[Matt Mullen]

Erik,

We have a Rays Streaky filter which seems to be very similar to the Sapphire plug you point out.

Here is the PDF for you to check out: https://www.borisfx.com/Documentation/BCC6AE/BCC%20Rays%20Streaky.pdf

Please correct me if I am wrong.

-Matt

[Matt Mullen]

Great, glad it worked.

If you have any other questions just ask!

-Matt

[Matt Mullen]

Amanda,

I believe you are looking for the Hue parameter. If this does not help you let em know exactly which filter you are using and which host application you are using it in.

-Matt

[Matt Mullen]

Seems like you have a pretty solid machine here. What are you looking at for render times? I don’t think a new graphics card is going to help much.

[Matt Mullen]

Sounds good.

Thanks!

[Matt Mullen]

Logan,

Did you ever send that info?

[Matt Mullen]

Jamie,

Glad we could help you out over the phone.

Please don’t hesitate to call or post here if you have any more issues/questions.

[Matt Mullen]

Jamie,

I do not know which tutorial you are watching but here are the steps you should be following laid out for you:

Overview of Using the Optical Stabilizer
The following steps provide an overview of the optical stabilizing process.

1.
Apply the BCC Optical Stabilizer filter directly to a clip that you want to stabilize.
The Video Quality should be set to Full Quality when you use the Optical Stabilizer.

2.
Set the Mode Menu toSetup Region
and use the onscreen controls to set up the target
region.

This region should be as large as possible while excluding areas of
uniform texture such as sky or water or other difficult to track areas such as motion blur or low
contrast.

A good target region contains large areas of non-uniform detail with high-contrast edge
definition aligned in a variety of directions.

3.
If you are stabilizing, set the Reference Frame
to assign the frame that is used as a
reference for the filter. When stabilizing, the other frames are transformed to match the
reference frame.

4.
If you will be smoothing instead of stabilizing, adjust
Smoothing Range to set the number of frames that are used to calculate the average position of the image.

5.
Set the Stabilize menu to the appropriate choice.

6.
Set the Edge Handling menu to the appropriate choice. This setting determines how the filter creates pixels to fill the this space created when the image is offset to compensate for movement.

7.
Make sure you are on the first frame in the effect. Set the Mode Menu to Stabilize or Smooth and click Play.
The filter will stabilize or smooth the clip. Choose Stabilize
when you want to lock all the frames to the reference frame,
eliminating all motion. Choose Smooth
when you want to smooth, but not eliminate all
motion, such as when panning a hand-held camera.

If you are not on the first frame of the effect and choose Stabilize, the filter will calculate the stabilization of every frame up to the current frame before displaying
the current frame.

Conversely, if you are on the first frame and choose Smooth, the filter must calculate all frames in the Smoothing Range. This means that if the position indicator is on the first frame, Stabilize will be more interactive while if the position
indicator were on frame 100, Smooth could be more interactive (depending on the
Smoothing Range setting).

8.
If necessary, correct any errors using the Optical Flow parameters.

9.
If you want, you can adjust X Translation and Y Translation, Rotation
and Scaling parameters to correct any mistakes made by the filter or to finetune the results.

10.
Render the effect.
If you play through the entire effect before rendering the filter will calculate the
stabilization of every frame. Otherwise, the filter will calculate during the render.

[Matt Mullen]

I’ll look for it.

[Matt Mullen]

Sebastian,

You got it! Let us know if you have any other questions.

-Matt