Boris FX Optics

Adobe Photoshop and Lightroom are ubiquitous digital photography processing tools that hold a place in nearly every pro and semi-pro photographer’s toolkit. From straight-up image correction and enhancement to wildly creative looks, it’s hard to beat what these tools offer. However, when you get into the stylistic filter options, Photoshop looks a bit stale. You can certainly push the artwork to new levels, but it takes talent and often a lot of work. That’s not in step with today’s mindset, where powerful, yet simple-to-use effects tools are the norm. (Click any image in this post for an enlarged view.)

Enter Optics for Photoshop

Last September Boris FX acquired the award-winning effects developers Digital Film Tools and Silhouette. Optics is a new tool developed since this acquisition, specifically designed for the photography market. It features a plug-in for Photoshop and Lightroom (as well as Bridge), which is paired with its own standalone application. Optics shares design similarities with DFT, but also integrates other BorisFX products, such as 75 of the Sapphire filters – a first for Photoshop users. According to Marco Paolini, Optics product designer for Boris FX (and co-founder of DFT and Silhouette), “Optics is the only Photoshop plug-in that specifically simulates optical camera filters with presets based on real-world diffusion filters, as well as realistic simulations of film stocks and motion picture lab processes.”

To use Optics from within Photoshop, simply apply the Optics filter effect to a layer, which opens the Optics Photoshop plug-in. If you first converted that layer into a Smart Object in Photoshop, then the final Optics result will be applied as a Smart Filter and can be toggled on and off in Photoshop. Otherwise, that layer will appear with the “baked in” result once you exit Optics. From Lightroom or Bridge, use the “edit with” command to route the image to the Optics application. Lightroom will send either the original version of the image or with any Lightroom effects applied. When done, a processed copy of the “sent” image appears in Lightroom. The Optics Standalone application supports an extensive set of camera raw file formats in addition to JPEG, TIFF, DPX and Kodak CIN files.

Filters and looks galore

Optics offers 160 filters with thousands of customizable presets. The filters are grouped into nine categories, including color, diffusion, stylize, and more. The user interface is designed with tools and controls bordering around the image. Top – tool bar for masking and view control. Left side – the layers stack. Bottom – filter groups and selection. Right side – two tabs for presets and parameter adjustments. You can show or hide these panels as you like, depending on what you need to see at the time. Resolution choices for the image viewer include 1K, 2K, 4K, 5K, 6K, 8K, and Full resolution. The available choices in the resolution menu are dynamic depending on the size of your image. A lower resolution helps to speed up processing results on lower-powered machines, but you’ll want Full to correctly judge some effects, like sharpening.

If you are comfortable in Photoshop, then you already know how to use Optics. You can build up complex effects using a combination of different filters by using layers. Each layer can be masked and includes all of the usual composite modes. Optics uses floating point processing. This means you can blow out highlights or exposure in one layer, but then bring it down again without information loss in a higher layer. Test out different looks simply by building them onto different layers. Then toggle a layer on or off to see one look versus another. For instance, maybe you’re not sure if you want a sepia look. Just make one layer sepia, disable it, and add a new layer for a different style. Then enable or disable layers to compare.

The EZ Mask is a super-cool function. Let’s say you want to separate a fashion model from the background. First draw rough mask lines for the interior (the model), then rough lines for the exterior or background. Optics will then calculate a very accurate mask. Trim/adjust the mask and re-calculate as needed to better refine the edge. Masks may be inverted as well as copied between layers, which enables you to apply separate effects inside and outside of the mask area. In the example of the model, this means you can create one look or set of effects for the background and a completely different style for the model.

Optics includes a number of stylized render elements that can be added to images, like the moon or lightning zaps. This also includes a ton of lens flare effects, thanks to the included Sapphire filters. In addition to the variety of presets, you can further customize the flares by launching the separate Lens Flare Designer, which is integrated into Optics.

Working with Optics

Optics runs on Macs (macOS 10.13 or higher) and PCs (Windows 10 or higher) with fairly basic hardware requirements. I was able to test Optics on both an iMac Pro and my mid-2014 MacBook Pro. There was a minor license activation issue with the laptop, which was quickly sorted out by Boris FX’s customer service technician. Otherwise, the installations were very smooth. No hiccups with the iMac Pro. Optics responds well on less powerful computers; however, processing-intense effects as well as workflows with a stack of complex layers will perform better on a faster machine. For example, effects that were instantly responsive on the iMac Pro took a bit more time on the older MacBook Pro. If you are only photo developing/color correcting, then you probably won’t notice much difference.

The Optics Standalone application may also be used to process single stills without coming in through Photoshop. The new files can be left in their original size or optionally resized. You can save custom presets, which may be used for single images or to batch process a folder of stills. For example, if I wanted all my vacation stills to be processed with a certain Kodak film stock preset.

Batch processing offers another interesting possibility. Optics will batch process any image sequence, whether from a camera (such as drones) or from a video file exported/rendered out of After Effects. As long as they are JPEG, TIFF, DPX, CIN, or camera raw files, you are good to go. This is a cool way to apply a custom look that you may not have access to as a video filter or plug-in effect, even though Optics is a still photography application.

Select “batch process” and load the image sequence. Then load a saved Optics setup that you have created. Batch processing will save these files as a new image sequence complete with the custom look applied. Finally, reconstruct the processed image sequence back into a video file using After Effects, Resolve, or any other application that supports image sequences.

If you work with a lot of stills and hate going through the gymnastics that Photoshop requires in order to create truly unique looks, then Boris FX Optics will be a game changer. It’s very addictive, but more importantly, Optics offers a huge improvement in efficiency. Plus you’ll have filter options at your fingertips not normally available in Photoshop alone. You might quickly find yourself doing all of your image processing strictly in Optics.

As with other Boris FX products, Optics is available as a perpetual license or subscription. Click this link for Optics video tutorials.

Click through the gallery images below to see further examples of looks and styles created with Boris FX Optics.

©2020 Oliver Peters

FilmConvert Nitrate

When it comes to film emulation software and plug-ins, FilmConvert is the popular choice for many editors. It was one of the earliest tools for film stock emulation in digital editing workflows. It not only provides excellent film looks, but also functions as a primary color correction tool in its own right. FilmConvert has now been updated into FilmConvert Nitrate – a name that’s a tip of the hat to the chemical composition of early film stocks.

The basics of film emulation with Nitrate

FilmConvert Nitrate uses built-in looks based on 19 film stocks. These include a variety of motion and still photo negative and positive stocks, ranging from Kodak and Fuji to Polaroid and Ilford. Each stock preset includes built-in film grain based on 6K film scans. Unlike other plug-ins that simply add a grain overlay, FilmConvert calculates and integrates grain based on the underlying color of the image. Whenever you apply a film stock style, a matching grain preset, which changes with each stock choice, is automatically added. The grain amount and texture can be changed or you can dial the settings back to zero if you simply want a clean image.

These film stock emulations are not simply LUTs applied to the image. In order to work its magic, FilmConvert Nitrate starts with a camera profile. Custom profiles have been built for different camera makes and models and these work inside the plug-in. This allows the software to tailor the film stock to the color science of the selected camera for more accurate picture styles. When you select a specific camera from the pulldown menu instead of the FilmConvert default, you’ll be prompted to download any camera pack that hasn’t already been installed. Free camera profile packs are available from the FilmConvert website and currently cover most of the major brands, including ARRI, Sony, Blackmagic, Canon, Panasonic, and more. You don’t have to download all of the packs at first and can add new camera packs at any time as your productions require it.

New features in FilmConvert Nitrate include Cineon log emulation, curves, and more advanced grain controls. The Cineon-to-print option appears whenever you apply FilmConvert Nitrate to a log clip, such as from an ARRI Alexa recorded in Log-C. This option enables greater control over image contrast and saturation. Remember to first remove any automatic or manually-applied LUTs, otherwise the log conversion will be doubled.

Taking FilmConvert Nitrate for a spin

As with my other color reviews, I’ve tested a variety of stock media from various cameras. This time I added a clip from Philip Bloom’s Sony FX9 test. The clip was recorded with that camera’s S-Cinetone profile, which is based on Sony’s Venice color. It looks quite nice to begin with, but of course, that doesn’t mean you shouldn’t tweak it! Other clips included ARRI Alexa log and Blackmagic BRAW files.

In Final Cut Pro X, apply the FilmConvert Nitrate plug-in to a clip and launch the floating control panel from the inspector. In Premiere, all of the controls are normally exposed in the effects controls panel. The plug-in starts with a default preset applied, so next select the camera manufacturer, model, and profile. If you haven’t already installed that specific camera pack, you’ll be prompted to download and install it. Once that’s done, simply select the film stock and adjust the settings to taste. Non-log profiles present you with film chroma and luma sliders. Log profiles change those sliders into film color and Cineon-to-print film emulation.

Multiple panes in the panel expand to reveal the grain response and primary color controls. Grading adjustments include exposure/temperature/tint, low/mid/high color wheels, and saturation. As you move the temperature and tint sliders left or right, the slider bar shows the color for the direction in which you are moving that control. That’s a nice UI touch. In addition, there are RGB curves (which can be split by color) and a levels control. Overall, this plug-in plays nice with Final Cut Pro X and Premiere Pro. It’s responsive and real-time playback performance is typically not impacted.

It is common in other film emulation filters to include grain as an overlay effect. Adjusting the filter with and without grain often results in a large difference in level. Since Nitrate’s grain is a built-in part of the preset, you won’t get an unexpected level change as you apply more grain. In addition to grain presets for film stocks from 8mm to 35mm Full Frame, you can adjust grain luminance, saturation, and size. You can also soften the picture under the grain, which might be something you’d want to do for a more convincing 8mm emulation. One unique feature is a separate response curve for grain, allowing you to adjust the grain brightness levels for lows, mids, and highs. In order to properly judge the amount of grain you apply, set Final Cut Pro X’s playback setting to Better Quality.

For a nice trick, apply two instances of Nitrate to a clip. On the first one, set the camera profile to a motion film negative stock, like Kodak 5207 Vision 3. Then apply a second instance with the default preset, but select a still photo positive stock, like Fuji Astia 100. Finally, tweak the color settings to get the most pleasing look. At this point, however, you will need to render for smooth playback. The result is designed to mimic a true film process where you would shoot a negative stock and then print it to a photograph or release print.

FilmConvert Nitrate supports the ability to export your settings as a 3D LUT (.cube) file, which will carry the color information, although not the grain. To test the transparency of this workflow, I exported my custom Nitrate setting as a LUT. Next, I removed the plug-in effect from the clip and added the Custom LUT effect back to it. This was linked to the new LUT that I had just exported. When I compared the clip with the Nitrate setting versus just the LUT, they were very close with only a minor level difference between. This is a great way to move a look between systems or into other applications without having FilmConvert Nitrate installed in all of them.

Wrap-up

Any color correction effect – especially film emulation styles – are highly subjective, so no single filter is going to be a perfect match for everyone’s taste. FilmConvert Nitrate advances the original FilmConvert plug-in with an updated interface, built around a venerable set of film stock choices. This makes it a good choice if you want to nail the look of film. There’s plenty you can tweak to fine-tune the look, not to mention a wide variety of specific camera profiles. Even Apple iPhones are covered.

FilmConvert Nitrate is available for Final Cut Pro X 10.4.8 and Motion running under macOS 10.13.6 or later. It is also available for Premiere Pro/After Effects, DaVinci Resolve, and Media Composer on both macOS and Windows 10. The plug-in can be purchased for individual applications or as a bundle that covers all of the NLEs. If you already own FilmConvert, then the company has upgrade offers to switch to FilmConvert Nitrate.

Originally written for FCP.co.

©2020 Oliver Peters

Digital Anarchy’s Video Anarchy Bundle

 

There are many reasons to add plug-ins and effects filters to your NLE, but the best reason is for video repair or enhancement. That’s where Digital Anarchy’s four main video plug-in products fit. These include Beauty Box Video, Samurai Sharpen, Flicker Free, and Light Wrap Fantastic. They are compatible with a range of NLE hosts and may be purchased individually or as part of several bundles. Digital Anarchy also offers photography filters, as well as a few free offerings, such as Ugly Box. That’s an offshoot of Beauty Box, but designed to achieve the opposite effect.

Beauty Box Video

Let’s face it, even the most attractive person doesn’t always come across with the most pleasing appearance on camera, in spite of good make-up and lighting. Some people simply have a skin texture, wrinkles, or blemishes that look worse on screen than face-to-face. This is where Beauty Box comes in. It is a skin retouching plug-in that uses basic face detection to isolate the skin area within the image. The mask is based on the range between the dark and light skin colors within the image. You can adjust the colors and settings to refine the area of the mask.

Like all skin smoothing filters, Beauty Box works by blurring the contrast within the affected area. However, it offers a nice range of control, along with GPU acceleration. If you apply the filter with a light touch, then you get a more subtle effect. Crank it up and you’ll get a result not unlike high-gloss, fashion photography with sprayed-on make-up. Both looks can be good, given the appropriate circumstance.

Unfortunately, out of the four, Beauty Box was the only one of these plug-ins that had an issue in Final Cut Pro X. The full control panel did not show up within the inspector pane. This was tested on three different Macs running Mojave, so I’m pretty sure it’s a bug, which I’ve reported to Digital Anarchy. Others may not run into this, but nevertheless, it worked perfectly inside Motion. While that’s a nuisance, it’s not a deal-breaker, given the usefulness of this filter. Simply process the clip in Motion and bring the corrected file back into Final Cut. I tested the same thing in Premiere Pro and no such issue appeared there.

Samurai Sharpen

Sharpening filters work by increasing contrast around the detected edges of contrasting areas within an image. This localized contrast increase results in the perception that the image is sharper. Taken to an extreme, it can also create a cartoon effect. Samurai Sharpen uses edge detection to create a mask for the areas to be sharpened. This mask prevents image noise from also being sharpened. The mask can be adjusted to achieve the desired effect.

For example, the eye make-up used by most actresses provides a nice edge to which sharpening can be applied. A subtle application of the effect will result in the clip appearing to be sharper. However, you can also push the various controls to achieve a more stylized look.

Flicker Free

As the name implies Flicker Free is designed to get rid of image flicker. Typical situations where you might have image flicker include timelapse/hyperlapse clips, archival footage, strobing lights, computer and TV screens within the shot, LED displays, and the propeller shadows in drone footage. Flicker Free does a great job of tackling these situations, but is also more processing intensive than the other three plug-ins. All of these conditions involve some variation in exposure within the frame or from one frame to the next and that’s what Flicker Free will even out.

There are several pulldown presets (more than other similar plug-ins) and adjustment controls for sensitivity and frame intervals. In a few cases, a single instance of the plug-in with one setting will not completely eliminate all of the flicker. That’s when you may opt to apply a second instance of the effect in order to catch the remainder of the flicker. Each instance would use different settings so that the combination yields the desired result.

According to Digital Anarchy, Flicker Free 2.0 is in public beta. First for Adobe hosts and then soon for Final Cut Pro X. This update shifts the load to GPU acceleration, so you’ll need a good GPU card to benefit from this update.

Light Wrap Fantastic

The last of these four plug-ins isn’t designed for image repair, but rather enhancing chromakey composites. Whenever you composite blue-screen or green-screen shots, the trick is getting the foreground to properly blend with the background image for a composite that appears natural.

When a person stands in a natural environment, the ambient light reflected from the surroundings onto the person is visible on the edges of their image. That’s how the camera lens see it. That subtle lighting artifact is called light wrap. The foreground subject in a green-screen shoot doesn’t naturally have this same ambient light wrap – or it’s seen as green spill. This can be corrected through careful lighting, but such care is often not taken – especially on budget-conscious productions. Therefore, you have to add light wrap in post. Some keyers include a built-in light wrap tool or function, while others rely on a separate light wrap filter. That’s where Light Wrap Fantastic comes in. It’s not a keyer by itself, but is designed to work in conjunction with a keyer as part of the effects stack applied to the foreground layer.

You can use a background color or drop the background layer into the image well, which then becomes the source for the light wrap around the foreground image. That light blends as a subtle glow around the interior edge of the subject. Since you want the shot to feel natural, you are generally going to want to select the background image, rather than a stock color. This has the benefit of not only looking like the same environment, but if there are lighting changes within the background image, the light wrap edge will react dynamically. The light wrap itself can be adjusted for brightness, softness, and various blend modes. These settings allow you to control the subtlety of the light wrap.

As a group, these four plug-ins form the Anarchy Video Bundle, but you have to purchase separate bundles for each host. The Apple bundle covers Final Cut Pro X and Motion, but if you also want to use these filters in After Effects, then you’ll need to also purchase the Adobe version of the bundle. Same for other host applications. You probably won’t use one of these on every session. On the other hand, when you do need to use one, it’s often the kind of enhancement that can ward off a reshoot and let you save the job in post.

Originally written for FCP.co.

©2020 Oliver Peters

FxFactory 2020

Apple Final Cut Pro X enjoys a broad ecosystem that augments and supports the product with companion applications, graphic templates, and plug-ins. Thanks to the ability to use Motion to create Final Cut Pro X template effects, the application has spawned a wide range of innovative, albeit sometimes novice, developers. But really getting the most out of what Apple offers under-the-hood requires experienced plug-in developers, such as Noise Industries (FxFactory), Coremelt, motionVFX, and others.

I’ve known the principals at Noise Industries for over a decade – going back to their days developing a plug-in package for Mac-based Avid Media Composer systems. Riding the wave of popularity enjoyed by the original Final Cut Pro, Noise Industries has become known to most users through their FxFactory platform. They were some of the first to get behind Final Cut Pro X and haven’t looked back since.

In that time frame, FxFactory has become a robust platform, which functions as a central place to purchase, install, and update plug-ins, templates, filters, and utility applications from developers that have partnered with the platform. Unlike other third-party developers, Noise Industries features not only their own products within FxFactory, but also a curated collection from a wide range of other partner-developers. The portfolio has grown and extends beyond simply supporting Apple’s ProApps applications. It now also includes products for Mac-based versions of Adobe, Avid, and Blackmagic Design software.

I have often written about and reviewed various FxFactory products in the past. Since they are constantly updating features and adding new products and partners to the catalogue, it seemed like a good time to revisit some of their offerings. I certainly can’t touch on each and every one, but here is just a sampling of what falls under the FxFactory umbrella in 2020.

Audio. FxFactory originally started with only video products, but as more developers have partnered with the platform, audio plug-ins have been added to the line-up. These work not only for the editing apps, but also DAWs, like Logic Pro X, GarageBand, Pro Tools, Audition, and Resolve (Fairlight page). These come not only from established video developers like Crumplepop, but also audio developers, like Accusonus. Check out the various options for volume control, noise reduction, and more.

Tracking. What many users may not have realized it that Apple quietly added tracking capabilities under-the-hood, which developers can use to add tracking features to their apps. This is particularly useful for graphic templates, such as where you might want a title to follow a race car around the track. Some of the effects that now offer tracking include Crumplepop’s EasyTracker and idustrial Revolution’s Tracking Callouts.

Toolkits. By and large, the most useful items in the catalogue are the various toolkit bundles. These are usually a mix of different effects designed to cover a proverbial Swiss Army knife of post needs. While some may overlap, it doesn’t hurt to load up on several. Particularly useful are those from idustrial Revolution (XEffects Toolkit) and Ripple Training (Ripple Tools Complete), along with the Andy Mees free effects.

Glows. Whether it’s sci-fi or sexy, glows can be a very creative tool. But the range of control is often quite limited with the standard glow filters included in many other effects packs. FxFactory sports quite a few options for glow and lighting effects from different developers. Along with FxFactory’s own Light Show, there’s Hawaiki’s Super Glow, Kingluma’s Radiance effects, and others.

Transitions. Cuts and dissolves? Meh. Fancy transitions are all the rage and FxFactory offers a cornucopia of options. These range from various dynamic transitions to glitch effects to light leaks. Just a few of the options are FxFactory’s Wipology as well as PremiumVFX’s Glitch, LightSpeed, and Dynamic Transitions.

Animations. The biggest two categories of effects have to be the ones that offer quick and easy title animations along with those that offer graphic design Motion templates. Both styles tap heavily into Motion’s and Final Cut Pro X’s behaviors-based movement effects. These are designed with built-in animation characteristics without the need to tweak keyframes. The effects in an animation bundle can be applied to titles and footage. They take the drudgery out of building quick DVE-type animated moves and transitions. Checkout Alex 4D’s Animation Templates, Cineflare’s Object Animator, and Stupid Raisins’ wide selection of Pop bundles.

Graphic Templates. Feeling graphically-challenged? Don’t have a designer that you are working with? FxFactory’s got your back with a wide selection of animated graphics templates. Name a style and there’s likely to be something to cover the need. Sports, social media, news, slideshows, simple titles – you name it. Various packages in different styles from idustrial revolution (XEffects), PremiumVFX, SugarFX, and UsefulFX. Most of these take a toolkit approach. Each package includes a range of title elements that can be mixed and matched to create your own custom look.

But wait, there’s more. Granted, these are just broad categories and certainly this list doesn’t include all of the partners with products in the catalogue. Many offer eclectic stylized or image processing effects that simply don’t fit into specific categories. For example, Luca Visual FX’s Lo-Fi Look, Image Sharpener, or Impackt. There are quite a number of color correction filters, too, such as Lawn Road’s Color Precision, Sheffield Softworks’ Movie Color, Hawaiki’s Color and AutoGrade, and Crumplepop’s Koji Advance. And keying filters, like the Hawaii Keyer.

I could go on, but this will give you just a small overview of the options in 2020. Enjoy!

©2020 Oliver Peters

CoreMelt PaintX

When Apple launched Final Cut Pro X, it was with a decidedly simplified set of video effects. This was enhanced by the easy ability for users to create their own custom effects, using Apple Motion as a development platform. The result has been an entirely new ecosystem of low-cost, high-quality video effects. As attractive as that is, truly advanced visual effects still require knowledgeable plug-in developers who are able to work within the FCPX and macOS architecture in order to produce more powerful tools. For example, other built-in visual effects tools, such as Avid Media Composer’s Intraframe Paint or the Fusion page in DaVinci Resolve, simply aren’t within the scope of FCPX, nor what users can create on their own through Motion templates.

To fill that need, developers like CoreMelt have been designing a range of advanced visual effects tools for the Final Cut Pro market, including effects for tracking, color correction, stabilization, and more. Their newest release is PaintX, which adds a set of Photoshop-style tools to Final Cut Pro X. As with many of CoreMelt’s other offerings, PaintX includes planar tracking, thanks to the licensing of Mocha tracking technology.

To start, drop the PaintX effect onto a clip and then launch the custom interface. PaintX requires a better control layout than the standard FCPX user interface has been designed for. Once inside the PaintX interface window, you have a choice of ten brush functions, including paint color, change color, blur, smear, sharpen, warp, clone, add noise, heal, and erase. These functions cover a range of needs, from simple wire removal to beauty enhancements and even pseudo horror makeup effects. You have control over brush size, softness, aspect ratio, angle, and opacity. The various brushes also have specific controls for their related functions, such as the blur range for the blur brush. Effects are applied in layers and actions. Each stroke is an action and both remain editable. If you aren’t the most precise artist, then the erase brush comes in handy. Did you color a bit too far outside of the lines? Simply use the erase brush on that layer and trim back your excess.

Multiple brush effects can be applied to the same or different areas within the image, simply by adding a new layer for each effect. Once you’ve applied the first paint stroke, an additional brush control panel opens – allowing you to edit the brush parameters, after the fact. So, if your brush size was too large or not soft enough, simply alter those settings without the need to redo the effect. Each effect can be individually tracked in either direction. The Mocha tracker offers additional features, such as transform (scale/position) versus perspective tracking, along with the ability to copy and paste tracking data between brush layers.

As a Final Cut Pro X effect, PaintX works within the standard video pipeline. If you applied color correction upstream of your PaintX filter, then that grade is visible within the PaintX interface. But if the color correction is applied downstream of the PaintX effect, you won’t see it when you open the PaintX interface. However, that correction will still be uniformly applied to the clip, including the areas altered within the PaintX effect. If you’ve “punched into” a 4K clip on an HD timeline, when you open PaintX, you’ll still see the full 4K frame. Finally, you have additional FCPX control over the opacity and mix of the applied PaintX filter.

I found PaintX to be well-behaved even on a modest Mac, like my 3-year-old laptop. However, if you don’t have a beefy Mac, keep the effect simple. The more brush effects that you apply and track in a single clip, the slower the real-time response will become, especially on under-powered machines. These effects are GPU-intensive and paint strokes are really a particle system; therefore, simple, single-layer effects are the easiest on the machine. But, if you intend to do more complex effects like blurs and sharpens in multiple layers, then you will really want one of the more powerful Macs. Playback response is generally better, once you’ve saved the effect and exit back to Final Cut. I did run into one minor issue with the clone brush on a single isolated clip, while using a 2013 Mac Pro. CoreMelt told me there have been a few early bugs with certain GPUs and is looking into the anomaly I discovered. That model in particular has been notorious for GPU issues with video effects. (Update: CoreMelt sent me a new build, which has corrected this problem.)

Originally written for RedShark News

©2018 Oliver Peters