BCC+Light

BCC Lights

NEW IN CONTINUUM 2021, the BCC+ Light filter allows light to be added to a scene where none existed before just as if you were adding light at the time of shooting. Realistic lighting and shadow is introduced using digital versions of lighting gobos.

Before and After

Gobos (patterns) are widely used by designers in theatre, film, photography and television to create atmosphere, project scenery, and generally enhance the visual impact of their lighting. Normally used in front of lights during photography, these same exact gobos can be applied digitally to the entire image or inside a matte.

Presets and the FX Editor

The FX Editor provides a convenient way to store and retrieve factory installed and/or user generated filter presets. To select a preset, open the FX Editor interface and pick one from the Presets panel. Click the apply button in the FX Editor to return to the host user interface.

To select a gobo, open the BCC FX Editor interface and pick one from the Presets window. If you would like to view gobos from a different category, use the pop- up menu at the top left of the Presets window.

Click the apply button in the FX Editor to return to the host user interface.


To save a custom preset, click the “Create Custom Preset” icon in the top right corner of the parameter list, next to the filter name, set a name for the new custom preset in the dialog that appears and click done.

Filter Parameters

Light

Blend: Determines the blend mode to be used to add the light.

  • Add: The light is added to your image.
  • Screen: The light is combined with the image using a Screen blend mode. This looks kind of like the Add blend mode, but highlights are retained.
  • Subtract: The light is subtracted from your image creating shadow instead of light.

Brightness: Sets the intensity of the light.

Displacement: Displaces the gobo by the luminance values of the image. This “fakes” the effect of light wrapping over objects in the image.

Displaced Gobo
Blur: Sets the softness of the light.

Gels: Photographers, cinematographers and lighting designers use colored filters or gels in front of lights. Whatever mood you wish to create, we have the colors needed to achieve the effect. Select one of the Gels presets from the pop-up menu.

Color: Sets the color of the light through the use of a standard color picker.

Shadow

Brightness: Sets the intensity of the shadows. The Brightness parameter will darken only those areas that are not being affected by the Light settings.

Gobos

The gobos are organized into various categories including: Abstract, Doors, Elements, Foliage, Snowflakes, Textures and Windows groups.

Type

  • Gobo: Uses the gobo selected in the Presets window.
  • Input: Input allows you to use your own image or sequence as the light source.

Note:You must first select Input from the Gobo > Type pop-up menu before you can use your own image or sequence as the light source.

If you wish to use your own image or sequence as the light source the process is slightly different depending on your host application:

After Effects:

  • Select Input from the Gobo > Type menu.
  • Select a layer from the Gobo > Input menu.Premiere Pro:
  • Select Input from the Gobo > Type menu.
  • Select a track from pop-up menu located below the Gobo > Type menu.

Final Cut Pro X:

  • Select Input from the Gobo > Type menu.
  • Click the drop zone to the right of the Gobo Input parameter, choose a clip, and press Apply Clip below the Viewer.Motion:
  • Select Input from the Gobo > Type menu.
  • Drag the image to be used as the light source and place it onto the drop zone to the right of the Gobo > Input parameter.

Avid Editing Systems

  • Select Input from the top most pop-up in the Gobo group.
  • Place the light source clip on a track below the clip you applied Light to.

Note:If the camera is moving and you want to add a gobo, the gobo won’t automatically follow the camera. You will either need to manually move the gobo to follow the camera or better, use Motion Tracking software to Match Move the gobo to the camera move. Track the motion of your source image, set your View to Gobo, apply the tracker motion to your gobo and render it. To use the newly tracked and rendered gobo as a light source, follow the previous instructions listed for using your own image or sequence as the light source.

OFX Hosts

  • Assign the image to be used as the light source.Note**:**Using an image as the light source is only available in OFX hosts that support auxiliary inputs. Consult the host documentation for instructions on how to assign a source input as this will vary by host.
  • Select Input from the top most pop-up in the Gobo group.
  • The assigned input will now be used as the light source.

Blend

The gobo can be added to a matte using a variety of Blend modes. Blend modes are used to combine images in a variety of different ways.

  • Gobo Only: Displays the Gobo normally, without any blending.
  • Add: The pixels of one image are added to another image
  • Subtract: Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values; blending with black produces no change.
  • Multiply: Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged.
  • Screen: Looks at each images color information and multiplies the inverse of the two images. This looks kind of like the Add blend mode, but highlights are retained.
  • Difference: Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values; blending with black produces no change.
  • Darken: Looks at the color information in each channel and selects the base or blend color—whichever is darker—as the result color. Pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change.
  • Lighten: Looks at the color information in each channel and selects the base or blend color—whichever is lighter—as the result color. Pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change.

Multiply blend mode is ideal for combining gobos with the matte because it only puts the gobo within the areas of the matte.

Multiply Matte Gobo
Opacity: Sets the opacity of the gobo.

Blur: Sets the softness of the gobo.

Transform

Gobos can be transformed using Position, Scale, Rotate, Corner-Pin, Shear and Crop controls

Crop

The image can be cropped by adjusting the various Cropparameters.

  • Top: Crops the image from the top down.
  • *Bottom:*Crops the image from the bottom up.
  • Left: Crops the image from left to right.
  • Right: Crops the image from right to left.

Corner Pin

The image can be corner pinned by adjusting the Corner Pin sliders as well as dragging the four points on the corners of the screen.

**Note:**You may need to zoom the image out a bit to see the corner points. In addition, to see and adjust the corner points in After Effects, make sure that the effect title in the Effect Controls window is highlighted. For Final Cut Pro, you must activate the cross hair icon next to the corner position parameters to see and adjust the corner points on the screen.

  • Upper-Left: Controls the X and Y position of the Upper Left Point.
  • Upper-Right: Controls the X and Y position of the Upper Right Point.
  • *Lower-Right:*Controls the X and Y position of the Lower Right Point.
  • Lower-Left: Controls the X and Y position of the Lower Left Point.

Position

Positioncan be adjusted by clicking and dragging an on-screen control in the center of the image.

  • Position X: The horizontal position.
  • Position Y: The vertical position.

**Note:**For Final Cut Pro, you must activate the cross hair icon next to the Position parameter.

Scale

The scaleof the image can be changed by adjusting the vertical and horizontal scale parameters.

  • Scale X: The horizontal scale.
  • Scale Y: The vertical scale.
  • *Gang Scale:*The Scale X and Scale Y slider values can be ganged together. When enabled, the scale parameter will not display individual X and Y parameters.

Rotate

In addition to the standard position and scale controls, you can rotate. Positive values rotate clockwiseand negative values rotate counter-clockwise.

Shear

In addition to the standard position, scale and rotation controls, you can shear, or skew, the image.

  • Shear X: Skews left and right.
  • Shear Y: Skews up and down.

Anchor

Anchor points determine the position along the X and Y axis upon which the position, rotation, scaling and shearing occur.

  • Anchor X: Defines the point on the X axis around which position, rotation, scaling or shearing takes place.
  • Anchor Y: Defines the point on the Y axis around which position, rotation, scaling or shearing takes place.

Filter

You can choose the filteringmethod when applying a transform to the image. Mitchell is the default, however a number of additional filtering options are available.

  • Triangle: The Triangle filter is not the highest quality, but fine for scaled images.
  • Quadratic: Quadratic is like triangle, but more blur with fewer artifacts. It offers a good compromise between speed and quality.
  • Cubic: Cubic is the default filter in Photoshop. It produces better results with continuous tone images, but is slower than Quadratic. If the image contains fine details, the result may be blurrier than desired.
  • Catmull-Rom: This produces good results with continuous tone images which are scaled down, producing sharp results with fine detailed images.
  • Gaussian: Gaussian lacks in sharpness, but is good with ringing and aliasing.
  • Mitchell: A good balance between sharpness and ringing, Mitchell is a good choice when scaling up.
  • *Sinc:*Keeps small details when scaling down with good aliasing.

Matte

‌A matte can be used to create areas of light or limit where gobos will be added. Wherever there is white in the matte is where the light will be added. When using the Light and Gobo filters, it is usually helpful to blur the matte.

Extract On: allows for the selection of the type of matte. Select whichever type isolates the desired values. A matte is created based on one of the following:

  • Luminance: A matte is created based on the luminance of the image.
  • Hue: A matte is created based on the hue of the image. When adjusting the Position parameter, you are selecting different hues.
  • Saturation: A matte is created based on the saturation of the image.
  • Average: A matte is created based on the average of the image’s RGB values.
  • Red: A matte is created based on the image’s red values.
  • Green: A matte is created based on the image’s green values.
  • Blue: A matte is created based on the image’s blue values.
  • Cyan: A matte is created based on the image’s cyan values.
  • Magenta: A matte is created based on the image’s magenta values.
  • Yellow: A matte is created based on the image’s yellow values.

Position: Pinpoints the color values to be used in the matte. For a luminance matte, a Position value of 100 would make a white matte of the highlights and a value of 0 would make a white matte of the shadows. In the flower image below, look at how the matte varies for different Position values in a red extraction. When the Position is at a value of 100, the red flowers are shown as white in the matte.

Position=100, Range=25
When the Position is moved to 50, the red flowers turn black.

Position=50, Range=25
**Range:**Increases or decreases the range of values in the matte. A low Range value indicates a narrow range of values. A high Range value indicates a large range of values included in the matte.

Blur: The matte is blurred by a quality blur.

PixelChooser: The BCC PixelChooser provides a way for the user to select which pixels in the filtered source are actually going to be affected by the filter, via the generation of image based mattes, gradient mattes and vector shape masks. Mocha planar tracking and vector shape masking options are included in the PixelChooser, which allows for the generation of motion-tracked mask shapes as a hold-back mask.

For more information on the PixelChooser, Click Here.

Working with The Filter

  1. Apply BCC+ Light from the BCC Lights unit category.
  2. Click the BCC FX Editor button from the Effects and Presets banner. The FX Editor user interface opens and consists of Presets, Parameters and Viewer windows.
  3. Try out some of the presets.
  4. In the Presets window, choose a new gobo group from the pop-up menu to see a different set of gobo presets.
  5. Choose Light > Blend > Add, Screen or Subtract for the blend mode.Add will burn out highlights while Screen will retain them. Subtract, on the other hand, will add shadow in place of light in the area of the gobo.
  6. In the Light menu, adjust the Brightness, Displacement, and Blur of the light.Adding blur to the light makes the light glow.
  7. Adjust the position of the gobo by clicking and dragging the center image point to the desired location.
  8. You can also use the Gobo > Transform controls to transform the gobo.
  9. To apply a custom light color to the image, click on the Light > Color box and select a color.
  10. To apply a colored gel to the light, select one from the Light > Gels pop-up menus.
  11. Combine the gobo with a matte by changing Gobo > Blend from Gobo Only to Multiply.I like the Multiply blend mode because it only adds the gobo in the areas of the matte.
  12. Change your View selector to Matte to see the matte values.The default matte settings are preset to a highlight matte to create the light effect. If you are not seeing sufficient light, your matte should be adjusted. The areas that are white in the matte are the areas where light will be added into the image. The location of the light within the scene can be adjusted by changing the Matte > Position and Range parameters.
  13. Change the Matte > Position parameter if you want to select different values to be used for the light.
  14. Increase the Matte > Range value to add more light into the scene. Decrease for less light.
  15. Increase the Matte > Blur parameter to soften the transition areas of the light.
  16. Change the View selector from Matte to Output.
  17. The softness of the light can also be adjusted using the Light > Blur setting.
  18. Click the Apply button to return to the host application.

The values of the parameter adjustments in the FX Editor user interface are transferred to your host application.

If you wish to use your own image or sequence as the light source the process is slightly different depending on your host application:

After Effects:

  • Select Input from the Gobo > Type menu.
  • Select a layer from the Gobo > Input menu.Premiere Pro:
  • Select Input from the Gobo > Type menu.
  • Select a track from pop-up menu located below the Gobo > Type menu.

Final Cut Pro X:

  • Select Input from the Gobo > Type menu.
  • Click the drop zone to the right of the Gobo Input parameter, choose a clip, and press Apply Clip below the Viewer.Motion:
  • Select Input from the Gobo > Type menu.
  • Drag the image to be used as the light source and place it onto the drop zone to the right of the Gobo > Input parameter.

Avid Editing Systems

  • Select Input from the top most pop-up in the Gobo group.
  • Place the light source clip on a track below the clip you applied Light to.

Note:If the camera is moving and you want to add a gobo, the gobo won’t automatically follow the camera. You will either need to manually move the gobo to follow the camera or better, use Motion Tracking software to Match Move the gobo to the camera move. Track the motion of your source image, set your View to Gobo, apply the tracker motion to your gobo and render it. To use the newly tracked and rendered gobo as a light source, follow the previous instructions listed for using your own image or sequence as the light source.

OFX Hosts

  • Assign the image to be used as the light source.Note**:**Using an image as the light source is only available in OFX hosts that support auxiliary inputs. Consult the host documentation for instructions on how to assign a source input as this will vary by host.
  • Select Input from the top most pop-up in the Gobo group.
  • The assigned input will now be used as the light source.

Category:

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BCC Particles

BCC Color & Tone

BCC Perspective

BCC Perspective

BCC Licensing

BCC Obsolete

BCC Key & Blend

BCC Obsolete

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BCC Obsolete

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BCC Obsolete

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BCC Lights

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BCC Obsolete

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BCC Obsolete

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BCC Key & Blend

BCC Transitions

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Nested Subgroup

Nested Subgroup

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Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

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BCC Key & Blend

BCC Stylize

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BCC Blur & Sharpen

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BCC Lights

BCC Lights

BCC Lights

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BCC Optical Diffusion

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BCC Lights

BCC Lights

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BCC Art Looks

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BCC Lights

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BCC Optical Diffusion

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Title Studio

Title Studio

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BCC 3D Objects

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Tutorial

Tutorial

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Tutorial

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Tutorial

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Title Studio

Title Studio

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Effect:
BCC+X-Ray
BCC+Wide Angle Lens
BCC+Video Glitch Dissolve
BCC+Transform
BCC+Tint
BCC+Three Strip
BCC+Textures
BCC+Sunset
BCC+Streaks
BCC+Split Tone
BCC+Split Field
BCC+Skin Tone
BCC+Silk
BCC+Shadows/Highlights
BCC+Sepia
BCC+Selective Saturation
BCC+ReLight
BCC+Reflector
BCC+Rays
BCC+Radial Tint
BCC+Radial Exposure
BCC+Rack Focus
BCC+Polarizer
BCC+Photographic
BCC+Overexpose
BCC+Optical Dissolve
BCC+Non-Additive Mix
BCC+Night Vision
BCC+Net
BCC+ND Gradient
BCC+Mist
BCC+Math Composite
BCC+Low Contrast
BCC+Looks
BCC+Light
BCC+Lens Flare
BCC+Lens Distortion
BCC+Key Light
BCC+Kelvin
BCC+Infrared
BCC+Ice Halos
BCC+Holdout Composite
BCC+High Contrast
BCC+Harris Shutter
BCC+Halo
BCC+Grade
BCC+Glow Edges
BCC+Glow Darks
BCC+Glow
BCC+Gels
BCC+FX-Editor
BCC+Frost
BCC+Fog
BCC+Film Stocks
BCC+Eye Light
BCC+Enhancing
BCC+Edge Composite
BCC+Dual Gradient
BCC+Double Fog
BCC+Diffusion
BCC+Develop
BCC+Detail
BCC+Depth of Field
BCC+DeFringe
BCC+Defog
BCC+DeBlock
BCC+DeBand
BCC+Day for Night
BCC+Cross Processing
BCC+Colorize Gradient
BCC+Color Spot
BCC+Color Shadow
BCC+Color Paste
BCC+Color Infrared
BCC+Color Gradient
BCC+Chromatic Aberration
BCC+Chroma Bands
BCC+Center Spot
BCC+Camera Shake
BCC+Borders
BCC+Bleach Bypass
BCC+Black and White
BCC+Ambient Light
BCC+ Vignette
BCC+ Video Glitch
BCC+ Two Strip
BCC+ Spin Blur Dissolve
BCC+ Smear Blur
BCC+ Rays Dissolve
BCC+ Radial Blur
BCC+ Rack Focus Dissolve
BCC+ Prism Dissolve
BCC+ Prism
BCC+ Multi-Star Dissolve
BCC+ Magic Sharp
BCC+ Light Leaks Dissolve
BCC+ Light Leaks
BCC+ Haze
BCC+ Fluorescent
BCC+ Flashing
BCC+ Film Grunge
BCC+ Film Glow Dissolve
BCC+ Film Glow
BCC+ F-Stop
BCC+ Dissolve
BCC+ Directional Blur Dissolve
BCC+ Directional Blur
BCC+ Cross Zoom Dissolve
BCC+ Crash Zoom Dissolve
BCC+ Composite
BCC+ Channel Blur YUV
BCC+ Channel Blur Dissolve
BCC+ Channel Blur
BCC+ Camera Shake Dissolve
BCC+ Blur
BCC+ Beauty Studio
BCC Z-Blur
BCC Z Space III
BCC Z Space II
BCC Z Space I
BCC Wooden Planks
BCC Wood Grain
BCC WitnessProtection
BCC Wire Remover
BCC Wild Cards
BCC Weave
BCC Wave
BCC Water Waves Dissolve
BCC Water Color
BCC Warp
BCC VR Sharpen
BCC VR Reorient
BCC VR Insert
BCC VR Flicker Fixer
BCC VR Blur
BCC Vignette Wipe
BCC Vignette
BCC VideoScope
BCC Video Morph
BCC Video Glitch
BCC Velocity Remap
BCC Veined Marble
BCC Vector Displacement
BCC Vector Blur Dissolve
BCC User Guide
BCC UpRez
BCC Unsharp Mask
BCC Type On Text
BCC Two Way Key
BCC Two Strip Color
BCC Twister
BCC Twirl
BCC Turbulence
BCC Tritone Dissolve
BCC Tritone
BCC Trails Basic
BCC Trails
BCC Title Studio
BCC Time Displacement
BCC Tile Wipe
BCC Tile Mosaic
BCC Textured Wipe
BCC Temporal Blur
BCC Swish Pan
BCC Super Blend
BCC Steel Plate
BCC Stars
BCC Star Matte
BCC Stage Light
BCC Spray Paint Noise
BCC Spotlight
BCC Spiral Blur
BCC Spin Blur Dissolve
BCC Spill Remover
BCC Sphere Transition
BCC Sphere
BCC Sparks
BCC Snow
BCC Smooth Tone
BCC Sequencer
BCC Scatterize
BCC Scanline
BCC Safe Colors
BCC Rough Glow
BCC Rock
BCC Ripple Dissolve
BCC Ripple
BCC Rings Wipe
BCC Ribbon Wipe
BCC RGB Pixel Noise
BCC RGB Edges
BCC RGB Displacement Dissolve
BCC RGB Blur Dissolve
BCC RGB Blend
BCC Reverse Spotlight
BCC Reptilian
BCC Remover
BCC Reframer
BCC Reflection
BCC Rectangular Wipe
BCC Rays Wedge
BCC Rays Textured
BCC Rays Streaky
BCC Rays Ripply
BCC Rays Ring
BCC Rays Radiant Spotlight
BCC Rays Radiant Edges
BCC Rays Puffy
BCC Rays Dissolve
BCC Rays Cartoon
BCC Rain
BCC Radial Wipe
BCC Radial Blur
BCC Pyramid Blur
BCC Prism Dissolve
BCC Prism
BCC Primatte Studio
BCC Presets
BCC Premult
BCC Preferences
BCC Posterize Time
BCC Posterize
BCC Polar Displacement
BCC PixelChooser – Legacy
BCC Pixel Fixer
BCC Pixel Chooser
BCC Pinning Controls
BCC Pin Art 3D
BCC Pencil Sketch
BCC Particle System
BCC Particle Illusion Dissolve
BCC Particle Illusion
BCC Particle Emitter 3D
BCC Particle Array 3D
BCC Pan And Zoom
BCC Page Turn
BCC Overview in Resolve
BCC Overview in FCP
BCC Overview in Avid
BCC Overview in Adobe
BCC Organic Strands
BCC Optical Stabilizer
BCC Optical Flow
BCC Noise Reduction
BCC Noise Map 2
BCC Noise Map
BCC MultiTone Mix
BCC Multi Stripe Wipe
BCC Multi Stretch Wipe
BCC Multi Shadow
BCC Motion Tracker Vegas
BCC Motion Tracker Resolve
BCC Motion Tracker Red
BCC Motion Tracker PRM
BCC Motion Tracker Motion
BCC Motion Tracker FCP
BCC Motion Tracker Avid
BCC Motion Tracker AE
BCC Motion Tracker
BCC Motion Key
BCC Motion Blur
BCC Mosaic
BCC Morph
BCC Mixed Colors
BCC Misalignment
BCC Median
BCC Matte Cleanup
BCC Matte Choker
BCC Match Move
BCC Match Grain
BCC Make Alpha Key
BCC Magic Sharp
BCC Looper
BCC Linear Wipe
BCC Linear Luma Key
BCC Linear Color Key
BCC Lightning
BCC Light Zoom
BCC Light Wrap
BCC Light Wipe
BCC Light Sweep
BCC Light Matte
BCC Light Leaks Dissolve
BCC Light Leaks
BCC Levels Gamma
BCC Lens Transition
BCC Lens Shape
BCC Lens Flash
BCC Lens Flare Spiked
BCC Lens Flare Round
BCC Lens Flare Dissolve
BCC Lens Flare Advanced
BCC Lens Flare 3D
BCC Lens Distortion Wipe
BCC Lens Correction
BCC Lens Blur Dissolve
BCC Lens Blur
BCC LED
BCC Layer Deformer
BCC Laser Beam
BCC Kaleida Dissolve
BCC Jitter Basic
BCC Jitter
BCC Invert Solarize
BCC Hue-Sat-Lightness
BCC Halftone
BCC Grunge
BCC Grid Wipe
BCC Granite
BCC Gradient
BCC Glow Matte
BCC Glow Alpha Edges
BCC Glitter
BCC Glint
BCC Glare
BCC Gaussian Blur
BCC FX Browser
BCC Fractal Noise
BCC Flutter Cut
BCC Flicker Fixer
BCC Fire
BCC Film Process
BCC Film Grain
BCC Film Glow Dissolve
BCC Film Glow
BCC Film Damage
BCC Fast Lens Blur
BCC Fast Flipper
BCC Fast Film Process
BCC Fast Film Glow Dissolve
BCC Fast Film Glow
BCC FAQ
BCC Extruded Text
BCC Extruded Spline
BCC Extruded EPS
BCC Emboss
BCC Effects List
BCC Edge Lighting
BCC Edge Grunge
BCC Edge Cleaner
BCC DVE Basic
BCC DVE
BCC Dv Fixer
BCC Dust and Scratches
BCC Dropout Fixer
BCC Drop Shadow
BCC Displacement Map
BCC Directional Blur
BCC DeNoise
BCC Deinterlace
BCC DeGrain
BCC Damaged TV Dissolve
BCC Damaged TV
BCC Cylinder
BCC Curl Dissolve
BCC Curl
BCC Cube
BCC Cross Zoom
BCC Cross Melt
BCC Cross Glitch
BCC Criss-Cross Wipe
BCC Crash Zoom Dissolve
BCC Correct Selected Color
BCC Corner Pin Studio
BCC Corner Pin
BCC Composite Dissolve
BCC Composite Choker
BCC Composite
BCC Compare Mode
BCC Common Controls - Avid
BCC Common Controls
BCC Comet
BCC Colorize Glow Dissolve
BCC Colorize Glow
BCC Colorize
BCC Color Palette
BCC Color Match
BCC Color Correction
BCC Color Choker
BCC Color Balance
BCC Clouds
BCC Cloth
BCC Chroma Key Studio
BCC Chroma Key
BCC Checker Wipe
BCC Charcoal Sketch
BCC Caustics
BCC Cast Shadow
BCC Cartooner
BCC Cartoon Look
BCC Burnt Film
BCC Bump Map
BCC Bulge
BCC Broadcast Safe
BCC Brightness-Contrast
BCC Brick
BCC Boost Blend
BCC Blur Dissolve
BCC Blur
BCC Blobs Wipe
BCC Beauty Studio
BCC Beat Reactor Integrated
BCC Beat Reactor
BCC AVX Licensing
BCC Artists Poster
BCC Apply Modes
BCC Alpha Spotlight
BCC Alpha Process
BCC Alpha Pixel Noise
BCC AE Licensing
BCC 3D Image Shatter
BCC 3D Extruded Image Shatter
BCC 3 Way Color Grade
BCC 2D Particles
BCC+ Atmospheric Glow