BCC+ Composite

BCC Key & Blend

NEW IN CONTINUUM 2021.5 the BCC+ Composite filter layers a foreground over a background using a matte with the ability to add drop shadows. To create realistic composites, Color Correct, Blur, Grain and Transform controls are provided. Composite also lets you manipulate the matte using grow, shrink and blur tools. Another crucial feature in creating seamless effects, Composite’s edge blending allows for color correction, blurring and controlling the opacity of the foreground images’ edge.

Presets and the FX Editor

To select from a selection of factory installed and user-generated presets, open the FX Editor interface and pick one from the Presets window.

Filter Parameters

Input Is Premultiplied‌: In Nuke, the Composite filter needs to know if the input image is premultiplied. Enable if premultiplied.

Opacity‌: Sets the opacity of the foreground element.

Input: Selects what image to use for the matte.

  • After Effects / Premiere Pro: Choose the layer/track to use as the matte if you don’t have an embedded Alpha channel or if you want to use an Alpha channel from another clip.
  • Avid: When working with three tracks, the matte comes from the top track. When working with two tracks, the top track must contain a Matte Key (RGB+Alpha image) and it’s embedded alpha channel is used for the matte.
  • Final Cut Pro: Click the drop zone to the right of the Input parameter, choose a clip, and press Apply Clip below the Viewer.
  • Motion: Drag the image to be used as the matte source and place it onto the drop zone to the right of the Input parameter.
  • OFX: Assigning the matte input requires an OFX host that supports auxiliary inputs. Consult the host documentation for instructions on how to assign an auxiliary input as this will vary by host.

Note: In most hosts, the Alpha channel comes from the RGB+Alpha foreground clip.

Use

Chooses the channel from the matte input to use in the Composite.

  • Alpha Channel: The Alpha Channel is used for the matte in the composite.
  • Red Channel: The Red Channel is used for the matte in the composite.
  • Green Channel: The Green Channel is used for the matte in the composite.
  • Blue Channel: The Blue Channel is used for the matte in the composite.
  • Luminance: The average luminance of the RGB channels is used for the matte in the composite.

Note: The Use parameter is not available in Avid Editing Systems. When applied to a Matte Key, the Alpha Channel is used, otherwise it uses the luminance of the RGB channels.

Invert

  • Off: Does nothing to the matte.
  • On: Inverts the luminance values of the matte.

Note: Depending on what is black and white in your matte, you may need to toggle Invert to off.

Shrink/Grow:Shrinks or grows the matte. Negative values shrink and positive values grow the matte.

Blur:The matte is blurred by a fast, quality blur.

Black Clip:Blacks in the matte are made blacker by increasing the value of the slider. As the slider value increases, more values are clipped to black. This is helpful for getting rid of unwanted gray areas in what should be the black part of the matte.

White Clip: Whites in the matte are made whiter by increasing the value of the slider. As the slider value increases, more values are clipped to white. This is helpful for getting rid of unwanted gray areas in what should be the white part of the matte.

Drop Shadow‌

Drop shadows can be added to any composite. All you have to do is turn up the opacity, position the drop shadow and add a little blur.

Note: The Drop Shadow group on Avid Systems has been truncated to “Shad”.

Color: The Color parameter sets the color of the drop shadow through the use of a standard eyedropper or color picker. The default color is black.

Opacity: The opacity of the shadow.

Blur: The drop shadow is blurred by a fast, quality blur.

Transform:Transform the drop shadow using Position, Scale, Rotate, Corner-Pin, Shear

Edge

The Edge parameters allow you to color correct or blur only the edge of the foreground. You can also mix the edge of the foreground with the background. This is very helpful for seamlessly integrating 3D elements as well as dealing with aliased mattes.

Size: Determines the size of the edge matte.

Color Correct

The edge of the foreground can be color corrected.

  • Hue: Rotates the hue of the image.
  • Saturation: Adjusts the saturation of the imagePositive values saturate, negative values desaturate.
  • Brightness: Adjusts the brightness of the image. Positive values brighten, negative values darken.
  • Contrast: Adjusts the contrast of the image. Positive values increase contrast, negative values decrease contrast.
  • Gamma: Adjusts the gamma of the image. The gamma adjustment leaves the white and black points the same and only modifies the values in-between. Positive values lighten the midtones, negative values darken the midtones.
  • Temperature: Sets the color of the image to be either warmer or cooler. Dragging the slider to the right makes the image cooler (bluer) and dragging the slider to the left makes the image warmer (redder).
  • Cyan/Magenta: Adds either Cyan or Magenta to the image. Dragging the slider to the right makes the image more magenta and dragging the slider to the left makes the image more cyan.
  • Red: Adds or subtracts red from the image.
  • Green: Adds or subtracts green from the image.
  • Blue: Adds or subtracts blue from the image.

Blur:The edge is blurred by a fast, quality blur.

Opacity: Mixes the foreground back to the background, but only in areas of the edge matte.

Working with The Filter

  1. Apply BCC+ Composite from the BCC Key and Blend unit category
  2. After Effects / Premiere Pro
    • To use Composite, you can work with either two or three layers. When working with three layers, the layers should be stacked in the following order from bottom to top: matte, background and foreground. When working with two layers, the top layer must be a RGB+Alpha clip.
    • For a three layer effect, apply Composite to the foreground layer. For a two layer effect, apply Composite to the layer that contains the RGB+Alpha clip.
    • When using three layers, select the layer containing the matte using the Matte > Input selector. You should be aware that the Matte > Input expects an Alpha channel by default. If you want to use a channel other than the Alpha to create your composite, go to Matte > Use and select a different channel.
  3. Avid
    • To use Composite, you can work with either two or three video tracks. When working with three tracks, the video tracks should be stacked in the following order from bottom to top: background, foreground and matte. When working with two tracks, the top track must contain a Matte Key (RGB+Alpha clip).
    • For a two track effect, apply Composite to the track that contains the Matte Key. For a three track effect, apply Composite to the track that has the matte.
    • Depending on what is black and white in your matte, you may need to set the Alpha pop-up menu to a non-inverted selection. By default, Composite inverts the matte to be compatible with the way Avid treats matte values in a Matte Key.
  4. Final Cut Pro
    • To use Composite, you work with two video tracks. The tracks should be stacked in the following order from bottom to top: background and then foreground.
    • Apply Composite to the top foreground track.
    • The Alpha channel used to create the composite can be from either the foreground’s Alpha channel or from a separate clip. If you don’t want to use the foreground’s Alpha channel or if it does not have one, click the drop zone to the right of the Matte > Input parameter, choose a clip, and press Apply Clip below the Viewer.
  5. Motion
    • To use Composite, you work with two video tracks. The tracks should be stacked in the following order from bottom to top: background and then foreground.
    • Apply Composite to the top foreground track.
    • The Alpha channel used to create the composite can be from either the foreground’s Alpha channel or from a separate clip. If you don’t want to use the foreground’s Alpha channel or if it does not have one, drag the clip to be used as the matte and place it onto the drop zone to the right of the Matte > Input parameter.
  6. OFX
    • For node based hosts, apply Composite to a RGB+Alpha clip and then hook up a background clip.
    • For layer based hosts, the layers/tracks should be stacked in the following order from bottom to top: background and then a foreground that is a RGB+Alpha clip. Then, apply Composite to the top foreground layer/track.
  7. If you want, Color Correct, Blur or Grain the Foreground clip.
  8. The Foreground can be transformed using the Transform parameters.There are two sets of on-screen Transform controls in Composite. The point controls that are offset to the right and down are for the drop shadow, while the point controls located on the corners and center of the image are for the foreground.Note: On some host programs, you must highlight the effect title in the Effect Controls window to see the on-screen controls.
  9. Use Transform > Crop to get rid of unwanted areas of the Foreground.
  10. In the Matte group, apply Shrink/Grow, Blur and Clip controls to the matte if needed.
  11. Add a Drop Shadow to the Foreground using the Color, Opacity, Blur and Transform controls in the Drop Shadow Group.
  12. Use the Edge parameters to clean up ratty edges, if any, in the composite.

Category:

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BCC Color & Tone

BCC Perspective

BCC Perspective

BCC Licensing

BCC Obsolete

BCC Key & Blend

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Nested Subgroup

BCC Art Looks

BCC Licensing

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BCC Warp

BCC Art Looks

BCC Transitions

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BCC Key & Blend

BCC Textures

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BCC Color & Tone

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BCC Warp

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BCC Browser

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Nested Subgroup

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BCC Color & Tone

BCC Time

BCC Time

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BCC Stylize

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BCC Transitions

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BCC Transitions

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BCC Obsolete

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BCC Transitions

BCC Transitions

BCC Transitions

BCC Blur & Sharpen

BCC Obsolete

BCC Color & Tone

BCC Lights

BCC Transitions

BCC Obsolete

BCC Lights

BCC Transitions

BCC Key & Blend

BCC Obsolete

BCC Lights

BCC Key & Blend

BCC Key & Blend

BCC Transitions

BCC Time

BCC Image Restoration

BCC Key & Blend

BCC Film Style

BCC Match Move

BCC Key & Blend

BCC Key & Blend

BCC Art Looks

BCC Stylize

BCC Textures

BCC Warp

BCC Stylize

BCC Blur & Sharpen

BCC Image Restoration

Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

Nested Subgroup

BCC Stylize

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BCC Transitions

BCC Color & Tone

BCC Obsolete

BCC Textures

BCC Image Restoration

BCC Time

BCC Image Restoration

BCC Particles

Uncategorized

Uncategorized

Uncategorized

Uncategorized

BCC Perspective

BCC Perspective

BCC Particles

BCC Particles

BCC Particles

BCC Transitions

BCC Particles

BCC Art Looks

BCC Particles

Nested Subgroup

Nested Subgroup

BCC Image Restoration

Nested Subgroup

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BCC Time

BCC Key & Blend

BCC Key & Blend

BCC Stylize

BCC Transitions

BCC Blur & Sharpen

BCC Blur & Sharpen

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BCC Particles

BCC Lights

BCC Transitions

BCC Lights

BCC Lights

BCC Lights

BCC Lights

BCC Lights

BCC Lights

BCC Lights

BCC Lights

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BCC Stylize

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BCC Image Restoration

BCC Textures

BCC Lights

BCC Key & Blend

BCC Transitions

BCC Transitions

BCC Stylize

BCC Stylize

BCC Transitions

BCC Transitions

BCC Warp

BCC Transitions

BCC Textures

BCC Obsolete

BCC Color & Tone

BCC Stylize

BCC Stylize

BCC Obsolete

BCC Image Restoration

BCC Particles

BCC Particles

BCC Perspective

BCC Transitions

BCC Key & Blend

BCC Transitions

BCC Blur & Sharpen

BCC Lights

BCC Art Looks

BCC Lights

BCC Obsolete

BCC Textures

BCC Textures

BCC Obsolete

BCC Transitions

BCC Time

BCC Transitions

BCC Art Looks

BCC Transitions

BCC Time

BCC 3D Objects

BCC Time

BCC Time

BCC Color & Tone

BCC Transitions

BCC Warp

BCC Warp

BCC Transitions

BCC Film Style

BCC Key & Blend

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BCC Blur & Sharpen

BCC Image Restoration

Uncategorized

BCC Transitions

BCC Warp

BCC Textures

BCC Time

BCC Stylize

BCC Warp

BCC Color & Tone

BCC Film Style

BCC Transitions

BCC VR

BCC VR

BCC VR

BCC VR

BCC VR

BCC Warp

BCC Art Looks

BCC Transitions

BCC Warp

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BCC Match Move

BCC Textures

BCC Textures

BCC Obsolete

BCC Obsolete

BCC Obsolete

BCC Blur & Sharpen

BCC Image Restoration

BCC Key & Blend

BCC Key & Blend

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BCC Film Style

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BCC Grads and Tints

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BCC Image Restoration

BCC Color & Tone

BCC Lens

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BCC Blur & Sharpen

BCC Color & Tone

BCC Optical Diffusion

BCC Optical Diffusion

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BCC Key & Blend

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BCC Film Style

BCC Optical Diffusion

BCC Optical Diffusion

BCC Grads and Tints

BCC Lights

BCC Lights

BCC Lights

BCC Color & Tone

BCC Optical Diffusion

BCC Art Looks

BCC Color & Tone

BCC Key & Blend

BCC Lights

BCC Art Looks

BCC Color & Tone

BCC Lights

BCC Lens

BCC Lights

BCC Lights

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BCC Color & Tone

BCC Key & Blend

BCC Optical Diffusion

BCC Grads and Tints

BCC Optical Diffusion

BCC Art Looks

BCC Key & Blend

BCC Key & Blend

BCC Lights

BCC Grads and Tints

BCC Color & Tone

BCC Optical Diffusion

BCC Lens

BCC Grads and Tints

BCC Lights

BCC Lights

BCC Lights

BCC Color & Tone

BCC Grads and Tints

BCC Color & Tone

BCC Optical Diffusion

BCC Grads and Tints

BCC Optical Diffusion

BCC Grads and Tints

BCC Lights

BCC Grads and Tints

BCC Textures

BCC Film Style

BCC Grads and Tints

BCC Perspective

BCC Lens

BCC Art Looks

Title Studio

Title Studio

Title Studio

Title Studio

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Title Studio

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Tutorial

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Title Studio

Title Studio

Title Studio

Title Studio

Tutorial

Title Studio

Title Studio

Title Studio

Title Studio

Title Studio

Title Studio

Title Studio

Title Studio

Title Studio

Tutorial

Effect:
BCC 2D Particles
BCC 3 Way Color Grade
BCC 3D Extruded Image Shatter
BCC 3D Image Shatter
BCC AE Licensing
BCC Alpha Pixel Noise
BCC Alpha Process
BCC Alpha Spotlight
BCC Apply Modes
BCC Artists Poster
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BCC Beat Reactor
BCC Beat Reactor Integrated
BCC Beauty Studio
BCC Blobs Wipe
BCC Blur
BCC Blur Dissolve
BCC Boost Blend
BCC Brick
BCC Brightness-Contrast
BCC Broadcast Safe
BCC Bulge
BCC Bump Map
BCC Burnt Film
BCC Cartoon Look
BCC Cartooner
BCC Cast Shadow
BCC Caustics
BCC Charcoal Sketch
BCC Checker Wipe
BCC Chroma Key
BCC Chroma Key Studio
BCC Cloth
BCC Clouds
BCC Color Balance
BCC Color Choker
BCC Color Correction
BCC Color Match
BCC Color Palette
BCC Colorize
BCC Colorize Glow
BCC Colorize Glow Dissolve
BCC Comet
BCC Common Controls
BCC Common Controls - Avid
BCC Compare Mode
BCC Composite
BCC Composite Choker
BCC Composite Dissolve
BCC Corner Pin
BCC Corner Pin Studio
BCC Correct Selected Color
BCC Crash Zoom Dissolve
BCC Criss-Cross Wipe
BCC Cross Glitch
BCC Cross Melt
BCC Cross Zoom
BCC Cube
BCC Curl
BCC Curl Dissolve
BCC Cylinder
BCC Damaged TV
BCC Damaged TV Dissolve
BCC DeGrain
BCC Deinterlace
BCC DeNoise
BCC Directional Blur
BCC Displacement Map
BCC Drop Shadow
BCC Dropout Fixer
BCC Dust and Scratches
BCC Dv Fixer
BCC DVE
BCC DVE Basic
BCC Edge Cleaner
BCC Edge Grunge
BCC Edge Lighting
BCC Effects List
BCC Emboss
BCC Extruded EPS
BCC Extruded Spline
BCC Extruded Text
BCC FAQ
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BCC Fast Film Glow Dissolve
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BCC Multi Shadow
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BCC MultiTone Mix
BCC Noise Map
BCC Noise Map 2
BCC Noise Reduction
BCC Optical Flow
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BCC Organic Strands
BCC Overview in Adobe
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BCC Page Turn
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BCC Particle Array 3D
BCC Particle Emitter 3D
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BCC Particle System
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BCC Pinning Controls
BCC Pixel Chooser
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BCC PixelChooser – Legacy
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BCC Rectangular Wipe
BCC Reflection
BCC Reframer
BCC Remover
BCC Reptilian
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BCC Ripple
BCC Ripple Dissolve
BCC Rock
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BCC Safe Colors
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BCC Textured Wipe
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BCC User Guide
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BCC Velocity Remap
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BCC+Color Paste
BCC+Color Shadow
BCC+Color Spot
BCC+Colorize Gradient
BCC+Cross Processing
BCC+Day for Night
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BCC+DeBlock
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BCC+DeFringe
BCC+Depth of Field
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BCC+Develop
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BCC+Frost
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BCC+Glow Darks
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BCC+Halo
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BCC+High Contrast
BCC+Holdout Composite
BCC+Ice Halos
BCC+Infrared
BCC+Kelvin
BCC+Key Light
BCC+Lens Distortion
BCC+Lens Flare
BCC+Light
BCC+Looks
BCC+Low Contrast
BCC+Math Composite
BCC+Mist
BCC+ND Gradient
BCC+Net
BCC+Night Vision
BCC+Non-Additive Mix
BCC+Optical Dissolve
BCC+Overexpose
BCC+Photographic
BCC+Polarizer
BCC+Rack Focus
BCC+Radial Exposure
BCC+Radial Tint
BCC+Rays
BCC+Reflector
BCC+ReLight
BCC+Selective Saturation
BCC+Sepia
BCC+Shadows/Highlights
BCC+Silk
BCC+Skin Tone
BCC+Split Field
BCC+Split Tone
BCC+Streaks
BCC+Sunset
BCC+Textures
BCC+Three Strip
BCC+Tint
BCC+Transform
BCC+Wide Angle Lens
BCC+X-Ray
Removed Gradient Parameters
Title Studio - The Title Container Parameter Guide
Title Studio Basics
Title Studio- Animating an Object Using Keyframes
Title Studio- Creating a Credit Roll
Title Studio- Creating a Credit Roll Part Two
Title Studio- Creating A Fade Effect
Title Studio- Creating a Type on Effect with Title Containers
Title Studio- Creating an Animated Lower Third
Title Studio- Image Processors
Title Studio- Image Processors - Blur Shaders
Title Studio- Image Processors - Glow Shaders
Title Studio- Image Processors - Gradient Shaders
Title Studio- Image Processors - Key Shaders
Title Studio- Image Processors - Light Rays
Title Studio- Image Processors - Light Sweep
Title Studio- Image Processors - Scan Lines
Title Studio- Image Processors - Spotlight
Title Studio- Image Processors - Wipe Shaders
Title Studio- Image Processors- Linear Ripple
Title Studio- Keyframe Palette
Title Studio- Scene Container Parameter Guide
Title Studio- The Animation Tab
Title Studio- The Camera Tab
Title Studio- The Composite Tab
Title Studio- The Container Position Tab
Title Studio- The History Palette
Title Studio- The Info Window
Title Studio- The Lights Tab
Title Studio- The Preferences Panel
Title Studio- The Project Settings Window
Title Studio- The Render Tab
Title Studio- The Text Tool
Title Studio- The Tools Window
Title Studio- The User Marks Window
Title Studio- Understanding Track Structure
Title Studio- Working With Deformers
Title Studio- Working With Image Processor Shaders
Title Studio- Working With Spline Media
Title Studio- Working with the Composite Window
Title Studio- Working with the Controls Window
Title Studio- Working with the Timeline Window
Working in Vegas Pro

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