Filters
Natural Effects: Clouds, Comet, Fire, Rain, Snow, Sparks & Stars
Comet and Sparks offer a variety of possibilities beyond what their name suggests, as they are specialized particle generators. As such, they can be configured in a variety of ways beyond their auto-animated defaults.
Rain and Snow are auto-animated as well, and offer a wide range of interactions with the compositing environment, such as snow piling up on 3D text, or rain bouncing off a logo and the bottom of the frame
In images, video footage has been combined with natural filters. In the first, DV footage of a hand against the sky has had the sky keyed out and replaced by a gradient, and fire mapped to the edges of the hand. In the second, footage of a sunny day has been color corrected, and had snow and rain added. Note the apparent accumulation of snow, and the rain bouncing off the ledge of the roof.
| Fire is an auto-animated procedural fire effect which offers control over flame width and height, color, and movement. It can use the alpha channel in any other layer as a Map layer, allowing fire effects to conform to a pre-composed image or logo. Clouds can act as a filter on a layer, or generate a sky with clouds and a horizon layer. Three different types of clouds automatically animate using the direction, angle and speed you set. Mask and map layers can also be used to constrain clouds or smoke to a specific shape. Stars is an auto-animated star generator which can composite stars over a sky color or an image layer. can also use the alpha channel in any other layer as a map layer, allowing you to create skies in which stars fill a precomposed image or logo. |
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Rain and Snow are auto-animated as well, and offer a wide range of interactions with the compositing environment, such as snow piling up on 3D text, or rain bouncing off a logo and the bottom of the frame
In images, video footage has been combined with natural filters. In the first, DV footage of a hand against the sky has had the sky keyed out and replaced by a gradient, and fire mapped to the edges of the hand. In the second, footage of a sunny day has been color corrected, and had snow and rain added. Note the apparent accumulation of snow, and the rain bouncing off the ledge of the roof.
Time and Motion Filters
Temporal Blur produces each output frame by averaging two or more source frames over time. Frames can be chosen from forward or back in time, and the blur threshold can be animated. The blur can be weighted with preference to any channel, or toward dark or light pixels in the source frame, and composited with animated apply modes over the original footage.
| Velocity Remap offers a number of advantages over other approaches to manipulating time in video clips. Instead of limiting users to setting the duration of an effect and adjusting accordingly, Velocity Remap offers true animations of the frame rate. Velocity Curve graphs offer a precise visual representation of how clips have been altered. The Frame Blending Mode offers a number of options for how temporal blurs are applied or composited over the original source. In addition to being easier to set up and animate, while also offering more control, RED's Velocity Remap renders faster than other remapping filters, even with Frame Blending turned on. |
Two movies in one. First, Velocity Remapping, then Temporal Blur. Click image to play. Approx 550K. |
Temporal Blur produces each output frame by averaging two or more source frames over time. Frames can be chosen from forward or back in time, and the blur threshold can be animated. The blur can be weighted with preference to any channel, or toward dark or light pixels in the source frame, and composited with animated apply modes over the original footage.
| Motion Tracker analyzes a specified region of motion to create tracking data that you can apply to adjust a track's position point, anchor point, or lights position. For example, track a moving object and then use the tracker data to have a spotlight follow the moving object. Motion Stabilizer analyzes a specified region of motion in a track and then adjusts the track's position point. When played back, the motion appears smooth because the track moves incrementally to offset the unwanted motion. Individual segments of a track can also be isolated, to correct camera bumps. RED 2.5 represents the first time that this kind of control over time and motion has been available inside any but the most expensive editing systems. |
Reduced view of Advanced tab of Motion Stabilizer filter. |
Boris RED includes incredibly powerful filter for generating particles from specific areas of a composition and precisely controlling their motion and behavior. The area from which the particles emit (called the production area) has fully adjustable and animatable width, height, and depth values, so the particles can be set to emit from a single point, a line, a plane, or an area with true 3 dimensional depth (or any combination of these over time in a single effect).
| The Particle system itself has full 360 degree Tumble, Spin, and Rotate control, as well as control for the point of view Camera offering full 360 degree Tumble, Spin, and Rotate parameters. Custom particles can be easily created or imported, but need not be limited to static outlines: particles may be created by using RED compositions as shapes. Besides the all-purpose Particle System filter, other particle filters in Boris RED are Advanced 2D Particles, Scatterize, and 3D Image Shatter. |
Particle System: Comets, Stars, Sparks and Comet. |
As an integrated effects application, Boris RED has had two choices: provide features that are otherwise missing from host applications, and improve on features that they do offer. RED has in fact done both.
In addition to the filters already described, RED delivers dozens of compositing filters with comprehensive controls for Blurs, Color Corrections, Distortions, Displacement Maps, Particles, Lights, and Keying. Each can be applied as a standalone adjustment layer, as a downstream (post-transformation) filter, or as an upstream (pre-transformation) filter, easily combined with other filters.
RED also offers support for many Adobe® After Effects™ format plug-ins which can be applied through the filter menu just like native RED filters, the only option most editors have for using these compositing filters in their editing applications.
RED 2.5 Filters
Blurs (4 filters) Gaussian, basic and directional blurs, with Unsharp Mask. Exceptional flexibility and clear rendering.
Color correction (13) Correct Selected Color for fast, one-click spot color correction. HSL, Shift Channel, Tritone, and custom posterization filters.
Distortion (9) Displacement maps, vector displacement, polar displacement, Bulge, Ripple, Wave, Bevel and Burnt Film.
Keying (13) Exceptionally powerful keying: Chroma, Luma and RGB difference Keyers with spill suppression. Clean Up Alpha includes choke matte, spread, and gain. Fast, flexible alpha channel creation with Make Alpha filter.
Lights (5) Simulated extrusions, bump maps, and user-defined gel and matte effects. Adjust and animate light intensity, color, opacity, specular highlights, apply mode and XYZ positioning.
Motion (3) Corner Pin Tracker, Motion Tracker, Motion Stabilizer. Four trackers per layer, up to 1/256th subpixel accuracy
Natural (7) Clouds, Comet, Fire, Rain, Snow, Sparks, Stars.
Noise Filters (8) Noise maps, Scatterize, Mosaic, and custom channel-based noise.
Particles (4) 2D and 3D particles, image shatter, Particle System.
Time Filters (2) Velocity Remapping and Temporal Blur. Smooth, fast rendering of easily constructed effects.
Pixel Chooser™ Built-in masking tools for filters. Apply filters based on any pixel or channel attribute.
