[Peter Mcauley]

Hi,

The effects that ship with Graffiti, FX and RED will operate only within those hosts. Just like the native filters that ship with AE, the native filters that ship with Boris products cannot be used in any other host.

To use these filters within AE you will need to purchase Boris Continuum Complete.

Thanks,

Peter.

[Peter Mcauley]

Hi Tim,

In speaking for the company, I can safely say that we are sympathetic to your and other users woes with regard to the transition from FCP on the PPC based Macs and Intel based Macs. It has been tough not only for users to make this migration but also for developers – if it were an easy task then you would see that all manufacturers would have native Universal Binary versions of their software available within a short time after the emergence of the first of these systems but the fact is that it is a tough bit of coding and it takes time and a considerable effort to make it happen. The fact that we are actually able to offer a UB version of the software says a lot about our commitment to this platform.

Regarding the integration issues that you have been experiencing – this is something that is for the most part out of our hands. We had no control over the fact that changes were made to FCP by Apple engineering which caused the RED Transitions to stop working however we have had assurance from Apple that they will have the fix for this publicly available with their next release of FCP. We don’t know when this will be available but I’m sure it couldn’t be that far away. And you can still do transitions while you are waiting for the fix by using the RED filter instead of the RED Transition and doing all of the transition work from within RED.

The Caps Lock issue was a stop gap solution that was the brainchild of one of our engineers who could find no other way around the problem. The problem had to do with creating the FCP user data and FCP cache files post a fresh installation of RED. Again, there was nothing that we could do code around the problem and this was the most user friendly solution that we could come up with.

Migrating projects forward from previous versions of the software will work seamlessly with the Universal Binary version of RED. You can open a RED 3 project into RED 4.1 if you use this version of the software. If it doesn’t work then please let me know as it works here in our labs.

I hope this goes at least some way to help provide resolution for some of the problems that have been the topic of this thread. Please feel free to contact me personally or on this list regarding any of this. Also, please continue to offer your feedback – it is vital that we hear from you regarding how well (or not) the software that you have purchased from us meets your expectations. Thank you for all of this.

Cheers,

Peter.

[Peter Mcauley]

Hi Dave,

After an a little investigating I am of the opinion that the Graffiti 4 settings that were created in FCP should indeed migrate forward into Graffiti 5. All you need to do is to make sure that you select the Universal Binary option in the Graffiti 5 installer and you should be all set. If you have any trouble with this please feel free to contact me personally at peterm@borisfx.com.

Cheers,

Peter.

[Peter Mcauley]

Hi Dave,

We’re investigating the issue and will see if there is anything, if at all possible, that we can do to come up with a better solution to this problem. I’m sure it will affect a lot of users.

Thanks for the prompt.

Cheers,

Peter.

[Peter Mcauley]

Hi Marc,

I know it doesn’t help you with your current situation where you have multiple subtitles on the graphics track that were generated with Graffiti, but in RED 4.1 we introduced a subtitle feature that will enable users to import .stl (EBU) generated subtitles which can be changed globally in one simple gesture. For example, you import the subtitle into the graphics track via RED 4.1 and then the client wants to change any style aspect of the title, say the font face or the color … you change the style in the style palette and then reimport the .stl file and all of the reimported titles have the style change. You can download the demo version from our site to check it out and it’ll work without a watermark for two weeks.

Cheers,

Peter.

[Peter Mcauley]

Hi,

Before I can answer your question I will need to know what the hardware configuration you are working with is. Are you using a PPC Mac or a MacIntel machine?

Thanks,

Peter.

[Peter Mcauley]

Hi Tim,

We always have and always will continue to support Apple hardware with our solutions. We actually get along with Apple just fine – always have and hopefully always will. 🙂

Currently we offer RED, Graffiti, FX and BCC on Macintosh PPC and MacIntel platforms. MacIntel as a platform is actually quite new and it takes a tremendous amount of engineering effort to recode products that were designed to run on PPC Macs so that they will run on MacIntel systems in Universal Binary mode. If you are using a Universal Binary host you must use Universal Binary plug-ins as PPC plug-in architecture based filters do not run within Universal Binary host applications.

We lost transitions as an option from within the FCP timeline, but you know, you can still achieve an identical effect by simply going into Boris RED as a filter instead of a transition and then performing the transition from within the RED UI. I know it’s a workaround but it’s actually quite easy – we can help you with that if you would like. And s soon as the problem is corrected, which incidentally is not on the Boris end, the transitions will come back.

I hope this helps you with the questions that you had and please feel free to contact me personally regarding any of this or with other questions / concerns that you may have regarding Boris products.

Cheers,

Peter.

[Peter Mcauley]

Hi,

I’m wondering if you have the right forum as I didn’t see any mention of Boris in the post. You might want to post this to the Adobe list to see if someone there may be able to help.

Cheers,

Peter.

[Peter Mcauley]

Hi Rick,

That’s a tough one – not something that would be easy to take care of in any package that I am aware of. I’m actually a little hesitant to offer any advice for removing the mark without first seeing at least one frame of the clip. If you would like to send me a frame then I can offer you my opinion on how best to approach the problem. It may be that you could get away with making a mask that would surround the water spot and them color correcting through the mask but if there is any distortion then you’ll still see this, even after the color work. If there is distortion then you might have to clone out the spot on a frame by frame basis. Time consuming and tedious. And prone to errors that might look even worse than the water spot.

Please feel free to send me a single frame that shows the problem and I’ll take a look. My email is peterm@borisfx.com.

Cheers,

Peter.

[Peter Mcauley]

HI Michael,

It’s a little difficult to know what is going on with the problematic effect without having a copy of the effect settings that you are using in FX here to look at. The effect that you are describing should have worked – if it looked right in the BFX UI then it should have rendered correctly in P Pro.

Can you please send us an email at support@borisfx.com describing the problem and including a copy of the settings file so that we can work on this together? We would like to try to resolve the issue for you.

Cheers,

Peter.