Boris Continuum Complete has been the flagship effects package for Boris FX. With each new version, the company makes it better, faster and even more useful. They have recently released BCC 9 for Avid Media Composer, Sony Vegas Pro, Adobe After Effects/Premiere Pro, FCP X/Motion and DaVinci Resolve. This has been a two-year effort to build upon BCC 8, which was initially released in 2012.
Boris Continuum Complete 9 sports over 30 new effects, including 23 new transitions. In total, BCC 9 versions for Avid Media Composer, Adobe After Effects and Premiere Pro each offer over 230 filters, including 3D extruded text, particle effects, image restoration tools, lens flares, keying and compositing and much more. Specific new filters include a lens vignette, 2-strip color process, sharpening, lens correction, grunge, edge grunge, a laser beam effect, an improved pan & zoom filter with perspective and a one-stop chromakey “studio”.
While new filters are always fun, the two big changes in BCC 9 over previous versions are OpenCL and CUDA acceleration, plus the addition of an FX Browser. Boris FX claims as much as a 2X improvement with some filters, when comparing the rendering of BCC 8 versus BCC 9 (tested on Avid Media Composer running under Windows). From just casual use, you’ll definitely see an improvement when applying and manipulating such processor-intensive effects as lens flares and glows.
The FX Browser is new for Continuum Complete. While it’s not unique to have a filter browser within an effects package, this one has an edge over those of competitors, because the clip is displayed in a viewer. You can play or scrub through the clip and sample the various filter presets. You aren’t tied to a default thumbnail image or a single still frame of the clip that you’ve sent to the browser. Nearly all of the BCC filters and transitions come with a set of presets.
Many users simply apply a filter, use its default and tweak the sliders a little. In doing so, they miss the wide range of looks that can actually be achieved. With this new FX Browser, you can apply a filter, open the FX Browser and see what each of the Boris presets will look like on your image. In the left pane you see thumbnails for each preset. As you click on the options, the viewer displays your clip with that preset applied to it. At the bottom of the browser is a history panel that shows the choices you’ve already reviewed. Once you find the desired look, click the “apply” button, which returns you to the host’s effects controls. Now adjust the sliders to fine-tune the effect to taste.
Another useful way to work with the FX Browser is to apply the standalone FX Browser filter to a clip. When you open the FX Browser, you’ll now see all of the effects categories and individual filters available within BCC 9. This is a great way to preview different filters when you just need some creative inspiration.
In the past, filters within the Boris Continuum Complete for After Effects version would also show up and work in Premiere Pro; however, the transitions functioned like they did in After Effects and not like a built-in Premiere Pro transition. You would have to stack adjacent clips onto overlapping vertical tracks and transition between them, just like in After Effects. Now with the changes in Premiere Pro CC and CC2014, transitions in packages like BCC 9 behave as native effects – the same as in other NLEs. This means you can now apply a transition to the cut between two clips on the same track, just like a standard cross-dissolve.
As with any of the filters, transitions may also be previewed in the FX Browser. Boris Continuum filters feature on-screen controls (heads-up display or HUD) to vary filter adjustments, in addition to the sliders in the control panel. With BCC 9, some of the transition effects also gain appropriate HUD controls. For example, overlay curves let you make nonlinear adjustments to wipes and dissolves without the need to add keyframes.
Focus on quality and efficiency
Over the last few versions, Boris FX has focused on improving the overall quality of all of the filters. The new BCC Vignette effect doesn’t just darken the edges of the frame, it also adds a slight defocus to more closely approximate real-world lens issues. Their BCC 2-strip Color filter is designed to accurately mimic the look of classic Technicolor films. The new BCC Lens Correction filter is mathematically designed to “unwarp” the characteristic wide angle lens distortion of cameras like the GoPro.
Some of BCC 9’s strength is in a packaging of old favorites, such as its chromakeying tools. Many editors swear by the Boris keyers. Tools in this group include a matte choker and light wrap, which are typically used to finesse a key. Most editors end up applying a stack of these various filters to a clip, in order to get the cleanest result. New with BCC 9 is a chromakey studio filter, which combines all of the keying tools into one panel. This first made its introduction years ago in BCC for Final Cut Pro (“legacy”), but it’s now a part of all the BCC 9 versions. An improvement in this version is the addition of a built-in set of garbage masks to isolate the area needing to be keyed.
While most of the filters and effects are consistent across hosts, there are some host-specific variations. For instance, in the AVX package for Avid Media Composer, each filter is more complex, because Boris FX adds a geometry function for image transforms (scale, position, etc.) to most AVX filters. These are not standard clip attributes built into the native Media Composer architecture, like they are in After Effects, FCP 7/X and Premiere Pro. Unfortunately, since these are extra functions required to augment Media Composer, it makes the AVX set more expensive than the AE version. For FCP X, filters must be built for Motion and then packaged as Motion templates to be used inside FCP X.
BCC filters, in general, add more controls within each filter than do many of the competitors. Nearly all BCC filters include Pixel Chooser, which is an internal masking control. If you only want a filter to alter the bright areas of an image, you can use Pixel Chooser to mask the image according the luminance values and then the effect is limited to that portion of the image.
Another unique BCC feature is Beat Reactor. Let’s say you want a glow filter to pulse the intensity of the glow in sync with the beat of a music track. Simply enable Beat Reactor in that filter’s control panel, select and link the track that you want as a reference and adjust accordingly. Beat Reactor displays an overlay graphic of color bars for the music. These bounce up and down like a digital VU meter in response to the track. The bars may be used for reference and hidden – or they can also be rendered into the final output as an extra visual element. The Beat Reactor controls let you select the portion of this graph that is to affect the filter and the specific parameters to be controlled. Select a range that includes just the musical peaks and you’ll get a smaller variation to the changes in the filter than if you had selected the entire graph.
Last, but not least, is a new online help system. Having trouble figuring out a filter? Click on the “help” button in the control panel to access a web page (stored on your computer) for tips and tutorials about using that effect. Boris FX continues to improve and advance what has to be the best all-around editor toolkit on the market. Boris Continuum Complete 9 is cross-platform and covers the most popular NLEs. Now that Avid Media Composer no longer comes bundled with a full set of BCC filters, new Avid editors will certainly want to invest in this package. For Adobe Premiere Pro CC customers, it adds capabilities that far surpass what comes with Premiere Pro. Best of all, the single purchase for the Adobe version covers you for After Effects, as well.
©2014 Oliver Peters