网站全额开放，如无必要不用注册免费预览！
您需要 登录 才可以下载或查看，没有账号？立即注册
x
Program Name: Boris Final Effects Complete 5 AVX v5.0.1 For Avid0 m+ m; T6 l. ^
Program Type: AVX Plug-in
. U2 M; j6 [2 k- k' B% @8 Z( \* z* yRelease Date: August 8, 2013
: p; Q) R$ N- F2 T3 BHomepage: http://www.borisfx.com/product/final_effects/+ i5 A% Q9 B+ h% B' U3 z
Interface Language: Multilingual9 U& B, b$ ~8 ?$ q
Platform: Win643 e, S1 Y7 {( n6 e9 N& h
File Size: 25.27 MB
/ X/ v" @; D$ A. N9 \/ _0 F+ u2 l# @
3 N& Q& s1 x- j1 R2 i; g: lBoris Final Effects Complete 5.0 AVX. Boris Final Effects Complete is a plug-ins package with 100+ powerful visual effects filters re-designed for Avid’s plug-in architecture, providing seamless integration with all Avid systems running the AVX 2.0 architecture. Avid® Visual Extensions (AVX) is a plug-in architecture that dynamically extends the effects supported by Avid systems. FEC 5 AVX also supports Avid AVX 2.0 systems running on the Macintosh Intel platform.$ B1 V% Y! U" k( G! X5 Y4 ?
3 X+ b k/ v/ u& G
The heart of Final Effects Complete is its ability to generate full-featured two-dimensional and three-dimensional particle animations including ball action, explosions, distortions, jet trails, hair, liquid mercury distortions, spotlights, and color transitions. FEC AVX also delivers a complete range of unique auto-animating transitions. Ranging from graceful blur dissolves to radical warps; FEC AVX lets you easily create dramatic effects with minimal adjustment.; p$ o$ O8 u# V: o% V
o: n5 [% y6 X% E/ A( [3 i
These Release Notes contain information regarding features, supported hosts, supported operating systems, installation instructions, known limitations, and other important information about the product.
. B& I5 s8 d0 F2 C3 S* I* d8 }; T7 y" c* I0 K& U, E$ P f9 k
FEC 5.0 AVX Filters‌
$ q9 ]2 O' Z0 _; J7 u) d9 _ V: V* GBlur & Sharpen) a+ w. G- o. S6 _5 L& J% D8 |
Blur Channel Blur
, l( r6 Z8 h" G" B9 a7 zChroma Luma Blur Directional Blur
( @1 d/ }" I% eSharpen Soften Spin Blur Spiral Blur3 |9 w, H9 M6 s$ m+ `+ J- J& H
Unsharp Mask Vector Blur Zoom Blur
, E7 Q* m( h F, k
* | ^- o" C1 j: H# I+ nColor Correction
% {. a5 i. y4 m& q( Y8 @8 ?" aBrightness-Contrast Color Balance HLS Color Balance RGB Color Offset% u" C; B' u) a6 `- k! ^8 ^
Gamma-Pedestal-Gain Invert
: s3 z% t" T, ]Replace Color Threshold
4 \& t6 \# F& i2 ]. CThreshold RGB Tint
1 Y' X- F6 v: G# @3 ?/ _Toner
* C8 C- v! v% t j- C( n JDistort6 g1 z1 G% y U' k
Bend It Bender Bulge p, u) W+ q, z5 F% y
EZ Lazy Waves EZ Ripples
$ D# Q$ H" U2 X3 jFlo Motion
; W0 \6 y- `# ~" gGriddler Lens Power Pin
: q/ h# o' {8 ?/ rRipple Pulse Slant% ?; r6 W2 R) p# z; P {
Slant Matte6 [* @+ [2 }8 U0 R/ ~# d
Smear Spherize Split Tiler Twirl/ H8 u" v2 d' T7 a
Water Waves
: s; @! `8 i, |* t, i- h7 ~/ FEdges
9 a D# A; ~) L7 ~ i( dBurn Edges Gradient Blur Power Ramp Sparkle Edges
' K3 I( H, Y) I6 D, F9 nSpot Blur Spot Feather Spot Frame Spot Tatter- P" X. [: t1 i- N. i- S* }
Spot Turbulence Wiggle Edges3 L: ]) W; D! N. ~2 r" x! U! w# l0 C; M
Image' v) Z+ j4 [; E
Channel Noise Composite
) [' l) m) K* r# [Median MinMax2 ~/ O! s! z) y
Noise
2 ?/ ~, e% k0 }$ E! _# ^* n0 }Simple Wire Removal7 m v; y+ u& W7 M) R6 k2 w) | w
Light. w% `" C( w( V& A5 z0 F' q
Light Blast Light Rays
c- U: ?7 V, l5 o6 z, V- yLight Sweep Light Tornado
! c2 J5 k5 X; G* q* U' K- N9 SLight Whirl Spotlight
, |: t# \9 g9 q. T( O& J/ [ f1 VParticle
: b! v: q! b& l0 NBall Action Bubbles Drizzle Hair
% y6 |# _! h# Q+ o* ]Mr. Mercury Particle Systems II Particle World Pixel Polly* L0 D3 h0 z1 [: Q9 J; l
Rain Snow Star Burst$ K1 i# S+ m) I) l. u3 H% T
Perspective
9 B# e! S% r6 f% B9 R1 L# KAdvanced 3D Cylinder
: I7 C) n+ r4 t( `' v; a+ APage Turn Simple Shadow/ r8 K* A- B. Q- e4 ]
Sphere8 {0 k6 i: x" b. M
Super Shadow( D4 s$ r: h3 Q, A9 [5 _
. [ B/ B t. V4 H+ _; \! q9 ^
Real Time ‌
; c; O* O0 n9 sBend It RT
: p( Z8 i9 n4 b* J" Q2 g& G& J: [Brightness-Contrast RT Bubbles RT$ q- \+ r9 d, Y. r4 q
Burn Film RT Channel Noise RT3 {0 g' _1 u1 t* z
Color Balance HLS RT Color Balance RGB RT Color Offset RT Composite RT! w; N1 E$ ^4 b6 F/ z3 T
Emboss RT8 l- c& a! Y3 N( ?) _$ \1 ~
Fractal RT
! P3 \% r# H9 Q/ B; w& aGamma-Pedestal-Gain RT Grid Wipe RT
4 f: R5 N C J/ K+ h8 lImage Wipe RT Invert RT* @, s; P' w2 k
Jaws RT Z: l9 y9 u6 {/ o
Mr. Smoothie RT Noise RT
2 C$ ?0 p5 S6 }/ @! `Page Turn RT Power Ramp RT
; D1 _/ `+ L( {( q2 ~0 z! L& T2 }( PRain RT, o/ B) a% l3 a$ g, t% G( e
Scale Wipe RT/ e. t1 E' X. B, w1 I
Simple Wire Removal RT Snow RT
% l1 Q: t! |! v6 ~# ]Spotlight RT Star Burst RT Threshold RT1 U" ^; U, l A" q/ V! B
ThresholdRGB RT Tint RT
5 @4 p: s+ X8 IToner RT, ^5 ] q1 v, P5 }
! u6 ~; G8 R7 Q( j+ y, xStylize7 F" z+ D U) ~# @9 a
3D Relief Blobbylize Burn Film Emboss Fractal
4 b' M: V+ w: S7 j! \( xGlass Glow Glue Gun Kaleida Lens Star1 \! o1 O0 P& [
Mr. Smoothie Repetile Scatterize Video Fragment( Z" V5 b. w+ F6 ?
/ l- ], Q7 {4 v4 S2 S+ ^ wTime
5 M- c* ~4 Q% R. [Wide Time$ d$ o# K3 S# m1 n4 W# b/ R
7 O3 o5 b1 y" t+ }3 K5 R( D: ` q$ t
Transition! r# P. z+ {, b0 P( E( ?
Blur Dissolve TR Glass Wipe TR Grid Wipe TR Griddler Wipe TR* G. Q* a0 H- e8 \. w
Image Wipe TR Jaws TR
& O4 D' l: I# k F8 [Lens Wipe TR Light Wipe TR Pin Wipe TR+ U, R% o* j$ N6 ]! G
Radial Scale Wipe TR Rain Wipe TR- }% F! w+ e: l% B0 ]) {; s6 ~5 ~
Slant Wipe TR Spherize Wipe TR Twister TR" b( N5 ` w8 n
! e: K' Y5 m9 U0 a+ w- g
Transition Effect
# a0 A( g V! u7 f: aBlur Dissolve Glass Wipe Grid Wipe Griddler Wipe7 J! ?3 v( E' i1 _5 \4 {' o
Image Wipe Jaws& j2 S) g+ J9 P5 j4 I
Lens Wipe Light Wipe Pin Wipe8 V: H0 L) T4 W6 f
Radial Scale Wipe Rain Wipe$ Q6 @/ z6 p2 A* A, g7 i5 j1 _
Slant Wipe Spherize Wipe Twister3 }; `# e0 C+ v7 \ ~, X
: B. A- k. W9 a u. j* R* [% q+ h
Two-Input Effect# Q; O# q' X. ~' F8 Y
Advanced 3D TR Burn Film TR Page Turn TR Pixel Polly TR Scale Wipe TR& W) t9 s( J' Y. A
8 ~9 @" D, ?7 ?7 rFilter Apply Modes7 x: ] s, w+ }+ B, o/ h
Many filters (e.g. Mr. Smoothie) or transitions (e.g. Blur Dissolve) use Apply Modes to apply the filtered output (or light, or some other aspect of the effect) to the source image. Apply Modes control the blending of the two images, giving the effects many additional creative possibilities. The Apply Mode menu may contain any or all of the apply modes described in the following table.+ b2 X8 V+ n! q; J7 R4 i% k- p
; x* X- F* u$ D* o; l* f1 x# X/ sNormal – Applies the light or filter directly to the source image, and the filtered pixels replace the source pixels.
2 p" H3 ]/ }5 z# N& R& l# {" U% ]
: J8 U) c' P- ]. ILighten – Compares the color channels values in the original pixels and in filtered pixels, and chooses the lighter (higher) value for each channel in each pixel. If a pure red pixel is applied to a pure blue pixel, the result is pure magenta.9 e9 R/ t+ E7 l" B) v
% i8 K' [5 }- H- N# a: A0 W) x
Darken – Compares the color channels values in the original pixels and in filtered pixels, and chooses the darker (lower) value for each channel in each pixel. If a pure red pixel is applied to a pure blue pixel, the result is black.: b* N5 A9 G8 \ W, ~ p
" o% X: }3 n+ v$ i4 lMultiply – Applies the light or effect to the source as if it were a transparency placed over the source. The resulting image is darker than either. If a pure red pixel is applied to a pure blue pixel, the result is black. If a 50% gray pixel is applied to another 50% gray pixel, the result is 25% gray.# v3 M% s6 y! @( ]3 q) i9 e( V
1 D6 Z" M1 [$ ~8 qScreen – Applies the light or effect to the source as if a photographic double image was taken of the light or effect and the source. The resulting image is lighter than either the light or effect or the source. If a pure red pixel is applied to a pure blue pixel with Screen, the result is magenta. If a 50% gray pixel is applied to another 50% gray pixel with Screen, the result is 75% gray.# I, B9 z: M* H" v
; h' Q/ d3 k. V5 o6 `2 y5 JDifference – Outputs the difference between the light or filtered color and the source color for each channel. Difference modes can produce some very striking colors and create glow effects when used with Blurs.
( K- l" G4 l* Q3 b: g; B2 ]% h8 C& N' ]1 r% j
Difference modes can also exacerbate the noise in noisy video sources. Difference can generate non-Color Safe output.% ^0 j# S5 g: o4 i9 ^
: ^. ]/ }. }! r, x5 E
Lighter – Uses the lighter of the source and filtered colors for each pixel for all channels. If a dark green pixel is composited with light red, the result is light red.
1 i& ]8 U: @% E, L) F( X) z7 f& K. @, q4 n3 A2 @* s
Darker – Uses the darker of the source and light or filtered colors for each pixel for all channels. If a dark green pixel is applied to a light red pixel, the result is dark green.; _2 F. s* d, s" s9 U c
6 m5 l& V2 y. Y5 t
Scale Multiply – A useful variation of Multiply that produces a brighter image than the standard Multiply. This is often the most realistic Apply mode for light effects.' i) }% z' y8 N8 G
3 g9 R3 m! Y Q$ `& C8 K; e+ a" kScale Screen – A useful variation of Screen that produces a darker and less washedout image than the standard Screen.; t8 s- }# V' C; g2 z/ E
0 V: T k) S7 }) n: ?8 VDifference X 2 – A variation of Difference that produces a more intense effect than the standard Difference. The enhanced difference modes can be particularly effective in creating glows with the Blur effects.: Q8 S& T" i8 n8 g* [! C( z
}2 ^2 A2 E8 g' Z
Difference X 4 – A variation of Difference that produces an even more intense effect than Difference X 2. The enhanced difference modes can be particularly effective in creating glows with the Blur effects.
6 {- o* K8 x) k) P* U
- r7 C) t( p4 E2 m \5 |/ QAdd – Includes the light or filtered output with the source. The resulting color values are clipped at white.7 O( K) B* r: P
) [) w; n+ Q1 aSubtract – Removes the light or effect from the source. This can produce intense and unpredictable colors and make the image appear noisy.- n: K% K& j2 V& v! w6 @
! ~; o7 p( N3 B9 X* R
Overlay – Puts the light or effect over the source. The result is brighter than the result of a Multiply and darker than the result of a Screen.
/ D) e1 K6 M5 n8 V7 {& Q6 Q- i$ J& W" ?& l
Soft Light – Simulates shining a diffuse light (whose color is the light color or filtered output) on the source image. Most of the detail in the final output comes from the source image.
- h# P$ M0 k" O4 X: P7 M! ?( Q" i" p+ L
. b5 l1 N( \" j( T7 DHard Light – Simulates shining a harsh light (whose color is the light color or filtered output) on the source image. The source image and the light or filtered output contributes roughly equal amounts of detail to the final output.
4 L5 z1 J. o9 z: s0 q& {/ w
3 [- ~# s# O$ e6 q5 @" o- zHue – Creates a result color for each pixel that takes its Hue value from the light color or filtered output, and takes the Lightness and Saturation values from the source image.
* t/ v6 p" L. h, M' }, V
$ X V$ V$ E$ C8 l0 y! d3 j0 nSaturation – Takes the Saturation of each pixel from the light color or filtered output, and takes the Lightness and Hue from the source image.
2 u5 d) _/ _8 g
, s, \) ~! [4 z1 d, ^6 L- J$ qColor – Takes the Color for each pixel from the light color or filtered output, and takes the Lightness from the source image.
9 i5 y$ e( T1 I& ~* F2 t. A: J: ~. T, y
Lightness – Takes the Lightness or Luminosity for each pixel from the light color or filtered output, and its Color from the source image.
2 u2 }$ U: R# T# n
" c. v8 I0 e5 j0 }, r9 M0 \Boost Expo 1 – Blends the color channels in the source and filtered pixels by subtracting an offset value from each pixel, exponentiating the value, adding the results, and then adding back the offset.
# n5 Y. s% @' J4 Q/ V3 B
, k4 H" x3 l: R" l, P& B( sBoost Expo 2 – Similar to Boost Expo 1, except that this mode uses offset and exponent values different from those used by Boost Expo 1.
7 R1 V$ w1 b T* ]( n/ y- ?3 b; |5 u% [
Boost Eq Power + – Uses an algorithm modeled on the audio concept of an equal power crossfade. This algorithm emphasizes the light pixels in the blend of the source and filtered pixels, which is useful when working with darker images.
: e: A7 p4 b- g/ R7 l# `: M9 j% x! _! I- Q# w
Boost Eq Power – – Similar to Boost Eq Power +, but uses the difference between the channel value and 255 in computing the contrast. This algorithm emphasizes the dark pixels in the blend of the source and filtered pixels, which can be useful when working with lighter images.
# t! {8 e! V) B2 c) W
' N) U3 z) |: d, I ^% n, ZBoost Bias Bias – Increases the contrast of the pixels whose channel values are highest.( p' N' @; [5 x
; q: S! [2 a8 q5 H& k6 S50 50 Mix – Reduces the opacity of the source and filtered pixels by 50% and the blends them equally. If the source and/or filtered pixels are partially transparent, their opacity is reduced proportionately.
7 t$ f! I9 n6 `
1 G D* _- k( L) R7 D' Y6 u$ ZBoris Final Effects Complete 5 supports the following AVX 2.0 hosts: L' ?! N( |2 T# W$ o
Windows# p$ r3 Q$ ~* F9 B' F& W
Avid Media Composer v.2.5+, Avid Xpress Pro v.5.5+, Avid NewsCutter Adrenaline / Avid NewsCutter XP v.6.7+, and Avid Symphony Nitris (with AVX 2.0 support). FEC 5 AVX does not support Avid | DS or Avid Liquid.
' Z( N1 K4 }' _( S
, L+ W; P; o7 f/ G, T! U9 E' @Macintosh4 J+ ?! [& |& ^+ u+ p- a- k
Avid Media Composer v.2.5+ and Avid Xpress Pro v.5.5+
" U0 I O' ^/ M1 O% a" O7 \4 |6 d+ _) z4 L
Minimum System Memory Requirements: w/ o, e/ h7 H. I
Minimum 1.5GB (assigned to host application)
& t8 |4 c g' v4 s. E- n5 M8 NRecommended 2GB for HD and high-stream count SD projects" s5 I) Q I- O( ~( C* E
5 j* M9 b% u5 w/ m9 k
Supported Operating Systems
( d* E- B* }" B/ y( [% OMicrosoft Windows XP SP2 (Microsoft Vista support is planned for a future release)3 B; e8 R/ i4 T F, `! m
Mac OS X 10.4.7 and later. Universal version for PowerPC and Intel-based systems. Tiger only. Earlier versions of Mac OS X are not supported. Mac OSX Leopard support is planned for a future release
+ U F" w L- \ v# e) U, Q6 ]" H: x! C
Working in 16-Bit Color Space
) I7 ?/ e* P) m- F' V h' bFinal Effects Complete can work with both 8-bit-per-channel and 16-bit-per-channel media (16- bit-per-channel makes a larger range of colors available). To set your project color space to 16- bit, go to your Avid’s Project Window > Settings tab > Media Creation > Render tab, and select 16-Bit.
1 Y% w& S( S( O6 ` f4 G% E0 ?' a$ q$ a% D- O
3 D4 ~0 d2 b& T7 ~ d. ~
: S" h/ {( _7 N2 R4 \2 ^; r2 o
( d& b' j) X3 ~$ ?8 p e
- g2 G1 n5 I6 k* I$ G; _Download:! c% g0 K: t. A |$ C) }
FECAVX5.0.0TNB.exe
+ F2 d+ r4 g K6 R |
|
发表于 2016-10-9 08:58:54