Digital Film Tools Composite Suite Pro v1.5

Digital Film Tools Composite Suite Pro
Provides all that is needed to combine multiple images by utilizing compositing tricks and techniques

Eradicate the most common effects problems or employ specialized compositing tools for combining imagery such as fire, smoke and explosions. Cutout or isolate objects using a proprietary matte generator or pick from a variety of color correctors and natural lighting effects to spice up your images.

Highlights

Composite Suite Pro v1.5 is now one plug-in that will work in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro (including FCPX), Apple Motion 5 and Avid Editing Systems if installed on the same machine.

Blur

Can you guess what this one does? That’s right, it blurs the image with individual horizontal and vertical controls. It’s fast, high quality and blurs outside the frame which removes the dark inward bleeding edges of most blurs. Horizontal, vertical or both, Blur uses either Gaussian or Box quality settings.

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Colorizes the entire image with a selected color using a variety of colorization modes.

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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. When activated, a RGB to YUV conversion takes place so that you can blur only the U and V color channels. Since this is where most of the artifacting shows up, this has the effect of cleaning up the ratty edges encountered when keying DV or HD video footage. It is usually best to blur mostly on the horizontal axis.

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Drop shadows can be added to an image that has an Alpha channel. The opacity, color, blur and transformation of the drop shadow can all be adjusted.

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The Frame Averager mixes frames together to create interesting motion effects. This plug-in is also useful for smoothing out film grain and video noise which can cause problems when pulling a key or generating a matte.

 
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If your HD images are destined to end up on film, the HDTV Masks plug-in aids you in determining the portion of the HDTV frame that will be projected on film by adding reticles and or a variable opacity mask to the image. The following aspect ratio’s are supported: 1:85 and the TV Transmitted Area, Safe Action and Safe Title for NTSC video. HDTV Masks are not available for Avid Editing Systems.

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Math Composite combines two clips using one of the Blend modes. You can choose from Add, Subtract, Multiply, Screen, Difference, Darken and Lighten.

 
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Optical Dissolve uses a power function to simulate an optical film dissolve. You see the bright areas of the B side of the dissolve sooner than the darker areas.

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Partial Dissolve
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Selective blur can be added to a scene by isolating and blurring only a portion of the image. The amount of blurring is directly proportionate to the luminance of the matte settings, a gradient or an input image.

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Matte
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Using multiple colors, Colorize Gradient colorizes the image according to the image’s brightness values.

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DeFocus replicates a true camera defocus by introducing lens Bokeh effects. Bokeh is the Japanese term that describes the quality of out-of-focus points of light. In defocused areas, each point of light becomes a shape--either a circle or a polygon. The shape grows in size as the amount of defocusing is increased.

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DVE allows you to transform your image using Position, Scale, Rotation, Corner-Pin, Shear and Crop controls. Why the name DVE? DVE is an acronym for digital video effects and refers to a real-time image manipulation device which does pans, rotations, flips as well as various hardware-specific effects such as page turns or customized wipes. In the film and video post production industry, DVE is frequently used in reference to transforming the image in some way.

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Glow Edges isolates lines and edges in an image and then adds glow only to these areas resulting in a stylized look.

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To add practical fire, explosions, smoke or other footage not containing an Alpha channel is normally a challenge. A normal Math Composite Add function would cause areas of the background to get brighter. This is bad. Using a key of some type would most likely generate unwanted edge fringing. This is also bad. The Holdout Composite is a two-layer/track effect that effectively composites images such as fire, explosions and smoke. This plug-in first creates a luminance matte of the foreground and pastes it as black (or other color) over the background. You then use one of the Blend Modes to place the foreground over the “held out background”.

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The Matte Generator extracts and creates mattes using advanced matte extraction techniques. Methods of matte extraction are luminance, hue, saturation, average, red, green, blue, cyan, magenta, and yellow. Up to 5 mattes can be extracted and combined using Blend modes.

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The Ozone filter allows you to manipulate the color of an image with incredible flexibility and accuracy. Inspired by Ansel Adams’ Zone System for still photography, we have created “The Digital Zone System” which takes the spectrum of image values and divides them into 11 discrete zones using proprietary image slicing algorithms. Zones can be created using luminance, hue, saturation, average, red, green, blue, cyan, magenta, and yellow values. With Ozone, the color values of each zone can be independently adjusted until you’ve painted a new picture. Your adjustments occur on a zone by zone basis, but you view the result of all color corrections simultaneously.

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Camera Flash simulates the overexposure that occurs when a film camera is stopped.

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Color Paste takes the luminance values of the foreground image and pastes it as a color over the background.

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Using advanced deweathering algorithms, DeFog restores clear day contrasts and colors of a scene taken in bad weather such as fog and mist. It is also successful in removing the effects of optical Fog and Diffusion filters.

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Edge Composite automatically generates an edge matte from an existing Alpha channel and allows 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 images as well as dealing with aliased mattes.

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Camera Flash simulates the overexposure that occurs when a film camera is stopped.

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Add
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Light can 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 the entire gobo libraries created by Gamproducts for the Light filter and Rosco for the Gobo filter. Patterns, or gobos, 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 patterns can be applied digitally to the entire image or inside a matte.

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Matte Repair grows, shrinks or blurs a matte. It also is handy for cleaning up impurities in the black or white areas. Matte Repair has the same functionality as Matte Generator except it doesn’t have any parameters dealing with matte extraction.

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Colors can be selectively isolated through the use of a matte and adjusted using hue, saturation, brightness, gamma, contrast, red, green, and blue controls.

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Composite Suite Pro includes a number of different color correctors that are handy for adjusting an image’s color. They include: Color Correct, F-Stop, Printer Points, Telecine and Temperature. Manipulation of a variety of different color values of the overall image and separately in user definable shadow, midtone and highlight areas is possible.

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Composite layers a foreground over a background using a matte with the ability to add drop shadows. To create realistic composites, DVE, Color Correct, Blur and Grain 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.

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Distortion corrects for pin-cushioning and barrel distortion of camera lenses. It is also useful for creating the look of a wide angle lens.

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Film Masks aid you in determining what will be projected on film by adding reticles and or a variable opacity mask to the image. The following aspect ratio’s are supported: 2:40 Common Center, 2:40 Common Top, 1:85, 1:78, 1:75, 1:66, 1:37 and the TV Transmitted Area, Safe Action and Safe Title for NTSC video. Film Masks is only available for Adobe After Effects and After Effects compatible programs.

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Grain simulates film grain with individual control of red, green, and blue size, intensity and softness. In addition, a Film Response parameter controls where you will see grain in the image. Popular film stock presets are provided as a starting point to adding grain.

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Light Wrap helps blend the foreground into the background by making the color of the background wrap into the foreground edges without softening the edge. This is accomplished by placing the background layer into a special matte and then combining it with the foreground.

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Forground Matte
Light Wrap Source
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Known as a NAM, the non-additive mix combines two pictures by controlling their luminance level relative to each other as well as a set mix percentage. This popular video switcher effect has been included to satisfy those die-hard online video editors.

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Partial Mix
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This Avid only plug-in blurs your titles with individual horizontal and vertical controls and composites the result over the track below. It’s fast and high quality.

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