Boris Final Effects Complete 5 AVX v5.0.1 For Avid

Program Name: Boris Final Effects Complete 5 AVX v5.0.1 For Avid
Program Type: AVX Plug-in
Release Date: August 8, 2013
Homepage: http://www.borisfx.com/product/final_effects/
8 D* o' F' \6 S" c3 O$ rInterface Language: Multilingual
Platform: Win64
File Size: 25.27 MB
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% [* C4 n; Q4 [( ]) T: dBoris 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.

: b! l8 d" a2 a, {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.
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These Release Notes contain information regarding features, supported hosts, supported operating systems, installation instructions, known limitations, and other important information about the product.

2 `0 e# G8 O' `3 `FEC 5.0 AVX Filters‌
Blur & Sharpen
( z* D" C2 V. I6 xBlur Channel Blur
Chroma Luma Blur Directional Blur
Sharpen Soften Spin Blur Spiral Blur
Unsharp Mask Vector Blur Zoom Blur

Color Correction
' P2 P! m( ^" ?  b  |Brightness-Contrast Color Balance HLS Color Balance RGB Color Offset
' R0 H$ p- R) GGamma-Pedestal-Gain Invert
8 `/ I/ |) C4 y# B" d1 k9 W: aReplace Color Threshold
: x) H( K& h+ A# S5 DThreshold RGB Tint
Toner
- o; I# M( ^# ]5 P" ~( j  Z! {; d% NDistort
Bend It Bender Bulge
EZ Lazy Waves EZ Ripples
Flo Motion
Griddler Lens Power Pin
Ripple Pulse Slant
* |6 n% E3 k4 @+ x+ V  SSlant Matte
7 ^- w; ?8 i6 OSmear Spherize Split Tiler Twirl
9 ~5 O6 V$ l7 o5 \( o; yWater Waves
; C$ ~1 Y, G% \& ?! N2 i1 DEdges
Burn Edges Gradient Blur Power Ramp Sparkle Edges
" X+ \* O: Q, Q+ O- b. qSpot Blur Spot Feather Spot Frame Spot Tatter
Spot Turbulence Wiggle Edges
( P/ S  V5 E; c5 o" w1 }2 `Image
3 O9 V+ S4 w! d! ]" m. tChannel Noise Composite
0 A3 O4 f9 ]; h, e* ^- e$ pMedian MinMax
& e5 \  w2 i' `0 ^, V4 ZNoise
8 Y7 ~  q2 y' E3 ^1 ?3 [Simple Wire Removal
Light
Light Blast Light Rays
Light Sweep Light Tornado
, T: I  N0 Q3 T, b$ hLight Whirl Spotlight
  d# a; T9 F1 E7 ^$ {$ N  hParticle
) ~, W. ]: i; U' @Ball Action Bubbles Drizzle Hair
Mr. Mercury Particle Systems II Particle World Pixel Polly
Rain Snow Star Burst
Perspective
/ t9 c6 _/ O- P$ H$ e' TAdvanced 3D Cylinder
0 D( k2 Z, q9 }8 BPage Turn Simple Shadow
Sphere
Super Shadow
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Real Time ‌
  _5 ?8 f9 c8 t" G% S' y! |Bend It RT
Brightness-Contrast RT Bubbles RT
Burn Film RT Channel Noise RT
Color Balance HLS RT Color Balance RGB RT Color Offset RT Composite RT
4 M. P; I. D2 R" hEmboss RT
Fractal RT
Gamma-Pedestal-Gain RT Grid Wipe RT
; `& D/ V* b) X% d) t4 bImage Wipe RT Invert RT
* r) ^. M+ L+ ?Jaws RT
; h' _& C* j. E- ?" lMr. Smoothie RT Noise RT
Page Turn RT Power Ramp RT
Rain RT
1 e. @1 o! h7 k2 AScale Wipe RT
Simple Wire Removal RT Snow RT
% i! ?- }6 r6 l/ ASpotlight RT Star Burst RT Threshold RT
3 [/ Q2 t+ h/ F! m9 m* NThresholdRGB RT Tint RT
Toner RT
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9 U3 U/ \2 A3 Q! TStylize
3D Relief Blobbylize Burn Film Emboss Fractal
Glass Glow Glue Gun Kaleida Lens Star
( n* t- y$ g; Y' O# o4 [Mr. Smoothie Repetile Scatterize Video Fragment
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Time
Wide Time

Transition
Blur Dissolve TR Glass Wipe TR Grid Wipe TR Griddler Wipe TR
Image Wipe TR Jaws TR
Lens Wipe TR Light Wipe TR Pin Wipe TR
Radial Scale Wipe TR Rain Wipe TR
Slant Wipe TR Spherize Wipe TR Twister TR
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Transition Effect
Blur Dissolve Glass Wipe Grid Wipe Griddler Wipe
2 X+ }9 D5 ^4 W) S' g& v, ~Image Wipe Jaws
Lens Wipe Light Wipe Pin Wipe
- u/ b8 E( G( sRadial Scale Wipe Rain Wipe
) R4 v/ i, `$ S8 N+ Z) y" kSlant Wipe Spherize Wipe Twister

Two-Input Effect
" B% w% M5 |; |: bAdvanced 3D TR Burn Film TR Page Turn TR Pixel Polly TR Scale Wipe TR
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Filter Apply Modes
6 @) \  H! C1 d: E6 |; L9 Y  |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.

Normal – Applies the light or filter directly to the source image, and the filtered pixels replace the source pixels.
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9 e' w7 D# d; k1 f: V7 A( I0 l0 e( KLighten – 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.
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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.
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  _2 s7 O3 @8 g) Z# uMultiply – 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.

+ x- q. R+ G0 J+ JScreen – 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.
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2 i- B. T/ o4 G7 yDifference – 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.

Difference modes can also exacerbate the noise in noisy video sources. Difference can generate non-Color Safe output.
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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.

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.

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.
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$ C( b$ ]5 Y1 Q9 ~$ B4 {* E+ ~Scale Screen – A useful variation of Screen that produces a darker and less washedout image than the standard Screen.
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0 \7 x9 R% b) J% C5 D" P8 C0 cDifference 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.
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" ~+ a8 J2 N. |, x0 HDifference 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.

% k" W# s7 A! Q7 k% oAdd – Includes the light or filtered output with the source. The resulting color values are clipped at white.

Subtract – Removes the light or effect from the source. This can produce intense and unpredictable colors and make the image appear noisy.

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.
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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.

. \) Z+ n+ u5 A8 f7 KHard 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.

Hue – 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.
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: u6 c" \7 b& [- Z0 B3 j' h1 V, t) ZSaturation – Takes the Saturation of each pixel from the light color or filtered output, and takes the Lightness and Hue from the source image.
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: S4 H" `" H5 D! MColor – Takes the Color for each pixel from the light color or filtered output, and takes the Lightness from the source image.

Lightness – Takes the Lightness or Luminosity for each pixel from the light color or filtered output, and its Color from the source image.

' S# u/ }0 W2 l& ?, lBoost 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.

Boost Expo 2 – Similar to Boost Expo 1, except that this mode uses offset and exponent values different from those used by Boost Expo 1.
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: Z) K, a7 n- y) C& X7 O) jBoost 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.

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.

# w+ R& l, h* @2 a7 @: ]Boost Bias Bias – Increases the contrast of the pixels whose channel values are highest.
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50 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.

Boris Final Effects Complete 5 supports the following AVX 2.0 hosts:
Windows
0 N4 F1 I" a" S3 _. d3 XAvid 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.
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+ p8 K5 i1 C& a0 YMacintosh
5 z/ V' \* }, o: [2 K$ m& WAvid Media Composer v.2.5+ and Avid Xpress Pro v.5.5+
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4 v1 a7 T7 q2 ~! C& Z! OMinimum System Memory Requirements
1 n5 F+ l+ w5 M  p+ RMinimum 1.5GB (assigned to host application)
8 o; U7 L0 Z& E" pRecommended 2GB for HD and high-stream count SD projects

* L- b) ~  F4 l0 _Supported Operating Systems
Microsoft Windows XP SP2 (Microsoft Vista support is planned for a future release)
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
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- H9 A" H% y% N/ z; U& y2 J" ?Working in 16-Bit Color Space
Final 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.

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Download:
FECAVX5.0.0TNB.exe