[Peter Mcauley]

Okay … perhaps I can be of assistance.

The BCC Color Match filter was designed to match the color and luma values from a source clip (a) and a target clip (b). It solves the common problem where abutting clips of the same scene that were shot at different times of the day but need to look like they were shot within seconds of each other.

The filter provides 3 point sample controls, from which the user samples regions from the highlight, midtone and shadow areas of the source and target (destination) clips. You start by applying the filter to the target clip and then disabling the filter so that it has no effect on the image. Then set the h/m/s samples for the source and target. Then enable the filter.

A bias control was provided for the h-m and m-s regions, effectively enabling the user to instruct the filter on what values are to be considered highlight and shadow from the mid-tones of the image. To use this, set the appropriate view (h/m/s etc) and change the value in the h-m or m-s bias parameters, switching the view until you are satisfied with the region settings. Then set the view switch back to normal.

At this stage you should be seeing that the source and target color and luma values are fairly closely matched.

Finally, adjust the master level and color parameters to back-off or increase the master color and luma matching. If needed, this can be further tweaked using the individual h/m/s level and color parameter sliders.

As with any color matching tool, it takes practice with the tool to really get comfortable with the controls. Once you use it a few times, I’m sure you’ll really start to see the benefit of having this in your toolbox.

I hope this helps.

Cheers,

Peter.

[Peter Mcauley]

Okay … perhaps I can be of assistance.

The BCC Color Match filter was designed to match the color and luma values from a source clip (a) and a target clip (b). It solves the common problem where abutting clips of the same scene that were shot at different times of the day but need to look like they were shot within seconds of each other.

The filter provides 3 point sample controls, from which the user samples regions from the highlight, midtone and shadow areas of the source and target (destination) clips. You start by applying the filter to the target clip and then disabling the filter so that it has no effect on the image. Then set the h/m/s samples for the source and target. Then enable the filter.

A bias control was provided for the h-m and m-s regions, effectively enabling the user to instruct the filter on what values are to be considered highlight and shadow from the mid-tones of the image. To use this, set the appropriate view (h/m/s etc) and change the value in the h-m or m-s bias parameters, switching the view until you are satisfied with the region settings. Then set the view switch back to normal.

At this stage you should be seeing that the source and target color and luma values are fairly closely matched.

Finally, adjust the master level and color parameters to back-off or increase the master color and luma matching. If needed, this can be further tweaked using the individual h/m/s level and color parameter sliders.

As with any color matching tool, it takes practice with the tool to really get comfortable with the controls. Once you use it a few times, I’m sure you’ll really start to see the benefit of having this in your toolbox.

I hope this helps.

Cheers,

Peter.

[Peter Mcauley]

Hi Nate,

Yes, I would also have expected that to have been in the list … unfortunately there’s nothing that we can do about that though as the list contents is set by the host.

Cheers,

Peter.

[Peter Mcauley]

Hi Nate,

You’ll need to add copy the keyframes that you need to duplicate, then create a new keyframe, select the new keyframe, and then paste the copied values by using the control+v keyboard command. One would think that there would be a menu item “paste copied keyframes” and if there is such a thing it’s something that I couldn’t find in the menu list.

Hope that helps.

Peter.

[Peter Mcauley]

Matt is right, you can set the paint brush type to eraser mode to reveal the underlying video clip or you can apply paint to the mask track and reveal the image that way.

Select filters>effects>paint which generates a paint track, then select the brush tool and click on the paint path to set the paint dynamics, such as brush size, paint style etc. Then just paint in the composite window to create the effect that you need.

If you need any further help you can find tutorials on the borisfx.com web site or send us an email and we’ll provide more help.

Cheers,

Peter.

[Peter Mcauley]

Hi David,

I’m glad that helped to clarify the differences between the many products that we create at Boris FX. And thank you for your comments regarding the site – it’s something that is constantly undergoing revision to add features or clarify the differences between products. Your feedback will help us to improve our site, which will help everyone who visits the site for information regarding which product is best suited for their current needs.

REgarding publishing content from other sites on this forum … we (Boris FX) have no issue with that but it’s probably best to check with Ron or Kathlyn at the Cow before posting the link.

Cheers,

Peter.

[Peter Mcauley]

Hi David,

Here’s a breakdown of the Boris FX product line:

RED = custom UI – compositing, keying, titling and special effects integrated and standalone application
FX = custom UI – compositing, keying and special effects … subset of RED
Graffiti = custom UI – titling … subset of RED
Blue = custom UI – 3D titling and special effects integrated and standalone application. hardware accelerated
BCC = host UI – compositing, keying, titling and special effects plug-ins
FEC = host UI – compositing and special effects plug-ins

FX, being a subset of RED, does not include the 3D Model render option. You need RED for that.

There is more in-depth information available on the company web site at borisfx.com.

Cheers,

Peter.

[Peter Mcauley]

Hi Nik,

Thanks for sending along this info – it helped me to better understand the problem.

So, theoretically speaking, we should be able to work up to the limitations of the video card but I just noticed that there are some anomalies with renders on cards that should be passing us through correctly at larger sizes, such as 2500 X 2500. The quardo fx 3500 supports a maximum resolution of 3840 x 2500 and you (again theoretically speaking) should be able to render layers up to that size with the BCC 6 3D Objects filters.

That it is not working for you is an issue and I’ve confirmed through testing with other systems that it is not an issue that is isolated to your set-up. All I can say is that we’ll work toward a solution for this issue and make that available via a software update.

Meanwhile, if you don’t need pixel data in the entire comp (and I’m sure you probably know this already) but you could render out (or precomp) the 2K portion with the 3D Objects filters and then add the precomp to the 2500 x 25000 comp.

I hope this helps.

Thanks,

Peter.

[Peter Mcauley]

Hi Nikola,

The BCC Extruded Text filter is a hardware renderer, and relies on the assets of the video card that is present on the system that is being used for the render. It may be that the video card on your system is incapable of generating an OpenGL render as large as the one that you are working with. What are the details of your system? Most importantly, we would like to know what video card and OS version you are using.

Cheers,

Peter.

[Peter Mcauley]

Hi,

I created that piece – if you contact me via email I’ll send you a project. What version of After Effects are you using … CS4? You can reach me at peterm@borisfx.com.

Cheers,

Peter.