![]() Yours is a unique situation, but it is still possible to address it. Blend modes applied between the mask and the mask fill will usually be pointless. The underlying assumption in both my effect and the Editshare effect is that the mask will be a flat colour - in the case of the Editshare effect, that colour can only be white. It's doing exactly what it's designed to do. That then becomes the master that is blended with the background, so that when it's used alone, that's what you should expect. The colour matched mask will never be as good, but it is still better than the original effect that I posted a few days back.Ĭlick to expand.I designed the effect so that you can mix the mask and the masked fill together by a variable amount. That has now been completely fixed in the luminance masking technique. Previously there could be a hard one pixel line around the edges of the mask under the right conditions. ![]() ![]() In the process of implementing that I have improved the masking. Then just enable the effect and work with it as before. The simplest way to match the colours is to apply the effect, disable it so that the foreground layer is displayed, and use the eyedropper on the colour wheel to select the colour to match. It adds two controls to the effect: one for enabling and disabling colour matching, and the other for selecting the colour to match. The immediate and obvious way to do it would be to use a chromakey, but that wouldn't be particularly effective for colours with low saturation levels. Decreasing Gamma darkens the shadows and increases contrast.Click to expand.OK, after exhaustive testing, yesterday I updated the effect to add a means of generating the mask by matching the colour of the text. Increasing Gamma from the default of 100 lightens the shadows and reduces contrast. You can adjust the midlevel gray values of an image by adjusting the gamma. These options increase rendering times proportionately. The remaining choices, Low, Medium, High, Higher and Highest produce soft shadows of increasing quality. It produces a blur similar in quality to the BCC Blur filter. The Blur Quality menu: sets the quality of the Blur used to soften the shadow.īox is the fastest option and is generally adequate. Increasing Shadow Softness produces shadows with softer edges. A setting of 0 produces a sharply defined shadow with hard edges. Shadow Softness: controls the softness of the edges of the shadows. Shadow Color: sets the color of the shadow. ![]() A setting of 0° places the shadow to the right of the image a setting of 90° places it directly below the image. Shadow Angle: sets the direction of the drop shadow. At a value of 0, the shadow is completely invisible. Lower Shadow Intensity values make the background visible through the shadow. At a value of 100, the shadow is completely opaque. ![]() Shadow Intensity: sets the opacity of the drop shadow, scaled as a percentage. Shadow Distance: sets the distance (in pixels) between the shadow and the image. Warning: The Avoid Clipping Checkbox should be left on unless you need the output to stay at a constant size.For example, you can use this parameter to fade in a title, without fading in the shadow.Īvoid Clipping Checkbox: allows you to render shadows outside the source image. Source Opacity: sets the opacity of the source. Presets and Common ControlsīCC filters come with a library of factory installed presets plus the ability to create your own custom presets and preview them with the BCC FX Browser™.īCC filters also include common controls that configure global effect preferences and other host-specific effect settings.įor more information about working with presets and other common controls, Click Here. The BCC Drop Shadow filter allows you to apply an animatable drop shadow to titles or clips in the timeline. ![]()
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