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Linear Luma Key creates a key from a single channel in the source. This type of filter is called a luma key, because the key is usually created from the image luminance, but you can also use any single RGB channel. You might want to examine the individual channels of the source and use a channel that provides more contrast between the. Download the file 2. Pdf converter elite 4 serial key. Install the software on your computer 3. Generate new code / keyTo download the “Keygen boris continuum complete 8 crack avid” one file you. Boris Continuum Complete 8 Sony Vegas Serial Numbers. Convert Boris Continuum Complete 8 Sony Vegas trail version to full software. Mortal Kombat 5 Deadly Alliance Free Download For Pc Download Segundos Afuera Martin Kohan Pdf Archive Name And Parameters Statistics Casio Bp-100 User Manual Undercover Brother Ita Download Dvdrip Rar Plug Bcc Luma Key Sony Vegas Download Computer Alinshooter 3 Game Free Download Ddj Sr Drivers Mac. Quick clean-up, light wraps, and mattes with Continuum Unit: Key and Blend. Includes 20 filters & 200+ presets. Cross-host license. Caution: If you already own Boris Continuum, purchasing and installing a new unit or filter will overwrite the whole product and you will only be able to use the filter or unit you purchased.
BCC 8 for Sony Vegas supports the following host environments:
• Windows 7 32/64
• Sony Vegas 10.e - 32 and 64 bit
• Sony Vegas 11 (version 594/595 or higher) - 32 and 64 bit
What's new in BCC 8 for Sony Vegas:
• True 32bit float processing support
• Integrated Beat Reactor added to many filters enabling audio driven animation
• New/Revised filter categories
• 32 new filters:
-3D Extruded Image Shatter
-Brick
-Burnt Film
-Cloth
-Fire
-Film Glow
-Flicker Fixer
-Fractal Noise
-Glow Matte
-Granite
-Lens Flare 3D
-Mixed Colors
-Noise Map 2
-Organic Strands
-Particle Array
-Particle Emitter 3D
-Particle Systems
-Pin Art
-Premult
-Reptilian
-Rock
-Stage Light
-Star Matte
-Stars
-Steel Plate
-Tile Mosaic
-Veined Marble
-Videoscope
-Weave
-Wild Cards
-Wood
-Wood Planks
BCC 8.0.0 for Sony Vegas - Known Issues and Limitations:
• In BCC particle filters if you change a keyframe for a parameter whose full animation history affects the particle rendering (such as the keyframed history of the particle emitter location), any previously cached frames that are more than one keyframe away from the changed keyframe will not be automatically recalculated. This only happens if the keyframe in question is edited in the lanes or curves view of the animation timeline. If the parameter value is changed with the parameter control directly then this stale cache problem does not occur. To force cached frames to be recalculated you can make a tiny change to some paremeter in the effect which will refresh all frames without changing the overall look of the effect.
• In Particle Emitter 3D, keyframing the Wind X/Y/Z sliders can yield unexpected movement of the particles and as a temporary workaround these parameters should remain static.
• BCC Optical Stabilizer does not appear in the initial 8.0.0 release. It will be reinstated in an update release in the near future.
• The Beat Reactor audio graph becomes less accurate as the Freqeuncy Resolution is increased to high values. As a temporary workaround use low values near the default setting of 32.
• The Beat Reactor audio graph shifts by a noticable amount when resoltuion is less than full. Set the preview resolution to full when setting up Beat Reactor clips to avoid any discrepancies between preview and final renders.
• Some BCC transitions do not work as when applied as one sided transitions to the front of a clip or when applied to clips with alpha channels. This can generally be worked around by applying the effect as a VideoFx transiton with media separated on different tracks if necessary rather than applying as a true transition.
• If a project is saved after loading a preset in the BCC effect controls and this preset is removed from the system (or the project is copied to another system that doesn't contain this preset), then when the project is reopened the UI for the effect does not appear correctly. This can be worked around by reinstating the missing preset and relaunching vegas or by saving the settings as a Vegas preset, deleting the filter, and loading that vegas preset in a new instance of the filter.
• In filters with more than one Motion Tracker point (e.g. BCC Witness Protection), saving/loading the motion tracker data only works for the first tracker point.
• Filters which access frames at alternate times such as the Time category filters can produce unexpected jitter when applied to clips that have more horizontal frame aspect than the project's frame aspect.
• The Mix with Original control in several filters produces results in float bitdepth projects that don't match the results in 8 bit projects.
• BCC Posterize Time can show interlacing artifacts when applied in interlaced projects. As a workaround you can prerender Posterize Time clips in progressive projects which will produce correctly posterized frames when reimported into interlaced projects.
• BCC Stars will occasionally exhibit horizontal bands of artifacts in the star field and galaxy controls.
• In BCC Particle Systems (but not in Particle Emitter 3D), particles are rendered as if progressive even when in interlaced projects thus yielding less fluid motion in fast moving particle animations.
• BCC LED shows occasional mis-colored dots on Quadro FX 3500 cards.
• The Boost Exponention apply modes can show artifacts in Velocity remap. Other apply modes should be used as a temporary workaround.
• Using Image Collection shapes to define particle shapes in Particle Array and Pin Art can show clipping artifacts if the particle size is large and the apply mode is normal. Use alternate particle shapes, smaller particle sizes, and/or the Add apply mode as a temporary workaround.
• If one of the Preview Ease Curve checkboxes is enabled in Particle Array, it will still be displayed even if the Control Map Graph is changed to None or the Apply To control is set to Unused. The checkbox for the Preview Ease Curve controls must be explicitly disabled when not in use.
Using BCC 2 to 1 Transforms :
- In Vegas Pro for an effect to be able to access an alternate video layer (a layer other than the layer the effect is applied to) for processing it needs to be applied on a per track basis as a 2 to 1 Transform. Boris Continuum for Sony Vegas Pro currently offers the following filters as 2 to 1 Transforms:
Edge treatment for keying and alpha effects (uses a softened area of the background to composite on foreground):
- Light Wrap
Composite effects (combine layers according to blend modes, allow for mixing multiple blend modes, using user defined regions and image based channels to define blend area etc.):
- Boost Blend
- Composite
- RGB Blend
Displacement effects (can be used to access the layer below the filter layer as a displacement map):
- Displacement Map
- Polar Displacement
- Vector Displacement
Two-Image effects (allows accessing the layer below as an alternate foreground/background layer when compositing or as an alternate particle face):
- Corner Pin
- Match Move
- Wild Cards
Spill is the colored light reflected from your background and onto your actor. Spill can show up on light colored clothing or hair, on shiny or reflective elements, around the edge of footage, and it can be a big problem! It can be very easy to fix, or difficult on finely detailed, extremely reflective or semi-transparent areas. Here are some methods of fixing spill.
Table of contents
- Other Plug-ins for video and Photoshop
Introduction: Don't Cry Over Spilled Green
This is another in Toolfarm's ongoing In Depth series on green screen. We've brushed upon the topic of spill in other articles in this series, mainly giving tips on how to minimize spill during shooting.
What is Spill? Baby, don't hurt me…
It's actually a problem that is fairly easy to fix, but can be difficult on finely detailed or semi-transparent areas. There are some great plug-ins and tricks that I'm going to cover that will help you immensely with spill. In this article, I'm working with a shot from Hollywood Camera Work, who kindly allows anyone to use their content for purposes like this.
There are a lot of spill removal tools on the market and many keyers have built-in spill suppression. The image below is from Hollywood Camera Work, which has a lot of great shots to practice keying, and they are free! The model's white coat shows a strong green cast and is a really nice example for this article.
Hollywood Camera Work says: “ISSUES: The real issue in this shot is actually spill. It's hard to see how much there really is because our eyes compensate, but if you cut her out, you'll find that she looks like The Incredible Hulk. We also have a wild over-exposure in the top corner, which ends up behind her head.”
Green spill is what you will likely have to deal with, as green screen is what is used in the majority of productions these days. That said, on the film Universal's Evan Almighty, visual effects company Industrial Light & Magic (ILM) utilized blue screens on the flood effects. Because of the blue coloration of the water, blue spill not so much of an issue and blue is less noticeable to the human eye than green is.[1] If you're compositing the scene into a rain forest, the spill may just blend into the shot.
Avoiding Spill when Shooting
You can avoid quite a bit of spill when you're shooting by lighting the background separately and actor separately. Don't use a glossy or overly bright green screen because the reflectivity will cause the green to bounce onto your foreground elements. The image above from Hollywood Camera Work is very bright, but it's not necessary to have such a neon glowing shade of green. Below is an example of a shot that uses a much less bright screen and doesn't have the problem with spill that the shot above has. It is a bit dark but the scene she is composited into is also dark.
Footage courtesy of Angie Mistretta from her training Toolfarm Professional Keying with Keylight: Toolfarm Expert Series.
Digital Anarchy has some nice tips on lighting your green screen properly.
Here are three basic rules given by Digital Anarchy:
- Make sure the chroma key screen is lit evenly across. No hot spots or shadows.
- Be careful that your model does not cast shadows on the chroma key screen. She should be 6 to 10 feet in front of the screen and lit separately.
- Set up two lights, one from each side, and both a good distance from the screen. This will avoid getting a bright 'hot' spot in the center of the lit area.
Spill Removal Plug-ins for Video
There are several spill removal tools on the market and many keyers come with built-in spill suppression. This example has a lot of spill on the actor's white coat and on her skin. If the actress were a blonde, you'd likely see a lot in her hair as well.
First, I'll go over a few tools that are included in After Effects, so tools that you likely already own. Note that the spill suppression filters are applied AFTER the shot is keyed. Some tools have built-in spill suppression that is automatic, so the “before” examples may use a different keyer to show the original green. Also, if you pull a good key, you may not even need to use any type of spill suppression.
Something strange that I discovered while writing this article is that, generally, the simpler a spill suppression plug-in is, the better the results seem to be.
After Effects Advanced Spill Suppressor
After Effects has always had great keying tools. Adobe really upped their game with Key Cleaner tool and the Advanced Spill Suppressor, the new keying tools in After Effects CC in the June 2014 update. Advanced Spill Suppressor is a 32-bit color effect.The original AE Spill Suppressor was introduced the same year I got my first job in post production in 1995 and it has since been moved to the Obsolete effects.
Slide the bar back and forth to see the difference before and after spill removal with After Effects Advanced Spill Suppressor.
Here are a couple of tutorials on the new After Effects Keying tools introduced in After Effects CC 2014. The first is from Adobe TV and explains how to use the new keying effects and spill suppressor controls.
The second, Adobe AE CC 2014 – Key Cleaner + Spill Suppressor is from Total Training.
There are two Methods for Advanced Spill Suppressor, Standard and Ultra.
- Standard will automatically chooses the Key Color for you and it very simple to use.
- Ultra comes from the spill suppression in the Ultra Key effect in Premiere Pro. You'll have to manually set the Ultra Settings. Check out Carl Soule's video on the Ultra Key effect in Premiere Pro CC at the Adobe Site.
More info:
Adobe After Effects CC 2014 for Teams & Businesses
Price:$239 for a 12-month subscription
Adobe Creative Cloud Complete for Teams & Businesses
Price:$599 for a 12-month subscription
The Foundry Keylight
The Foundry Keylight is included with Adobe After Effects and is the go-to keying plug-in for many After Effects users. It has all the features you need, including a built-in spill suppressor and for added control you can use Edge Color Correction, and it works great.
The Bias controls work a bit differently than the spill suppression in other programs. With Keylight, the foreground is despilled automatically, which is great news. If you feel that it's still a bit too green for your liking, you can remove more. How? After you choose your Screen Colour from the image, adjusting the Alpha Bias parameter. Use the Alpha Bias eyedropper to select a prominent color, such as skin tones or hair color. This will help Keylight in separating the foreground and background colors. The Despill Bias and Alpha Bias colors are locked together by default and that will usually give you the best results, although you can uncheck Lock Biases Together and use them individually. It is possible pick a color in the bias that gives a really clean alpha channel, but a crummy despill, and vice versa.
Mark Christiansen, author of Adobe After Effects CS3 Professional Studio Techniques has a great tip for using Keylight for spill removal only. “Follow the same steps as you would to key the footage, but don't adjust any controls below Despill Bias (which you should select using the eyedropper on a representative area of skin tone or equivalent). Change the View setting to Corrected Source; the footage is keyed but the alpha channel remains unaffected.”[3]
More info:
The Foundry Keylight is included with Adobe After Effects.
The Foundry Keylight for Final Cut Pro
Price: $270, Toolfarm Price: $256.50
Demo:Click here
Boris Continuum Unit: Key and Blend / Boris Continuum Complete Chroma Key Studio
To explain this one a bit, the Boris Chroma Key Studio ships with Boris Continuum Complete but there's also a Boris Unit for keying, Boris Continuum Unit: Key and Blend. This is the same tool within each product.
I demo'd the BCC Chroma Key Studio at NAB 2014, when it was released in BCC 9. Boris has always had keying tools but I never liked them. BCC Chroma Key Studio was a game changer. It pulled a great key for me and has great tools for pre-keying with the Quick Mask that you don't see in other plug-ins. This eliminates the need for a separate garbage matte.
The spill suppression worked beautifully and I didn't even need to adjust settings.
The Spill suppression is under the Chroma Key settings which are hidden until Spill Suppression On is checked. The Spill Suppression Group includes Spill Ratio, Spill Tone Mix and Spill Tone Range. According to the Boris Continuum Complete manual, for best results, adjust the controls in the order they are listed.
1. Adjust the Spill Ratio until most of the green background color is removed from the foreground image. With green screen footage, setting the Spill Ratio to 0 will turn your image magenta (or yellow for blue screen). Boosting the value to 200 will turn off the Spill Suppression.
2. Spill Tone Mix will bring some of your green or blue background color into your foreground. If you increase Tone Mix value, you can compensate for some of the magenta that was brought in by lowering the Spill Ratio.
3. Manvasanai serial in hindi episode 1000. If you increase the value in the Spill Tone Range, it gives a broader range of the foreground color mix. This can also bring some of the original skin tones back into the footage.
More info:
Boris Continuum Complete for Adobe After Effects
Price:$995
Boris Continuum Unit: Key and Blend
Price:$299
Host Support for Boris Continuum Complete:
Check the product page for specifics on supported versions.
Demo:Click here
Red Giant Primatte Keyer and Key Correct Spill Killer
Key Correct
Red Giant Primatte Keyer
Red Giant Key Correct
Primatte Keyer and Key Correct use the same Spill Killer technology. Both products are available together in the Red Giant Keying Suite. Spill Killer is very simple at the core. There are not a lot of bells and whistles, but it worked well on the footage. I used slightly different settings for Tolerance so that you can see the difference.
For Primatte Keyer, Enable Spill Killer needs to be checked and the Color Mode set to Green. I set the Range to 58% and set Tolerance and Strength to 100%.
To remove the spill with Key Correct Spill Killer, you just need to apply the effect to your layer. I turned down Tolerance to 51%, and the Range to 58%, which helped to avoid giving the model a red face.
More info:
Red Giant Keying Suite
Price:$799, $759.05 Toolfarm Price
Red Giant Primatte Keyer
Price: $499, $474.05 Toolfarm Price
Red Giant Key Correct
Price: $399, $379.05 Toolfarm Price
Host Support for Red Giant Primatte Keyer:
- Adobe After Effects CC (2014), CC, CS6, CS5.5, CS5
- Adobe Premiere Pro CC (2014), CC, CS6
- Apple Final Cut X 10.1 or higher
- Apple Motion 5.0.4
Host Support for Red Giant Key Correct:
- Adobe After Effects (2014), CC, CS6, CS5.5, CS5
- Premiere Pro CC (2014), CC, CS6, CS5.5, CS5
Demo:Click here
PHYX Keyer Despill
PHYX Keyer does come with six keying tools and Despill is one of them. PHYX Keyer did a beautiful job and the Despill plug-in neutralized the green perfectly.
I never have too high of hopes when there are very few options for modifying settings in a plug-in. This seems to be a benefit here though because users aren't forced to tweak too many settings to figure out what works. I'm really impressed by this plug-in.
PHYX products are Mac only and require the FxFactory FxEngline to run. Download FxFactory for free from our downloads page.
More info:
PHYX Keyer
Price: $139$132.05 Toolfarm Price
Host Support for PHYX Keyer:
Check the product page for specifics on supported versions.
- Adobe After Effects CS6-CC 2014
- Adobe Premiere Pro CS6-CC 2014
- Apple Final Cut Pro X
- Apple Motion 5
Demo: Click here
Digital Film Tools zMatte Keyer and Spill Suppression
Digital Film Tools zMatte was one of the first keyers that I really loved because you just applied it, picked your background color and with very little tweaking you get a good result. zMatte ships with several tools for keying and compositing: Color Suppress, DeArtifact, Edge Composite, Frame Averager, Holdout Composite, Keyer, Light Wrap, Matte Generator, Matte Repair, Matte Wrap and Screen Smoother.
DFT zMatte Keyer has built in Color Suppress but the zMatte package also comes with a separate Color Suppress plug-in, introduced in zMatte 3.0.
More info:
Digital Film Tools zMatte for Film/Video
Price: $395$375.25 Toolfarm Price
Host Support
- Adobe After Effects CS5 and up
- Adobe Premiere Pro CS5 and up
- Apple Final Cut Pro 6/7/X
- Apple Motion 5
- Avid Editing Systems (64 Bit only)
- Sony Vegas v13 and up
- The Foundry's Nuke v8 and up
Plug Bcc Luma Key Sony Vegas Download Free
Demo: Click here
FXHOME HitFilm Ultimate Spill Removal
HitFilm Ultimate may be a newer tool to many of you. It is sold now only as a standalone but the plug-ins come with the standalone. In other words, the plug-ins are still made but no longer sold on their own.
HitFilm Ultimate comes with several keying tools including Advanced Chroma Key, Matte Cleaning, Spill Suppression and Auto Light Wrap. Spill Removal is another one of those tools with hardly any options, but it is very simple to use and the tools worked really well. I ended up lowering the Strength a bit to 0.80. I kept the Suppression Type set to Extended to achieve my result.
More info:
FXHOME HitFilm Ultimate (standalone)
Price: $299$284.05 Toolfarm Price
Plug Bcc Luma Key Sony Vegas Download Pc
Host Support for HitFilm Plug-ins:
Plug Bcc Luma Key Sony Vegas Download Full
Check the product page for specifics on supported versions.
- Adobe After Effects CS6 & CC 2014
- Adobe Premiere Pro CS6 & CC 2014
- Apple Final Cut Pro X
- Apple Motion
Demo: Click here
Other Tools
If you don't have any of the tools listed above, these plug-ins also have spill suppression abilities
Video Plug-ins
- Oak Street Software VKey2f Advanced Chromakeyd
Photoshop Plug-ins
- FXHOME PhotoKey Pro and PhotoKey Standard
Toolfarm Pro Tips
Remove spillthen choke the matte
If you have a fringe of color around your actor, remove it first with spill suppression. If you don't remove spill first, you run the risk of choking the matte in too far and losing your edge detail.
Remove Spill with Hue/Saturation
Here's an excerpt from Plug-in to After Effects: Third Party Plug-in Mastery by Michele Yamazaki by Focal Press
You can also remove some spill by applying Hue/Saturation (Effects > Color Correction > Hue/Saturation) and taking down the green levels. To isolate the greens so you don’t get a lot of shifting hues, choose Green in Channel Control. Lower the Green Saturation and shift the Green Hue more toward the yellows (this will depend on your footage). Adjust the Channel Range to isolate the green.
I had the best results when I shifted the Green Hue a bit to the reds too, to offset some of the green, even after taking down the Green Saturation. If you don't have After Effects CC 2014 yet, try this instead of the old After Effects Spill Suppression plug-in. It will be a lot easier to use and the results are stellar.
Use the Preset: Keylight + Key Cleaner + Spill Suppressor
If you're using After Effects CC 2014, check out the preset named “Keylight + Key Cleaner + Spill Suppressor”. Apply it to your green screen footage to get your process going very quickly.
Bibliography
1. Hanke, Jeremy and Yamazaki, Michele. (2009). Greenscreen Made Easy: Keying and Compositing Techniques for Indie Filmmakers. Michael Wiese Productions; 2nd ed. edition. ISBN-10: 1932907548, ISBN-13: 978-1932907544
2. Yamazaki, Michele. (2011). Plug-in to After Effects: Third Party Plug-in Mastery Focal Press. ISBN-10: 0240815653, ISBN-13: 978-0240815657
3. Christiansen, Mark (Nov 19, 2008). Color Keying in After Effects CS3: Get the Best out of Keylight. AdobePress.
Posted by Michele Yamazaki