Note: BCC DeGrain is the former name of the Noise Reduction plug-in in older versions of BCC. It was a temporal noise reduction tool and the new one is vastly better. It was a temporal noise reduction tool and the new one is vastly better.

Table of contents • • • • • • • Plug-ins that will be covered in: • CoreMelt C2 Gadget Editors Tools Noise Limiter • GenArts Monsters GT M_RemGrain • GenArts Sapphire S_Grain Remove • Noise Industries FxFactory Noise Reduction • PHYX Cleaner Fast Noise Reduction • RE:Vision Effects De:Noise • Red Giant Key Correct Denoiser • Red Giant Magic Bullet Denoiser • Tiffen Dfx DeNoise Introduction In my book, (Toolfarm Price: $47.00, MSRP: $49.95), I did a big section in Chapter 14 on noise reduction plug-ins. This article is sort of an update, featuring new plug-ins, all new examples and more information. A little clarification. In video, it's referred to as noise, while in film it's called grain. In film, sometimes grain sets the mood and gives it a gritty feel, but if you're trying to match different stocks or you're mixing film and video sources, you will likely need to remove and match some grain. Where does noise and grain come from?

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In film, it's naturally occuring. Noise is big problem with footage shot in low light and DV footage. There are two types of denoise filtering: spatial and temporal. Spatial filtering analyzes the footage frame by frame, using the whole frame. Temporal filtering will use the frames before and after to average noise. Temporal filtering tends to give motion artifacting and should be used very lightly. Note: I created really nice examples and uploaded them to YouTube but what I found is that the compression of streaming video makes it extremely difficult to show noise reduction.

You'll have to deal with hovering over still images for this article. Noise Reduction Tips • Always use a light touch and do not use degrain or denoise plug-ins too heavily. It is often better to leave some noise in your footage than to over process and lose detail in your shot. Just because you can denoise your footage doesn't mean you should!

• If you have the option to denoise per channel, that is the best option. If you take a look at the separate RGB channels, it's highly likely that your blue channel has the most noise. Removing more noise on the blue channel (or wherever your noise may be) will help keep the detail in your footage. • In After Effects you can view the full RGB and single channels at the time. To do this 'use the pulldown menu at the top of the Composition panel and select New Comp Viewer.

A new tab with the same video will open along the top of the Composition panel. Click to lock one of them and drag the other to the left side of the Composition panel, until the side of the window highlights. Let it go and you should see two videos side by side. Command+Option+Shift+N will split the panel in one click!'

You can do this with all 3 color channels and RGB as well. This hot tip is an excerpt from. Easy resume creator pro 4.12 crack. The noise per channel is obvious when each channel is shown side by side in a quadrant. Red channel, 3. Green channel. Blue channel.

(Footage credit: Angie Mistretta/Toolfarm -, Toolfarm Price: $39.90, MSRP: $42.00). Also used in, Ch. 14.) • Sampling areas for degraining.

If your plug-in allows for choosing your own sampling, like the After Effects Remove Grain plug-in and Cinnafilm Dark Energy Anti-Matter, choose an area that doesn't have texture. For example, if you have a shot of clear sky, the ocean and sand, you would want to sample noise from the sky, where the color is as even as possible. If you take a sample from an area with texture, like sand or moving water, the filters will reproduce that texture. • Denoise before applying a keyer and tracking footage. You will have an easier time getting a clean key and tracking footage. • For matching grain, it is often best to degrain all footage then add grain on all cleaned footage so that all footage matches.