RE:Vision Effects today expanded support of its DE:Noise FxPlug plugin set for Final Cut Pro and Motion to include Final Cut Express. DE:Noise is a plugin set that removes excessive noise and artifacts in one easy-to-use tool. It handles spurious frame-to-frame defects ranging from fine digital and electronic noise to blotchy spots (e.g. dirt on the film). DE:Noise combines proprietary motion estimation (optical flow) techniques with feature-sensitive, edge-preserving spatial filtering methods to reduce the visual impact of various problems such as: noisy video (that can happen with low-light capture), excessive film grain, prefiltering noisy greenscreens before keying, CG renders affected by ray-tracing sampling artifacts, dust captured during film scan/transfer and printing, snow, drop-outs and many other defects.

Features of DE:Noise:

• Pre-processing contrast controls to help enhance the noise for easier elimination.
• Smart spatial filtering controls that allow for the spatial smoothing of noise without smoothing over important features in the image sequence.
• 8 different temporal filtering methods that uses motion estimation (via optical flow) to correlate images over time in order to reduce noise and other artifacts.
• Post-processing to help punch up the result or to undo the preprocessing contrast enhancement.
• Post sharpening option for when the denoising process makes the result softer than desired.
• 8 bits per channel (bpc) support within Final Cut Express, and support of higher bit depths (e.g., 10 bit YUV and floating point) where applicable within Final Cut Pro and Motion.

Bug Fixes and Enhancements newly available in DE:Noise FxPlug v1.1:

• Added a feature that presents an extra option when applying the plugin to interlaced footage (allowing the plugin to compare fields from the next frame instead of the adjacent field in the current frame). See the manual for details.
• Fixed some issues with non-full alpha layers with some spatial blurs; and, as a result, layers with non full alpha may take longer in some modes.
• The temporal threshhold has been changed so that desired results are easier to control. However, this also means that older projects will need some attention to the temporal threshhold value to get the exact same results. To get the same results, the solution is to take the square root of the value you had before (so that 10% should be reset to 31.62%, because .3162 is the square root of .1).

Availability and compatibility

• DE:Noise is available as an FxPlug plugin for Final Cut Express 4.0.1 and up, Final Cut Pro 6.0.1 and up, Motion 3.0.1 and up.

Pricing:

• DE:Noise FxPlug version is priced at $149.95.
• Volume discounts available. Contact sales@toolfarm.com

Labels: DE:Noise, Final Cut Express, Final Cut Pro, FxPlug, Motion, Re:Vision Effects

Now available for Nuke, Fusion and Toxik!

RE:Vision Effects today released its acclaimed DE:Noise plugin set for Nuke, Fusion and Toxik. DE:Noise is a plugin set that removes excessive noise and artifacts in one easy-to-use tool. It handles spurious frame-to-frame defects ranging from fine digital and electronic noise to blotchy spots (e.g. dirt on the film). DE:Noise combines proprietary motion estimation (optical flow) techniques with feature-sensitive, edge-preserving spatial filtering methods to reduce the visual impact of various problems such as: noisy video (that can happen with low-light capture), excessive film grain, prefiltering noisy greenscreens before keying, CG renders affected by ray-tracing sampling artifacts, dust captured during film scan/transfer and printing, snow, drop-outs and many other defects.

Features of DE:Noise:

• Pre-processing contrast controls to help enhance the noise for easier elimination.
• Smart spatial filtering controls that allow for the spatial smoothing of noise without smoothing over important features in the image sequence.
• 8 different temporal filtering methods that uses motion estimation (via optical flow) to correlate images over time in order to reduce noise and other artifacts.
• Post-processing to help punch up the result or to undo the preprocessing contrast enhancement.
• Post sharpening option for when the denoising process makes the result softer than desired.
• Unclamped floating point support in applications that support it.
• A way to mark segments to avoid problems with flashes and other discontinuities.

Availability and compatibility for the OFX version of DE:Noise:

• DE:Noise is available for Mac OS X 10.4 and up, Windows 32 and 64 bit (XP or Vista) and Linux 32 and 64 bit.
• DE:Noise has been tested in The Foundry Nuke 5.1 and up, eyeon Fusion 5.2 and up, and Autodesk Toxik 2008 and up. Other hosts that support OFX plugins may work, but please try out the demo before purchasing.

Pricing for the OFX version of DE:Noise:

• Full version node-locked licenses are priced at $189.95. Floating licenses are priced at $284.93.
• Render-only node-locked licenses are priced at $44.95, and render-only floating licenses are priced at $67.43.
• DE:Noise OFX is now included in Effections for Fusion, version 9.

DE:Noise continues to be available for After Effects, combustion, Premiere Pro, Final Cut Pro and Motion.

DE:Noise is a trademark of RE:Vision Effects, Inc. Other trademarks are owned by their respective owners. Features, pricing and availability are subject to change without notice.

Labels: DE:Noise, OFX, Re:Vision Effects

De-noise and de-artifact

This is an excerpt from a book I'm working on called Greensreening & Keying for Low-Budget Indie Filmmakers that will be out next spring. This has not been through the editor yet, so consider it a super early sneak peek! I had actually started this article a couple of months ago for Toolfarm and thought it would be great to put in the book. The book is about keying, obviously, so the article below is geared toward that glorious task. Reducing grain is something that can be used with any footage though, even if you're not keying. I know you knew that already.

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You will get much cleaner keys if you first reduce artifacting, noise and grain in your footage. This step may not be necessary if you have awesome footage, but if you're shooting DV, a quick clean up will help your key and your video look immeasurably cleaner.

Noise can come from bad lighting, JPEG and other compression induced artifacting, film grain, and half-tone patterns. In DV footage, blue will almost always be the noisiest channel and green is the cleanest channel.



There are several methods of reducing noise. A median filter set to a very low value will often do the trick. After Effects ships with a very nice Remove Grain filter, which I highly recommend using. It will soften your footage if you use it to high but in small doses, it can do wonders.

Angie Mistretta, visual effects artist and Apple Shake user, has this advice, which applies to pretty much any host application. "Be sure to degrain your footage via each channel." Sometimes a soft blur on the blue channel will do the trick, but do so very carefully. Most of the time, that won't be enough.

Angie adds, "If you need to Shift Channels, degrain each one and then reunite the channels then that is what you would do. Shake has a node that will allow you to tune for each individual channel."

In After Effects, to degrain per channel, try the Remove Grain plug-in, which ships with After Effects. Apply Effect > Noise & Grain > Remove Grain. Remove Grain does a great job of figuring out the algorithm behind the noise and getting rid of it.

Remove Grain and several third party plug-ins have a Preview Region, which is a white box that shows you a preview of the plug-in. Inside the box, you'll see the effect working and outside the box is just the regular footage. This helps speed up render and screen redraw time. By clicking and dragging the center point of the preview region, you can drag it to the area that you want to use as reference.

Under the Noise Reduction Settings > Mode, you can specify whether you want to reduce noise in all channels (multichannel) or in one channel at a time (single channel). Because noise in video is mainly in the blue channel, the noise reduction can be set higher than the other channels.

When reducing noise is useful to see both the combined RGB and a single channel, so you don't have to switch back and forth between channels. This feature is useful for a number of other purposes too.



To open a second comp viewer:

1. At the top of your comp viewer, click on the title of your composition. A pulldown menu will appear. Select 'New Comp Viewer'.
2. Drag the new composition tab to the right side of the comp viewer window, until it highlights purple and let go.
3. To change the channel being viewed for the new comp viewer, use Show Channel at the bottom of the comp window.

Remove Grain doesn't work well with dirt or dust on video, because it works with the full frame of video. You can adjust the Sampling points under the sampling menu. The sample points should be placed in an area of mid-tonal ranges and with no natural texture, such as over trees, water or a stucco wall. It will calculate the noise based on the texture and will not help your cause. Mark Christiansen's book, After Effects CS3 Professional Studio Techniques, talks about the Remove Grain plug-in used to give an aging actress a tighter face, so occasionally using this plug-in for a digital Botox on a skin texture can be very useful! By default, the sampling points are taken from the first frame. You can adjust and keyframe the source frame also.

You will also want to adjust the Noise Reduction Settings and the Fine Tuning in Remove Grain. Be careful not to be too heavy handed with the effect because it will flatten your textures. Before rendering, switch the Viewing Mode to Final Output.



When you're removing noise specifically for keying, many keyers have built-in noise suppression. The Foundry Keylight has a Screen Pre-blur and Screen Softness Options.

Sometimes Remove Grain just isn't enough and you need a third party solution for reducing noise. Check out Reduce Noise, Grain and Artifacting in our Plug-in Finder for a long list of plug-ins for several host applications. There really are a lot of great choices. Here are a couple that I use.

• RE:Vision Effects DE:Noise - Peter Litwinowicz, Co-Founder of RE:Vision Effects said, "Noise in the green screen areas can hamper your ability to pull a great key. DE:Noise is a great plug-in to help pull a better key, because it helps eliminates noise while keeping sharp the details and edges of your objects of interest." De:Noise works with After Effects, Premiere Pro, Boris Red, Combustion, Final Cut Pro, Motion and Fusion.
Digital Film Tools Composite Suite - Deartifact is handy for cleaning up artifacts caused by DV and HD video footage. In fact, it is useful for cleaning up images that have aliased or jaggy edges.
• Boris FX, Inc. Continuum Complete has two noise removal filters, BCC DeGrain Filter and DeNoise Filter. BCC DeGrain removes grain-sized noise from an image by analyzing a sample of the grain, then filtering out image noise that has similar frequency (spectrum) and amplitude. The BCC DeNoise filter removes unwanted pixel noise from an image. DeNoise is especially useful when working with archival materials, as it lets you correct dark areas that show artifacts from film emulsion or video compression. You may also want to use the BCC DeNoise filter when resizing 4:3 images to 16:9 aspect ratio. BCC is available for pretty much every host app you might use.


• Red Giant Software Key Correct Pro is made specifically for keying and quickly clean up noisy images and mattes. Use the simple Denoiser and Alpha Cleaner tools to fix low-light noise problems in poorly lit footage

Labels: DE:Noise, Keylight, Plug-in Finder, Re:Vision Effects, The Foundry

Here I am at Denver International waiting for my connection and there's free wifi! I thought this might be a good opportunity to tell you about my experience at NAB 2008. I have about 10 minutes until I board, and I'll have to put up the photos later. Enjoy.

Sunday, April 13 - Arriving in Las Vegas

Alicia VanHeulen (fellow Toolfarmer) and I got into Vegas around 6pm and caught a taxi in the organized chaos outside the airport. I hate cabs. Hate em. I always get a weird cab driver who wants to come to my house or has some strange hobby he wants to tell me all about. This time, we got to spend 25 minutes hearing about how to prepare Lake Superior Whitefish.

We checked in at the Sahara, which was chosen souly on the fact that you don't have to walk through a casino to get to the monorail. We had plans to go to the FMC party on Sunday evening with John Kerr from Red Giant. It was $85 to get into the rooftop party at Pure at Caesar's Palace, however, RG was a sponsor, so we told them we were guests of John Kerr and they let us in with no problem. We had to walk through about a mile of corridors and stairways to get up to the roof where they had a small buffet of carved beef, shrimp on skewers and spring rolls, which were completely gone. We did have some refreshingly tasty drinks of vodka, cranberry, sprite, and grapefruit juice. There was a woman whose body was being painted on the patio, some people carrying around gobs of hula hoops, as well a big giveaway, that we didn't enter, unfortunately. We met some really cool people from Hawaii (Hi Shanti). We did finally meet up with John Kerr, Sean Safreed and Jeremy Hill from Red Giant, as well as our good friend Seth Hancock from ICVA and his lovely wife Lisa.

After the party, we headed to Mesa, Bobby Flay's restaurant, with the Red Giant guys and had a nice dinner. By the time we left, it was 3:00am our time, so we were tired, to say the least.

Monday, April 14 - Day one of the convention

7:45am - We took the monorail to the convention center. This was our first day on the convention center floor, and Alicia's first NAB ever. I took her to the doorway and pointed her to the Digieffects booth where she was starting her day, but I couldn't get in to the show floor due to the fact that I never received my badge! I had a printout receipt that I had registered in December. It took a while at registration but somehow they lost my registration. After 45 minutes, I was badged.

I headed over to Red Giant, where I had a presentation on Magic Bullet Looks at 10am. Looks is very easy to demo and lots of fun to use, and I have to say, the presentation went pretty well. I've just learned to get through the spiel within 10 minutes because people were standing and I wasn't giving a tutorial, but an overview. The Looks Theatre sold it for a lot of people. It was really great seeing everyone at the RG booth and meeting the new RG employees. Thanks for the nuts and popcorn, Beth! Delicious.

At 1:00pm each day I demoed Boris Continuum Complete and Boris Final Effects Complete at the Boris FX booth. This booth was on the middle aisle of the show floor in a highly trafficked area. Boris FX had a theatre set up with about 25 seats. It was the Motion Key plug-in for BCC that really seemed to get a lot of attention. I'll be putting together a tutorial for Motion Key in the next few weeks, because it really is an amazingly cool plug-in. It garnered lots of ooh's and aah's as a silver car driving across a busy street scene is removed from the shot with ease. I showed off the BCC UpRez plug-in, which converts SD to HD and uses a nifty feature called Magic Sharpen. I demoed the BCC Pan & Zoom which makes the Ken Burns style effects. I showed a few other BCC plug-ins and Final Effects Complete (FEC). Did you know all FEC plug-ins contain motion trackers and a feature called Pixel Chooser, which is a built-in masking tool? If you would've known that during the presentation, you could have won a Boris hat or training Class on Demand Boris Continuum Complete Training DVD.

Digieffects and Red Giant's booths were directly behind each other in the Plug-in Pavillion, which made things very nice for us. Digieffects was demoing the new Damage, as well as the Simulate and Natural Forces plug-ins for After Effects, Premiere Pro, Final Cut Pro, Combusion and Boris Red, which will be out in 4-6 weeks. We hadn't seen the new plug-ins at all yet, so it was a big difficult to answer questions. We ended up setting up little comps with examples, but then found the best way to demo was by using the little blue button. What is this little blue button? It's the randomizer. Shin Kurokawa, the engineer at Digieffects explained that he put the button in for testing purposes so he could see the range of values for each parameter without having to change all of the sliders each time, and soon realized that it's brilliant for getting ideas and seeing what variety of looks that the plug-in can produce. Tim Kolb, David Vieria and Robert Sharp were also at the booth with us all week. Robert... smart move on the couch rental. You can't go wrong with a big comfy couch, especially after you've been on the show floor all day.

Monday night was the IMUG Media Motion Ball 2008 at the Sahara Hotel, which I've attended the last 4 years. The crowd is generally IMUG and AE-List people. Brian Maffitt of Total Training was the speaker and once again and he was hilarious! Brian is a collector of crazy movie memorabilia and marketing gimmicks from William Castle fims. The presentation was about brilliant marketing campaigns for these movies. Macabre with the tagline 'So Terrifying We Insure You For $1000 against Death By Fright! (Not valid for persons with heart or nervous conditions)'. He showed us an original Tingler (filmed in "Percepto"). The best film of all, The House on Haunted Hill, filmed in "Emergo", in which an inflatable skeleton would pop out over the scene. Well, Brian had one of these inflatable skeletons with him at the dinner! We laughed, we cried, it was better than The Tingler.

Dinner at the Media Motion Ball was delicious as always. It was antipasto, salad and several Italian dishes. The highlight was definitely the dessert. Steve Kahn had arranged a surprise for everyone and that was Bananas (and strawberries) Foster over ice cream. Fabulous. I think overall I gained 5 pounds in Las Vegas, but I probably walked it off.

Alicia and I dined with Mark Spencer, author of Apple Pro Training Series: Motion 3, which I highly recommend. Also at the table was Niclas Bahn of Noise Industries on crutches, Niclas' girlfriend, Peter Wiggins and a few others from Noise Industries. Straight across from me was the guy who looks like Andy Samberg from SNL (who incedently ended up winning a Boris Training DVD during my presentation).

It was great to see everyone again at the MMB - it's kind of like a reunion every year. I get to meet up with Keith and Alan, the Plugged-in Podcast guys, Jim Kanter, who is one of our forum experts, a lot of the plug-in developers and those wild and crazy guys from Anchorage. They had gobs of giveaways, including several donated by Toolfarm. I didn't win anything, but I got to go on stage and draw a few names. The first name I drew was Lisa Hancock, who took home Maxon Cinema 4D. Toolfarm did give away lots of prizes, including several bundles of Professional Video Templates, Harry Frank's Expressions Training and his Trapcode Form Training, and two copies of Digieffects Damage.

We cabbed over to the party with Harry Frank and left the MMB early to go to Peder Norrby's party (Peder Norrby is the man behind Trapcode). Sadly, Ko Maruyama told us that not long after we left the MMB, Harry Frank's name was drawn for the big prize of the night, but since he left, he couldn't claim it. Bummer.

Peder threw yet another swanky party! The suite was very modern and silver and on one of the top floors of the hotel. From the main room you could see in the bathroom through a window and there was even a stripper pole in the shower! Crazy stuff. I have a feeling Paris Hilton had stayed in that very room last weekend. There were lots of people from the plug-in industry in attendance and a DJ spinning some great house music. Peder has a new product coming out called Trapcode Horizon, which helps AE users work in 3D space. He presented it at the Red Giant booth, but unfortunately, I missed his presentations. He wasn't showing anything at the party, just socializing. Horizon will be out near the end of summer, so stay tuned.

Tuesday, April 15

The second day on the show floor was busier than the first. I did another presentation for both Red Giant and Boris FX and each went smoother the second time around. Alicia and I also worked at the Digieffects booth showing the new plug-ins. I caught a couple of great presentations at the Adobe Booth - one about After Effects, presented by Steve Holmes, and one about working with video in Photoshop, presented by Richard Harrington. I use these programs day in and day out and they both managed to show me new things about the software. I took notes during both presentations and both really got the wheels in my head spinning.

I walked around and got a nice demo of GridIron Flow from Jim Geduldick. The GridIron booth was freakin' huge. Andrew Kramer, Aharon Rabinowitz and Mark Coleran were also hanging around the booth, demoing the GridIron goods. They were also giving away cool GridIron yo-yo's. You know the first yo-yo's were used as weapons? I learned that one from a tv commercial.

Pete from RE:Vision Effects gave us a nice demo on DE:Noise and Shade/Shape, and we also spent a some time with Jim Tierney of Digital Anarchy, as he walked us through ToonIt and some of their other offerings.

I also sat in on an awesome presentation by Harry Frank at the Red Giant booth. He showed off some cool projects that he did using Trapcode Form and Trapcode Particular. He broke down his technique into little bit-sized pieces. It was really amazing work. Harry is just so darn talented.

Colin and Jason Sharp from Toolfarm flew in Tuesday and the Toolfarm crew went to a fabulous dinner at B&B, Mario Batali's place. I tried the most amazing octopus appetizer, and had sweet potato ravioli with sage butter, as well as squab with beet risotto. Did I mentioned I think I gained weight? :-) Afterward we met up with some friends from Boris FX/Channel Wolves and walked a bit around the Venetian.

Wednesday, April 16

Another day on the show floor and boy, are my dogs tired! More presentations for Red Giant, Digieffects and Boris FX. By this time, I'm pretty good with the presentations. Also, this is Alicia's birthday. Happy Birthday! What did Alicia do on her birthday? Presented Magic Bullet Frames at Red Giant's booth. Now how many people get to do that on their birthday!? Haha. I also met Bert Kish at the RG booth. Bert was the winner of the MyToolfarm Red Giant NAB contest. He presented his winning video and also showed what went into the project.

On Wednesday night I ended up going out with Boris and his crew. We ate at an Italian place in the Venetian. I ate some really interesting pear ravioli with a bechemel sauce and some asparagus. Yummo. I just love the guys from Boris. They are all such nice guys. The food was fantastic as well.

Thursday, April 17

It's the last day of the show, so we got up nice and early and met Kevin Bourke who handles PR for the likes of Automatic Duck and Imagineer Systems for breakfast at the EGO Cafe, right outside the convention center. He told me about Imagineer mogul so as soon as I got into the show I went in to check it out. It was a private screening room and the presentation was given by CE and Alan Jaenicke of Imagineer. I am not entirely sure what information they'd like to be shared about this product, but I can tell you it's a subscription based product that includes software and hardware and is something that is in dire need. This product is going to be massive. Huge.

I also stopped by to see the GenArts booth and talked with Anish and Laurie. Lastly, we sat in on a private demo of Nuke at The Foundry's booth. It's awesome. I want it. We did get some free training DVDs on Nuke and we can download the demo. Too bad I am not doing any work that requires such a splendid piece of software. I didn't have much time to see anything else because we had to get to the airport.

What I learned at NAB 2008

I've learned a few tricks over the past few years at NAB that I think are worth sharing.

1. Avoid cabs if at all possible, unless you're looking for Lake Superior whitefish recipes and restaurant recommendations for Beverly Hills. Trust me. So, you ask, if you're avoiding cabs, how do you get around? There is a shuttle that goes between the convention center and the aiport that is free. That will save you $25 right there.
2. There is also a monorail. We bought monorail passes before the show and had them mailed to us. It was cheaper to buy 3 single day passes than it was to buy a three day pass. Weird. Now here's a great from Alicia. If you have single day passes, they are good for 24 hours. To maximize your usage, get to the station a few minutes earlier each day. If you use your card for the first time at 8:26am on Monday, you can use it at 8:23am the next day. You can start your next single day pass on the way back.
3. When registering for your NAB pass, it doesn't hurt to register twice! NAB will hate me for saying so, but I would have saved myself 45 minutes at registration on Monday morning if I would have registered again when I didn't receive my badge by mail.
4. Wear comfortable shoes and bring bandaids. Sunglasses are also mandatory, as well as a little bottle of vitamin E to rub on chapped hands and lips. The desert is incredibly dry and flying doesn't help matters.
5. Keep a pen with you to make notes on the back of people's business cards. This will help you keep them straight when you get back.
6. Free wifi is a bit hard to come by in Las Vegas. If they can make money off of something in Vegas, they will. One place you can get free wifi, or even check your email at one of their computers, is the Sprint Center at the monorail station at the convention center. Las Vegas' McCarran Airport (and Denver Airport which we flew through) also has free wifi. I love free wifi, but I'm Dutch, so I like anything free. :-)

Time to recover. A massage sounds really good right now.

Labels: Boris, Continuum Complete, Damage, DE:Noise, DigiEffects, Imagineer mogul, Imagineer Systems, NAB, Particular, Red Giant, Total Training, Trapcode, Trapcode Form, Trapcode Horizon

Dave Basulto at Filmmaking Central reviews ReVision Effects De:Noise plug-in in his video podcast and gives it a rave review.

Labels: DE:Noise, Filmmaking Central, Re:Vision Effects, reviews

Of course there is so much more that RE:Vision Effects does than this one plug-in, DE:Noise, but this is their latest plug-in and SIGGRAPH is the latest event.

Here's Pete talking a little bit about the plug-in. It can do much more than can be seen in 3 minutes. You can see more of it at the website - and more about RE:Vision Effects here at Toolfarm!

Note: De:Noise has an introductory price of $99.95 offered through Sept 30, 2007. Learn more about DE:Noise.

Labels: DE:Noise, Ko Maruyama, Re:Vision Effects

I've added DE:Noise to our demo downloads, so you can take it out for a test drive. There are two flavors: one for After Effects compatible (including Premiere Pro, Combustion, Eyeon Digital Fusion and Boris Red) and one FxPlug for Final Cut Pro and Motion.

Download some demos!

Labels: After Effects, Combustion, DE:Noise, Demo, Final Cut Pro, FxPlug, Motion, Premiere Pro, Re:Vision Effects, RED

DE:Noise handles spurious frame-to-frame defects ranging from fine digital and electronic noise to blotchy spots (e.g. dirt on the film). DE:Noise combines proprietary motion estimation (optical flow) techniques with feature-sensitive, edge-preserving spatial filtering methods to reduce the visual impact of various problems such as: noisy video (that can happen with low-light capture), excessive film grain, CG renders affected by ray-tracing sampling artifacts, fingerprints and dust captured during film scan/transfer and printing, snow, drop-outs and many other defects.

Features of DE:Noise

• Pre-processing contrast controls to help enhance the noise for easier elimination.
• Smart spatial filtering controls that allow for the spatial smoothing of noise without smoothing over important features in the image sequence.
• 8 different temporal filtering methods that uses motion estimation (via optical flow) to correlate images over time in order to reduce noise and other artifacts.
• Post-processing to help punch up the result or to undo the preprocessing contrast enhancement.
• Post sharpening option for when the denoising process makes the result softer than desired.
• 8 bits per channel (bpc) support within Premiere Pro, up to 16bpc support in Autodesk Combustion and Eyeon Fusion, and unclamped floating point support in After Effects, Apple Final Cut Pro and Apple Motion.

Availability and compatibility
RE:Vision Effects DE:Noise is available as an After Effects-compatible plugin for Adobe After Effects 5 and up, Adobe Premiere Pro 2 and up, Autodesk Combustion 3 and up and eyeon Digital Fusion/DFX+ 4.04e and eyeon Fusion/Vision 5 and up. DE:Noise is available as an FxPlug plug-in for Final Cut Pro 6 and up, or Motion 3 and up.

Pricing

• Full versions are priced at $149.95. SPECIAL INTRODUCTORY PRICE OF $99.95 through Sept 30, 2007. After Effects and Compatible host | FxPlug version for Apple Final Cut Pro and Motion
• Render-only licenses are priced at $29.99. Render only licenses are for use with After Effects', combustion's and Fusion's render-only programs (aerender, backburner, and Render-Slave respectively) and the render-only version of Fusion. Note that the render-only licenses only work on projects written with a full license (so you must have at least one full license for the render-only licenses to be valid).

Our Effections bundle for After Effects, Combustion, Premiere Pro, Final Cut Pro and Fusion will now include DE:Noise. Effections "regular" for After Effects, Premiere Pro, combustion, Final Cut Pro is now priced at $889.95 (formerly $849.95). Effections Plus for After Effects and Fusion will remain at their current pricing of $1199.95 and $1399.95, respectively.

Customers who purchased Effections for Combustion, Premiere Pro, Final Cut Pro or After Effects since June 1, 2007 can upgrade for $40 to the current Effections package which includes DE:Noise.

Customers who purchased Effections Plus for After Effects or Effections for Fusion since June 1, 2007 will be upgraded to the new bundles (which include DE:Noise) for free.

Volume discounts available. Contact sales@revisionfx.com.

Come see DE:Noise and the rest of RE:Vision Effects product line at SIGGRAPH, booth 321, August 7 through 9, 2007 in San Diego.

Demo material, examples and software are available at http://www.revisionfx.com .

Labels: After Effects, Boris, DE:Noise, Final Cut Pro, FxPlug, Motion, Premiere Pro, Re:Vision Effects, RED