[Peter Mcauley]

Hi Stewart,

I’m assuming that you have read through the instructions in the included help file regarding use of the BCC Optical Stabilizer filter. If that’s the case and you are still experiencing problems then I’d like to suggest that you drop an email to our support center and one of the guys there can assist you with stabilizing the clip. You can reach them at support@borisfx.com.

Or, if you would like to provide me with the clip I’d be happy to give it a shot on one of the systems in our labs. Do you have an FTP drop from where I can download the clip?

Cheers,

Peter.

[Peter Mcauley]

Hi Stacey,

By default, a keyframe is in place at the start of the timeline and at the end of the timeline. When you repositioned the text, the position is being interpolated by the software generating a path between the new position and the position at the end keyframe. To correct for this, you need to go to the start of the timeline and click on the box at the left of the position slider and select constant. This will set the text to have a constant position.

You might want to check out some of the free tutorials on our web site:

https://www.borisfx.com/tutorials/

I hope this helps!

Cheers,

Peter.

[Peter Mcauley]

Hi,

I’m seeing the luma shift in clips where there is little or not white in the image. In the clips where there is no real shift in luma when the title is on screen, there is some white in other ares in the frame, so I wonder what would happen if (just as a test) you tried setting the titles to mid/dark grey to see if this alters the luma shift. Can you please try that to see if it makes any difference?

Thanks,

Peter.

[Peter Mcauley]

Hi,

What is most interesting is that only some of the titles are displaying a brightness shift. I also find it interesting that when you export to a non web format codec that these very same titles render as expected without a brightness shift. Can you narrow it down a little further? Is there one title which is consistently displaying the shift? If so can you isolate it to the title only and reproduce the issue? If you can do that then we may be on the way to resolving the problem.

Cheers,

Peter.

[Peter Mcauley]

Hi Laura,

What happens if you try to perform the vector trace in the main comp window instead of a new window? If you haven’t tried that yet can you please give that a shot and let us know if RED exhibits the same behavior?

Thanks,

Peter.

[Peter Mcauley]

Hi,

I’d suggest adding the BCC Optical Stabilizer to the shot to eliminate the unwanted movement in the shot. If you need assistance on use of the filter, just drag it onto the clip and then click on the help button, which will open up the pdf help file that explains how to use the filter in many different host environments.

I hope this helps.

Cheers,

Peter.

[Peter Mcauley]

Hi Joel,

The answer is that there are some differences but for the most part the BCC offerings for the FCP and AE host applications are the same. Here’s a list of some of the major differences:

In FCP, there are “RT” versions of many of the filters. The RT version does not include the built-in motion tracker, which is removed so that the filter will playback in the FCP timeline without the need to render the sequence. The RT filters are not included in the AE version as the AE version will preview without the need to render to disc.

In FCP there are “real” transitions, which can exist between a pair of clips and therefore there is an entire category of FCP Transitions effects. In AE this is not possible and transitions are treated just like any other filter effect.

I think that depending on the type of work you are engaged in that you will still need to use both programs. If possible, I would suggest that you upgrade both hosts, FCP and AE, to the latest versions and equip both hosts with BCC 7. This will provide you with the toolset that you need to handle most motion graphics, editing or compositing work that will come your way.

And if you need to transfer an edited sequence from FCP into AE you can do that with Boris XML Transfer, which is the only timeline transfer utility that will transfer BCC filters between hosts.

I hope this helps.

Cheers,

Peter.

[Peter Mcauley]

Ahh … well you need to go to the FCP menu – select Mark>Play>Every Frame and tracking will begin automatically.

I hope this helps.

Cheers,

Peter.

[Peter Mcauley]

Cool … glad that helped.

For PIPs, I recommend that you use the BCC Match Move filter when you need to match the PIP movement to movement in the scene.

Cheers,

Peter.

[Peter Mcauley]

Hi Trace,

The recommended workflow for UpRez is documented in the help file for that filter. Are you following that workflow? If you are and are not seeing the expected result then this is indeed indicative of a problem.

Before we take this any further, can you please create a new sequence and follow the instructions step by step to make sure that you are using the UpRez filter per the recommended workflow?

Thanks,

Peter.