001110111010011001. Leia o artigo Operadores Bit-a-bit para uma discussão mais aprofundada sobre isso.
Computadores não binários.
Imagine um computador baseado em números de base 10. Então, cada "switch" teria 10 estados possíveis. Estes podem ser representados pelos dígitos (conhecidos como "bans" ou "dits", significando "dígitos decimais") de 0 a 9. Neste sistema, os números seriam representados na base 10. Isto não é possível com componentes eletrônicos regulares de hoje. , mas é teoricamente possível em um nível quântico.
Este sistema é mais eficiente? Supondo que os "switches" de um computador binário padrão ocupem a mesma quantidade de espaço físico (nanômetros) que esses switches de base 10, o computador de base 10 seria capaz de encaixar consideravelmente mais poder de processamento no mesmo espaço físico. Assim, embora a questão do binário ser "ineficiente" tenha alguma validade na teoria, mas não no uso prático hoje.
Por que todos os computadores modernos usam o binário então?
Resposta simples: Computadores não foram inicialmente projetados para usar binário. em vez disso, o binário foi determinado como o sistema mais prático para usar com os computadores que criamos.
Resposta completa: Usamos apenas binário porque atualmente não temos a tecnologia para criar "switches" que possam conter com segurança mais de dois estados possíveis. (Os computadores quânticos não estão exatamente à venda no momento.) O sistema binário foi escolhido apenas porque é muito fácil distinguir a presença de uma corrente elétrica de uma ausência de corrente elétrica, especialmente quando se trabalha com trilhões de tais conexões. E usando qualquer outra base numero neste sistema ridiculo, porque o sistema precisaria constantemente converter entre eles. Isso é tudo que existe para isso.
Comentários (82)
Sobre o tema da lei dos moores,
Se você for por definição, então a lei de Moore não é realmente uma lei, é apenas uma observação e previsão estranhamente precisas. Por que eles chamavam de lei de Moore quando deveria ser chamada de Teoria da miniaturização de computadores de Moore.
Além disso, ninguém mencionou a ideia de caminhos diferentes.
s = remetente r = receptor 0 vidro ou alguma merda.
0 será como óculos, mas pode ser movido pelo computador para criar qualquer personagem.
os pls dizem-me as vantagens do computador do qunatum sobre computadores clássicos;
os pls dizem-me as vantagens do computador do qunatum sobre computadores clássicos;
Eu realmente apprecoat com o blog.
Eu realmente apprecoat com o blog.
base. Uma vez que esta base reduz muito os cálculos astronômicos. Como um exemplo, você menciona que um número pode ser representado por 0s e 1s em binário, então parece lógico ter mais dígitos e, portanto, deve ter mais espaço de armazenamento, embora a nossa tecnologia atual não permita nós fazemos isso de qualquer outra maneira. Há muito tempo atrás a igreja declarou que a Terra era plana também porque a sorte da tecnologia. Se você pegar qualquer função matemática como adicionar ou dividir um número, você pode ver que o processo é muito mais rápido usando a base decimal 10, mais se você tentar reduzi-la ou classificá-la. Minha intuição diz que há uma maneira de usar Decimal base 10 em um computador, você só precisa que um computador possa pensar como um humano.
No entanto, eu não concordo com esta afirmação: "Coisa é, não há nada inerentemente" melhor "; sobre base 10 - você pode realizar cálculos em qualquer base, é apenas mais difícil para um ser humano usar bases diferentes, já que eles não são intuitivos. "Aqui, eu tenho medo que você tenha que provar isso, matematicamente falando. E eu posso provar com um problema simples: tente classificar um número com & quot; x & quot; dígitos usando uma operação matemática para que o resultado possa ser mantido em uma série constante de números ordinais.
Eu acredito que o uso de base10 é a melhor opção para fazer isso ainda mais exato do que a base 12 conhecida como a melhor base para usar.
& quot; Eu tenho 1100 cookies & quot; (base 2)
& quot; Eu tenho cookies C & quot; (base 16, usando A-F como dígitos adicionais)
& quot; Eu tenho 111111111111 cookies & quot; (base 1, conte as linhas)
Você já pesquisou Memristors? Eles são uma tecnologia relativamente nova com grandes implicações para a computação: eles podem "lembrar" qualquer frequência de carga elétrica, o que significa que poderia ser usado para fazer um computador que seja executado na base 10 ou maior. Coisas muito interessantes. Você deveria pesquisar. Obrigado por este artigo, muito útil e conciso!
Eu tenho uma pergunta sobre a base binária em geral.
Eu sei que é um pouco fora do tópico, mas você parece entender bem os números, então espero que você responda.
Zero representa "nada", mas o modo como é usado, não representa "nada", mas é usado apenas como outro símbolo.
1000 é |||||||| ou 8 na base decimal. Aqui 0 não é nada e pode ser substituído por qualquer outro símbolo, por exemplo, @.
1 @@@ também será igual a |||||||| ou 8 na base decimal.
& quot; 0 & quot; para representar a ideia de & quot; posição & quot; em números.
Talvez seja interessante para os outros também.
Actaully não poderia ter mais de uma corrente. Eles teriam que traduzir de volta para um tipo binário de sistema para unificá-los, ou então todos eles teriam que se conectar.
Estou seguindo junto com seus comentários sobre binários versus qualquer outro conjunto. Eu entendo o 'on' / 'off' e presente / não presente e a confiabilidade de tal. Então eu entendo porque estamos usando binário no momento. De seus comentários, vejo por que o que eu me pergunto será difícil e provavelmente algum tempo livre. Mas eu gostaria de seus pensamentos sobre isso.
Nós temos 10 dedos e em algum lugar de nossa história determinamos que a iconologia de zero seja 0.
Como um estudante do ensino médio responderia à seguinte pergunta?

Aleatoriedade.
Toda a aleatoriedade que impulsiona o mundo.
Oi eu sou Jillian! Clicar na minha foto levará você para a adaburrows. Você também pode verificar meu perfil do github.
Categorias.
Computação (3) Educação (7) Alimentação (2) Diversão (3) Vida (3) Matemática (5) Filosofia (13) Programação (4) Ciência (3) Tecnologia (5) Sem categoria (4)
Twitter aleatório.
Erro: o Twitter não respondeu. Por favor, aguarde alguns minutos e atualize esta página.
Fotos do Flickr.
Detritos Digitais.
Flotões entrópicos, detritos digitais, cibercrossos, besteiras binárias, seja lá como for: é surpreendentemente irritante. Ele permeia o ciberespaço. Encontra-se em um mural do Facebook, seguindo-se no Twitter e em uma caixa de entrada do MySpace. Ele ainda consegue encontrar o caminho da guarda dos filtros de spam e entrar na sua caixa de entrada. Mais sinistramente, é o resultado de amigos bem intencionados usando um bem digital e deixando pequenos invólucros de reprodução por todo lado.
Eu defino os detritos digitais como um rastro de lixo digital criado pelo consumo de bens digitais / aplicativos & # 8212; semelhante a um papel de bala deixado para trás após o consumo do doce.
Claro, ninguém nunca faz uma pausa para pensar que colocar detritos digitais na parede de um amigo pode ser como pegar um chiclete sem sabor na boca e colocá-lo na parede da casa do seu amigo, usando o invólucro para cobrir e fornecer propaganda para o bem que você acabou de consumir. Se você não quer uma bagunça pegajosa na sua parede, não há nenhuma opção para fazer instantaneamente todas as paredes de Teflon. Ainda introduz um fardo de ter que limpar as pessoas. Leva parede privada de um e torna público.
Espaços públicos tendem a receber menos respeito de certas pessoas. As pessoas ficam com chiclete sob as mesas. As pessoas escrevem nas paredes. As pessoas desenham grandes obras de graffiti. As pessoas têm debates violentos em algumas cafeterias. As pessoas publicam eventos nos painéis de anúncios. Empresas anunciam em outdoors. A maioria das coisas que estamos acostumados a estes dias são trazidas a você pelo marketing. De alguma forma, o marketing conseguiu ir além de suas revistas, telas de televisão e margens de suas telas de computador, e para as paredes de seu edifício virtual. Espaços públicos foram feitos para isso, mas minha parede? Talvez uma cópia de Andy Warhol de uma sopa Campbell possa, mas é isso.
No caso do Facebook, existem configurações para impedir que qualquer pessoa publique na sua parede. E se você quiser que os amigos ainda possam ter conversas dentro de suas paredes virtuais? Você não pode desativar os aplicativos. Isso é verdade em pelo menos dois aspectos: 1) Você realmente não pode, não está definindo para isso. 2) Se você fez, amigos usando um cliente como o HootSuite ou o TweetDeck também não puderam postar no seu mural.
Alguns jogos são voltados para o crescimento de sua base de usuários & # 8212; essa é realmente a única maneira de eles ganharem mais dinheiro e crescerem continuamente. Não sei se "jogos sociais" & # 8221; Deveria ter sido manipulado para exigir que cada vez mais amigos jogassem o jogo para avançar o jogo. Isso não é jogo, que é Amway ou algum outro esquema de pirâmide. Se você jogar estes jogos & # 8220; sociais & # 8221; jogos que querem que você publique anúncios aleatórios na parede de seus amigos, espero que você reconsidere os jogos que você joga em seu tempo livre (e boa sorte postando no meu mural, eu bloqueei todas as postagens).
Eu quero olhar para frente para um mundo que tenha menos detritos digitais para limpar. Eu quero ver jogos sociais mais verdadeiros que não incentivem bits desperdiçados, mas sim jogos épicos e grandes desafios para avançar. Eu imagino que as pessoas possam pagar por isso. Eu exijo melhor!

Definir opção binária digital
Abaixo está uma lista de opções de linha de comando reconhecidas pelas ferramentas de linha de comando ImageMagick. Se você quiser uma descrição de uma opção específica, clique no nome da opção na barra de navegação acima e você irá direto para ela. Salvo indicação em contrário, cada opção é reconhecida pelos comandos: convert e mogrify.
-adaptivo-raio de desfocagem [x sigma]
Adaptively blur pixels, com efeito decrescente perto das bordas.
Um operador gaussiano de raio e desvio padrão (sigma) é usado. Se sigma não é dado, o padrão é 1.
-adaptive-redimensionar geometria.
Redimensione a imagem usando triangulação dependente de dados.
Veja Geometria da imagem para detalhes completos sobre o argumento da geometria. A opção - adaptive-resize é padronizada para triangulação dependente de dados. Use o filtro para escolher um algoritmo de reamostragem diferente. Deslocamentos, se presentes na cadeia de geometria, são ignorados e a opção - gravity não tem efeito.
-adaptive-sharpen radius [x sigma]
Adapte os pixels com nitidez, aumentando o efeito próximo às bordas.
Um operador gaussiano de raio e desvio padrão (sigma) é usado. Se sigma não é dado, o padrão é 1.
Junte as imagens em um único arquivo de várias imagens.
Essa opção é ativada por padrão. É feita uma tentativa de salvar todas as imagens de uma seqüência de imagens no arquivo de saída fornecido. No entanto, alguns formatos, como JPEG e PNG, não suportam mais de uma imagem por arquivo e, nesse caso, o ImageMagick é forçado a gravar cada imagem como um arquivo separado. Assim, se mais de uma imagem precisar ser gravada, o nome do arquivo dado é modificado pela adição de um número - scene antes do sufixo, para criar nomes distintos para cada imagem.
Use + adjoin para forçar cada imagem a ser gravada em arquivos separados, independentemente de o formato do arquivo permitir ou não múltiplas imagens por arquivo (por exemplo, GIF, MIFF e TIFF).
A inclusão de uma string de formato inteiro de estilo C no nome do arquivo de saída ativará automaticamente + e será usada para especificar onde o número - scene é colocado nos nomes de arquivos. Essas cadeias de caracteres, como '% d' ou '% 03d', são familiares para aqueles que usaram a função de biblioteca C printf padrão (). Como exemplo, o comando.
irá criar uma sequência de 17 imagens (as duas dadas mais outras 15 criadas por-morph), nomeadas: my00morph. jpg, my01morph. jpg, my02morph. jpg,. my16morph. jpg.
Em resumo, o ImageMagick tenta gravar todas as imagens em um arquivo, mas salvará em vários arquivos, se qualquer uma das condições a seguir existir.
o formato de arquivo da imagem de saída não permite arquivos de várias imagens, a opção + adjoin é fornecida ou uma string de formato inteiro printf () (por exemplo: "% d") está presente no nome do arquivo de saída.
-chamar s x, r x, r y, s y [, t x, t y]
Defina a matriz de transformação de desenho para rotação e dimensionamento combinados.
Esta opção define uma matriz de transformação, para uso pelas opções subsequentes de - draw ou - transform.
As entradas da matriz são inseridas como valores numéricos separados por vírgula entre aspas ou sem espaços.
Internamente, a matriz de transformação possui elementos 3x3, mas três deles são omitidos da entrada porque são constantes. As novas coordenadas (transformadas) (x ', y') de um pixel na posição (x, y) na imagem original são calculadas usando a seguinte equação matricial.
O tamanho da imagem resultante é o do menor retângulo que contém a imagem de origem transformada. Os parâmetros t x e t y subsequentemente deslocam os pixels da imagem para que aqueles que são movidos para fora da área da imagem sejam cortados.
A matriz de transformação está em conformidade com o sistema de coordenadas de pixel da mão esquerda: as direções x e y positivas são para a direita e para baixo, resp. rotação positiva é no sentido horário.
Se os coeficientes de conversão t x e ty forem omitidos, o padrão será 0,0. Portanto, quatro parâmetros são suficientes para rotação e dimensionamento sem conversão.
O dimensionamento pelos fatores s x e s y nas direções x e y, respectivamente, é realizado com o seguinte.
Veja - transform e o método - distort 'Affineprojection para mais informações.
A tradução por um deslocamento (t x, t y) é realizada da seguinte forma:
Rotate clockwise about the origin (the upper left-hand corner) by an angle a by letting c = cos( a ), s = sin( a ), and using the following.
The cumulative effect of a sequence of - affine transformations can be accomplished by instead by a single - affine operation using the matrix equal to the product of the matrices of the individual transformations.
An attempt is made to detect near-singular transformation matrices. If the matrix determinant has a sufficiently small absolute value it is rejected.
-alpha type.
Gives control of the alpha/matte channel of an image.
Used to set a flag on an image indicating whether or not to use existing alpha channel data, to create an alpha channel, or to perform other operations on the alpha channel. Choose the argument type from the list below.
Activate Enable the image's transparency channel. Note normally Set should be used instead of this, unless you specifically need to preserve existing (but specifically turned Off) transparency channel. Associate associate the alpha channel with the image. Deactivate Disables the image's transparency channel. Does not delete or change the existing data, just turns off the use of that data. Disassociate disassociate the alpha channel from the image. Set Activates the alpha/matte channel. If it was previously turned off then it also resets the channel to opaque. If the image already had the alpha channel turned on, it will have no effect. Opaque Enables the alpha/matte channel and forces it to be fully opaque. Transparent Activates the alpha/matte channel and forces it to be fully transparent. This effectively creates a fully transparent image the same size as the original and with all its original RGB data still intact, but fully transparent. Extract Copies the alpha channel values into all the color channels and turns 'Off' the the image's transparency, so as to generate a grayscale mask of the image's shape. The alpha channel data is left intact just deactivated. This is the inverse of 'Copy'. Copy Turns 'On' the alpha/matte channel, then copies the grayscale intensity of the image, into the alpha channel, converting a grayscale mask into a transparent shaped mask ready to be colored appropriately. The color channels are not modified. Shape As per 'Copy' but also colors the resulting shape mask with the current background color. That is the RGB color channels is replaced, with appropriate alpha shape. Remove Composite the image over the background color. Background Set any fully-transparent pixel to the background color, while leaving it fully-transparent. This can make some image file formats, such as PNG, smaller as the RGB values of transparent pixels are more uniform, and thus can compress better.
Note that while the obsolete +matte operation was the same as " - alpha Off ", the >-matte operation was the same as " - alpha Set " and not " - alpha On ".
-annotate degrees text.
-annotate Xdegrees x Ydegrees text.
-annotate Xdegrees x Ydegrees t x t y text.
Annotate an image with text.
This is a convenience for annotating an image with text. For more precise control over text annotations, use - draw.
The values Xdegrees and Ydegrees control the shears applied to the text, while t x and t y are offsets that give the location of the text relative any - gravity setting and defaults to the upper left corner of the image.
Using - annotate degrees or - annotate degrees x degrees produces an unsheared rotation of the text. The direction of the rotation is positive, which means a clockwise rotation if degrees is positive. (This conforms to the usual mathematical convention once it is realized that the positive y – direction is conventionally considered to be downward for images.)
The new (transformed) coordinates ( x' , y' ) of a pixel at position ( x , y ) in the image are calculated using the following matrix equation.
If t x and t y are omitted, they default to 0. This makes the bottom-left of the text becomes the upper-left corner of the image, which is probably undesirable. Adding a - gravity option in this case leads to nice results.
Text is any UTF-8 encoded character sequence. If text is of the form '@mytext. txt', the text is read from the file mytext. txt . Text in a file is taken literally; no embedded formatting characters are recognized.
Enable/Disable of the rendering of anti-aliasing pixels when drawing fonts and lines.
By default, objects (e. g. text, lines, polygons, etc.) are antialiased when drawn. Use +antialias to disable the addition of antialiasing edge pixels. This will then reduce the number of colors added to an image to just the colors being directly drawn. That is, no mixed colors are added when drawing such objects.
Join current images vertically or horizontally.
This option creates a single longer image, by joining all the current images in sequence top-to-bottom. Use +append to stack images left-to-right.
If they are not of the same width, narrower images are padded with the current - background color setting, and their position relative to each other can be controlled by the current - gravity setting.
-attenuate value.
Lessen (or intensify) when adding noise to an image.
If unset the value is equivalent to 1.0, or a maximum noise addition.
-authenticate password.
Decrypt a PDF with a password.
Use this option to supply a password for decrypting a PDF that has been encrypted using Microsoft Crypto API (MSC API). The encrypting using the MSC API is not supported.
For a different encryption method, see - encipher and - decipher.
Automagically adjust gamma level of image.
This calculates the mean values of an image, then applies a calculated - gamma adjustment so that the mean color in the image will get a value of 50%.
This means that any solid 'gray' image becomes 50% gray.
This works well for real-life images with little or no extreme dark and light areas, but tend to fail for images with large amounts of bright sky or dark shadows. It also does not work well for diagrams or cartoon like images.
It uses the - channel setting, (including the ' sync ' flag for channel synchronization), to determine which color values is used and modified. As the default - channel setting is ' RGB, sync ', channels are modified together by the same gamma value, preserving colors.
Automagically adjust color levels of image.
This is a 'perfect' image normalization operator. It finds the exact minimum and maximum color values in the image and then applies a - level operator to stretch the values to the full range of values.
The operator is not typically used for real-life images, image scans, or JPEG format images, as a single 'out-rider' pixel can set a bad min/max values for the - level operation. On the other hand it is the right operator to use for color stretching gradient images being used to generate Color lookup tables, distortion maps, or other 'mathematically' defined images.
The operator is very similar to the - normalize, - contrast-stretch, and - linear-stretch operators, but without 'histogram binning' or 'clipping' problems that these operators may have. That is - auto-level is the perfect or ideal version these operators.
It uses the - channel setting, (including the special ' sync ' flag for channel synchronization), to determine which color values are used and modified. As the default +channel setting is ' RGB, sync ', the ' sync ' ensures that the color channels will are modified together by the same gamma value, preserving colors, and ignoring transparency.
-auto-orient.
adjusts an image so that its orientation is suitable for viewing (i. e. top-left orientation).
This operator reads and resets the EXIF image profile setting 'Orientation' and then performs the appropriate 90 degree rotation on the image to orient the image, for correct viewing.
This EXIF profile setting is usually set using a gravity sensor in digital camera, however photos taken directly downward or upward may not have an appropriate value. Also images that have been orientation 'corrected' without reseting this setting, may be 'corrected' again resulting in a incorrect result. If the EXIF profile was previously stripped, the - auto-orient operator will do nothing.
-auto-threshold method.
automatically perform image thresholding.
Here are the valid methods:
Undefined 0: No method specified (equivalent to ' OTSU '). Kapur maximum entropy thresholding. OTSU cluster-based image thresholding. Triangle a geometric thresholding method.
The computed threshold is returned as the auto-threshold:threshold image property.
Average a set of images.
An error results if the images are not identically sized.
Display the image centered on a backdrop.
This backdrop covers the entire workstation screen and is useful for hiding other X window activity while viewing the image. The color of the backdrop is specified as the background color. The color is specified using the format described under the - fill option.
-background color.
Set the background color.
The color is specified using the format described under the - fill option. The default background color (if none is specified or found in the image) is white.
-bench iterations.
Repeat the entire command for the given number of iterations and report the user-time and elapsed time. For instance, consider the following command and its output. Modify the benchmark with the - duration to run the benchmark for a fixed number of seconds and - concurrent to run the benchmark in parallel (requires the OpenMP feature).
In this example, 5 iterations were completed at 2.174 iterations per second, using 3 threads and 3.190 seconds of the user allotted time, for a total elapsed time of 2.300 seconds.
-bias value.
Add bias when convolving an image.
This option shifts the output of ‑convolve so that positive and negative results are relative to the specified bias value.
This is important for non-HDRI compilations of ImageMagick when dealing with convolutions that contain negative as well as positive values. This is especially the case with convolutions involving high pass filters or edge detection. Without an output bias, the negative values are clipped at zero.
When using an ImageMagick with the HDRI compile-time setting, ‑bias is not needed, as ImageMagick is able to store/handle any negative results without clipping to the color value range (0..QuantumRange).
See the discussion on HDRI implementations of ImageMagick on the page High Dynamic-Range Images. For more about HDRI go the ImageMagick Usage pages or this Wikipedia entry.
-black-point-compensation.
Use black point compensation.
-black-threshold value.
Force to black all pixels below the threshold while leaving all pixels at or above the threshold unchanged.
The threshold value can be given as a percentage or as an absolute integer value within [0, QuantumRange ] corresponding to the desired ‑channel value. See ‑thresholdfor more details on thresholds and resulting values.
-blend geometry.
blend an image into another by the given absolute value or percent.
Blend will average the images together ('plus') according to the percentages given and each pixels transparency. If only a single percentage value is given it sets the weight of the composite or 'source' image, while the background image is weighted by the exact opposite amount. That is a - blend 30% merges 30% of the 'source' image with 70% of the 'destination' image. Thus it is equivalent to - blend 30x70% .
-blue-primary x , y.
Set the blue chromaticity primary point.
-blue-shift factor.
simulate a scene at nighttime in the moonlight. Start with a factor of 1.5.
-blur radius.
-blur radius x sigma.
Reduce image noise and reduce detail levels.
Convolve the image with a Gaussian or normal distribution using the given Sigma value. A fórmula é:
The Sigma value is the important argument, and determines the actual amount of blurring that will take place.
The Radius is only used to determine the size of the array which will hold the calculated Gaussian distribution. It should be an integer. If not given, or set to zero, IM will calculate the largest possible radius that will provide meaningful results for the Gaussian distribution.
The larger the Radius the slower the operation is. However too small a Radius , and severe aliasing effects may result. As a guideline, Radius should be at least twice the Sigma value, though three times will produce a more accurate result.
This option differs from - gaussian-blur simply by taking advantage of the separability properties of the distribution. Here we apply a single-dimensional Gaussian matrix in the horizontal direction, then repeat the process in the vertical direction.
The - virtual-pixel setting will determine how pixels which are outside the image proper are blurred into the final result.
-border geometry.
Surround the image with a border of color.
Set the width and height using the size portion of the geometry argument. See Image Geometry for complete details about the geometry argument. Offsets are ignored.
As of IM 6.7.8-8, the geometry arguments behave as follows:
value value is added to both left/right and top/bottom value-x x value-x is added only to left/right and top/bottom are unchanged x value-y value-y is added only to top/bottom and left/right are unchanged value-x x value-y value-x is added to left/right and value-y added to top/bottom value-x x 0 value-x is added only to left/right and top/bottom are unchanged 0 x value-y value-y is added only to top/bottom and left/right are unchanged value % value % of width is added to left/right and value % of height is added to top/bottom value-x x % value-x % of width is added to left/right and to top/bottom x value-y % value-y % of height is added to top/bottom and to left/right value-x % x value-y % value-x % of width is added to left/right and value-y % of height is added to top/bottom value-x % x 0% value-x % of width is added to left/right and top/bottom are unchanged 0% x value-y % value-y % of height is added to top/bottom and left/right are unchanged.
Set the border color by preceding with the - bordercolor setting.
The - border operation is affected by the current - compose setting and assumes that this is using the default ' Over ' composition method. It generates an image of the appropriate size colors by the current - bordercolor before overlaying the original image in the center of this net image. This means that with the default compose method of ' Over ' any transparent parts may be replaced by the current - bordercolor setting.
See also the - frame option, which has more functionality.
-bordercolor color.
Set the border color.
The color is specified using the format described under the - fill option.
The default border color is #DFDFDF , this shade of gray .
-borderwidth geometry.
Set the border width.
-brightness-contrast brightness.
Adjust the brightness and/or contrast of the image.
Brightness and Contrast values apply changes to the input image. They are not absolute settings. A brightness or contrast value of zero means no change. The range of values is -100 to +100 on each. Positive values increase the brightness or contrast and negative values decrease the brightness or contrast. To control only contrast, set the brightness=0. To control only brightness, set contrast=0 or just leave it off.
You may also use - channel to control which channels to apply the brightness and/or contrast change. The default is to apply the same transformation to all channels.
Brightness and Contrast arguments are converted to offset and slope of a linear transform and applied using - function polynomial "slope, offset".
The slope varies from 0 at contrast=-100 to almost vertical at contrast=+100. For brightness=0 and contrast=-100, the result are totally midgray. For brightness=0 and contrast=+100, the result will approach but not quite reach a threshold at midgray; that is the linear transformation is a very steep vertical line at mid gray.
Negative slopes, i. e. negating the image, are not possible with this function. All achievable slopes are zero or positive.
The offset varies from -0.5 at brightness=-100 to 0 at brightness=0 to +0.5 at brightness=+100. Thus, when contrast=0 and brightness=100, the result is totally white. Similarly, when contrast=0 and brightness=-100, the result is totally black.
As the range of values for the arguments are -100 to +100, adding the '%' symbol is no different than leaving it off.
-cache threshold.
(This option has been replaced by the - limit option).
-canny radius.
-canny radius x sigma.
Canny edge detector uses a multi-stage algorithm to detect a wide range of edges in the image.
The thresholds range from 0 to 100% (e. g. - canny 0x1+10%+30%) with < . If is increased but remains the same, lesser edge components will be detected, but their lengths will be the same. If is increased but is the same, the same number of edge components will be detected but their lengths will be shorter. The default thresholds are shown. The radius x sigma controls a gaussian blur applied to the input image to reduce noise and smooth the edges.
-caption string.
Assign a caption to an image.
This option sets the caption meta-data of an image read in after this option has been given. To modify a caption of images already in memory use " - set caption ".
The caption can contain special format characters listed in the Format and Print Image Properties. These attributes are expanded when the caption is finally assigned to the individual images.
If the first character of string is @ , the image caption is read from a file titled by the remaining characters in the string. Comments read in from a file are literal; no embedded formatting characters are recognized.
Caption meta-data is not visible on the image itself. To do that use the - annotate or - draw options instead.
produces an image caption of MIFF:bird. miff 512x480 (assuming that the image bird. miff has a width of 512 and a height of 480.
-cdl filename.
color correct with a color decision list.
Here is an example color correction collection:
-channel type.
Specify those image color channels to which subsequent operators are limited.
Choose from: Red , Green , Blue , Alpha , Gray , Cyan , Magenta , Yellow , Black , Opacity , Index , RGB , RGBA , CMYK , or CMYKA .
The channels above can also be specified as a comma-separated list or can be abbreviated as a concatenation of the letters ' R ', ' G ', ' B ', ' A ', ' O ', ' C ', ' M ', ' Y ', ' K '.
The numerals 0 to 31 may also be used to specify channels, where 0 to 5 are:
' 0 ' equals Red or Cyan.
' 1 ' equals Green or Magenta.
' 2 ' equals Blue or Yellow.
' 3 ' equals Black.
' 4 ' equals Alpha or Opacity.
' 5 ' equals Index.
For example, to only select the Red and Blue channels you can use any of the following:
All the channels that are present in an image can be specified using the special channel type All . Not all operators are 'channel capable', but generally any operators that are generally 'grey-scale' image operators, will understand this setting. See individual operator documentation.
On top of the normal channel selection an extra flag can be specified, ' Sync '. This is turned on by default and if set means that operators that understand this flag should perform: cross-channel synchronization of the channels. If not specified, then most grey-scale operators will apply their image processing operations to each individual channel (as specified by the rest of the - channel setting) completely independently from each other.
For example for operators such as - auto-level and - auto-gamma the color channels are modified together in exactly the same way so that colors will remain in-sync. Without it being set, then each channel is modified separately and independently, which may produce color distortion.
The - morphology ' Convolve ' method and the - compose mathematical methods, also understands the ' Sync ' flag to modify the behavior of pixel colors according to the alpha channel (if present). That is to say it will modify the image processing with the understanding that fully-transparent colors should not contribute to the final result.
Basically, by default, operators work with color channels in synchronous, and treats transparency as special, unless the - channel setting is modified so as to remove the effect of the ' Sync ' flag. How each operator does this depends on that operators current implementation. Not all operators understands this flag at this time, but that is changing.
To print a complete list of channel types, use - list channel.
By default, ImageMagick sets - channel to the value ' RGBK, sync ', which specifies that operators act on all color channels except the transparency channel, and that all the color channels are to be modified in exactly the same way, with an understanding of transparency (depending on the operation being applied). The 'plus' form +channel will reset the value back to this default.
Warning, some operators behave differently when the +channel default setting is in effect, verses ANY user defined - channel setting (including the equivalent of the default). These operators have yet to be made to understand the newer 'Sync' flag.
For example - threshold will by default grayscale the image before thresholding, if no - channel setting has been defined. This is not 'Sync flag controlled, yet.
Also some operators such as - blur, - gaussian-blur, will modify their handling of the color channels if the ' alpha ' channel is also enabled by - channel. Generally this done to ensure that fully-transparent colors are treated as being fully-transparent, and thus any underlying 'hidden' color has no effect on the final results. Typically resulting in 'halo' effects. The newer - morphology convolution equivalents however does have a understanding of the 'Sync' flag and will thus handle transparency correctly by default.
As a alpha channel is optional within images, some operators will read the color channels of an image as a greyscale alpha mask, when the image has no alpha channel present, and the - channel setting tells the operator to apply the operation using alpha channels. The - clut operator is a good example of this.
-channel-fx expression.
exchange, extract, or copy one or more image channels.
The expression consists of one or more channels, either mnemonic or numeric (e. g. red or 0, green or 1, etc.), separated by certain operation symbols as follows:
For example, to create 3 grayscale images from the red, green, and blue channels of an image, use:
A channel without an operation symbol implies separate (i. e, semicolon).
Here we take an sRGB image and a grayscale image and inject the grayscale image into the alpha channel:
Use a similar command to define a read mask:
Add - debug pixel prior to the - channel-fx option to track the channel morphology.
-charcoal factor.
Simulate a charcoal drawing.
-chop geometry.
Remove pixels from the interior of an image.
See Image Geometry for complete details about the geometry argument. The width and height given in the of the size portion of the geometry argument give the number of columns and rows to remove. The offset portion of the geometry argument is influenced by a - gravity setting, if present.
The - chop option removes entire rows and columns, and moves the remaining corner blocks leftward and upward to close the gaps.
While it can remove internal rows and columns of pixels, it is more typically used with as - gravity setting and zero offsets so as to remove a single edge from an image. Compare this to - shave which removes equal numbers of pixels from opposite sides of the image.
Using - chop effectively undoes the results of a - splice that was given the same geometry and - gravity settings.
set each pixel whose value is below zero to zero and any the pixel whose value is above the quantum range to the quantum range (e. g. 65535) otherwise the pixel value remains unchanged.
Apply the clipping path if one is present.
If a clipping path is present, it is applied to subsequent operations.
For example, in the command.
only the pixels within the clipping path are negated.
The - clip feature requires SVG support. If the SVG delegate library is not present, the option is ignored.
Use +clip to disable clipping for subsequent operations.
Clip the image as defined by this mask.
Use the alpha channel of the current image as a mask. Any areas that is white is not modified by any of the 'image processing operators' that follow, until the mask is removed. Pixels in the black areas of the clip mask are modified per the requirements of the operator.
In some ways this is similar to (though not the same) as defining a rectangular - region, or using the negative of the mask (third) image in a three image - composite, operation.
Use +clip-mask to disable clipping for subsequent operations.
-clip-path id.
Clip along a named path from the 8BIM profile.
This is identical to - clip except choose a specific clip path in the event the image has more than one path available.
Use +clip-path to disable clipping for subsequent operations.
-clone index(s)
make a clone of an image (or images).
Inside parenthesis (where the operator is normally used) it will make a clone of the images from the last 'pushed' image sequence, and adds them to the end of the current image sequence. Outside parenthesis (not recommended) it clones the images from the current image sequence.
Specify the image by its index in the sequence. The first image is index 0. Negative indexes are relative to the end of the sequence; for example, −1 represents the last image of the sequence. Specify a range of images with a dash (e. g. 0−4 ). Separate multiple indexes with commas but no spaces (e. g. 0,2,5 ). A value of ' 0−−1 will effectively clone all the images.
The +clone will simply make a copy of the last image in the image sequence, and is thus equivalent to using a argument of ' −1 '.
Replace the channel values in the first image using each corresponding channel in the second image as a c olor l ook u p t able.
The second (LUT) image is ordinarily a gradient image containing the histogram mapping of how each channel should be modified. Typically it is a either a single row or column image of replacement color values. If larger than a single row or column, values are taken from a diagonal line from top-left to bottom-right corners.
The lookup is further controlled by the - interpolate setting, which is especially handy for an LUT which is not the full length needed by the ImageMagick installed Quality (Q) level. Good settings for this are the ' bilinear ' and ' bicubic ' interpolation settings, which give smooth color gradients, and the ' integer ' setting for a direct, unsmoothed lookup of color values.
This operator is especially suited to replacing a grayscale image with a specific color gradient from the CLUT image.
Only the channel values defined by the - channel setting will have their values replaced. In particular, since the default - channel setting is RGB , this means that transparency (alpha/matte channel) is not affected, unless the - channel setting is modified. When the alpha channel is set, it is treated by the - clut operator in the same way as the other channels, implying that alpha/matte values are replaced using the alpha/matte values of the original image.
If either the image being modified, or the lookup image, contains no transparency (i. e. - alpha is turned 'off') but the - channel setting includes alpha replacement, then it is assumed that image represents a grayscale gradient which is used for the replacement alpha values. That is you can use a grayscale CLUT image to adjust a existing images alpha channel, or you can color a grayscale image using colors form CLUT containing the desired colors, including transparency.
See also - hald-clut which replaces colors according to the lookup of the full color RGB value from a 2D representation of a 3D color cube.
Fully define the look of each frame of an GIF animation sequence, to form a 'film strip' animation.
Overlay each image in an image sequence according to its - dispose meta-data, to reproduce the look of an animation at each point in the animation sequence. All images should be the same size, and are assigned appropriate GIF disposal settings for the animation to continue working as expected as a GIF animation. Such frames are more easily viewed and processed than the highly optimized GIF overlay images.
The animation can be re-optimized after processing using the - layers method ' optimize ', although there is no guarantee that the restored GIF animation optimization is better than the original.
-colorize value.
Colorize the image by an amount specified by value using the color specified by the most recent - fill setting.
Specify the amount of colorization as a percentage. Separate colorization values can be applied to the red, green, and blue channels of the image with a comma-delimited list of colorization values (e. g., - colorize 0,0,50 ).
-colormap type.
Define the colormap type.
The type can be shared or private .
This option only applies when the default X server visual is PseudoColor or GrayScale . Refer to - visual for more details. By default, a shared colormap is allocated. The image shares colors with other X clients. Some image colors could be approximated, therefore your image may look very different than intended. If private is chosen, the image colors appear exactly as they are defined. However, other clients may go technicolor when the image colormap is installed.
-colors value.
Set the preferred number of colors in the image.
The actual number of colors in the image may be less than your request, but never more. Note that this a color reduction option. Images with fewer unique colors than specified by value will have any duplicate or unused colors removed. The ordering of an existing color palette may be altered. When converting an image from color to grayscale, it is more efficient to convert the image to the gray colorspace before reducing the number of colors. Refer to the color reduction algorithm for more details.
-color-matrix matrix.
apply color correction to the image.
This option permits saturation changes, hue rotation, luminance to alpha, and various other effects. Although variable-sized transformation matrices can be used, typically one uses a 5x5 matrix for an RGBA image and a 6x6 for CMYKA (or RGBA with offsets). The matrix is similar to those used by Adobe Flash except offsets are in column 6 rather than 5 (in support of CMYKA images) and offsets are normalized (divide Flash offset by 255).
As an example, to add contrast to an image with offsets, try this command:
-colorspace value.
Set the image colorspace.
To print a complete list of colorspaces, use - list colorspace.
For a more accurate color conversion to or from the linear RGB, CMYK, or grayscale colorspaces, use the - profile option. Note, ImageMagick assumes the sRGB colorspace if the image format does not indicate otherwise. For colorspace conversion, the gamma function is first removed to produce linear RGB.
Note the scRGB colorspace requires HDRI support otherwise it behaves just like linear RGB.
Use the Undefined colorspace to identify multi-spectral images.
+combine colorspace.
Combine one or more images into a single image.
The channels (previously set by - channel) of the combined image are taken from the grayscale values of each image in the sequence, in order. For the default - channel setting of RGB , this means the first image is assigned to the Red channel, the second to the Green channel, the third to the Blue .
This option can be thought of as the inverse to - separate, so long as the channel settings are the same. Thus, in the following example, the final image should be a copy of the original.
-comment string.
Embed a comment in an image.
This option sets the comment meta-data of an image read in after this option has been given. To modify a comment of images already in memory use " - set comment ".
The comment can contain special format characters listed in the Format and Print Image Properties. These attributes are expanded when the comment is finally assigned to the individual images.
If the first character of string is @ , the image comment is read from a file titled by the remaining characters in the string. Comments read in from a file are literal; no embedded formatting characters are recognized.
Comment meta-data are not visible on the image itself. To do that use the - annotate or - draw options instead.
produces an image comment of MIFF:bird. miff 512x480 (assuming that the image bird. miff has a width of 512 and a height of 480.
mathematically and visually annotate the difference between an image and its reconstruction.
This is a convert version of " compare " for two same sized images. The syntax is as follows, but other metrics are allowed.
To get the metric value use the string format "%[distortion]".
-complex operator.
perform complex mathematics on an image sequence.
Choose from these operators:
Optionally specify the divide operator SNR with - define complex:snr=float .
-compose operator.
Set the type of image composition.
See Alpha Compositing for a detailed discussion of alpha compositing.
This setting affects image processing operators that merge two (or more) images together in some way. This includes the operators, - compare, - composite, - layers composite, - flatten, - mosaic, - layers merge, - border, - frame, and - extent.
It is also one of the primary options for the " composite " command.
Perform alpha composition on two images and an optional mask.
Take the first image 'destination' and overlay the second 'source' image according to the current - compose setting. The location of the 'source' or 'overlay' image is controlled according to - gravity, and - geometry settings.
If a third image is given this is treated as a grayscale blending 'mask' image relative to the first 'destination' image. This mask is blended with the source image. However for the ' displace ' compose method, the mask is used to provide a separate Y-displacement image instead.
If a - compose method requires extra numerical arguments or flags these can be provided by setting the - set ' option:compose:args ' appropriately for the compose method.
Some - compose methods can modify the 'destination' image outside the overlay area. You can disable this by setting the special - set ' option:compose:outside-overlay ' to ' false '.
The SVG compositing specification requires that color and opacity values range between zero and QuantumRange inclusive. You can permit values outside this range with this option: - set ' option:compose:clamp=false.
-compress type.
Use pixel compression specified by type when writing the image.
Choices are: None , BZip , Fax , Group4 , JPEG , JPEG2000 , Lossless , LZW , RLE or Zip .
To print a complete list of compression types, use - list compress.
Specify +compress to store the binary image in an uncompressed format. The default is the compression type of the specified image file.
If LZW compression is specified but LZW compression has not been enabled, the image data is written in an uncompressed LZW format that can be read by LZW decoders. This may result in larger-than-expected GIF files.
Lossless refers to lossless JPEG, which is only available if the JPEG library has been patched to support it. Use of lossless JPEG is generally not recommended.
When writing an ICO file, you may request that the images be encoded in PNG format, by specifying Zip compression.
When writing a JNG file, specify Zip compression to request that the alpha channel be encoded in PNG "IDAT" format, or JPEG to request that it be encoded in JPG "JDAA" format.
Use the - quality option to set the compression level to be used by JPEG, PNG, MIFF, and MPEG encoders. Use the - sampling-factor option to set the sampling factor to be used by JPEG, MPEG, and YUV encoders for down-sampling the chroma channels.
-connected-components connectivity.
connected-components labeling detects connected regions in an image, choose from 4 or 8 way connectivity.
Use - define connected-components:verbose=true to output statistics associated with each unique label.
Enhance or reduce the image contrast.
This option enhances the intensity differences between the lighter and darker elements of the image. Use - contrast to enhance the image or +contrast to reduce the image contrast.
For a more pronounced effect you can repeat the option:
-contrast-stretch black-point.
Increase the contrast in an image by stretching the range of intensity values.
While performing the stretch, black-out at most black-point pixels and white-out at most white-point pixels. Or, if percent is used, black-out at most black-point % pixels and white-out at most white-point % pixels.
Prior to ImageMagick 6.4.7-0, - contrast-stretch will black-out at most black-point pixels and white-out at most total pixels minus white-point pixels. Or, if percent is used, black-out at most black-point % pixels and white-out at most 100% minus white-point % pixels.
Note that - contrast-stretch 0 will modify the image such that the image's min and max values are stretched to 0 and QuantumRange , respectively, without any loss of data due to burn-out or clipping at either end. This is not the same as - normalize, which is equivalent to - contrast-stretch 0.15x0.05% (or prior to ImageMagick 6.4.7-0, - contrast-stretch 2%x99% ).
Internally operator works by creating a histogram bin, and then uses that bin to modify the image. As such some colors may be merged together when they originally fell into the same 'bin'.
All the channels are normalized in concert by the same amount so as to preserve color integrity, when the default +channel setting is in use. Specifying any other - channel setting will normalize the RGB channels independently.
See also - auto-level for a 'perfect' normalization of mathematical images.
This operator is under review for re-development.
-convolve kernel.
Convolve an image with a user-supplied convolution kernel.
The kernel is a matrix specified as a comma-separated list of integers (with no spaces), ordered left-to right, starting with the top row. Presently, only odd-dimensioned kernels are supported, and therefore the number of entries in the specified kernel must be 3 2 =9, 5 2 =25, 7 2 =49, etc.
Note that the ‑convolve operator supports the ‑bias setting. This option shifts the convolution so that positive and negative results are relative to a user-specified bias value. This is important for non-HDRI compilations of ImageMagick when dealing with convolutions that contain negative as well as positive values. This is especially the case with convolutions involving high pass filters or edge detection. Without an output bias, the negative values is clipped at zero.
When using an ImageMagick with the HDRI compile-time setting, ‑bias is not needed, as ImageMagick is able to store/handle any negative results without clipping to the color value range (0..QuantumRange). See the discussion on HDRI implementations of ImageMagick on the page High Dynamic-Range Images. For more about HDRI go the ImageMagick Usage pages or this Wikipedia entry.
-copy geometry offset.
copy pixels from one area of an image to another.
-crop geometry.
Cut out one or more rectangular regions of the image.
See Image Geometry for complete details about the geometry argument.
The width and height of the geometry argument give the size of the image that remains after cropping, and x and y in the offset (if present) gives the location of the top left corner of the cropped image with respect to the original image. To specify the amount to be removed, use - shave instead.
If the x and y offsets are present, a single image is generated, consisting of the pixels from the cropping region. The offsets specify the location of the upper left corner of the cropping region measured downward and rightward with respect to the upper left corner of the image. If the - gravity option is present with NorthEast , East , or SouthEast gravity, it gives the distance leftward from the right edge of the image to the right edge of the cropping region. Similarly, if the - gravity option is present with SouthWest , South , or SouthEast gravity, the distance is measured upward between the bottom edges.
If the x and y offsets are omitted, a set of tiles of the specified geometry, covering the entire input image, is generated. The rightmost tiles and the bottom tiles are smaller if the specified geometry extends beyond the dimensions of the input image.
You can add the @ to the geometry argument to equally divide the image into the number of tiles generated.
By adding a exclamation character flag to the geometry argument, the cropped images virtual canvas page size and offset is set as if the geometry argument was a viewport or window. This means the canvas page size is set to exactly the same size you specified, the image offset set relative top left corner of the region cropped.
If the cropped image 'missed' the actual image on its virtual canvas, a special single pixel transparent 'missed' image is returned, and a 'crop missed' warning given.
It might be necessary to +repage the image prior to cropping the image to ensure the crop coordinate frame is relocated to the upper-left corner of the visible image. Similarly you may want to use +repage after cropping to remove the page offset that will be left behind. This is especially true when you are going to write to an image format such as PNG that supports an image offset.
-cycle amount.
displace image colormap by amount.
Amount defines the number of positions each colormap entry is shifted.
-debug events.
enable debug printout.
The events parameter specifies which events are to be logged. It can be either None , All , Trace , or a comma-separated list consisting of one or more of the following domains: Accelerate , Annotate , Blob , Cache , Coder , Configure , Deprecate , Exception , Locale , Render , Resource , Security , TemporaryFile , Transform , X11 , or User .
For example, to log cache and blob events, use.
The User domain is normally empty, but developers can log user events in their private copy of ImageMagick.
To print the complete list of debug methods, use - list debug.
Use the - log option to specify the format for debugging output.
Use +debug to turn off all logging.
Debugging may also be set using the MAGICK_DEBUG environment variable. The allowed values for the MAGICK_DEBUG environment variable are the same as for the - debug option.
-decipher filename.
Decipher and restore pixels that were previously transformed by - encipher.
Get the passphrase from the file specified by filename .
-deconstruct.
find areas that has changed between images.
Given a sequence of images all the same size, such as produced by - coalesce, replace the second and later images, with a smaller image of just the area that changed relative to the previous image.
The resulting sequence of images can be used to optimize an animation sequence, though will not work correctly for GIF animations when parts of the animation can go from opaque to transparent.
This option is actually equivalent to the - layers method ' compare-any '.
-define key .
add specific global settings generally used to control coders and image processing operations.
This option creates one or more definitions for coders and decoders to use while reading and writing image data. Definitions are generally used to control image file format coder modules, and image processing operations, beyond what is provided by normal means. Defined settings are listed in - verbose information (" info: " output format) as "Artifacts".
If value is missing for a definition, an empty-valued definition of a flag is created with that name. This used to control on/off options. Use +define key to remove definitions previously created. Use +define "*" to remove all existing definitions.
The same 'artifact' settings can also be defined using the - set "option: key " " value " option, which also allows the use of Format and Print Image Properties in the defined value.
The option and key are case-independent (they are converted to lowercase for use within the decoders) while the value is case-dependent.
Such settings are global in scope, and affect all images and operations.
The following definitions are just some of the artifacts that are available:
The value can be the name of a PNG chunk-type such as bKGD , a comma-separated list of chunk-names (which can include the word date , the word all , or the word none ). Although PNG chunk-names are case-dependent, you can use all lowercase names if you prefer.
The "include-chunk" and "exclude-chunk" lists only affect the behavior of the PNG encoder and have no effect on the PNG decoder.
As a special case, if the sRGB chunk is excluded and the gAMA chunk is included, the gAMA chunk will only be written if gamma is not 1/2.2, since most decoders assume sRGB and gamma=1/2.2 when no colorspace information is included in the PNG file. Because the list is processed from left to right, you can achieve this with a single define:
As a special case, if the sRGB chunk is not excluded and the PNG encoder recognizes that the image contains the sRGB ICC profile, the PNG encoder will write the sRGB chunk instead of the entire ICC profile. To force the PNG encoder to write the sRGB profile as an iCCP chunk in the output PNG instead of the sRGB chunk, exclude the sRGB chunk.
The critical PNG chunks IHDR , PLTE , IDAT , and IEND cannot be excluded. Any such entries appearing in the list will be ignored.
If the ancillary PNG tRNS chunk is excluded and the image has transparency, the PNG colortype is forced to be 4 or 6 (GRAY_ALPHA or RGBA). If the image is not transparent, then the tRNS chunk isn't written anyhow, and there is no effect on the PNG colortype of the output image.
The - strip option does the equivalent of the following for PNG output:
The default behavior is to include all known PNG ancillary chunks plus ImageMagick's private vpAg ("virtual page") chunk, and to exclude all PNG chunks that are unknown to ImageMagick, regardless of their PNG "copy-safe" status as described in the PNG specification.
Any chunk names that are not known to ImageMagick are ignored if they appear in either the "include-chunk" or "exclude-chunk" list. The ancillary chunks currently known to ImageMagick are bKGD , cHRM , gAMA , iCCP , oFFs , pHYs , sRGB , tEXt , tRNS , vpAg , and zTXt .
You can also put date in the list to include or exclude the "Date:create" and "Date:modify" text chunks that ImageMagick normally inserts in the output PNG.
For example, to create a postscript file that will render only the black pixels of a bilevel image, use:
Set attributes of the image registry by prefixing the value with registry: . For example, to set a temporary path to put work files, use:
-delay ticks.
-delay ticks x ticks-per-second.
display the next image after pausing.
This option is useful for regulating the animation of image sequences ticks/ticks-per-second seconds must expire before the display of the next image. The default is no delay between each showing of the image sequence. The default ticks-per-second is 100.
Use > to change the image delay only if its current value exceeds the given delay. & lt; changes the image delay only if current value is less than the given delay. For example, if you specify 30> and the image delay is 20, the image delay does not change. However, if the image delay is 40 or 50, the delay it is changed to 30. Enclose the given delay in quotation marks to prevent the < or > from being interpreted by your shell as a file redirection.
-delete indexes.
delete the images specified by index, from the image sequence.
Specify the image by its index in the sequence. The first image is index 0. Negative indexes are relative to the end of the sequence, for example, -1 represents the last image of the sequence. Specify a range of images with a dash (e. g. 0-4). Separate indexes with a comma (e. g. 0,2). Use +delete to delete the last image in the current image sequence. Use - delete 0--1 to delete the entire image sequence.
-density width.
-density width x height.
Set the horizontal and vertical resolution of an image for rendering to devices.
This option specifies the image resolution to store while encoding a raster image or the canvas resolution while rendering (reading) vector formats such as Postscript, PDF, WMF, and SVG into a raster image. Image resolution provides the unit of measure to apply when rendering to an output device or raster image. The default unit of measure is in dots per inch (DPI). The - units option may be used to select dots per centimeter instead.
The default resolution is 72 dots per inch, which is equivalent to one point per pixel (Macintosh and Postscript standard). Computer screens are normally 72 or 96 dots per inch, while printers typically support 150, 300, 600, or 1200 dots per inch. To determine the resolution of your display, use a ruler to measure the width of your screen in inches, and divide by the number of horizontal pixels (1024 on a 1024x768 display).
If the file format supports it, this option may be used to update the stored image resolution. Note that Photoshop stores and obtains image resolution from a proprietary embedded profile. If this profile is not stripped from the image, then Photoshop will continue to treat the image using its former resolution, ignoring the image resolution specified in the standard file header.
The - density option sets an attribute and does not alter the underlying raster image. It may be used to adjust the rendered size for desktop publishing purposes by adjusting the scale applied to the pixels. To resize the image so that it is the same size at a different resolution, use the - resample option.
-depth value.
depth of the image.
This the number of bits in a color sample within a pixel. Use this option to specify the depth of raw images whose depth is unknown such as GRAY, RGB, or CMYK, or to change the depth of any image after it has been read.
obtain image by descending window hierarchy.
-deskew threshold.
straighten an image. A threshold of 40% works for most images.
Use - set option:deskew:auto-crop true | false to auto crop the image.
reduce the speckles within an image.
-direction type.
render text right-to-left or left-to-right. Requires the RAQM delegate library and complex text layout.
-displace horizontal-scale.
-displace horizontal-scale x vertical-scale.
shift image pixels as defined by a displacement map.
With this option, the 'overlay' image, and optionally the 'mask' image, is used as a displacement map, which is used to displace the lookup of what part of the 'background' image is seen at each point of the overlaid area. Much like the displacement map is a 'lens' that redirects light shining through it so as to present a distorted view the original 'background' image behind it.
Any perfect grey areas of the displacement map produce a zero displacement of the image. Black areas produce the given maximum negative displacement of the lookup point, while white produce a maximum positive displacement of the lookup.
Note that it is the lookup of the 'background' that is displaced, not a displacement of the image itself. As such an area of the displacement map containing 'white' will have the lookup point 'shifted' by a positive amount, and thus generating a copy of the destination image to the right/downward from the correct position. That is the image will look like it may have been 'shifted' in a negative left/upward direction. Understanding this is a very important in understanding how displacement maps work.
The given arguments define the maximum amount of displacement in pixels that a particular map can produce. If the displacement scale is large enough it is also possible to lookup parts of the 'background' image that lie well outside the bounds of the displacement map itself. That is you could very easily copy a section of the original image from outside the overlay area into the overlay area.
The '%' flag makes the displacement scale relative to the size of the overlay image (100% = half width/height of image). Using '!' switches percentage arguments to refer to the destination image size instead. these flags were added as of IM v6.5.3-5.
Normally a single grayscale displacement map is provided, which with the given scaling values will determine a single direction (vector) in which displacements can occur (positively or negatively). However, if you also specify a third image which is normally used as a mask , the composite image is used for horizontal X displacement, while the mask image is used for vertical Y displacement. This allows you to define completely different displacement values for the X and Y directions, and allowing you to lookup any point within the scale bounds. In other words each pixel can lookup any other nearby pixel, producing complex 2 dimensional displacements, rather than a simple 1 dimensional vector displacements.
Alternatively rather than supplying two separate images, as of IM v6.4.4-0, you can use the 'red' channel of the overlay image to specify the horizontal or X displacement, and the 'green' channel for the vertical or Y displacement.
As of IM v6.5.3-5 any alpha channel in the overlay image is used as a mask the transparency of the destination image. However areas outside the overlaid areas will not be affected.
-display host:display[.screen]
Specifies the X server to contact.
This option is used with convert for obtaining image or font from this X server. See X(1) .
-dispose method.
define the GIF disposal image setting for images that are being created or read in.
The layer disposal method defines the way each the displayed image is to be modified after the current 'frame' of an animation has finished being displayed (after its 'delay' period), but before the next frame on an animation is to be overlaid onto the display.
Here are the valid methods:
Undefined 0: No disposal specified (equivalent to ' none '). None 1: Do not dispose, just overlay next frame image. Background 2: Clear the frame area with the background color. Previous 3: Clear to the image prior to this frames overlay.
You can also use the numbers given above, which is what the GIF format uses internally to represent the above settings.
To print a complete list of dispose methods, use - list dispose.
Use +dispose, turn off the setting and prevent resetting the layer disposal methods of images being read in.
Use - set ' dispose ' method to set the image disposal method for images already in memory.
-dissimilarity-threshold value.
maximum RMSE for subimage match (default 0.2).
-dissolve src_percent [x dst_percent ]
dissolve an image into another by the given percent.
The opacity of the composite image is multiplied by the given percent, then it is composited 'over' the main image. If src_percent is greater than 100, start dissolving the main image so it becomes transparent at a value of ' 200 '. If both percentages are given, each image are dissolved to the percentages given.
Note that dissolve percentages do not add, two opaque images dissolved '50,50', produce a 75% transparency. For a 50% + 50% blending of the two images, you would need to use dissolve values of '50,100'.
-distort method arguments.
distort an image, using the given method and its required arguments .
The arguments is a single string containing a list of floating point numbers separated by commas or spaces. The number of and meaning of the floating point values depends on the distortion method being used.
Choose from these distortion types:
The number of arguments determine the specific meaning of each argument for the scales, rotation, and translation operations.
2: Scale Angle 3: X, Y Angle 4: X, Y Scale Angle 5: X, Y ScaleX, ScaleY Angle 6: X, Y Scale Angle NewX, NewY 7: X, Y ScaleX, ScaleY Angle NewX, NewY This is actually an alternative way of specifying a 2 dimensional linear 'Affine' or 'AffineProjection' distortion.
More than 3 sets given control point pairs (12 numbers) is least squares fitted to best match a linear affine distortion. If only 2 control point pairs (8 numbers) are given a two point image translation rotation and scaling is performed, without any possible shearing, flipping or changes in aspect ratio to the resulting image. If only one control point pair is provides the image is only translated, (which may be a floating point non-integer translation).
This distortion does not include any form of perspective distortion.
See - affine setting for more detail, and meanings of these coefficients.
The distortions 'Affine' and 'SRT' provide alternative methods of defining this distortion, with ImageMagick doing the calculations needed to generate the required coefficients. You can see the internally generated coefficients, by using a - verbose setting with those other variants.
The 'BilinearForward' is used to map rectangles to any quadrilateral, while the 'BilinearReverse' form maps any quadrilateral to a rectangle, while preserving the straight line edges in each case.
Note that 'BilinearForward' can generate invalid pixels which will be colored using the - mattecolor color setting. Also if the quadrilateral becomes 'flipped' the image may disappear.
There are future plans to produce a true Bilinear distortion that will attempt to map any quadrilateral to any other quadrilateral, while preserving edges (and edge distance ratios).
Perspective Distorted images ensures that straight lines remain straight, but the scale of the distorted image will vary. The horizon is anti-aliased, and the 'sky' color may be set using the - mattecolor setting.
This a variation of a polar distortion designed to try to preserve the aspect ratio of the image rather than direct Cartesian to Polar conversion.
Arguments: Rmax, Rmin CenterX, CenterY, start, end_angle.
All arguments are optional. With Rmin defaulting to zero, the center to the center of the image, and the angles going from -180 (top) to +180 (top). If Rmax is given the special value of '0', the the distance from the center to the nearest edge is used for the radius of the output image, which will ensure the whole image is visible (though scaled smaller). However a special value of '-1' will use the distance from the center to the furthest corner, This may 'clip' the corners from the input rectangular image, but will generate the exact reverse of a 'DePolar' with the same arguments.
If the plus form of distort (+distort) is used output image center will default to 0,0 of the virtual canvas, and the image size adjusted to ensure the whole input image is made visible in the output image on the virtual canvas.
The special Rmax setting of '0' may however clip the corners of the input image. However using the special Rmax setting of '-1' (maximum center to corner distance) will ensure the whole distorted image is preserved in the generated result, so that the same argument to 'Polar' will reverse the distortion re-producing the original. Note that as this distortion requires the area resampling of a circular arc, which can not be handled by the builtin EWA resampling function. As such the normal EWA filters are turned off. It is recommended some form of 'super-sampling' image processing technique be used to produce a high quality result.
Arguments: A B C [ D [ X , Y ] ]
So that it forms the function.
Rsrc = r * ( A *r 3 + B *r 2 + C *r + D )
Where X , Y is the optional center of the distortion (defaulting to the center of the image).
The second form is typically used to distort images, rather than correct lens distortions.
Rsrc = r / ( A *r 3 + B *r 2 + C *r + D )
Note that this is not the reverse of the 'Barrel' distortion, just a different barrel-like radial distortion method.
The distortion has been likened to 'taffy pulling' using nails, or pins' stuck in a block of 'jelly' which is then moved to the new position, distorting the surface of the jelly.
Internally it is equivalent to generating a displacement map (see - displace) for source image color look-up using the - sparse-color method of the same name.
To print a complete list of distortion methods, use - list distort.
Many of the above distortion methods such as ' Affine ', ' Perspective ', and ' Shepards ' use a list control points defining how these points in the given image should be distorted in the destination image. Each set of four floating point values represent a source image coordinate, followed immediately by the destination image coordinate. This produces a list of values such as.
where U, V on the source image is mapped to X, Y on the destination image.
For example, to warp an image using ' perspective ' distortion, needs a list of at least 4 sets of coordinates, or 16 numbers. Here is the perspective distortion of the built-in "rose:" image. Note how spaces were used to group the 4 sets of coordinate pairs, to make it easier to read and understand.
If more that the required number of coordinate pairs are given for a distortion, the distortion method is 'least squares' fitted to produce the best result for all the coordinate pairs given. If less than the ideal number of points are given, the distort will generally fall back to a simpler form of distortion that can handles the smaller number of coordinates (usually a linear ' Affine ' distortion).
By using more coordinates you can make use of image registration tool to find matching coordinate pairs in overlapping images, so as to improve the 'fit' of the distortion. Of course a bad coordinate pair can also make the 'fit' worse. Caution is always advised.
Colors are acquired from the source image according to a cylindrical resampling - filter, using a special technique known as EWA resampling. This produces very high quality results, especially when images become smaller (minified) in the output, which is very common when using ' perspective ' distortion. For example here we view a infinitely tiled 'plane' all the way to the horizon.
Note that a infinitely tiled perspective images involving the horizon can be very slow, because of the number of pixels that are compressed to generate each individual pixel close to the 'horizon'. You can turn off EWA resampling, by specifying the special - filter setting of ' point ' (recommended if you plan to use super-sampling instead).
If an image generates invalid pixels , such as the 'sky' in the last example, - distort will use the current - mattecolor setting for these pixels. If you do not what these pixels to be visible, set the color to match the rest of the ground.
The output image size will by default be the same as the input image. This means that if the part of the distorted image falls outside the viewed area of the 'distorted space', those parts is clipped and lost. However if you use the plus form of the operator (+distort) the operator will attempt (if possible) to show the whole of the distorted image, while retaining a correct 'virtual canvas' offset, for image layering. This offset may need to be removed using +repage, to remove if it is unwanted.
Setting - verbose setting, will cause - distort to attempt to output the internal coefficients, and the - fx equivalent to the distortion, for expert study, and debugging purposes. This many not be available for all distorts.
You can alternatively specify a special " - define distort:viewport= " setting which will specify the size and the offset of the generated 'viewport' image of the distorted image space.
Setting a " - define distort:scale= scale_factor " will scale the output image (viewport or otherwise) by that factor without changing the viewed contents of the distorted image. This can be used either for 'super-sampling' the image for a higher quality result, or for panning and zooming around the image (with appropriate viewport changes, or post-distort cropping and resizing).
Setting " - define resample:verbose=1 " will output the cylindrical filter lookup table created by the EWA (Elliptical Weighted Average) resampling algorithm. Note this table uses a squared radius lookup value. This is typically only used for debugging EWA resampling.
-distribute-cache port.
launch a distributed pixel cache server.
-dither method.
Apply a Riemersma or Floyd-Steinberg error diffusion dither to images when general color reduction is applied via an option, or automagically when saving to specific formats. This enabled by default.
Dithering places two or more colors in neighboring pixels so that to the eye a closer approximation of the images original color is reproduced. This reduces the number of colors needed to reproduce the image but at the cost of a lower level pattern of colors. Error diffusion dithers can use any set of colors (generated or user defined) to an image.
Dithering is turned on by default, to turn it off use the plus form of the setting, +dither. This will also also render PostScript without text or graphic aliasing. Disabling dithering often (but not always) leads to faster process, a smaller number of colors, but more cartoon like image coloring. Generally resulting in 'color banding' effects in areas with color gradients.
The color reduction operators - colors, - monochrome, - remap, and - posterize, apply dithering to images using the reduced color set they created. These operators are also used as part of automatic color reduction when saving images to formats with limited color support, such as GIF: , XBM: , and others, so dithering may also be used in these cases.
Alternatively you can use - random-threshold to generate purely random dither. Or use - ordered-dither to apply threshold mapped dither patterns, using uniform color maps, rather than specific color maps.
-draw string.
Annotate an image with one or more graphic primitives.
Use this option to annotate or decorate an image with one or more graphic primitives. The primitives include shapes, text, transformations, and pixel operations.
The shape primitives:
point x, y line x0,y0 x1,y1 rectangle x0,y0 x1,y1 roundRectangle x0,y0 x1,y1 wc, hc arc x0,y0 x1,y1 a0,a1 ellipse x0,y0 rx, ry a0,a1 circle x0,y0 x1,y1 polyline x0,y0 . xn, yn polygon x0,y0 . xn, yn bezier x0,y0 . xn, yn path specification image operator x0,y0 w, h filename.
The text primitive:
text x0,y0 string.
The text gravity primitive:
gravity NorthWest, North, NorthEast, West, Center, East, SouthWest, South, or SouthEast.
The text gravity primitive only affects the placement of text and does not interact with the other primitives. It is equivalent to using the - gravity command-line option, except that it is limited in scope to the - draw option in which it appears.
The transformation primitives:
rotate degrees translate dx, dy scale sx, sy skewX degrees skewY degrees.
The pixel operation primitives:
color x0,y0 method matte x0,y0 method.
The shape primitives are drawn in the color specified by the preceding - fill setting. For unfilled shapes, use - fill none. You can optionally control the stroke (the "outline" of a shape) with the - stroke and - strokewidth settings.
A point primitive is specified by a single point in the pixel plane, that is, by an ordered pair of integer coordinates, x , y . (As it involves only a single pixel, a point primitive is not affected by - stroke or - strokewidth.)
A line primitive requires a start point and end point.
A rectangle primitive is specified by the pair of points at the upper left and lower right corners.
A roundRectangle primitive takes the same corner points as a rectangle followed by the width and height of the rounded corners to be removed.
The circle primitive makes a disk (filled) or circle (unfilled). Give the center and any point on the perimeter (boundary).
The arc primitive is used to inscribe an elliptical segment in to a given rectangle. An arc requires the two corners used for rectangle (see above) followed by the start and end angles of the arc of the segment segment (e. g. 130,30 200,100 45,90). The start and end points produced are then joined with a line segment and the resulting segment of an ellipse is filled.
Use ellipse to draw a partial (or whole) ellipse. Give the center point, the horizontal and vertical "radii" (the semi-axes of the ellipse) and start and end angles in degrees (e. g. 100,100 100,150 0,360).
The polyline and polygon primitives require three or more points to define their perimeters. A polyline is simply a polygon in which the final point is not stroked to the start point. When unfilled, this is a polygonal line . If the - stroke setting is none (the default), then a polyline is identical to a polygon .
A coordinate is a pair of integers separated by a space or optional comma.
As an example, to define a circle centered at 100,100 that extends to 150,150 use:
The Bezier primitive creates a spline curve and requires three or points to define its shape. The first and last points are the knots and these points are attained by the curve, while any intermediate coordinates are control points . If two control points are specified, the line between each end knot and its sequentially respective control point determines the tangent direction of the curve at that end. If one control point is specified, the lines from the end knots to the one control point determines the tangent directions of the curve at each end. If more than two control points are specified, then the additional control points act in combination to determine the intermediate shape of the curve. In order to draw complex curves, it is highly recommended either to use the path primitive or to draw multiple four-point bezier segments with the start and end knots of each successive segment repeated. Por exemplo:
A path represents an outline of an object, defined in terms of moveto (set a new current point), lineto (draw a straight line), curveto (draw a Bezier curve), arc (elliptical or circular arc) and closepath (close the current shape by drawing a line to the last moveto) elements. Compound paths (i. e., a path with subpaths, each consisting of a single moveto followed by one or more line or curve operations) are possible to allow effects such as donut holes in objects. (See Paths.)
Use image to composite an image with another image. Follow the image keyword with the composite operator, image location, image size, and filename:
You can use 0,0 for the image size, which means to use the actual dimensions found in the image header. Otherwise, it is scaled to the given dimensions. See Alpha Compositing for a detailed discussion of alpha composition methods that are available.
The "special augmented compose operators" such as "dissolve" that require arguments cannot be used at present with the - draw image option.
Use text to annotate an image with text. Follow the text coordinates with a string. If the string has embedded spaces, enclose it in single or double quotes.
For example, the following annotates the image with Works like magick! for an image titled bird. miff .
See the - annotate option for another convenient way to annotate an image with text.
The rotate primitive rotates subsequent shape primitives and text primitives about the origin of the main image.
The translate primitive translates subsequent shape and text primitives.
The scale primitive scales them.
The skewX and skewY primitives skew them with respect to the origin of the main image or the region.
The transformations modify the current affine matrix, which is initialized from the initial affine matrix defined by the - affine option. Transformations are cumulative within the - draw option. The initial affine matrix is not affected; that matrix is only changed by the appearance of another - affine option. If another - draw option appears, the current affine matrix is reinitialized from the initial affine matrix.
Use the color primitive to change the color of a pixel to the fill color (see - fill). Follow the pixel coordinate with a method:
Consider the target pixel as that specified by your coordinate. The point method recolors the target pixel. The replace method recolors any pixel that matches the color of the target pixel. Floodfill recolors any pixel that matches the color of the target pixel and is a neighbor, whereas filltoborder recolors any neighbor pixel that is not the border color. Finally, reset recolors all pixels.
Use matte to the change the pixel matte value to transparent. Follow the pixel coordinate with a method (see the color primitive for a description of methods). The point method changes the matte value of the target pixel. The replace method changes the matte value of any pixel that matches the color of the target pixel. Floodfill changes the matte value of any pixel that matches the color of the target pixel and is a neighbor, whereas filltoborder changes the matte value of any neighbor pixel that is not the border color (-bordercolor). Finally reset changes the matte value of all pixels.
You can set the primitive color, font, and font bounding box color with - fill, - font, and - box respectively. Options are processed in command line order so be sure to use these options before the - draw option.
Strings that begin with a number must be quoted (e. g. use '1.png' rather than 1.png).
Drawing primitives conform to the Magick Vector Graphics format.
-duplicate count, indexes.
duplicate an image one or more times.
Specify the count and the image to duplicate by its index in the sequence. The first image is index 0. Negative indexes are relative to the end of the sequence, for example, -1 represents the last image of the sequence. Specify a range of images with a dash (e. g. 0-4). Separate indexes with a comma (e. g. 0,2). Use +duplicate to duplicate the last image in the current image sequence.
-edge radius.
detect edges within an image.
-emboss radius.
emboss an image.
-encipher filename.
Encipher pixels for later deciphering by - decipher.
Get the passphrase from the file specified by filename .
-encoding type.
specify the text encoding.
-endian type.
Specify endianness ( MSB or LSB ) of the image.
To print a complete list of endian types, use the - list endian option.
Use +endian to revert to unspecified endianness.
Apply a digital filter to enhance a noisy image.
perform histogram equalization on the image channel-by-channel.
To perform histogram equalization on all channels in concert, transform the image into some other color space, such as HSL, OHTA, YIQ or YUV, then equalize the appropriate intensity-like channel, then convert back to RGB.
For example using HSL, we have: . - colorspace HSL - channel lightness - equalize - colorspace RGB .
For YIQ, YUV and OHTA use the red channel. For example, OHTA is a principal components transformation that puts most of the information in the first channel. Here we have . - colorspace OHTA - channel red - equalize - colorspace RGB .
-evaluate operator value.
Alter channel pixels by evaluating an arithmetic, relational, or logical expression.
(See the - function operator for some multi-parameter functions. See the - fx operator if more elaborate calculations are needed.)
The behaviors of each operator are summarized in the following list. For brevity, the numerical value of a "pixel" referred to below is the value of the corresponding channel of that pixel, while a "normalized pixel" is that number divided by the maximum (installation-dependent) value QuantumRange . (If normalized pixels are used, they are restored, following the other calculations, to the full range by multiplying by QuantumRange .)
The specified functions are applied only to each previously set - channel in the image. If necessary, the results of the calculations are truncated (clipped) to fit in the interval [0, QuantumRange ]. The transparency channel of the image is represented as a 'alpha' values (0 = fully transparent), so, for example, a Divide by 2 of the alpha channel will make the image semi-transparent. Append the percent symbol ' % ' to specify a value as a percentage of the QuantumRange .
To print a complete list of - evaluate operators, use - list evaluate.
The results of the Add , Subtract and Multiply methods can also be achieved using either the - level or the +level operator, with appropriate argument, to linearly modify the overall range of color values. Please note, however, that - level treats transparency as 'matte' values (0 = opaque), while - evaluate works with 'alpha' values.
AddModulus has been added as of ImageMagick 6.4.8-4 and provides addition modulo the QuantumRange . It is therefore equivalent to Add unless the resulting pixel value is outside the interval [0, QuantumRange ].
Exp or Exponential has been added as of ImageMagick 6.6.5-1 and works on normalized pixel values. The value used with Exp should be negative so as to produce a decaying exponential function. Non-negative values will always produce results larger unity and thus outside the interval [0, QuantumRange ]. The formula is expressed below.
If the input image is squared, for example, using - function polynomial "2 0 0", then a decaying Gaussian function will be the result.
Log has been added as of ImageMagick 6.4.2-1 and works on normalized pixel values. This a scaled log function. The value used with Log provides a scaling factor that adjusts the curvature in the graph of the log function. The formula applied to a normalized value u is below.
log( value × u + 1) / log( value + 1)
Pow has been added as of ImageMagick 6.4.1-9, and works on normalized pixel values. Note that Pow is related to the - gamma operator. For example, - gamma 2 is equivalent to - evaluate pow 0.5 , i. e., a 'square root' function. The value used with - gamma is simply the reciprocal of the value used with Pow .
Cosine and Sine was added as of IM v6.4.8-8 and converts the image values into a value according to a (co)sine wave function. The synonyms Cos and Sin may also be used. The output is biased 50% and normalized by 50% so as to fit in the respective color value range. The value scaling of the period of the function (its frequency), and thus determines the number of 'waves' that will be generated over the input color range. For example, if the value is 1, the effective period is simply the QuantumRange ; but if the value is 2, then the effective period is the half the QuantumRange .
0.5 + 0.5 × cos(2 π u × value ).
See also the - function operator, which is a multi-value version of evaluate.
-evaluate-sequence operator.
Alter channel pixels by evaluating an arithmetic, relational, or logical expression over a sequence of images. Ensure all the images in the sequence are in the same colorspace, otherwise you may get unexpected results, e. g. add - colorspace sRGB to your command-line.
To print a complete list of - evaluate-sequence operators, use - list evaluate.
-extent geometry.
Set the image size and offset.
If the image is enlarged, unfilled areas are set to the background color. To position the image, use offsets in the geometry specification or precede with a - gravity setting. To specify how to compose the image with the background, use - compose.
This command reduces or expands a JPEG image to fit on an 800x600 display. If the aspect ratio of the input image isn't exactly 4:3, then the image is centered on an 800x600 black canvas:
See Image Geometry for complete details about the geometry argument.
-extract geometry.
Extract the specified area from image.
This option is most useful for extracting a subregion of a very large raw image. Note that these two commands are equivalent:
If you omit the offsets, as in.
the image is resized to the specified dimensions instead, equivalent to:
See Image Geometry for complete details about the geometry argument.
-family fontFamily.
Set a font family for text.
This setting suggests a font family that ImageMagick should try to use for rendering text. If the family can be found it is used; if not, a default font (e. g., "Arial") or a family known to be similar is substituted (e. g., "Courier" might be used if "System" is requested but not found).
For other settings that affect fonts, see the options - font, - stretch, - style, and - weight.
-features distance.
display (co-occurrence matrix) texture measure features for each channel in the image in each of four directions (horizontal, vertical, left and right diagonals) for the specified distance.
implements the forward discrete Fourier transform (DFT).
This option is new as of ImageMagick 6.5.4-3 (and now working for Windows users in ImageMagick 6.6.0-9). It transforms an image from the normal (spatial) domain to the frequency domain. In the frequency domain, an image is represented as a superposition of complex sinusoidal waves of varying amplitudes. The image x and y coordinates are the possible frequencies along the x and y directions, respectively, and the pixel intensity values are complex numbers that correspond to the sinusoidal wave amplitudes. See for example, Fourier Transform, Discrete Fourier Transform and Fast Fourier Transform.
A single image name is provided as output for this option. However, the output result will have two components. It is either a two-frame image or two separate images, depending upon whether the image format specified supports multi-frame images. The reason that we get a dual output result is because the frequency domain represents an image using complex numbers, which cannot be visualized directly. Therefore, the complex values are automagically separated into a two-component image representation. The first component is the magnitude of the complex number and the second is the phase of the complex number. See for example, Complex Numbers.
The magnitude and phase component images must be specified using image formats that do not limit the color or compress the image. Thus, MIFF, TIF, PFM, EXR and PNG are the recommended image formats to use. All of these formats, except PNG support multi-frame images. So for example,
generates a magnitude image as fft_image. miff[0] and a phase image as fft_image. miff[1] . Similarmente,
generates a magnitude image as fft_image-0.png and a phase image as fft_image-1.png . If you prefer this representation, then you can force any of the other formats to produce two output images by including +adjoin following - fft in the command line.
The input image can be any size, but if not square and even-dimensioned, it is padded automagically to the larger of the width or height of the input image and to an even number of pixels. The padding will occur at the bottom and/or right sides of the input image. The resulting output magnitude and phase images is square at this size. The kind of padding relies on the - virtual-pixel setting.
Both output components will have dynamic ranges that fit within [0, QuantumRange ], so that HDRI need not be enabled. Phase values nominally range from 0 to 2*π, but is scaled to span the full dynamic range. (The first few releases had non-HDRI scaled but HDRI not scaled). The magnitude image is not scaled and thus generally will contain very small values. As such, the image normally will appear totally black. In order to view any detail, the magnitude image typically is enhanced with a log function into what is usually called the spectrum. A log function is used to enhance the darker values more in comparison to the lighter values. This can be done, for example, as follows:
where either - contrast-stretch 0 or - auto-level is used to scale the image to full dynamic range, first. The argument to the - evaluate log typically is specified between 100 and 10,000, depending upon the amount of detail that one wants to bring out in the spectrum. Larger values produce more visible detail. Too much detail, however, may hide the important features.
The FFTW delegate library is required to use - fft.
Use +fft to produce two output images that are the real and imaginary components of the complex valued Fourier transform.
However, as the real and imaginary components can contain negative values, this requires that IM be configured with HDRI enabled. In this case, you must use either MIFF, TIF, PFM or MPC formats for the real and imaginary component results, since they are formats that preserve both negative and fractional values without clipping them or truncating the fractional part. With either MIFF or TIF, one should add - define quantum:format=32, to allow those image types to work properly in HDRI mode without clipping.
The real and imaginary component images resulting from +fft are also square, even dimensioned images due to the same padding that was discussed above for the magnitude and phase component images.
See the discussion on HDRI implementations of ImageMagick on the page High Dynamic-Range Images. For more about HDRI go the ImageMagick Usage pages, Fred's Fourier Processing With ImageMagick page or this Wikipedia entry.
By default the FFT is normalized (and the IFT is not). Use " - define fourier:normalize=forward to explicitly normalize the FFT and unnormalize the IFT.
-fill color.
color to use when filling a graphic primitive.
This option accepts a color name, a hex color, or a numerical RGB, RGBA, HSL, HSLA, CMYK, or CMYKA specification. See Color Names for a description of how to properly specify the color argument.
Enclose the color specification in quotation marks to prevent the "#" or the parentheses from being interpreted by your shell.
See - draw for further details.
To print a complete list of color names, use the - list color option.
-filter type.
Use this type of filter when resizing or distorting an image.
Use this option to affect the resizing operation of an image during operations such as - resize and - distort. For example you can use a simple resize filter such as:
Use - define filter:lobes= to specify the support size for filtering for the CubicSpline filter.
The Bessel and Sinc filter is also provided (as well as a faster SincFast equivalent form). However these filters are generally useless on their own as they are infinite filters that are being clipped to the filters support size. Their direct use is not recommended except via expert settings (see below).
Instead these special filter functions are typically windowed by a windowing function that the - filter setting defines. That is using these functions will define a 'Windowed' filter, appropriate to the operator involved. Windowed filters include:
Also one special self-windowing filter is also provided Lagrange , which will automagically re-adjust its function depending on the current 'support' or 'lobes' expert settings (see below).
If you do not select a filter with this option, the filter defaults to Mitchell for a colormapped image, an image with a matte channel, or if the image is enlarged. Otherwise the filter default to Lanczos .
To print a complete list of resize filters, use the - list filter option.
You can modify how the filter behaves as it scales your image through the use of these expert settings (see also - define and - set):-
For example, to get a 8 lobe jinc windowed sinc filter (Genseng filter?):
Or a raw un-windowed Sinc filter with 4 lobes:
To extract the data for a raw windowing function, combine it with a ' Box ' filter. For example the ' Welch parabolic windowing function.
Note that the use of expert options is provided for image processing experts who have studied and understand how resize filters work. Without this knowledge, and an understanding of the definition of the actual filters involved, using expert settings are more likely to be detrimental to your image resizing.
This is a simple alias for the - layers method "flatten".
create a mirror image.
reflect the scanlines in the vertical direction. The image will be mirrored upside-down.
-floodfill x y color.
floodfill the image with color at the specified offset.
Flood fill starts from the given 'seed point' which is not gravity affected. Any color that matches within - fuzz color distance of the given color argument, connected to that 'seed point' will be replaced with the current - fill color.
Note that if the pixel at the 'seed point' does not itself match the given color (according to - fuzz), then no action will be taken.
This operator works more like the - opaque option, than a more general flood fill that reads the matching color directly at the 'seed point'. For this form of flood fill, look at - draw and its 'color floodfill' drawing method.
create a mirror image .
Reflect the scanlines in the horizontal direction, just like the image in a vertical mirror.
set the font to use when annotating images with text, or creating labels.
To print a complete list of fonts, use the - list font option (for versions prior to 6.3.6, use 'type' instead of 'font').
In addition to the fonts specified by the above pre-defined list, you can also specify a font from a specific source. For example Arial. ttf is a TrueType font file, ps:helvetica is PostScript font, and x:fixed is X11 font.
For other settings that affect fonts, see the options - family, - stretch, - style, and - weight.
-foreground color.
Define the foreground color for menus.", "display.
The color is specified using the format described under the - fill option.
The default foreground color is black.
-format type.
the image format type.
When used with the mogrify utility, this option converts any image to the image format you specify. For a list of image format types supported by ImageMagick, use - list format.
By default the file is written to its original name. However, if the filename extension matches a supported format, the extension is replaced with the image format type specified with - format. For example, if you specify tiff as the format type and the input image filename is image. gif , the output image filename becomes image. tiff .
-format string.
output formatted image characteristics.
See Format and Print Image Properties for an explanation on how to specify the argument to this option.
-frame geometry.
Surround the image with a border or beveled frame.
The color of the border is specified with the - mattecolor command line option.
See Image Geometry for complete details about the geometry argument. The size portion of the geometry argument indicates the amount of extra width and height that is added to the dimensions of the image. If no offsets are given in the geometry argument, then the border added is a solid color. Offsets x and y , if present, specify that the width and height of the border is partitioned to form an outer bevel of thickness x pixels and an inner bevel of thickness y pixels. Negative offsets make no sense as frame arguments.
The - frame option is affected by the current - compose setting and assumes that this is using the default ' Over ' composition method. It generates an image of the appropriate size with the current - bordercolor setting, and then draws the frame of four distinct colors close to the current - mattecolor. The original image is then overlaid onto center of this image. This means that with the default compose method of ' Over ' any transparent parts may be replaced by the current - bordercolor setting.
The image composition is not affected by the - gravity option.
include the X window frame in the imported image.
-function function parameters.
Apply a function to channel values.
This operator performs calculations based on the given arguments to modify each of the color values for each previously set - channel in the image. See - evaluate for details concerning how the results of the calculations are handled.
This is can be considered a multi-argument version of the - evaluate operator. (Added in ImageMagick 6.4.8−8.)
Here, parameters is a comma-separated list of numerical values. The number of values varies depending on which function is selected. Choose the function from:
To print a complete list of - function operators, use - list function. Descriptions follow.
The Polynomial function takes an arbitrary number of parameters, these being the coefficients of a polynomial, in decreasing order of degree. That is, entering.
will invoke a polynomial function given by.
where u is pixel's original normalized channel value.
The Polynomial function can be used in place of Set (the constant polynomial) and Add , Divide , Multiply , and Subtract (some linear polynomials) of the - evaluate operator. The - level operator also affects channels linearly. Some correspondences follow.
The Polynomial function gives great versatility, since polynomials can be used to fit any continuous curve to any degree of accuracy desired.
The Sinusoid function can be used to vary the channel values sinusoidally by setting frequency, phase shift, amplitude, and a bias. These values are given as one to four parameters, as follows,
where phase is in degrees. (The domain [0,1] of the function corresponds to 0 through freq ×360 degrees.) The result is that if a pixel's normalized channel value is originally u , its resulting normalized value is given by.
For example, the following generates a curve that starts and ends at 0.9 (when u =0 and 1, resp.), oscillating three times between .7−.2=.5 and .7+.2=.9.
The default values of amp and bias are both .5. The default for phase is 0.
The Sinusoid function generalizes Sin and Cos of the - evaluate operator by allowing varying amplitude, phase and bias. The correspondence is as follows.
The ArcSin function generates the inverse curve of a Sinusoid, and can be used to generate cylindrical distortion and displacement maps. The curve can be adjusted relative to both the input values and output range of values.
with all values given in terms of normalized color values (0.0 for black, 1.0 for white). Defaulting to values covering the full range from 0.0 to 1.0 for bout input ( width ), and output ( width ) values. ' 1.0,0.5,1.0,0.5 '
The ArcTan function generates a curve that smooth crosses from limit values at infinities, though a center using the given slope value. All these values can be adjusted via the arguments.
Defaulting to ' 1.0,0.5,1.0,0.5 '.
-fuzz distance.
Colors within this distance are considered equal.
A number of algorithms search for a target color. By default the color must be exact. Use this option to match colors that are close to the target color in RGB space. For example, if you want to automagically trim the edges of an image with - trim but the image was scanned and the target background color may differ by a small amount. This option can account for these differences.
The distance can be in absolute intensity units or, by appending % as a percentage of the maximum possible intensity (255, 65535, or 4294967295).
Use +fuzz to reset the fuzz value to 0.
-fx expression.
apply a mathematical expression to an image or image channels.
If the first character of expression is @ , the expression is read from a file titled by the remaining characters in the string.
-gamma value.
level of gamma correction.
The same color image displayed on two different workstations may look different due to differences in the display monitor. Use gamma correction to adjust for this color difference. Reasonable values extend from 0.8 to 2.3 . Gamma less than 1.0 darkens the image and gamma greater than 1.0 lightens it. Large adjustments to image gamma may result in the loss of some image information if the pixel quantum size is only eight bits (quantum range 0 to 255).
Gamma adjusts the image's channel values pixel-by-pixel according to a power law, namely, pow(pixel,1/gamma) or pixel^(1/gamma), where pixel is the normalized or 0 to 1 color value. For example, using a value of gamma=2 is the same as taking the square root of the image.
Use +gamma value to set the image gamma level without actually adjusting the image pixels. This option is useful if the image is of a known gamma but not set as an image attribute (e. g. PNG images). Write the "file gamma" which is the reciprocal of the display gamma; e. g., if your image is sRGB and you want to write a PNG gAMA chunk, use.
Note that gamma adjustments are also available via the - level operator.
-gaussian-blur radius.
-gaussian-blur radius x sigma.
Blur the image with a Gaussian operator.
Convolve the image with a Gaussian or normal distribution using the given Sigma value. A fórmula é:
The Sigma value is the important argument, and determines the actual amount of blurring that will take place.
The Radius is only used to determine the size of the array which will hold the calculated Gaussian distribution. It should be an integer. If not given, or set to zero, IM will calculate the largest possible radius that will provide meaningful results for the Gaussian distribution.
The larger the Radius the radius the slower the operation is. However too small a Radius , and severe aliasing effects may result. As a guideline, Radius should be at least twice the Sigma value, though three times will produce a more accurate result.
This differs from the faster - blur operator in that a full 2-dimensional convolution is used to generate the weighted average of the neighboring pixels.
The - virtual-pixel setting will determine how pixels which are outside the image proper are blurred into the final result.
-geometry geometry.
Set the preferred size and location of the image.
See Image Geometry for complete details about the geometry argument.
-gravity type.
Sets the current gravity suggestion for various other settings and options.
Choices include: NorthWest , North , NorthEast , West , Center , East , SouthWest , South , SouthEast . Use - list gravity to get a complete list of - gravity settings available in your ImageMagick installation.
The direction you choose specifies where to position text or subimages. For example, a gravity of Center forces the text to be centered within the image. By default, the image gravity is undefined . See - draw for more details about graphic primitives. Only the text primitive of - draw is affected by the - gravity option.
The - gravity option is also used in concert with the - geometry setting and other settings or options that take geometry as an argument, such as the - crop option.
If a - gravity setting occurs before another option or setting having a geometry argument that specifies an offset, the offset is usually applied to the point within the image suggested by the - gravity argument. Thus, in the following command, for example, suppose the file image. png has dimensions 200x100. The offset specified by the argument to - region is (−40,+20). The argument to - gravity is Center , which suggests the midpoint of the image, at the point (100,50). The offset (−40,20) is applied to that point, giving (100−40,50+20)=(60,70), so the specified 10x10 region is located at that point. (In addition, the - gravity affects the region itself, which is centered at the pixel coordinate (60,70). (See Image Geometry for complete details about the geometry argument.)
When used as an option to composite, - gravity gives the direction that the image gravitates within the composite.
When used as an option to montage, - gravity gives the direction that an image gravitates within a tile. The default gravity is Center for this purpose.
-grayscale method.
convert image to grayscale.
This will use one of the - intensity methods to convert the given image into a grayscale image.
For example, to convert an image to (linear) Rec709Luminance grayscale, type:
which is equivalent to:
Note that LinearGray is new as of Imagemagick 6.9.9-29 and 7.0.7-17.
Similarly, to convert an image to (non-linear) Rec709Luma grayscale, type:
which is equivalent to:
Note that a 'colorspace' intensity method will produce the same result regardless of the current colorpsace of the image. But a 'mathematical' intensity method depends on the current colorspace the image is currently using.
While this operation uses an - intensity method, it does not use or set the - intensity setting, so will not affect other operations that may use that setting.
-green-primary x, y.
green chromaticity primary point.
apply a Hald color lookup table to the image.
A Hald color lookup table is a 3-dimensional color cube mapped to 2 dimensions. Create it with the HALD: prefix (e. g. HALD:8). You can apply any color transformation to the Hald image and then use this option to apply the transform to the image.
This option provides a convenient method for you to use Gimp or Photoshop to make color corrections to the Hald CLUT image and subsequently apply them to multiple images using an ImageMagick script.
Note that the representation is only of the normal RGB color space and that the whole color value triplet is used for the interpolated lookup of the represented Hald color cube image. Because of this the operation is not - channel setting affected, nor can it adjust or modify an images transparency or alpha/matte channel.
See also - clut which provides color value replacement of the individual color channels, usually involving a simpler grayscale image. E. g: grayscale to color replacement, or modification by a histogram mapping.
print usage instructions.
-highlight-color color.
when comparing images, emphasize pixel differences with this color.
-hough-lines width x height.
identify straight lines in the image (e. g. - hough-lines 9x9+195).
Use the Hough line detector with any binary edge extracted image to locate and draw any straight lines that it finds.
The process accumulates counts for every white pixel in the binary edge image for every possible orientation (for angles from 0 to 179 in 1 deg increments) and distance from the center of the image to the corners (in 1 px increments). It stores the counts in an accumulator matrix of angle vs distance. The size of the accumulator will be 180x(diagonal/2). Next it searches the accumulator for peaks in counts and converts the locations of the peaks to slope and intercept in the normal x, y input image space. The algorithm uses slope/intercepts to find the endpoints clipped to the bounds of the image. The lines are drawn from the given endpoints. The counts are a measure of the length of the lines.
The WxH arguments specify the filter size for locating the peaks in the Hough accumulator. The threshold excludes lines whose counts are less than the threshold value.
Use - background to specify the color of the background onto which the lines will be drawn. The default is black.
Use - fill to specify the color of the lines. The default is black.
Use - stroke and - strokewidth to specify the thickness of the lines. The default is black and no strokewidth.
A text file listing the endpoints and counts may be created by using the suffix,.mvg, for the output image.
Use - define hough-lines:accumulator=true to return the accumulator image in addition to the lines image.
-iconGeometry geometry.
specify the icon geometry.
Offsets, if present in the geometry specification, are handled in the same manner as the - geometry option, using X11 style to handle negative offsets.
See Image Geometry for complete details about the geometry argument.
start in icon mode in X Windows", 'animate', 'display.
identify the format and characteristics of the image.
This information is printed: image scene number; image name; image size; the image class ( DirectClass or PseudoClass ); the total number of unique colors; and the number of seconds to read and transform the image. Refer to MIFF for a description of the image class.
If - colors is also specified, the total unique colors in the image and color reduction error values are printed. Refer to color reduction algorithm for a description of these values.
If - verbose precedes this option, copious amounts of image properties are displayed including image statistics, profiles, image histogram, and others.
implements the inverse discrete Fourier transform (DFT).
This option is new as of ImageMagick 6.5.4-3 (and now working for Windows users in ImageMagick 6.6.0-9). It transforms a pair of magnitude and phase images from the frequency domain to a single image in the normal or spatial domain. See for example, Fourier Transform, Discrete Fourier Transform and Fast Fourier Transform.
For example, depending upon the image format used to store the result of the - fft, one would use either.
The resulting image may need to be cropped due to padding introduced when the original image, prior to the - fft or +fft, was not square or even dimensioned. Any padding is at the right and/or bottom sides of the image.
The FFTW delegate library is required to use - ift.
Use +ift (with HDRI enabled) to transform a pair of real and imaginary images from the frequency domain to a single image in the normal (spatial) domain.
By default the IFT is not normalized (and the FFT is). Use " - define fourier:normalize=inverse to explicitly normalize the IFT and unnormalize the FFT.
make image immutable.
-implode factor.
implode image pixels about the center.
-insert index.
insert the last image into the image sequence.
This option takes last image in the current image sequence and inserts it at the given index. If a negative index is used, the insert position is calculated before the last image is removed from the sequence. As such - insert -1 will result in no change to the image sequence.
The +insert option is equivalent to - insert -1 . In other words, insert the last image, at the end of the current image sequence. Consequently this has no effect on the image sequence order.
-intensity method.
method to generate intensity value from pixel.
ImageMagick provides a number of methods used in situations where an operator needs to determine a single grayscale value for some purpose, from an image with red, green, and blue pixel components. Typically the Rec709Luma formula is used, which is the same formula used when converting images to - colorspace gray .
The following formulas are currently provided, and will first convert the pixel values to linear-RGB or non-linear sRGB colorspace before being applied to calculate the final greyscale value.
Rec601Luma 0.298839R' + 0.586811G'+ 0.114350B' Rec601Luminance 0.298839R + 0.586811G + 0.114350B Rec709Luma 0.212656R' + 0.715158G' + 0.072186B' Rec709Luminance 0.212656R + 0.715158G + 0.072186B Brightness max(R', G', B') Lightness (min(R', G', B') + max(R', G', B')) / 2.0.
Note that the above R, G,B values is the image's linear-RGB values, while R',G',B' are sRGB non-linear values.
These intensity methods are mathematical in nature and will use the current value in the images respective R, G,B channel regardless of what that is, or what colorspace the image is currently using.
Average (R' + G' + B') / 3.0 MS (R'^2 + G'^2 + B'^2) / 3.0 RMS sqrt( (R'^2 + G'^2 + B'^2) / 3.0 )
These methods are often used for other purposes, such as generating a grayscale difference image between two color images (using - compose ' Difference ' composition.
For example The 'MS' (Mean Squared) setting is good for minimizing color error comparisions. Enquanto. The method 'RMS' (Root Mean Squared) for example is appropriate for calculating color vector distance, from a color difference image. This is equivalent to the color only component of the - fuzz factor color compare setting.
See also - grayscale which applies one of the above grayscaling formula directly to an image without setting the - intensity setting.
The - colorspace gray image conversion also uses the current intensity setting, but will always convert the image to the appropriate sRGB or linear-RGB colorspace before appling the above function.
To print a complete list of possible pixel intensity setting methods, use - list intensity.
Operators affected by the - intensity setting include:
-intent type.
use this type of rendering intent when managing the image color.
Use this option to affect the color management operation of an image (see - profile). Choose from these intents: Absolute, Perceptual, Relative, Saturation .
The default intent is Perceptual for the sRGB colorspace and undefined for the RGB and gray colorspaces.
To print a complete list of rendering intents, use - list intent.
-interlace type.
the type of interlacing scheme.
This option is used to specify the type of interlacing scheme for raw image formats such as RGB or YUV .
None means do not interlace (RGBRGBRGBRGBRGBRGB. ),
Line uses scanline interlacing (RRR. GGG. BBB. RRR. GGG. BBB. ), and.
Plane uses plane interlacing (RRRRRR. GGGGGG. BBBBBB. ).
Partition is like plane except the different planes are saved to individual files (e. g. image. R, image. G, and image. B).
Use Line or Plane to create an interlaced PNG or GIF or progressive JPEG image.
To print a complete list of interlacing schemes, use - list interlace.
-interpolate type.
Set the pixel color interpolation method to use when looking up a color based on a floating point or real value.
When looking up the color of a pixel using a non-integer floating point value, you typically fall in between the pixel colors defined by the source image. This setting determines how the color is determined from the colors of the pixels surrounding that point. That is how to determine the color of a point that falls between two, or even four different colored pixels.
average The average color of the surrounding four pixels average4 The average color of the surrounding four pixels average9 The average color of the surrounding nine pixels average16 The average color of the surrounding sixteen pixels background bilinear A double linear interpolation of pixels (the default) blend catrom Fitted bicubic-spines of surrounding 16 pixels integer The color of the top-left pixel (floor function) mesh Divide area into two flat triangular interpolations nearest-neighbor The nearest pixel to the lookup point (rounded function) spline Direct spline curves (colors are blurred)
This most important for distortion operators such as - distort, - implode, - transform and - fx.
To print a complete list of interpolation methods, use - list interpolate.
See also - virtual-pixel, for control of the lookup for positions outside the boundaries of the image.
-interline-spacing value.
the space between two text lines.
-interword-spacing value.
the space between two words.
-kerning value.
the space between two letters.
-kuwahara radius.
-kuwahara radius x sigma.
edge preserving noise reduction filter.
The radius is more important than the sigma . If sigma is left off, it will be computed automatically from the radius as sigma = radius -0.5. The sigma provides a bit of additional smoothing control.
-label name.
assign a label to an image.
Use this option to assign a specific label to the image, as it is read in or created. You can use the - set operation to re-assign a the labels of images already read in. Image formats such as TIFF, PNG, MIFF, supports saving the label information with the image.
When saving an image to a PostScript file, any label assigned to an image is used as a header string to print above the postscript image.
You can include the image filename, type, width, height, or other image attribute by embedding special format character. See Format and Print Image Properties for details of the percent escape codes.
assigns an image label of MIFF:bird. miff 512x480 to the " bird. miff " image and whose width is 512 and height is 480, as it is read in. If a +label option was used instead, any existing label present in the image would be used. You can remove all labels from an image by assigning the empty string.
A label is not drawn on the image, but is embedded in the image datastream via Label tag or similar mechanism. If you want the label to be visible on the image itself, use the - draw option, or during the final processing in the creation of an image montage.
If the first character of string is @ , the image label is read from a file titled by the remaining characters in the string. Labels in a file are literal, no embedded formatting characters are recognized.
-lat width x height offset.
perform local adaptive threshold.
Adaptively threshold each pixel based on the value of pixels in a surrounding window. If the current pixel is lighter than this average plus the optional offset , then it is made white, otherwise it is made black. Small variations in pixel values such as found in scanned documents can be ignored if offset is positive. A negative offset will make it more sensitive to those small variations.
This is commonly used to threshold images with an uneven background. It is based on the assumption that average color of the small window is the the local background color, from which to separate the foreground color.
-layers method.
handle multiple images forming a set of image layers or animation frames.
Perform various image operation methods to a ordered sequence of images which may represent either a set of overlaid 'image layers', a GIF disposal animation, or a fully-'coalesced' animation sequence.
To print a complete list of layer types, use - list layers.
The operators - coalesce, - deconstruct, - flatten, and - mosaic are only aliases for the above methods and may be depreciated in the future. Also see - page, - repage operators, the - compose setting, and the GIF - dispose and - delay settings.
-level black_point.
adjust the level of image channels.
Given one, two or three values delimited with commas: black-point, white-point, gamma (for example: 10,250,1.0 or 2%,98%,0.5). The black and white points range from 0 to QuantumRange , or from 0 to 100%; if the white point is omitted it is set to ( QuantumRange - black_point), so as to center contrast changes. If a % sign is present anywhere in the string, both black and white points are percentages of the full color range. Gamma will do a - gamma adjustment of the values. If it is omitted, the default of 1.0 (no gamma correction) is assumed.
In normal usage ( - level ) the image values are stretched so that the given ' black_point ' value in the original image is set to zero (or black), while the given ' white_point ' value is set to QuantumRange (or white). This provides you with direct contrast adjustments to the image. The ' gamma ' of the resulting image will then be adjusted.
From ImageMagick v6.4.1-9 using the plus form of the operator ( +level ) or adding the special '!' flag anywhere in the argument list, will cause the operator to do the reverse of the level adjustment. That is a zero, or QuantumRange value (black, and white, resp.) in the original image, is adjusted to the given level values, allowing you to de-contrast, or compress the channel values within the image. The ' gamma ' is adjusted before the level adjustment to de-contrast the image is made.
Only the channels defined by the current - channel setting are adjusted (defaults to RGB color channels only), allowing you to limit the effect of this operator.
Please note that the transparency channel is treated as 'matte' values (0 is opaque) and not as 'alpha' values (0 is transparent).
-level-colors.
adjust the level of an image using the provided dash separated colors.
This function is exactly like - level, except that the value value for each color channel is determined by the ' black_color ' and ' white_color ' colors given (as described under the - fill option).
This effectively means the colors provided to - level-colors is mapped to become 'black' and 'white' respectively, with all the other colors linearly adjusted (or clipped) to match that change. Each channel is adjusted separately using the channel values of the colors specified.
On the other hand the plus form of the operator ( +level-colors ) will map the image color 'black' and 'white' to the given colors respectively, resulting in a gradient (de-contrasting) tint of the image to those colors. This can also be used to convert a plain grayscale image into a one using the gradient of colors specified.
By supplying a single color with a comma separator either before or after that color, will just replace the respective 'black' or 'white' point respectively. But if no comma separator is provided, the given color is used for both the black and white color points, making the operator either threshold the images around that color (- form) or set all colors to that color (+ form).
-limit type value.
Set the pixel cache resource limit.
Choose from: width , height , area , memory , map , disk , file , thread , throttle , or time .
The value for file is in number of files. The other limits are in bytes. Define arguments for the memory, map, area, and disk resource limits with SI prefixes (.e. g 100MB).
By default the limits are 768 files, 3GB of image area, 1.5GiB memory, 3GiB memory map, and 18.45EB of disk. These limits are adjusted relative to the available resources on your computer if this information is available. When any limit is reached, ImageMagick fails in some fashion but attempts to take compensating actions, if possible. For example, the following limits memory:
Use - list resource to list the current limits. For example, our system shows these limits:
Requests for pixel storage to keep intermediate images are satisfied by one of three resource categories: in-memory pool, memory-mapped files pool, and disk pool (in that order) depending on the ‑limit settings and whether the system honors a resource request. If the total size of allocated pixel storage in the given pool reaches the corresponding limit, the request is passed to the next pool. Additionally, requests that exceed the area limit automagically are allocated on disk.
To illustrate how ImageMagick utilizes resource limits, consider a typical image resource request. First, ImageMagick tries to allocate the pixels in memory. The request might be denied if the resource request exceeds the memory limit or if the system does not honor the request. If a memory request is not honored, the pixels are allocated to disk and the file is memory-mapped. However, if the allocation request exceeds the map limit, the resource allocation goes to disk. In all cases, if the resource request exceeds the area limit, the pixels are automagically cached to disk. If the disk has a hard limit, the program fails.
In most cases you simply do not need to concern yourself with resource limits. ImageMagick chooses reasonable defaults and most images do not tax your computer resources. Where limits do come in handy is when you process images that are large or on shared systems where ImageMagick can consume all or most of the available memory. In this case, the ImageMagick workflow slows other processes or, in extreme cases, brings the system to a halt. Under these circumstances, setting limits give some assurances that the ImageMagick workflow will not interfere with other concurrent uses of the computer. For example, assume you have a web interface that processes images uploaded from the Internet. To assure ImageMagick does not exceed 10MiB of memory you can simply set the area limit to 10MiB:
Now whenever a large image is processed, the pixels are automagically cached to disk instead of memory. This of course implies that large images typically process very slowly, simply because pixel processing in memory can be an order of magnitude faster than on disk. Because your web site users might inadvertently upload a huge image to process, you should set a disk limit as well:
Here ImageMagick stops processing if an image requires more than 500MB of disk storage.
In addition to command-line resource limit option, resources can be set with environment variables. Set the environment variables MAGICK_AREA_LIMIT , MAGICK_DISK_LIMIT , MAGICK_FILE_LIMIT , MAGICK_MEMORY_LIMIT , MAGICK_MAP_LIMIT , MAGICK_THREAD_LIMIT , MAGICK_TIME_LIMIT for limits of image area, disk space, open files, heap memory, memory map, number of threads of execution, and maximum elapsed time in seconds respectively.
Inquisitive users can try adding - debug cache to their commands and then scouring the generated output for references to the pixel cache, in order to determine how the pixel cache was allocated and how resources were consumed. Advanced Unix/Linux users can pipe that output through grep memory|open|destroy|disk for more readable sifting.
For more about ImageMagick's use of resources, see the section Cache Storage and Resource Requirements on the Architecture page.
-linear-stretch black-point.
Linear with saturation stretch.
This is very similar to - contrast-stretch, and uses a 'histogram bin' to determine the range of color values that needs to be stretched. However it then stretches those colors using the - level operator.
As such while the initial determination may have 'binning' round off effects, the image colors are stretched mathematically, rather than using the histogram bins. This makes the operator more accurate.
note however that a - linear-stretch of ' 0 ' does nothing, while a value of ' 1 ' does a near perfect stretch of the color range.
See also - auto-level for a 'perfect' normalization of mathematical images.
This operator is under review for re-development.
the line width for subsequent draw operations.
-liquid-rescale geometry.
rescale image with seam-carving.
See Image Geometry for complete details about the geometry argument.
Print a list of supported arguments for various options or settings. Choose from these list types:
These lists vary depending on your version of ImageMagick. Use " - list list " to get a complete listing of all the " - list " arguments available:
-log string.
Specify format for debug log.
This option specifies the format for the log printed when the - debug option is active.
You can display the following components by embedding special format characters:
%d domain %e event %f function %l line %m module %p process ID %r real CPU time %t wall clock time %u user CPU time %% percent sign \n newline \r carriage return.
The default behavior is to print all of the components.
-loop iterations.
add Netscape loop extension to your GIF animation.
Set iterations to zero to repeat the animation an infinite number of times, otherwise the animation repeats itself up to iterations times.
-lowlight-color color.
when comparing images, de-emphasize pixel differences with this color.
double the size of the image with pixel art scaling.
Display image using this type .
Choose from these Standard Colormap types:
The X server must support the Standard Colormap you choose, otherwise an error occurs. Use list as the type and display searches the list of colormap types in top-to-bottom order until one is located. See xstdcmap(1) for one way of creating Standard Colormaps.
-map components.
Here are the valid components of a map:
r red pixel component g green pixel component b blue pixel component a alpha pixel component (0 is transparent) o opacity pixel component (0 is opaque) i grayscale intensity pixel component c cyan pixel component m magenta pixel component y yellow pixel component k black pixel component p pad component (always 0)
You can specify as many of these components as needed in any order (e. g. bgr). The components can repeat as well (e. g. rgbr).
-mattecolor color.
Specify the color to be used with the - frame option.
The color is specified using the format described under the - fill option.
The default matte color is #BDBDBD , this shade of gray .
return the maximum intensity of an image sequence.
Select the 'maximum' value from all the surrounding pixels.
This is legacy option from the method of the same name.
-median geometry.
apply a median filter to the image.
Select the 'middle' value from all the surrounding pixels.
This is legacy option from the method of the same name.
-mean-shift width x height.
image noise removal and color reduction/segmentation (e. g. - mean-shift 7x7+10%).
width x height is the window size and distance is the color distance measured in the range 0 to 1 or 0 to 100%
The mean shift algorithm is iterative and thus slower the larger the window size. For each pixel, it gets all the pixels in the window centered at the pixel and excludes those that are outside the radius=sqrt((width-1)(height-1)/4) surrounding the pixel. From those pixels, it finds which of them are within the specified squared color distance from the current mean. It then computes a new x, y centroid from those coordinates and a new mean. This new x, y centroid is used as the center for a new window. This process is iterated until it converges and the final mean is then used to replace the original pixel value. It repeats this process for the next pixel, etc, until it processes all pixels in the image. Results are better when using other colorspaces rather than RGB. Recommend YIQ, YUV or YCbCr, which seem to give equivalent results.
-metric type.
Output to STDERR a measure of the differences between images according to the type given metric.
AE absolute error count, number of different pixels (-fuzz affected) DSSIM structural dissimilarity index FUZZ mean color distance MAE mean absolute error (normalized), average channel error distance MEPP mean error per pixel (normalized mean error, normalized peak error) MSE mean error squared, average of the channel error squared NCC normalized cross correlation PAE peak absolute (normalized peak absolute) PHASH perceptual hash for the sRGB and HCLp colorspaces. Specify an alternative colorspace with - define phash:colorspaces= colorspace, colorspace. PSNR peak signal to noise ratio RMSE root mean squared (normalized root mean squared) SSIM structural similarity index.
Control the ' AE ', or absolute count of pixels that are different, with the - fuzz factor (ignore pixels which only changed by a small amount). Use ' PAE ' to find the size of the - fuzz factor needed to make all pixels 'similar', while ' MAE ' determines the factor needed for about half the pixels to be similar.
The MEPP metric returns three different metrics (' MAE ', ' MAE ' normalized, and ' PAE ' normalized) from a single comparison run.
The SSIM and DSSIM metrics respect these defines: - define compare:ssim-radius , - define compare:ssim-sigma , - define compare:ssim-k1 , and - define compare:ssim-k2 .
To print a complete list of metrics, use the - list metric option.
return the minimum intensity of an image sequence.
Select the 'minimal' value from all the surrounding pixels.
This is legacy option from the method of the same name.
-mode geometry.
make each pixel the \'predominant color\' of the neighborhood.'
-mode value.
Mode of operation.
Choose the value from these styles: Frame, Unframe, or Concatenate.
Use the - list option with a ' Mode ' argument for a list of - mode arguments available in your ImageMagick installation.
-modulate brightness [, saturation , hue ]
Vary the brightness , saturation , and hue of an image.
The arguments are given as a percentages of variation. A value of 100 means no change, and any missing values are taken to mean 100.
The brightness is a multiplier of the overall brightness of the image, so 0 means pure black, 50 is half as bright, 200 is twice as bright. To invert its meaning - negate the image before and after.
The saturation controls the amount of color in an image. For example, 0 produce a grayscale image, while a large value such as 200 produce a very colorful, 'cartoonish' color.
The hue argument causes a "rotation" of the colors within the image by the amount specified. For example, 50 results in a counter-clockwise rotation of 90, mapping red shades to purple, and so on. A value of either 0 or 200 results in a complete 180 degree rotation of the image. Using a value of 300 is a 360 degree rotation resulting in no change to the original image.
For example, to increase the color brightness by 20% and decrease the color saturation by 10% and leave the hue unchanged, use - modulate 120,90.
Use - set attribute of ' option:modulate:colorspace ' to specify which colorspace to modulate. Choose from HCL , HCLp , HSB , HSI , HSL (the default), HSV , HWB , or LCH (LCHuv). Por exemplo,
report image moments and perceptual hash.
-monochrome.
transform the image to black and white.
-morph frames.
morphs an image sequence.
Both the image pixels and size are linearly interpolated to give the appearance of a metamorphosis from one image to the next, over all the images in the current image list. The added images are the equivalent of a - blend composition. The frames argument determine how many images to interpolate between each image.
-morphology.
-morphology method kernel.
apply a morphology method to the image.
Until I get around to writing an option summary for this, see IM Usage Examples, Morphology.
an simple alias for the - layers method "mosaic"
-motion-blur radius.
-motion-blur radius x sigma + angle.
simulate motion blur.
Blur with the given radius, standard deviation (sigma), and angle. The angle given is the angle toward which the image is blurred. That is the direction people would consider the object is coming from.
Note that the blur is not uniform distribution, giving the motion a definite sense of direction of movement.
The - virtual-pixel setting will determine how pixels which are outside the image proper are blurred into the final result.
replace each pixel with its complementary color.
The red, green, and blue intensities of an image are negated. White becomes black, yellow becomes blue, etc. Use +negate to only negate the grayscale pixels of the image.
-noise geometry.
Add or reduce noise in an image.
The principal function of noise peak elimination filter is to smooth the objects within an image without losing edge information and without creating undesired structures. The central idea of the algorithm is to replace a pixel with its next neighbor in value within a pixel window, if this pixel has been found to be noise. A pixel is defined as noise if and only if this pixel is a maximum or minimum within the pixel window.
Use - noise radius to specify the width of the neighborhood when reducing noise. This is equivalent to using a - statistic NonPeak operation, which should be used in preference.
Use +noise followed by a noise type to add noise to an image. Choose from these noise types:
The amount of noise added can be controlled by the - attenuate setting. If unset the value is equivalent to 1.0, or a maximum noise addition.
Note that Random will replace the image with noise rather than add noise to the image. Use Uniform, if you wish to add random noise to the image.
To print a complete list of noises, use the - list noise option.
Also see the - evaluate noise functions that allows the use of a controlling value to specify the amount of noise that should be added to an image.
Increase the contrast in an image by stretching the range of intensity values.
The intensity values are stretched to cover the entire range of possible values. While doing so, black-out at most 2% of the pixels and white-out at most 1% of the pixels.
Note that as of ImageMagick 6.4.7-0, - normalize is equivalent to - contrast-stretch 2%x1%. (Before this version, it was equivalent to - contrast-stretch 2%x99%).
All the channels are normalized in concert by the same amount so as to preserve color integrity, when the default +channel setting is in use. Specifying any other - channel setting will normalize the RGB channels independently.
See - contrast-stretch for more details. Also see - auto-level for a 'perfect' normalization that is better suited to mathematically generated images.
This operator is under review for re-development.
-opaque color.
change this color to the fill color within the image.
The color argument is defined using the format described under the - fill option. The - fuzz setting can be used to match and replace colors similar to the one given.
Use +opaque to paint any pixel that does not match the target color.
The - transparent operator is exactly the same as - opaque but replaces the matching color with transparency rather than the current - fill color setting. To ensure that it can do this it also ensures that the image has an alpha channel enabled, as per " - alpha set ", for the new transparent colors, and does not require you to modify the - channel to enable alpha channel handling.
-ordered-dither threshold_map.
dither the image using a pre-defined ordered dither threshold map specified, and a uniform color map with the given number of levels per color channel.
You can choose from these standard threshold maps:
The threshold generated a simple 50% threshold of the image. This could be used with level to do the equivalent of - posterize to reduce an image to basic primary colors.
The checks pattern produces a 3 level checkerboard dither pattern. That is a grayscale will become a pattern of solid black, solid white, and mid-tone colors into a checkerboard pattern of black and white.
You can define your own threshold map for ordered dithering and halftoning your images, in either personal or system thresholds. xml XML file. See Resources for more details of configuration files.
To print a complete list of the thresholds that have been defined, use the - list threshold option.
Note that at this time the same threshold dithering map is used for all color channels, no attempt is made to offset or rotate the map for different channels is made, to create an offset printing effect. Also as the maps are simple threshold levels, the halftone and circle maps will create incomplete circles along the edges of a colored area. Also all the effects are purely on/off boolean effects, without anti-aliasing to make the circles smooth looking. Large dots can be made to look better with a small amount of blurring after being created.
-orient image orientation.
specify orientation of a digital camera image.
Choose from these orientations:
To print a complete list of orientations, use the - list orientation option.
-page geometry.
Set the size and location of an image on the larger virtual canvas.
See Image Geometry for complete details about the geometry argument.
For convenience you can specify the page size using media (see below). Offsets can then be added as with other geometry arguments (e. g. - page Letter+43+43 ).
Use media as shorthand to specify the dimensions ( width x height ) of the PostScript page in dots per inch or a TEXT page in pixels. The choices for a PostScript page are:
11x17 792 x 1224 Ledger 1224 x 792 Legal 612 x 1008 Letter 612 x 792 LetterSmall 612 x 792 ArchE 2592 x 3456 ArchD 1728 x 2592 ArchC 1296 x 1728 ArchB 864 x 1296 ArchA 648 x 864 A0 2380 x 3368 A1 1684 x 2380 A2 1190 x 1684 A3 842 x 1190 A4 595 x 842 A4Small 595 x 842 A5 421 x 595 A6 297 x 421 A7 210 x 297 A8 148 x 210 A9 105 x 148 A10 74 x 105 B0 2836 x 4008 B1 2004 x 2836 B2 1418 x 2004 B3 1002 x 1418 B4 709 x 1002 B5 501 x 709 C0 2600 x 3677 C1 1837 x 2600 C2 1298 x 1837 C3 918 x 1298 C4 649 x 918 C5 459 x 649 C6 323 x 459 Flsa 612 x 936 Flse 612 x 936 HalfLetter 396 x 612.
This option is also used to place subimages when writing to a multi-image format that supports offsets, such as GIF89 and MNG. When used for this purpose the offsets are always measured from the top left corner of the canvas and are not affected by the - gravity option. To position a GIF or MNG image, use - page x y (e. g. - page +100+200). When writing to a MNG file, a - page option appearing ahead of the first image in the sequence with nonzero width and height defines the width and height values that are written in the MHDR chunk. Otherwise, the MNG width and height are computed from the bounding box that contains all images in the sequence. When writing a GIF89 file, only the bounding box method is used to determine its dimensions.
For a PostScript page, the image is sized as in - geometry but positioned relative to the lower left-hand corner of the page by x offset y offset . Use - page 612x792, for example, to center the image within the page. If the image size exceeds the PostScript page, it is reduced to fit the page. The default gravity for the - page option is NorthWest , i. e., positive x and y offset are measured rightward and downward from the top left corner of the page, unless the - gravity option is present with a value other than NorthWest .
The default page dimensions for a TEXT image is 612x792.
This option is used in concert with - density.
Use +page to remove the page settings for an image.
-paint radius.
simulate an oil painting.
Each pixel is replaced by the most frequent color in a circular neighborhood whose width is specified with radius .
write images to this path on disk.
-pause seconds.
Pause between animation loops.
Pause for the specified number of seconds before repeating the animation.
-pause seconds.
Pause between snapshots.
Pause for the specified number of seconds before taking the next snapshot.
-perceptible epsilon.
set each pixel whose value is less than | epsilon | to - epsilon or epsilon (whichever is closer) otherwise the pixel value remains unchanged.
efficiently determine image characteristics.
-pointsize value.
pointsize of the PostScript, OPTION1, or TrueType font.
-polaroid angle.
simulate a Polaroid picture.
Use +polaroid to rotate the image at a random angle between -15 and +15 degrees.
-poly "wt, exp . "
combines multiple images according to a weighted sum of polynomials; one floating point weight (coefficient) and one floating point polynomial exponent (power) for each image expressed as comma separated pairs.
The weights should typically be fractions between -1 and 1. But the sum of weights should be 1 or at least between 0 and 1 to avoid clamping in non-hdri mode at black and white.
The exponents may be positive, negative or zero. A negative exponent is equivalent to 1 divided by the image raised to the corresponding positive exponent. A zero exponent always produces 1 scaled by quantumrange to white, i. e. wt*white, no matter what the image.
The format is: output = wt1*image1^exp1 + wt2*image2^exp2 .
Some simple uses are:
A weighted sum of each image provided all weights add to unity and all exponents=1. If the the weights are all equal to 1/(number of images), then this is equivalent to - evaluate-sequence mean . The sum of squares of two or more images, provided the weights are equal (and sum to 1 to avoid clamping) and the exponents equal 2.
Note that one may add a constant color to the expression simply by using xc:somecolor for one of the images and specifying the desired weight and exponent equal to 0.
Similarly one may add white to the expression by simply using null: (or xc:white) for one of the images with the appropriate weight and exponent equal to 0.
-posterize levels.
reduce the image to a limited number of color levels per channel.
Very low values of levels , e. g., 2, 3, 4, have the most visible effect.
-precision value.
set the maximum number of significant digits to be printed.
-preview type.
image preview type.
Use this option to affect the preview operation of an image (e. g. convert file. png - preview Gamma Preview:gamma. png ). Choose from these previews:
To print a complete list of previews, use the - list preview option.
The default preview is JPEG .
-print string.
interpret string and print to console.
-process command.
process the image with a custom image filter.
The command arguments has the form "module arg1 arg2 arg3 . argN" where module is the name of the module to invoke (e. g. "Analyze") and arg1 arg2 arg3 . argN are an arbitrary number of arguments to pass to the process module.
-profile filename.
Manage ICM, IPTC, or generic profiles in an image.
Using - profile filename adds an ICM (ICC color management), IPTC (newswire information), or a generic profile to the image.
Use +profile profile_name to remove the indicated profile. ImageMagick uses standard filename globbing, so wildcard expressions may be used to remove more than one profile. Here we remove all profiles from the image except for the XMP profile: +profile "!xmp,*" .
Use identify - verbose to find out which profiles are in the image file. Use - strip to remove all profiles (and comments).
To extract a profile, the - profile option is not used. Instead, simply write the file to an image format such as APP1, 8BIM, ICM, or IPTC .
For example, to extract the Exif data (which is stored in JPEG files in the APP1 profile), use.
It is important to note that results may depend on whether or not the original image already has an included profile. Also, keep in mind that - profile is an "operator" (as opposed to a "setting") and therefore a conversion is made each time it is encountered, in order, in the command-line. For instance, in the following example, if the original image is CMYK with profile, a CMYK-CMYK-RGB conversion results.
Furthermore, since ICC profiles are not necessarily symmetric, extra conversion steps can yield unwanted results. CMYK profiles are often very asymmetric since they involve 3−>4 and 4−>3 channel mapping.
-quality value.
JPEG/MIFF/PNG compression level.
For the JPEG and MPEG image formats, quality is 1 (lowest image quality and highest compression) to 100 (best quality but least effective compression). The default is to use the estimated quality of your input image if it can be determined, otherwise 92. When the quality is greater than 90, then the chroma channels are not downsampled. Use the - sampling-factor option to specify the factors for chroma downsampling.
For the JPEG-2000 image format, quality is mapped using a non-linear equation to the compression ratio required by the Jasper library. This non-linear equation is intended to loosely approximate the quality provided by the JPEG v1 format. The default quality value 100, a request for non-lossy compression. A quality of 75 results in a request for 16:1 compression.
For the MNG and PNG image formats, the quality value sets the zlib compression level (quality / 10) and filter-type (quality % 10). The default PNG "quality" is 75, which means compression level 7 with adaptive PNG filtering, unless the image has a color map, in which case it means compression level 7 with no PNG filtering.
For compression level 0 (quality value less than 10), the Huffman-only strategy is used, which is fastest but not necessarily the worst compression.
If filter-type is 4 or less, the specified PNG filter-type is used for all scanlines:
0 none 1 sub 2 up 3 average 4 Paeth.
If filter-type is 5, adaptive filtering is used when quality is greater than 50 and the image does not have a color map, otherwise no filtering is used.
If filter-type is 6, adaptive filtering with minimum-sum-of-absolute-values is used.
Only if the output is MNG, if filter-type is 7, the LOCO color transformation (intrapixel differencing) and adaptive filtering with minimum-sum-of-absolute-values are used.
If the filter-type is 8 the zlib Z_RLE compression strategy (or the Z_HUFFMAN_ONLY strategy, when compression level is 0) is used with adaptive PNG filtering.
If the filter-type is 9 the zlib Z_RLE compression strategy (or the Z_HUFFMAN_ONLY strategy, when compression level is 0) is used with no PNG filtering.
The quality setting has no effect on the appearance or signature of PNG and MNG images, since the compression is always lossless.
Not all combinations of compression level, strategy, and PNG filter type can be obtained using the - quality option. For more precise control, you can use the PNG:compression-level=N, PNG:compression-strategy=N, and PNG:compression-filter=N defines, respectively, instead. See - define. Values from the defines take precedence over values from the - quality option.
For further information, see the PNG specification.
For the MIFF and TIFF image formats, quality/10 is the Zip/BZip compression level, which is 0 (worst but fastest compression) to 9 (best but slowest). It has no effect on the image appearance, since the compression is always lossless.
For the BPG image format, quality/2 is the actual BPG compression level (range from 0 to 51).
-quantize colorspace.
reduce colors using this colorspace.
This setting defines the colorspace used to sort out and reduce the number of colors needed by an image (for later dithering) by operators such as - colors, Note that color reduction also happens automatically when saving images to color-limited image file formats, such as GIF, and PNG8.
suppress all warning messages. Error messages are still reported.
-radial-blur angle.
Blur around the center of the image.
Note that this is actually a rotational blur rather than a radial and as such actually mis-named.
The - virtual-pixel setting will determine how pixels which are outside the image proper are blurred into the final result.
-raise thickness.
Lighten or darken image edges.
This will create a 3-D effect. Use - raise to create a raised effect, otherwise use +raise.
Unlike the similar - frame option, - raise does not alter the dimensions of the image.
-random-threshold low x high.
Apply a random threshold to the image.
-read-mask filename.
Prevent updates to image pixels specified by the mask.
This the same as using a mask used for composite masking operations, with grayscale values causing blended updates of the image the mask is attached to.
Use +read-mask to remove the mask from images.
Also see - clip-mask which work in the same way, but with strict boolean masking.
-red-primary x, y.
Set the red chromaticity primary point.
-regard-warnings.
Pay attention to warning messages.
This option causes some warnings in some image formats to be treated as errors.
-remap filename.
Reduce the number of colors in an image to the colors used by this image.
If the - dither setting is enabled (the default) then the given colors are dithered over the image as necessary, otherwise the closest color (in RGB colorspace) is selected to replace that pixel in the image.
As a side effect of applying a - remap of colors across all images in the current image sequence, all the images will have the same color table. That means that when saved to a file format such as GIF, it will use that color table as a single common or global color table, for all the images, without requiring extra local color tables.
Use +remap to reduce all images in the current image sequence to use a common color map over all the images. This equivalent to appending all the images together (without extra background colors) and color reducing those images using - colors with a 256 color limit, then - remap those colors over the original list of images. This ensures all the images follow a single color map.
If the number of colors over all the images is less than 256, then +remap should not perform any color reduction or dithering, as no color changes are needed. In that case, its only effect is to force the use of a global color table. This recommended after using either - colors or - ordered-dither to reduce the number of colors in an animated image sequence.
Note, the remap image colormap has at most 8-bits of precision. Deeper color maps are automagically coalesced with other colors to meet this requirement.
-region geometry.
Set a region in which subsequent operations apply.
The x and y offsets are treated in the same manner as in - crop.
See Image Geometry for complete details about the geometry argument.
Use +region to remove any previously set regions.
perform a remote operation.
The only command recognized is the name of an image file to load.
If you have more than one display application running simultaneously, use the window option to specify which application to control.
render vector operations.
Use +render to turn off rendering vector operations. This useful when saving the result to vector formats such as MVG or SVG.
-repage geometry.
Adjust the canvas and offset information of the image.
This option is like - page but acts as an image operator rather than a setting. You can separately set the canvas size or the offset of the image on that canvas by only providing those components.
See Image Geometry for complete details about the geometry argument.
If a ! flag is given the offset given is added to the existing offset to move the image relative to its previous position. This useful for animation sequences.
A given a canvas size of zero such as ' 0x0 ' forces it to recalculate the canvas size so the image (at its current offset) will appear completely on that canvas (unless it has a negative offset).
Use +repage to completely remove/reset the virtual canvas meta-data from the images.
The - set ' page ' option can be used to directly assign virtual canvas meta-data.
-resample horizontal x vertical.
Resample image to specified horizontal and vertical resolution.
Resize the image so that its rendered size remains the same as the original at the specified target resolution. For example, if a 300 DPI image renders at 3 inches by 2 inches on a 300 DPI device, when the image has been resampled to 72 DPI, it will render at 3 inches by 2 inches on a 72 DPI device. Note that only a small number of image formats (e. g. JPEG, PNG, and TIFF) are capable of storing the image resolution. For formats which do not support an image resolution, the original resolution of the image must be specified via - density on the command line prior to specifying the resample resolution.
Note that Photoshop stores and obtains image resolution from a proprietary embedded profile. If this profile exists in the image, then Photoshop will continue to treat the image using its former resolution, ignoring the image resolution specified in the standard file header.
-resize geometry.
Resize an image.
See Image Geometry for complete details about the geometry argument. Offsets, if present in the geometry string, are ignored, and the - gravity option has no effect.
If the - filter option or - define filter:option=value precedes the - resize option, the image is resized with the specified filter.
Many image processing algorithms assume your image is in a linear-light coding. If your image is gamma-corrected, you can remove the nonlinear gamma correction, apply the transform, then restore it like this:
-respect-parentheses.
settings remain in effect until parenthesis boundary.
Reverse the order of images in the current image list.
roll an image vertically or horizontally by the amount given.
A negative x offset rolls the image right-to-left. A negative y offset rolls the image bottom-to-top.
-rotate degrees.
Apply Paeth image rotation (using shear operations) to the image.
Use > to rotate the image only if its width exceeds the height. & lt; rotates the image only if its width is less than the height. For example, if you specify - rotate "-90>" and the image size is 480x640, the image is not rotated. However, if the image is 640x480, it is rotated by -90 degrees. If you use > or < , enclose it in quotation marks to prevent it from being misinterpreted as a file redirection.
Empty triangles in the corners, left over from rotating the image, are filled with the background color.
See also the - distort operator and specifically the ' ScaleRotateTranslate ' distort method.
-sample geometry.
minify / magnify the image with pixel subsampling and pixel replication, respectively.
Change the image size simply by directly sampling the pixels original from the image. When magnifying, pixels are replicated in blocks. When minifying, pixels are sub-sampled (i. e., some rows and columns are skipped over).
The results are thus equivalent to using - resize with a - filter setting of point (nearest neighbor), though - sample is a lot faster, as it avoids all the filter processing of the image. As such it completely ignores the current - filter setting.
The key feature of the - sample is that no new colors will be added to the resulting image, though some colors may disappear.
See Image Geometry for complete details about the geometry argument. Offsets, if present in the geometry string, are ignored, unlike - resize.
The actual sampling point is the middle of the sub-region being sampled. As such a single pixel sampling of an image will take the middle pixel, (or top-left-middle if image has even dimensions). However the - define ' sample:offset ' can be set to modify this position some other location within each sub-region being sampled, as a percentage offset.
By default this value is ' 50 ' for the midpoint, but could be set to ' 0 ' for top-left, ' 100 ' for bottom-right, or with separate X and Y offsets such as ' 0x50 ' for left-middle edge of sampling sub-region.
-sampling-factor horizontal-factor x vertical-factor.
sampling factors used by JPEG or MPEG-2 encoder and YUV decoder/encoder.
This option specifies the sampling factors to be used by the JPEG encoder for chroma downsampling. If this option is omitted, the JPEG library will use its own default values. When reading or writing the YUV format and when writing the M2V (MPEG-2) format, use - sampling-factor 2x1 or - sampling-factor 4:2:2 to specify the 4:2:2 downsampling method.
-scale geometry.
minify / magnify the image with pixel block averaging and pixel replication, respectively.
Change the image size simply by replacing pixels by averaging pixels together when minifying, or replacing pixels when magnifying.
The results are thus equivalent to using - resize with a - filter setting of box . Though it is a lot faster, as it avoids all the filter processing of the image. As such it completely ignores the current - filter setting.
If when shrinking (minifying) images the original image is some integer multiple of the new image size, the number of pixels averaged together to produce the new pixel color is the same across the whole image. This is a special case known as 'binning' and is often used as a method of reducing noise in image such as those generated by digital cameras, especially in low light conditions.
-scene value.
set scene number.
This option sets the scene number of an image or the first image in an image sequence.
specify the screen to capture.
This option indicates that the GetImage request used to obtain the image should be done on the root window, rather than directly on the specified window. In this way, you can obtain pieces of other windows that overlap the specified window, and more importantly, you can capture menus or other popups that are independent windows but appear over the specified window.
seed a new sequence of pseudo-random numbers.
-segment cluster-threshold x smoothing-threshold.
segment the colors of an image.
Segment an image by analyzing the histograms of the color components and identifying units that are homogeneous with the fuzzy c-means technique. This is part of the ImageMagick color quantization routines.
Specify cluster threshold as the number of pixels in each cluster that must exceed the cluster threshold to be considered valid. Smoothing threshold eliminates noise in the second derivative of the histogram. As the value is increased, you can expect a smoother second derivative. The default is 1.5.
If the - verbose setting is defined, a detailed report of the color clusters is returned.
-selective-blur radius.
-selective-blur radius x sigma.
Selectively blur pixels within a contrast threshold.
Blurs those pixels that are less than or equal to the threshold in contrast. The threshold may be expressed as a fraction of QuantumRange or as a percentage.
separate an image channel into a grayscale image. Specify the channel with - channel.
-sepia-tone percent-threshold.
simulate a sepia-toned photo.
Specify threshold as the percent threshold of the intensity (0 - 99.9%).
This option applies a special effect to the image, similar to the effect achieved in a photo darkroom by sepia toning. Threshold ranges from 0 to QuantumRange and is a measure of the extent of the sepia toning. A threshold of 80% is a good starting point for a reasonable tone.
-set key value.
sets image attributes and properties for images in the current image sequence.
This will assign (or modify) specific settings attached to all the images in the current image sequence. Using the +set form of the option will either remove, or reset that setting to a default state, as appropriate.
For example, it will modify specific well known image meta-data 'attributes' such as those normally overridden by: the options - delay, - dispose, and - page, - colorspace; generally assigned before the image is read in, by using a key of the same name.
If the given key does not match a specific known 'attribute ', such as shown above, the setting is stored as a a free form 'property' string. Such settings are listed in - verbose information (" info: " output format) as "Properties".
This includes string 'properties' that are set by and assigned to images using the options - comment, - label, - caption. These options actually assign a global 'artifact' which are automatically assigned (and any Format Percent Escapes expanded) to images as they are read in. For example:
The set value can also make use of Format and Print Image Properties in the defined value. Por exemplo:
Other well known 'properties' that are available include: ' date:create ' and ' date:modify ' and ' signature '.
The - repage operator will also allow you to modify the ' page ' attribute of an image for images already in memory (also see - page). However it is designed to provide a finer control of the sub-parts of this 'attribute'. The - set page option will only provide a direct, unmodified assignment of ' page ' attribute.
This option can also associate a colorspace or profile with your image. Por exemplo,
Some 'properties' must be defined in a specific way to be used. For example only 'properties' prefixed with " filename: " can be used to modify the output filename of an image. Por exemplo.
If the setting value is prefixed with " option: " the setting will be saved as a global "Artifact" exactly as if it was set using the - define option. As such settings are global in scope, they can be used to pass 'attributes' and 'properties' of one specific image, in a way that allows you to use them in a completely different image, even if the original image has long since been modified or destroyed. Por exemplo:
Note that Format Percent Escapes will only match a 'artifact' if the given key does not match an existing 'attribute' or 'property'.
You can set the attributes of the image registry by prefixing the value with registry: .
The - set profile option can also be used to inject previously-formatted ancillary chunks into the output PNG file, using the commandline option as shown below or by setting the profile via a programming interface:
where x is a location flag and filename is a file containing the chunk name in the first 4 bytes, then a colon (":"), followed by the chunk data. This encoder will compute the chunk length and CRC, so those must not be included in the file.
"x" can be "b" (before PLTE), "m" (middle, i. e., between PLTE and IDAT), or "e" (end, i. e., after IDAT). If you want to write multiple chunks of the same type, then add a short unique string after the "x" to prevent subsequent profiles from overwriting the preceding ones, e. g.,
-shade azimuth x elevation.
shade the image using a distant light source.
Specify azimuth and elevation as the position of the light source. Use +shade to return the shading results as a grayscale image.
-shadow percent-opacity x y.
simulate an image shadow.
-shared-memory.
use shared memory.
This option specifies whether the utility should attempt to use shared memory for pixmaps. ImageMagick must be compiled with shared memory support, and the display must support the MIT-SHM extension. Otherwise, this option is ignored. The default is True .
-sharpen radius.
-sharpen radius x sigma.
sharpen the image.
Use a Gaussian operator of the given radius and standard deviation (sigma).
-shave geometry.
Shave pixels from the image edges.
The size portion of the geometry argument specifies the width of the region to be removed from both sides of the image and the height of the regions to be removed from top and bottom. Offsets are ignored.
See Image Geometry for complete details about the geometry argument.
-shear Xdegrees [x Ydegrees ]
Shear the image along the x-axis and/or y-axis.
The shear angles may be positive, negative, or zero. When Ydegrees is omitted it defaults to 0. When both angles are given, the horizontal component of the shear is performed before the vertical component.
Shearing slides one edge of an image along the x-axis or y-axis (i. e., horizontally or vertically, respectively),creating a parallelogram. The amount of each is controlled by the respective shear angle. For horizontal shears, Xdegrees is measured clockwise relative to "up" (the negative y-axis), sliding the top edge to the right when 0°< Xdegrees <90° and to the left when 90°< Xdegrees <180°. For vertical shears Ydegrees is measured clockwise relative to "right" (the positive x-axis), sliding the right edge down when 0°< Ydegrees <90° and up when 90°< Ydegrees <180°.
Empty triangles left over from shearing the image are filled with the color defined by the - background option. The color is specified using the format described under the - fill option.
The horizontal shear is performed before the vertical part. This is important to note, since horizontal and vertical shears do not commute , i. e., the order matters in a sequence of shears. For example, the following two commands are not equivalent.
The first of the two commands above is equivalent to the following, except for the amount of empty space created; the command that follows generates a smaller image, and so is a better choice in terms of time and space.
-sigmoidal-contrast contrast x mid-point.
increase the contrast without saturating highlights or shadows.
Increase the contrast of the image using a sigmoidal transfer function without saturating highlights or shadows. Contrast indicates how much to increase the contrast. For example, 0 is none, 3 is typical and 20 is a lot.
The mid-point indicates where the maximum change 'slope' in contrast should fall in the resultant image (0 is white; 50% is middle-gray; 100% is black).
By default the image contrast is increased, use +sigmoidal-contrast to decrease the contrast.
To achieve the equivalent of a sigmoidal brightness change (similar to a gamma adjustment), you would use - sigmoidal-contrast x0% to increase brightness and +sigmoidal-contrast x0% to decrease brightness. Note the use of '0' fo rthe mid-point of the sigmoidal curve.
Using a very high contrast will produce a sort of 'smoothed thresholding' of the image. Not as sharp (with high aliasing effects) of a true threshold, but with tapered gray-levels around the threshold mid-point .
operate silently. This option is only used by the import tool.
-similarity-threshold value.
minimum RMSE for subimage match.
If this setting is used, then the search will stop as soon as it finds a match whose metric is less than or equal to the value. A partially filled second output image will result. Using a value of zero, will cause the search to stop at the first perfect match it finds. If this setting is left off, then the search will proceed to completion or as limited by - dissimilarity-threshold .
-size width [x height ][ +offset ]
set the width and height of the image.
Use this option to specify the width and height of raw images whose dimensions are unknown such as GRAY , RGB , or CMYK . In addition to width and height, use - size with an offset to skip any header information in the image or tell the number of colors in a MAP image file, (e. g. - size 640x512+256).
For Photo CD images, choose from these sizes:
-sketch radius.
-sketch radius x sigma + angle.
simulate a pencil sketch.
Sketch with the given radius, standard deviation (sigma), and angle. The angle given is the angle toward which the image is sketched. That is the direction people would consider the object is coming from.
-smush offset.
appends an image sequence together ignoring transparency.
Smush is a more flexible version of - append, joining the images in the sequence top-to-bottom (-smush) or left-to-right (+smush), with a gap between images according to the specified offset.
If the offset is negative, images will overlap by that amount.
-smush respects - gravity. Any empty space will be filled with the - background color.
For zero offset and transparent images, the non-transparent parts of the two images will be aligned as close as possible without overlapping.
-snaps value.
Set the number of screen snapshots.
Use this option to grab more than one image from the X server screen, to create an animation sequence.
-solarize percent-threshold.
negate all pixels above the threshold level.
Specify factor as the percent threshold of the intensity (0 - 99.9%).
This option produces a solarization effect seen when exposing a photographic film to light during the development process.
-sparse-color method ' x , y color . '
color the given image using the specified points of color, and filling the other intervening colors using the given methods.
barycentric three point triangle of color given 3 points. Giving only 2 points will form a linear gradient between those points. The gradient generated extends beyond the triangle created by those 3 points. bilinear Like barycentric but for 4 points. Less than 4 points fall back to barycentric. voronoi Simply map each pixel to the to nearest color point given. The result are polygonal 'cells' of solid color. manhattan Like voronoi, but resulting polygonal 'cells' are mapped to a fixed coordinate system. shepards Colors points biased on the ratio of inverse distance squared. Generating spots of color in a sea of the average of colors. inverse Colors points biased on the ratio of inverse distance. This generates sharper points of color rather than rounded spots of ' shepards ' Generating spots of color in a sea of the average of colors.
The points are placed according to the images location on the virtual canvas (-page or - repage offset), and do not actually have to exist on the given image, but may be some point beyond the edge of the image. All points are floating point values.
Only the color channels defined by the - channel are modified, which means that by default matte/alpha transparency channel is not affected. Typically transparency channel is turned off either before or after the operation.
Of course if some color points are transparent to generate a transparent gradient, then the image also requires transparency enabled to store the values.
All the above methods when given a single point of color will replace all the colors in the image with the color given, regardless of the point. This is logical, and provides an alternative technique to recolor an image to some default value.
-splice geometry.
Splice the current background color into the image.
This will add rows and columns of the current - background color into the given image according to the given - gravity geometry setting. See Image Geometry for complete details about the geometry argument. Essentially - splice will divide the image into four quadrants, separating them by the inserted rows and columns.
If a dimension of geometry is zero no rows or columns will be added for that dimension. Similarly using a zero offset with the appropriate - gravity setting will add rows and columns to the edges of the image, padding the image only along that one edge. Edge padding is what - splice is most commonly used for.
If the exact same geometry and - gravity is later used with - chop the added added all splices removed.
-spread amount.
displace image pixels by a random amount.
The argument amount defines the size of the neighborhood around each pixel from which to choose a candidate pixel to blend.
The lookup is controlled by the - interpolate setting.
-statistic type geometry.
replace each pixel with corresponding statistic from the neighborhood.
Choose from these statistic types:
Gradient maximum difference (max - min) value in neighborhood Maximum maximum value per channel in neighborhood Minimum minimum value per channel in neighborhood Mean average value per channel in neighborhood Median median value per channel in neighborhood Mode mode (most frequent) value per channel in neighborhood Nonpeak value just before or after the median value per channel in neighborhood RMS root mean square value per channel in neighborhood StandardDeviation standard deviation value per channel in neighborhood.
-stegano offset.
hide watermark within an image.
Use an offset to start the image hiding some number of pixels from the beginning of the image. Note this offset and the image size. You will need this information to recover the steganographic image (e. g. display - size 320x256+35 stegano:image. png).
composite two images to create a red / cyan stereo anaglyph.
The left side of the stereo pair (second image) is saved as the red channel of the output image. The right side (first image) is saved as the green and blue channels. Red-green stereo glasses are required to properly view the stereo image.
-storage-type type.
pixel storage type. Here are the valid types:
char unsigned characters double doubles float floats integer integers long longs quantum pixels in the native depth of your ImageMagick distribution short unsigned shorts.
Float and double types are normalized from 0.0 to 1.0 otherwise the pixels values range from 0 to the maximum value the storage type can support.
-stretch fontStretch.
Set a type of stretch style for fonts.
This setting suggests a type of stretch that ImageMagick should try to apply to the currently selected font family. Select fontStretch from the following.
To print a complete list of stretch types, use - list stretch.
For other settings that affect fonts, see the options - font, - family, - style, and - weight.
strip the image of any profiles, comments or these PNG chunks: bKGD, cHRM, EXIF, gAMA, iCCP, iTXt, sRGB, tEXt, zCCP, zTXt, date.
-stroke color.
color to use when stroking a graphic primitive.
The color is specified using the format described under the - fill option.
See - draw for further details.
-strokewidth value.
set the stroke width.
See - draw for further details.
-style fontStyle.
Set a font style for text.
This setting suggests a font style that ImageMagick should try to apply to the currently selected font family. Select fontStyle from the following.
For other settings that affect fonts, see the options - font, - family, - stretch, and - weight.
-subimage-search.
search for subimage.
This option is required to have compare search for the best match location of a small image within a larger image. This search will produce two images (or two frames). The first is the "difference" image and the second will be the "match score" image.
The "match-score" image is smaller containing a pixel for ever possible position of the top-left corner of the given sub-image. that is its size will be the size of the larger_image - sub_image + 1. The brightest location in this image is the location s the locate on the best match that is also reported. Note that this may or may not be a perfect match, and the actual brightness will reflect this. Other bright 'peaks' can be used to locate other possible matching locations.
Note that the search will try to compare the sub-image at every possible location in the larger image, as such it can be very slow. The smaller the sub-image the faster this search is.
-swap index, index.
Swap the positions of two images in the image sequence.
For example, - swap 0,2 swaps the first and the third images in the current image sequence. Use +swap to switch the last two images in the sequence.
-swirl degrees.
swirl image pixels about the center.
Degrees defines the tightness of the swirl.
-synchronize.
synchronize image to storage device.
Set to "true" to ensure all image data is fully flushed and synchronized to disk. There is a performance penalty, but the benefits include ensuring a valid image file in the event of a system crash and early reporting if there is not enough disk space for the image pixel cache.
Mark the image as modified.
-text-font name.
font for writing fixed-width text.
Specifies the name of the preferred font to use in fixed (typewriter style) formatted text. The default is 14 point Courier .
You can tag a font to specify whether it is a PostScript, TrueType, or OPTION1 font. For example, Courier. ttf is a TrueType font and x:fixed is OPTION1.
-texture filename.
name of texture to tile onto the image background.
-threshold value.
Apply simultaneous black/white threshold to the image.
Any pixel values (more specifically, those channels set using ‑channel) that exceed the specified threshold are reassigned the maximum channel value, while all other values are assigned the minimum.
The threshold value can be given as a percentage or as an absolute integer value corresponding to the desired channel value. When given as an integer, the minimum attainable value is 0 (corresponding to black when all channels are affected), but the maximum value (corresponding to white) is that of the quantum depth of the particular build of ImageMagick, and is therefore dependent on the installation. For that reason, a reasonable recommendation for most applications is to specify the threshold values as a percentage.
The following would force pixels with red values above 50% to have 100% red values, while those at or below 50% red would be set to 0 in the red channel. The green, blue, and alpha channels (if present) would be unchanged.
As (possibly) impractical but instructive examples, the following would generate an all-black and an all-white image with the same dimensions as the input image.
Note that the values of the transparency channel is treated as 'matte' values (0 is opaque) and not as 'alpha' values (0 is transparent).
-thumbnail geometry.
Create a thumbnail of the image.
This is similar to - resize, except it is optimized for speed and any image profile, other than a color profile, is removed to reduce the thumbnail size. To strip the color profiles as well, add - strip just before of after this option.
See Image Geometry for complete details about the geometry argument.
-tile filename.
Set the tile image used for filling a subsequent graphic primitive.
-tile geometry.
Specify the layout of images.
See Image Geometry for complete details about the geometry argument.
Specifies that a subsequent composite operation is repeated across and down image.
-tile-offset x y.
Specify the offset for tile images, relative to the background image it is tiled on.
This should be set before the tiling image is set by - tile or - texture, or directly applied for creating a tiled canvas using TILE: or PATTERN: input formats.
Internally ImageMagick does a - roll of the tile image by the arguments given when the tile image is set.
-tint value.
Tint the image with the fill color.
Tint the image with the fill color.
Specify the amount of tinting as a percentage. Pure colors like black, white red, yellow, will not be affected by - tint. Only mid-range colors such as the various shades of grey.
-title string.
Assign a title to displayed image.", "animate", "display", "montage.
Use this option to assign a specific title to the image. This assigned to the image window and is typically displayed in the window title bar. Optionally you can include the image filename, type, width, height, Exif data, or other image attribute by embedding special format characters described under the - format option.
produces an image title of MIFF:bird. miff 512x480 for an image titled bird. miff and whose width is 512 and height is 480.
transform the image.
This option applies the transformation matrix from a previous - affine option.
This operator has been now been superseded by the - distort ' AffineProjection ' method.
-transparent color.
Make this color transparent within the image.
The color argument is defined using the format described under the - fill option. The - fuzz setting can be used to match and replace colors similar to the one given.
Use +transparent to invert the pixels matched. that is make all non-matching colors transparent.
The - opaque operator is exactly the same as - transparent but replaces the matching color with the current - fill color setting, rather than transparent. However the - transparent operator also ensures that the image has an alpha channel enabled, as per " - alpha set ", and does not require you to modify the - channel to enable alpha channel handling.
Note that this does not define the color as being the 'transparency color' used for color-mapped image formats, such as GIF. For that use - transparent-color.
-transparent-color color.
Set the transparent color.
Sometimes this is used for saving to image formats such as GIF and PNG8 which uses this color to represent boolean transparency. This does not make a color transparent, it only defines what color the transparent color is in the color palette of the saved image. Use - transparent to make an opaque color transparent.
This option allows you to have both an opaque visible color, as well as a transparent color of the same color value without conflict. That is, you can use the same color for both the transparent and opaque color areas within an image. This, in turn, frees to you to select a transparent color that is appropriate when an image is displayed by an application that does not handle a transparent color index, while allowing ImageMagick to correctly handle images of this type.
The default transparent color is #00000000 , which is fully transparent black.
Mirror the image along the top-left to bottom-right diagonal.
This option mathematically transposes the pixel array. It is equivalent to the sequence - flip - rotate 90 .
-transverse.
Mirror the image along the images bottom-left top-right diagonal. Equivalent to the operations - flop - rotate 90 .
-treedepth value.
tree depth for the color reduction algorithm.
Normally, this integer value is zero or one. A value of zero or one causes the use of an optimal tree depth for the color reduction algorithm.
An optimal depth generally allows the best representation of the source image with the fastest computational speed and the least amount of memory. However, the default depth is inappropriate for some images. To assure the best representation, try values between 2 and 8 for this parameter. Refer to the color reduction algorithm for more details.
The - colors or - monochrome option, or writing to an image format which requires color reduction, is required for this option to take effect.
This option removes any edges that are exactly the same color as the corner pixels. Use - fuzz to make - trim remove edges that are nearly the same color as the corner pixels.
The page or virtual canvas information of the image is preserved allowing you to extract the result of the - trim operation from the image. Use a +repage to remove the virtual canvas page information if it is unwanted.
If the trimmed image 'disappears' an warning is produced, and a special single pixel transparent 'missed' image is returned, in the same way as when a - crop operation 'misses' the image proper.
Choose from: Bilevel , Grayscale , GrayscaleMatte , Palette , PaletteMatte , TrueColor , TrueColorMatte , ColorSeparation , or ColorSeparationMatte .
Normally, when a format supports different subformats such as grayscale and truecolor, the encoder will try to choose an efficient subformat. The - type option can be used to override this behavior. For example, to prevent a JPEG from being written in grayscale format even though only gray pixels are present, use.
Similarly, use - type TrueColorMatte to force the encoder to write an alpha channel even though the image is opaque, if the output format supports transparency.
Use - type optimize to ensure the image is written in the smallest possible file size.
-undercolor color.
set the color of the annotation bounding box.
The color is specified using the format described under the - fill option.
See - draw for further details.
-update seconds.
detect when image file is modified and redisplay.
Suppose that while you are displaying an image the file that is currently displayed is over-written. display will automagically detect that the input file has been changed and update the displayed image accordingly.
-unique-colors.
discard all but one of any pixel color.
-units type.
the units of image resolution.
Choose from: Undefined , PixelsPerInch , or PixelsPerCentimeter . This option is normally used in conjunction with the - density option.
-unsharp radius.
-unsharp radius x sigma.
sharpen the image with an unsharp mask operator.
The - unsharp option sharpens an image. The image is convolved with a Gaussian operator of the given radius and standard deviation (sigma). For reasonable results, radius should be larger than sigma. Use a radius of 0 to have the method select a suitable radius.
The parameters are:
radius The radius of the Gaussian, in pixels, not counting the center pixel (default 0). sigma The standard deviation of the Gaussian, in pixels (default 1.0). gain The fraction of the difference between the original and the blur image that is added back into the original (default 1.0). threshold The threshold, as a fraction of QuantumRange , needed to apply the difference amount (default 0.05).
print detailed information about the image when this option precedes the - identify option or info: .
print ImageMagick version string and exit.
-view string.
FlashPix viewing parameters.
-vignette radius x y.
soften the edges of the image in vignette style.
The vignette effect rolloff is controlled by radiusxsigma. For nominal rolloff, this would be set to 0xsigma. A value of 0x0 will produce a circle/ellipse with no rolloff. The arguments x and y control the size of the circle. Larger values decrease the radii and smaller values increase the radii. Values of +0+0 will generate a circle/ellipse the same size as the image. The default values for x and y are 10% of the corresponding image dimension. Thus, the radii will be decreased by 10%, i. e., the diameters of the circle/ellipse will be 80% of the corresponding image dimension.
-virtual-pixel method.
Specify contents of virtual pixels .
This option defines what color source should be used if and when a color lookup completely 'misses' the source image. The color(s) that appear to surround the source image. Generally this color is derived from the source image, but could also be set to a specify background color.
Choose from these methods:
background the area surrounding the image is the background color black the area surrounding the image is black checker-tile alternate squares with image and background color dither non-random 32x32 dithered pattern edge extend the edge pixel toward infinity gray the area surrounding the image is gray horizontal-tile horizontally tile the image, background color above/below horizontal-tile-edge horizontally tile the image and replicate the side edge pixels mirror mirror tile the image random choose a random pixel from the image tile tile the image (default) transparent the area surrounding the image is transparent blackness vertical-tile vertically tile the image, sides are background color vertical-tile-edge vertically tile the image and replicate the side edge pixels white the area surrounding the image is white.
The default value is "edge".
This most important for distortion operators such as - distort, - implode, and - fx. However it also affects operations that may access pixels just outside the image proper, such as - convolve, - blur, and - sharpen.
To print a complete list of virtual pixel types, use the - list virtual-pixel option.
-visual type.
Animate images using this X visual type.", 'animate', 'display'
Choose from these visual classes:
The X server must support the visual you choose, otherwise an error occurs. If a visual is not specified, the visual class that can display the most simultaneous colors on the default screen is chosen.
-watermark brightness x saturation.
Watermark an image using the given percentages of brightness and saturation.
Take a grayscale image (with alpha mask) and modify the destination image's brightness according to watermark image's grayscale value and the brightness percentage. The destinations color saturation attribute is just direct modified by the saturation percentage, which defaults to 100 percent (no color change).
-wave amplitude.
-wave amplitude x wavelength.
Shear the columns of an image into a sine wave.
-wavelet-denoise threshold.
-wavelet-denoise threshold x softness.
removes noise from the image using a wavelet transform. The threshold is the value below which everything is considered noise and ranges from 0.0 (none) to QuantumRange or use percent (e. g. 5%). Softness attenuates the threshold and typically ranges from 0.0 (none) to 1.0. The higher the value the more noise that remains in the image.
-weight fontWeight.
Set a font weight for text.
This setting suggests a font weight that ImageMagick should try to apply to the currently selected font family. Use a positive integer for fontWeight or select from the following.
Thin Same as fontWeight = 100. ExtraLight Same as fontWeight = 200. Light Same as fontWeight = 300. Normal Same as fontWeight = 400. Medium Same as fontWeight = 500. DemiBold Same as fontWeight = 600. Bold Same as fontWeight = 700. ExtraBold Same as fontWeight = 800. Heavy Same as fontWeight = 900.
To print a complete list of weight types, use - list weight.
For other settings that affect fonts, see the options - font, - family, - stretch, and - style.
-white-point x, y.
chromaticity white point.
-white-threshold value.
Force to white all pixels above the threshold while leaving all pixels at or below the threshold unchanged.
The threshold value can be given as a percentage or as an absolute integer value within [0, QuantumRange ] corresponding to the desired ‑channel value. See ‑thresholdfor more details on thresholds and resulting values.
Make the image the background of a window.", 'animate', 'display'
id can be a window id or name. Specify root to select X's root window as the target window.
By default the image is tiled onto the background of the target window. If backdrop or - resize are specified, the image is surrounded by the background color. Refer to X RESOURCES for details.
The image will not display on the root window if the image has more unique colors than the target window colormap allows. Use - colors to reduce the number of colors.
-window-group.
specify the window group.
-write filename.
write an image sequence.
The image sequence preceding the - write filename option is written out, and processing continues with the same image in its current state if there are additional options. To restore the image to its original state after writing it, use the +write filename option.
Use - compress to specify the type of image compression.
-write-mask filename.
Prevent updates to image pixels specified by the mask.
This the same as using a mask used for composite masking operations, with grayscale values causing blended updates of the image the mask is attached to.
Use +write-mask to remove the mask from images.
Also see - clip-mask which work in the same way, but with strict boolean masking.