Composite Suite Pro features a well rounded collection of visual effects plug-ins that were previously only available in-house at a Hollywood based feature film effects facility. Tested in the rigors of everyday production, Composite Suite Pro provides all that is needed to combine multiple images by utilizing compositing tricks and techniques, color correction, blur, grain, matte manipulation, lens distortion, lighting effects and edge blending. Eradicate the most common effects problems or employ specialized compositing tools for combining imagery such as fire, smoke and explosions. Cutout or isolate objects using a proprietary matte generator or pick from a variety of color correctors and natural lighting effects to spice up your images.

  • Features
  • Examples
  • Downloads
  • Requirements
  • Version History
Light
Before
After
before filter after filter
 

Composite Suite Pro Features:

  • Compositing tricks and techniques
  • Effectively composite fire, explosions and smoke
  • Sophisticated color correction tools such as Color Correct, F-Stop, Printer Points, Telecine and Temperature
  • Edge tools to color correct or blur the composite’s edge
  • Natural lighting effects and glows
  • Proprietary matte generation
  • Matte manipulation using shrink, grow, blur and wrap functions
  • DVE to transform your images
  • Film and HDTV Mask Overlays
  • 32 bit processing
  • GPU Acceleration
  • One Composite Suite Pro plug-in license will allow it to run in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro (including FCPX), Apple Motion 5 and Avid Editing Systems if installed on the same machine.

Blur

Blurs the image with individual horizontal and vertical controls. It’s fast, high quality and blurs outside the frame which removes the dark inward bleeding edges of most blurs.

Blur - before Blur - after

Camera Flash

Camera Flash simulates the overexposure that occurs when a film camera is stopped.

Camera Flash - before Camera Flash - after

Color Paste

Color Paste takes the luminance values of the foreground image and pastes it as a color over the background.

Color Paste - Before Color Paste - After

Color Correctors

Composite Suite Pro includes a number of different color correctors that are handy for adjusting an image’s color. They include: Color Correct, F-Stop, Printer Points, Telecine and Temperature. Manipulation of a variety of different color values of the overall image and separately in user definable shadow, midtone and highlight areas is possible.

Color Correct - before Color Correct - after

Colorize

Colorizes the entire image with a selected color using a variety of colorization modes.

Colorize - before Colorize - after

Colorize Gradient

Using multiple colors, Colorize Gradient colorizes the image according to the image’s brightness values.

Colorize Gradient - before Colorize Gradient - after

Composite

Composite layers a foreground over a background using a matte with the ability to add drop shadows. To create realistic composites, DVE, Color Correct, Blur and Grain controls are provided. Composite also lets you manipulate the matte using grow, shrink and blur tools. Another crucial feature in creating seamless effects, Composite's edge blending allows for color correction, blurring and controlling the opacity of the foreground images' edge.

Composite - before Composite - after

DeArtifact

DeArtifact is handy for cleaning up artifacts caused by DV and HD video footage. In fact, it is useful for cleaning up images that have aliased or jaggy edges. When activated, a RGB to YUV conversion takes place so that you can blur only the U and V color channels. Since this is where most of the artifacting shows up, this has the effect of cleaning up the ratty edges encountered when keying DV or HD video footage. It is usually best to blur mostly on the horizontal axis.

Deartifact - before Deartifact - after

DeFog

Using advanced deweathering algorithms, DeFog restores clear day contrasts and colors of a scene taken in bad weather such as fog and mist. It is also successful in removing the effects of optical Fog and Diffusion filters.

Defog -  before Defog - after

Depth of Field

Selective blur can be added to a scene by isolating and blurring only a portion of the image. The amount of blurring is directly proportionate to the luminance of the matte settings, a gradient or an input image.

Depth of Field - before Depth of Field - after

Drop Shadow

Drop shadows can be added to an image that has an Alpha channel. The opacity, color, blur and transformation of the drop shadow can all be adjusted.

Drop Shadow - before Drop Shadow - after

DVE

DVE allows you to transform your image using Position, Scale, Rotation, Corner-Pin, Shear and Crop controls. Why the name DVE? DVE is an acronym for digital video effects and refers to a real-time image manipulation device which does pans, rotations, flips as well as various hardware-specific effects such as page turns or customized wipes. In the film and video post production industry, DVE is frequently used in reference to transforming the image in some way.

DVE - before DVE - after

Edge Composite

Edge Composite automatically generates an edge matte from an existing Alpha channel and allows you to color correct or blur only the edge of the foreground. You can also mix the edge of the foreground with the background. This is very helpful for seamlessly integrating images as well as dealing with aliased mattes.

Edge Composite - before Edge Composite - after

Edge Glow

Edge Glow isolates lines and edges in an image and then adds glow only to these areas resulting in a stylized look.

Edge Glow - before Edge Glow - after

Film Masks

Film Masks aid you in determining what will be projected on film by adding reticles and or a variable opacity mask to the image. The following aspect ratio’s are supported: 2:40 Common Center, 2:40 Common Top, 1:85, 1:78, 1:75, 1:66, 1:37 and the TV Transmitted Area, Safe Action and Safe Title for NTSC video.

Film Masks - before Film Masks - after

Frame Averager

The Frame Averager mixes frames together to create interesting motion effects. This plug-in is also useful for smoothing out film grain and video noise which can cause problems when pulling a key or generating a matte.

Frame Averager - before Frame Averager - after

Glow Effects

Glow Effects creates diffusion or glows around selected areas of the image.

Glow Effects - before Glow Effects - after

Grain

Grain simulates film grain with control of size, intensity and softness. In addition, a Film Response parameter controls where you will see grain in the image. Popular film stock presets are provided as a starting point to adding grain.

Grain - before Grain - after

HDTV Masks

If your HD images are destined to end up on film, the HDTV Masks plug-in aids you in determining the portion of the HDTV frame that will be projected on film by adding reticles and or a variable opacity mask to the image. The following aspect ratio’s are supported: 1:85 and the TV Transmitted Area, Safe Action and Safe Title for NTSC video.

HDTV Masks - before HDTV Masks - after

Holdout Composite

To add practical fire, explosions, smoke or other footage not containing an Alpha channel is normally a challenge. A normal Math Composite Add function would cause areas of the background to get brighter. This is bad. Using a key of some type would most likely generate unwanted edge fringing. This is also bad. The Holdout Composite is a two-layer/track effect that effectively composites images such as fire, explosions and smoke. This plug-in first creates a luminance matte of the foreground and pastes it as black (or other color) over the background. You then use one of the Blend Modes to place the foreground over the “held out background”.

Holdout Composite - before Holdout Composite - after

Lens Distortion

Lens Distortion corrects for pin-cushioning and barrel distortion of camera lenses. It is also useful for creating the look of a wide angle lens.

Lens Distortion - before Lens Distortion - after

Light

Light can be added to a scene where none existed before just as if you were adding light at the time of shooting. Realistic lighting and shadow is introduced using digital versions of the entire gobo libraries created by Gamproducts and Rosco.

Light - before Light - after

Light Wrap

Light Wrap helps blend the foreground into the background by making the color of the background wrap into the foreground edges without softening the edge. This is accomplished by placing the background layer into a special matte and then combining it with the foreground.

Light Wrap - before Light Wrap - after

Math Composite

Math Composite combines two clips using one of the Blend modes. You can choose from Add, Subtract, Multiply, Screen, Difference, Darken and Lighten.

Math Composite - before Math Composite - after

Matte Generator

The Matte Generator extracts and creates mattes using advanced matte extraction techniques. Methods of matte extraction are luminance, hue, saturation, average, red, green, blue, cyan, magenta, and yellow. Up to 5 mattes can be extracted and combined using Blend modes.

Matte Generator - before Matte Generator - after

Matte Repair

Matte Repair grows, shrinks or blurs a matte. It also is handy for cleaning up impurities in the black or white areas. Matte Repair has the same functionality as Matte Generator except it doesn’t have any parameters dealing with matte extraction.

Matte Repair - before Matte Repair - after

Non-Additive Mix

Known as a NAM, the non-additive mix combines two pictures by controlling their luminance level relative to each other as well as a set mix percentage. This popular video switcher effect has been included to satisfy those die-hard online video editors.

Non-Additive Mix - before Non-Additive Mix - after

Optical Dissolve

Optical Dissolve uses a power function to simulate an optical film dissolve. You see the bright areas of the B side of the dissolve sooner than the darker areas.

Optical Dissolve - before Optical Dissolve - after

Ozone

The Ozone plug-in allows you to manipulate the color of an image with incredible flexibility and accuracy. Inspired by Ansel Adams’ Zone System for still photography, we have created “The Digital Zone System” which takes the spectrum of image values and divides them into 11 discrete zones using proprietary image slicing algorithms. Zones can be created using luminance, hue, saturation, average, red, green, blue, cyan, magenta, and yellow values. With Ozone, the color values of each zone can be independently adjusted until you’ve painted a new picture. Your adjustments occur on a zone by zone basis, but you view the result of all color corrections simultaneously.

Ozone - before Ozone - after

Rack Focus

Rack Focus replicates a true camera defocus by introducing lens Bokeh effects. Bokeh is the Japanese term that describes the quality of out-of-focus points of light. In defocused areas, each point of light becomes a shape--either a circle or a polygon. The shape grows in size as the amount of defocusing is increased.

Rack Focus - before Rack Focus - after

Selective Color Correct

Colors can be selectively isolated through the use of a matte and adjusted using hue, saturation, brightness, gamma, contrast, red, green, and blue controls.

Selective Color Correct - before Selective Color Correct - after youtube lightbox galleryby VisualLightBox.com v5.7

Composite Suite Pro


Product Manual / User Guide

The above software contains a 15 day fully functional trial.

Note: Please download and test the software on your machine before purchasing.

The software will be converted to a permanent version by purchasing a license.

Internet access required during activation / deactivation and to get a trial license.

System / Software Requirements:

  • Adobe After Effects CS5 and up
  • Adobe Premiere Pro CS5 and up
  • Apple Final Cut Pro 6/7/X
  • Apple Motion 5
  • Avid Editing Systems (64 Bit only)
  • Macintosh Multicore 64 Bit Intel® processor
  • Mac OSX 10.7.x - OSX 10.9.x

  • Windows Vista 64 bit, Windows 7 64 Bit, Windows 8 64 Bit

Internet access required for software activation / deactivation / trials

Version 1.5.3 released 02/07/2014

Bug Fixes
  • Multiprocessor Previewing/Rendering in After Effects
    Fixed a problem in After Effects when using the multiprocessor previewing/rendering preference.

Version 1.5.2 released 11/21/2013

Bug Fixes
  • Activation Problem
    Fixed an intermittent activation problem on some systems.

Version 1.5.1 (Mac only) released 11/20/2013

Bug Fixes
  • Manual Activation Problem
    Fixed a problem where Composite Suite Pro would not activate with some licenses created at the Self-Service Website.

Version 1.5 released 11/13/2013

Features
  • GPU Acceleration
    Composite Suite Pro is now accelerated with OpenCL using your graphics card resulting in dramatic speed increases.
  • 32 Bit Floating Point Precision
    Composite Suite Pro can now process with 32 bit floating point precision.
  • Multi-Host Licensing
    One Composite Suite Pro license will allow it to run in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro 6/7/X and Avid Editing Systems.
  • Color Correct
    Added Hue and Saturation to the Shadows, Midtones, Hightlights groups.
    Added Temperature and Cyan/Magenta to the all groups.
  • Final Cut Pro X and Premiere Pro Support
    Final Cut Pro X and Premiere Pro are now supported hosts.
Changes
  • Blur Depth
    Blur Depth has been renamed to Depth of Field.
  • DeFocus
    DeFocus has been renamed to Rack Focus.
  • Disortion
    Distortion has been renamed to Lens Distortion.
  • Glow Edges
    Glow Edges has been renamed to Edge Glow.
  • Grad Controls
    Changed Direction to Type.
    Added Horizontal and Vertical Strip to the Type menu.
    Added an Angle control.
  • Light and Gobo Combined
    Light and Gobo have been combined into one plug-in called Light.
  • Light Gobo Selector
    A browser has been added to visually select Gobo's.
  • Title Blur
    Title Blur has been removed since it's functionality is now duplicated in the Composite plug-in.
Copyright © 2001 Digital Film Tools, LLC. All Rights Reserved