New! Continuum 11 is now available for Avid! Get an overview of what’s new for Avid editors, including Primatte Studio for keying & compositing, a new 360/VR Unit for editing tasks, Broadcast Safe, Title Studio enhancements & new presets, and more. Learn more about Continuum 11: http://www.borisfx.com/products/conti…
New in Boris Continuum 11 is the VR Unit. 5 new filters, optimized for 360 video editing and finishing tasks inside of Avid Media Composer. The VR Unit includes: VR Blur, VR Sharpen, VR Reorient, VR Insert and VR Flicker Fixer. These new filters support mono & stereoscopic 360 formats such as top/bottom. For more
In this lesson, Kevin P McAuliffe talks about another common task that editors are asked to do all the time, and that is replace a screen in a shot with another image. As much as a task like this can be done in Media Composer, there are many situations you can run into, that will
In this lesson, Kevin P McAuliffe talks about BCC 11’s new Media Composer workflow. In the past, editors were limited to working with BCC effects in their composites. Now, with the release of version 11, the development team has updated the effects workflow for BCC to allow Sapphire 11 effects to be incorporated in your
In this lesson, Kevin P McAuliffe shows you how, using BCC 10, Sapphire 10 and a little help from Photoshop, you can create realistic Night from Day shots quickly and easily in Avid Media Composer.
In this lesson, Kevin P McAuliffe is talking about BCC’s Title Studio, and a great “under the hood” feature that will really speed up your editing workflow. What’s the most difficult part about creating credit sequences? It’s getting in and adjusting the names if you’re made a mistake, or changes have been made to your
In this lesson, Kevin P McAuliffe takes a look at how to create the Lego Batman logo look using BCC’s Title Studio. Whether you’re using Title Studio’s standalone or plug-in version, you have a ton of flexibility with this effect, and can create powerful animations that you normally can only do in a compositing application!
In this lesson, Kevin P McAuliffe takes a look at creating a realistic camera shake effect. The only problem is the best way to do the effect is in After Effects, so, how to you take that information, and transfer it back to Media Composer so you can use it as an effect? That’s where
In this lesson, Kevin P McAuliffe takes a look at one of the best effects inside of BCC 10, Lens Flare 3D, and shows you how, at first glance, it might seem to be missing some tracking capabilities, but once you look a little further under the hood, you’ll quickly realize how you can integrate
In this lesson, Kevin P McAuliffe talks about how to create organic looking film looks, using some effects from Boris Continuum Complete. One thing you’ll notice with all the effects that are used, is that the adjustments to the individual effects might be minor, but once they are all combined together, they create a very
Fix poorly lit green screens with the plug-ins found in Boris Continuum Complete. In this tutorial, Vin Morreale shows how he salvaged a green screen shot with a combination of Chroma Key Studio, Fast Film Process, Title Studio and Grunge – all inside of Avid Media Composer. BCC Chroma Key Studio is an all-in-one keying
In this beginner tutorial, Avid editor Kevin P. McAuliffe shows how Media Composer editors can easily get up-and-running with the new & improved Sapphire Builder tool to build complex effects using node based compositing. Learn more about Sapphire 10: borisfx.com/pages/sapphire Learn more about Boris FX: borisfx.com
Included with most every filter in BCC 10, the integrated PixelChooser with mocha is a sophisticated matte and masking system with planar tracking that makes fast work of isolating filter effects to a specific region of a clip. In this 15 minute tutorial, UK based Colourist and Finishing Artist Dan Harvey demonstrates how to leverage
In this lesson, Kevin P McAuliffe starts things off by talking about the importance of updating your BCC 10.0.2 effects package, and not just for the obvious reason of bug fixes, then he moves on and talks about transitions inside of BCC, and how with a little bit of creativity, you can take one transition,
In this lesson, Kevin P McAuliffe takes a look at a common situation that editors run into, and that’s when a producer/director asks them to remove an element from a shot. Whether it’s a sign on a wall, or even a boat on an empty ocean, this is a fairly simple task, assuming the footage