1. Luma Key Premiere

No information is available for this page.Learn why. We want to add a chroma-key plug-in to Vegas10 Pro as we. That BCC wasn't available for Vegas because. Linear Color Key, Linear Luma Key, Make.

BCC OFX (Sony Vegas Pro) - 8.0.0. BCC 8 for Sony Vegas supports the following host environments: • Windows 7 32/64 • Sony Vegas 10.e - 32 and 64 bit.

Spill is the colored light reflected from your background and onto your actor. Spill can show up on light colored clothing or hair, on shiny or reflective elements, around the edge of footage, and it can be a big problem! It can be very easy to fix, or difficult on finely detailed, extremely reflective or semi-transparent areas. Here are some methods of fixing spill.

Table of contents

• Other Plug-ins for video and Photoshop

Introduction: Don't Cry Over Spilled Green

This is another in Toolfarm's ongoing In Depth series on green screen. We've brushed upon the topic of spill in other articles in this series, mainly giving tips on how to minimize spill during shooting.

What is Spill? Baby, don't hurt me…

It's actually a problem that is fairly easy to fix, but can be difficult on finely detailed or semi-transparent areas. There are some great plug-ins and tricks that I'm going to cover that will help you immensely with spill. In this article, I'm working with a shot from Hollywood Camera Work, who kindly allows anyone to use their content for purposes like this.

There are a lot of spill removal tools on the market and many keyers have built-in spill suppression. The image below is from Hollywood Camera Work, which has a lot of great shots to practice keying, and they are free! The model's white coat shows a strong green cast and is a really nice example for this article.

Hollywood Camera Work says: “ISSUES: The real issue in this shot is actually spill. It's hard to see how much there really is because our eyes compensate, but if you cut her out, you'll find that she looks like The Incredible Hulk. We also have a wild over-exposure in the top corner, which ends up behind her head.”

Green spill is what you will likely have to deal with, as green screen is what is used in the majority of productions these days. That said, on the film Universal's Evan Almighty, visual effects company Industrial Light & Magic (ILM) utilized blue screens on the flood effects. Because of the blue coloration of the water, blue spill not so much of an issue and blue is less noticeable to the human eye than green is.^[1] If you're compositing the scene into a rain forest, the spill may just blend into the shot.

Avoiding Spill when Shooting

You can avoid quite a bit of spill when you're shooting by lighting the background separately and actor separately. Don't use a glossy or overly bright green screen because the reflectivity will cause the green to bounce onto your foreground elements. The image above from Hollywood Camera Work is very bright, but it's not necessary to have such a neon glowing shade of green. Below is an example of a shot that uses a much less bright screen and doesn't have the problem with spill that the shot above has. It is a bit dark but the scene she is composited into is also dark.

Footage courtesy of Angie Mistretta from her training Toolfarm Professional Keying with Keylight: Toolfarm Expert Series.

Digital Anarchy has some nice tips on lighting your green screen properly.

Here are three basic rules given by Digital Anarchy:

1. Make sure the chroma key screen is lit evenly across. No hot spots or shadows.
2. Be careful that your model does not cast shadows on the chroma key screen. She should be 6 to 10 feet in front of the screen and lit separately.
3. Set up two lights, one from each side, and both a good distance from the screen. This will avoid getting a bright 'hot' spot in the center of the lit area.

Spill Removal Plug-ins for Video

There are several spill removal tools on the market and many keyers come with built-in spill suppression. This example has a lot of spill on the actor's white coat and on her skin. If the actress were a blonde, you'd likely see a lot in her hair as well.

First, I'll go over a few tools that are included in After Effects, so tools that you likely already own. Note that the spill suppression filters are applied AFTER the shot is keyed. Some tools have built-in spill suppression that is automatic, so the “before” examples may use a different keyer to show the original green. Also, if you pull a good key, you may not even need to use any type of spill suppression.

Something strange that I discovered while writing this article is that, generally, the simpler a spill suppression plug-in is, the better the results seem to be.

After Effects Advanced Spill Suppressor

After Effects has always had great keying tools. Adobe really upped their game with Key Cleaner tool and the Advanced Spill Suppressor, the new keying tools in After Effects CC in the June 2014 update. Advanced Spill Suppressor is a 32-bit color effect.The original AE Spill Suppressor was introduced the same year I got my first job in post production in 1995 and it has since been moved to the Obsolete effects.

Slide the bar back and forth to see the difference before and after spill removal with After Effects Advanced Spill Suppressor.

Here are a couple of tutorials on the new After Effects Keying tools introduced in After Effects CC 2014. The first is from Adobe TV and explains how to use the new keying effects and spill suppressor controls.

The second, Adobe AE CC 2014 – Key Cleaner + Spill Suppressor is from Total Training.

There are two Methods for Advanced Spill Suppressor, Standard and Ultra.

• Standard will automatically chooses the Key Color for you and it very simple to use.
• Ultra comes from the spill suppression in the Ultra Key effect in Premiere Pro. You'll have to manually set the Ultra Settings. Check out Carl Soule's video on the Ultra Key effect in Premiere Pro CC at the Adobe Site.

More info:
Adobe After Effects CC 2014 for Teams & Businesses
Price:$239 for a 12-month subscription

Adobe Creative Cloud Complete for Teams & Businesses
Price:$599 for a 12-month subscription

The Foundry Keylight

The Foundry Keylight is included with Adobe After Effects and is the go-to keying plug-in for many After Effects users. It has all the features you need, including a built-in spill suppressor and for added control you can use Edge Color Correction, and it works great.

The Bias controls work a bit differently than the spill suppression in other programs. With Keylight, the foreground is despilled automatically, which is great news. If you feel that it's still a bit too green for your liking, you can remove more. How? After you choose your Screen Colour from the image, adjusting the Alpha Bias parameter. Use the Alpha Bias eyedropper to select a prominent color, such as skin tones or hair color. This will help Keylight in separating the foreground and background colors. The Despill Bias and Alpha Bias colors are locked together by default and that will usually give you the best results, although you can uncheck Lock Biases Together and use them individually. It is possible pick a color in the bias that gives a really clean alpha channel, but a crummy despill, and vice versa.

Mark Christiansen, author of Adobe After Effects CS3 Professional Studio Techniques has a great tip for using Keylight for spill removal only. “Follow the same steps as you would to key the footage, but don't adjust any controls below Despill Bias (which you should select using the eyedropper on a representative area of skin tone or equivalent). Change the View setting to Corrected Source; the footage is keyed but the alpha channel remains unaffected.”^[3]

More info:

The Foundry Keylight is included with Adobe After Effects.

Luma Key Premiere

The Foundry Keylight for Final Cut Pro
Price: $270, Toolfarm Price: $256.50

Demo:Click here

Boris Continuum Unit: Key and Blend / Boris Continuum Complete Chroma Key Studio

To explain this one a bit, the Boris Chroma Key Studio ships with Boris Continuum Complete but there's also a Boris Unit for keying, Boris Continuum Unit: Key and Blend. This is the same tool within each product.

I demo'd the BCC Chroma Key Studio at NAB 2014, when it was released in BCC 9. Boris has always had keying tools but I never liked them. BCC Chroma Key Studio was a game changer. It pulled a great key for me and has great tools for pre-keying with the Quick Mask that you don't see in other plug-ins. This eliminates the need for a separate garbage matte.

The spill suppression worked beautifully and I didn't even need to adjust settings.

The Spill suppression is under the Chroma Key settings which are hidden until Spill Suppression On is checked. The Spill Suppression Group includes Spill Ratio, Spill Tone Mix and Spill Tone Range. According to the Boris Continuum Complete manual, for best results, adjust the controls in the order they are listed.

1. Adjust the Spill Ratio until most of the green background color is removed from the foreground image. With green screen footage, setting the Spill Ratio to 0 will turn your image magenta (or yellow for blue screen). Boosting the value to 200 will turn off the Spill Suppression.

2. Spill Tone Mix will bring some of your green or blue background color into your foreground. If you increase Tone Mix value, you can compensate for some of the magenta that was brought in by lowering the Spill Ratio.

3. If you increase the value in the Spill Tone Range, it gives a broader range of the foreground color mix. This can also bring some of the original skin tones back into the footage.

More info:
Boris Continuum Complete for Adobe After Effects
Price:$995

Boris Continuum Unit: Key and Blend
Price:$299

Host Support for Boris Continuum Complete:

Check the product page for specifics on supported versions.

Demo:Click here

Red Giant Primatte Keyer and Key Correct Spill Killer

Key Correct

Red Giant Primatte Keyer

Red Giant Key Correct

Primatte Keyer and Key Correct use the same Spill Killer technology. Both products are available together in the Red Giant Keying Suite. Spill Killer is very simple at the core. There are not a lot of bells and whistles, but it worked well on the footage. I used slightly different settings for Tolerance so that you can see the difference.

For Primatte Keyer, Enable Spill Killer needs to be checked and the Color Mode set to Green. I set the Range to 58% and set Tolerance and Strength to 100%.

To remove the spill with Key Correct Spill Killer, you just need to apply the effect to your layer. I turned down Tolerance to 51%, and the Range to 58%, which helped to avoid giving the model a red face.

More info:

Programa dial nutricion crack full version software download. DIAL 2.12 crack/serial.

Red Giant Keying Suite
Price:$799, $759.05 Toolfarm Price

Red Giant Primatte Keyer
Price: $499, $474.05 Toolfarm Price

Red Giant Key Correct
Price: $399, $379.05 Toolfarm Price

Host Support for Red Giant Primatte Keyer:

• Adobe After Effects CC (2014), CC, CS6, CS5.5, CS5
• Adobe Premiere Pro CC (2014), CC, CS6
• Apple Final Cut X 10.1 or higher
• Apple Motion 5.0.4

Host Support for Red Giant Key Correct:

• Adobe After Effects (2014), CC, CS6, CS5.5, CS5
• Premiere Pro CC (2014), CC, CS6, CS5.5, CS5

Demo:Click here

PHYX Keyer Despill

PHYX Keyer does come with six keying tools and Despill is one of them. PHYX Keyer did a beautiful job and the Despill plug-in neutralized the green perfectly.

I never have too high of hopes when there are very few options for modifying settings in a plug-in. This seems to be a benefit here though because users aren't forced to tweak too many settings to figure out what works. I'm really impressed by this plug-in.

PHYX products are Mac only and require the FxFactory FxEngline to run. Download FxFactory for free from our downloads page.

More info:
PHYX Keyer
Price: $139$132.05 Toolfarm Price

Host Support for PHYX Keyer:

Check the product page for specifics on supported versions.

• Adobe After Effects CS6-CC 2014
• Adobe Premiere Pro CS6-CC 2014
• Apple Final Cut Pro X
• Apple Motion 5

Demo: Click here

Digital Film Tools zMatte Keyer and Spill Suppression

Digital Film Tools zMatte was one of the first keyers that I really loved because you just applied it, picked your background color and with very little tweaking you get a good result. zMatte ships with several tools for keying and compositing: Color Suppress, DeArtifact, Edge Composite, Frame Averager, Holdout Composite, Keyer, Light Wrap, Matte Generator, Matte Repair, Matte Wrap and Screen Smoother.

DFT zMatte Keyer has built in Color Suppress but the zMatte package also comes with a separate Color Suppress plug-in, introduced in zMatte 3.0.

More info:
Digital Film Tools zMatte for Film/Video
Price: $395$375.25 Toolfarm Price

Host Support

• Adobe After Effects CS5 and up
• Adobe Premiere Pro CS5 and up
• Apple Final Cut Pro 6/7/X
• Apple Motion 5
• Avid Editing Systems (64 Bit only)
• Sony Vegas v13 and up
• The Foundry's Nuke v8 and up

Demo: Click here

FXHOME HitFilm Ultimate Spill Removal

HitFilm Ultimate may be a newer tool to many of you. It is sold now only as a standalone but the plug-ins come with the standalone. In other words, the plug-ins are still made but no longer sold on their own.

HitFilm Ultimate comes with several keying tools including Advanced Chroma Key, Matte Cleaning, Spill Suppression and Auto Light Wrap. Spill Removal is another one of those tools with hardly any options, but it is very simple to use and the tools worked really well. I ended up lowering the Strength a bit to 0.80. I kept the Suppression Type set to Extended to achieve my result.

More info:

FXHOME HitFilm Ultimate (standalone)
Price: $299$284.05 Toolfarm Price

Ivona 2 voice - jacek v1.6.3. Host Support for HitFilm Plug-ins:

Check the product page for specifics on supported versions.

• Adobe After Effects CS6 & CC 2014
• Adobe Premiere Pro CS6 & CC 2014
• Apple Final Cut Pro X
• Apple Motion

Demo: Click here

Other Tools

Download alabanza a la disciplina richard foster pdf. If you don't have any of the tools listed above, these plug-ins also have spill suppression abilities

Video Plug-ins

• Oak Street Software VKey2f Advanced Chromakeyd

Photoshop Plug-ins

• FXHOME PhotoKey Pro and PhotoKey Standard

Toolfarm Pro Tips

Remove spillthen choke the matte

If you have a fringe of color around your actor, remove it first with spill suppression. If you don't remove spill first, you run the risk of choking the matte in too far and losing your edge detail.

Remove Spill with Hue/Saturation

Here's an excerpt from Plug-in to After Effects: Third Party Plug-in Mastery by Michele Yamazaki by Focal Press

You can also remove some spill by applying Hue/Saturation (Effects > Color Correction > Hue/Saturation) and taking down the green levels. To isolate the greens so you don’t get a lot of shifting hues, choose Green in Channel Control. Lower the Green Saturation and shift the Green Hue more toward the yellows (this will depend on your footage). Adjust the Channel Range to isolate the green.

I had the best results when I shifted the Green Hue a bit to the reds too, to offset some of the green, even after taking down the Green Saturation. If you don't have After Effects CC 2014 yet, try this instead of the old After Effects Spill Suppression plug-in. It will be a lot easier to use and the results are stellar.

Use the Preset: Keylight + Key Cleaner + Spill Suppressor

If you're using After Effects CC 2014, check out the preset named “Keylight + Key Cleaner + Spill Suppressor”. Apply it to your green screen footage to get your process going very quickly.

Bibliography

1. Hanke, Jeremy and Yamazaki, Michele. (2009). Greenscreen Made Easy: Keying and Compositing Techniques for Indie Filmmakers. Michael Wiese Productions; 2nd ed. edition. ISBN-10: 1932907548, ISBN-13: 978-1932907544

2. Yamazaki, Michele. (2011). Plug-in to After Effects: Third Party Plug-in Mastery Focal Press. ISBN-10: 0240815653, ISBN-13: 978-0240815657

3. Christiansen, Mark (Nov 19, 2008). Color Keying in After Effects CS3: Get the Best out of Keylight. AdobePress.

Posted by Michele Yamazaki

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Compositing and clean-up made easy.

Create seamless composites. Chromakey Studio - your one-stop shop. Quick clean-up, light wraps, and mattes. Includes 20 filters & 200+ presets. Cross-host license.

Highlights

Highlights include:

• New! Primatte Studio: Academy Award nominated chroma key tech
• Integrated Academy Award-winning Mocha masking and planar tracking system
• Chroma Key Studio all-in-one blue/green screen keying solution
• Composite filter with 26 apply modes and alpha control
• Linear Color, Luma and Make Alpha key generators
• Light Wrap foreground/background edge blending tool
• Matte Cleanup for quick easy matte repair

The Continuum Key & Blend Unit offers multi-host support with a single license.

Features

• On-screen control widgets
• Professionally designed factory installed presets
• Integrated FX Browser
• Integrated PixelChooser matte and masking system
• Support for Adobe host native mask shapes
• Integrated Mocha masking and planar tracking system
• Integrated Beat Reactor for audio generated VFX
• Hardware acceleration (OpenGL/OpenCL)
• Multi-processor (SMP) and multi-core (CMP) support

Effects

Primatte Studio

Easily chroma key and composite using the same Academy Award-nominated compositing tech (Phototron’s Primatte) as major blockbusters like the Lord of the Rings series, Harry Potter films, and Spider-Man. The new Primatte Studio is the ultimate blue/green screen toolset. Exclusive features include:

• Automatic green/blue screen analysis
• Manual transparency tuning
• Adjust lighting to correct unevenly lit screens
• Foreground object detection to deliver a perfect key with a single color sample
• Integrated Academy Award-winning Mocha masking and planar tracking system

Alpha Process

The BCC Alpha Process filter blurs the alpha channel of an image, performs levels and gamma correction on the output of the blur, and composites the output alpha with the initial alpha using the chosen apply mode. The filter also allows you to soften the matte by blurring the alpha channel after it is processed.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Boost Blend

The BCC Boost Blend filter is a compositing filter that blends two independent layers in a composition and adjusts contrast in the blended pixels.

Unlike most transfer modes, Boost Blend adjusts the mix only where the source and blend layers are different. Boost Blend is especially useful when you composite an image over itself and do not want the transfer mode to affect areas where the blended pixels are identical to the source pixels.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Chroma Key

The BCC Chroma Key filter is used for compositing camera footage shot using a blue, green, or red screen as a backdrop over a new background video or a still image from a separate file.

Chroma Key Studio

The BCC Chroma Key Studio filter is an all-in-one keying suite. It combines screen enhancement, auto-garbage matte and masking. Additionally, users are able to take advantage of advanced features in one filter:

• chroma key
• matte cleanup
• matte choker
• foreground color correction
• light wrap

Composite

The BCC Composite filter offers a wide variety of options for compositing one layer over another.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Composite Choker

The BCC Composite Choker filter allows the user to contract or expand the edges of a matte to bring them closer to or farther from the foreground. Two Choke controls allow you to smoothly adjust the matte, while Region Parameter controls allow you to define a specific reagin of interest with which to apply the filter.

Glow Matte

The BCC Glow Matte filter is similar to the BCC Colorize Glow filter, except that it outputs an alpha channel instead of colors. This filter is useful for making semi-abstract mattes based on a glow of any channel in the original image.

The Filter allows users to select the channel in the source image from which the glow is derived. Pixels with higher values in the selected channel are considered to have higher intensities.

• Luma, Red, Green, and **Blue **use the corresponding color channel and multiply it by the source alpha channel.
• Luma Inverse uses the inverted luma channel.
• Unmultiplied Luma and **Alpha **use the unmodified corresponding source channels.
• Luma Cartoon Edges and Alpha Cartoon Edges find edges in the corresponding source channel, apply outlines to the edges, and use the resulting image. When Luma Cartoon Edges or AlphaCartoon Edges is selected, all the Source Edges parameters apply.
• Luma Edges and _Al_pha Edges find edges in the corresponding source channel and use the resulting image. When Luma Edges or Alpha Edges is selected, all the Source Edges parameters apply.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Light Matte

The BCC Light Matte filter uses applied light to create or modify an alpha channel. Rays of light spread from the light source point in all directions. As the rays expand, their intensities are affected by the luminosities of the pixels that they cross. The farther from the source the rays extend, the less they are affected by the intensities of new pixels that they crosses. This process is referred to as attenuation, since the affect of the pixels on the intensity of the rays attenuates, or lessens, over time.

The filter allows users to determine which source color channel is used to create the light and to calculate the intensities of the source pixels. Pixels with higher values in the selected channel are considered to have higher intensities.

• Luma, Red, Green, and **Blue **use the corresponding color channel with the source alpha information.
• Luma Inverse uses the inverted luma channel.
• Unmultiplied Luma uses the source luma channel but ignores the source alpha information. All pixels in the source are treated as fully opaque.
• Alpha uses the corresponding source channel.
• Luma Cartoon Edges and Alpha Cartoon Edges find edges in the corresponding source channel, apply outlines to the edges, and use the resulting image. When Luma Cartoon Edges or Alpha Cartoon Edges is selected, Thickness/Intensity adjusts the width of the outlined edges, and Cartoon Threshold sets the value in the image above which pixels are considered to be fully on.
• Luma Edges and Alpha Edges find edges in the corresponding source channel and use the resulting image. When Luma Edges or Alpha Edges is chosen,Thickness/Intensity adjusts the intensity of the edges.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Light Wrap

The BCC Light Wrap filter reflects a background image around the edges of a foreground image to form a border. This creates the illusion that light from the background image is reflected onto the foreground image. This creates a more convincing composite by making it appear as if the images were shot in the same environment.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Linear Color Key

The BCC Linear Color Key filter creates a key based on the difference between the color of each pixel and the specified Key Color. The color comparison can be done in RGB or in HSL color space, and you can adjust the relative importance of each RGB channel with the RGB Weights parameters.

BCC Linear Color Key also allows you to remove unwanted foreground objects or restore opacity to a transparent region in the foreground using the Region of Interest controls. This feature is useful when the foreground has an isolated region that is similar in color to the background (for example, a person wearing a tie of the same color as the background).

Linear Luma Key

The BCC Linear Luma Key filter creates a key from a single channel in the source. This type of filter is called a luma key, because the key is usually created from the image luminance, but you can also use any single RGB channel. You might want to examine the individual channels of the source and use a channel that provides more contrast between the foreground and background than the luma channel.

Make Alpha Key

The BCC Make Alpha Key filter creates a new alpha channel from one of the existing channels in the image and then applies levels and gamma correction to the new alpha channel.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which pixels are used to create the alpha channel. You can create many useful effects by making a Full On (completely opaque) alpha channel and using the PixelChooser to control which parts of the image key out.

Matte Choker

The BCC Matte Choker filter is a tool for the often frustrating task of adjusting mattes that are not quite right. A first-pass matte often has unwanted holes in areas that should be opaque, and/or unwanted spots in areas that should be transparent. These problems can usually be fixed with Matte Choker.

BCC Matte Choker uses an iterative technique to process the source alpha channel. In other words, the filter applies one stage of the process to the source image, then applies a second stage to the output of the first stage, and repeats the process using the output of each iteration as the input of the next.

Matte Cleanup

The BCC Matte Cleanup filter is used to help correct imperfect mattes as well as generate interesting matte effects.

Often a key can create an imperfect matte in which traces of the background color remain around the edge of the foreground subject. BCC Matte Clean up allows the user to fine tune aspects of the composite blending, as well as choke the opaque regions to remove any unwanted fringes.

Pixel Chooser

The BCC PixelChooser, fully re-engineered in BCC10 to include mocha planar tracking and more robust and intuitive masking/matting tools, provides numerous techniques for selecting which areas of an image will be affected by a filter. The PixelChooser has been incorperated into most filters in BCC, but is also available as a stand alone filter.

Pixelchooser creates a matte/mask between filtered and unfiltered pixels allowing far greater control over the design process. The matte/mask can be defined in numerous ways:

• mocha planar spline tracking
• host spline import (in AE)
• basic geometric shapes/gradients
• luma/alpha/channel mattes with thresholding
• robust color keying

Premult

Because of the complexities of the algorithms, some BCC filters (for example, BCC Glow) can mix in color channels from pixels that were originally transparent. This creates a premultiplied alpha channel which includes transparency information in the color channels as well as in the alpha channel. The BCC Premult filter sets the color channels of all transparent pixels to the selected color, giving the user control of the color that is mixed in these cases.

When you composite an image with a premultiplied alpha channel over a new background of a different color, the edges of the alpha channel show a “fringe” of the old background, because the edges of the alpha channel were blended with the original background color information. Premultiplied Alpha Key allows you to key out most of this unwanted color.

RGB Blend

The BCC RGB Blend filter provides independent compositing of the source image’s RGB channels with the Mix Layer’s RGB Channels. The brightness and contrast of the composite can also be adjusted

independently for each channel.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Star Matte

The BCC Star Matte filter uses a ray burst effect to create or modify the source’s alpha channel.

Super Blend

The BCC Super Blend filter is a compositing filter that allows you to superimpose up to five layers, then adjust and animate the view through each layer.

If you imagine the composition as a series of layers of paint applied to a background layer, Super Blend lets you to move in and out of the composition by adjusting the distance between the viewer’s eye and the background, the thickness of the layers, and the distance separating each layer.

The built in PixelChooser, with integrated mocha planar tracking allows for greater control over which areas of the image the filter should affect.

Host Support:

• Adobe: Creative Cloud, CS5.5-CC 2018 – After Effects and Premiere Pro
• Apple FCP X & Motion 5
• Avid: Media Composer 6.5+
• Blackmagic: DaVinci Resolve 12.5+
• Sony: Vegas Pro 13
• Magix: Vegas Pro 14+
• Foundry: Nuke 9+

For compatibility with specific versions and operating systems, please see our Continuum Compatibility Matrix.

Graphics Cards: We recommend that you run the latest graphics card driver version supported by your host application. A graphics card with a minimum of 1GB of RAM is required; 2GB of RAM is recommended.

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In Depth: Keying: Pre-Processing Greenscreen Footage for Keying

If your greenscreen footage didn’t turn out as perfectly as you had hoped, here are some things that you can do to fix problems and not create new ones.

Working with Tough Keys in Avid with BCC Chroma Key Studio

It’s no fun to key a poorly lit green screen, but the keying plug-ins in Boris Continuum Complete can help with this arduous task. Vin Morreale explains how he takes an imperfect green screen shot in Avid Media Composer and makes it work with BCC Chroma Key Studio, Fast Film Process, Title Studio and Grunge.

Using Motion Graphics Templates in Adobe After Effects and Premiere Pro CC 2017

Brian Fox from Boris FX walks you through the Motion Graphics Templates in Adobe’s 2017 release, with an emphasis on third party plug-ins in After Effects and Premiere Pro.