Boris FX Sapphire Time Unit (Download)

Boris FX Sapphire Time Unit (Download)

Boris FX Sapphire Time Unit (Download)

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Boris FX Sapphire Time Unit (Download)

Boris FX Sapphire Time Unit (Download)

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Product Highlights

  • Multi-Host Compatible Plug-In
  • Manipulate Time
  • Works in Adobe, Avid, and OFX
  • CutToDissolve / Feedback Bubble
  • FieldRemove / FlickerMatch
  • FreezeFrame / JitterFrames
  • MotionDetect / NearestColor
  • RandomEdits / Retime
  • TimeDisplace / Trails / and Much More
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Boris FX Time Unit overview

  • 1Description

The Boris FX Sapphire Time Unit is a multi-host compatible plug-in that lets you slow down, speed up, and otherwise manipulate time in various ways. It's supported in Adobe, Avid, and many OFX applications, and can be used in all hosts at the same time on the same computer.

This is the same Time Unit available within the full Sapphire 10 software and can be applied as a credit toward the purchase of the full software should you want to upgrade.

Filters

CutToDissolve
Turns a cut within a single clip into a dissolve. No heads or tails are required; just set the cut point (frame) and CutToDissolve creates a dissolve around that point. Note that this effect does not take two clips; just a single clip already containing a cut. The Cut Point param is key to making it work; whatever frames are on either side of that will be treated as the cut, and the dissolve will be created around them.
Feedback
The previous frames of the input clip are transformed and combined with the current frame to give a variety of effects inspired by video feedback. The output of each processed frame is stored and then combined with the next frame. The feedback is reinitialized whenever any non-consecutive frame is processed: either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary.
FeedbackBubble
Similar to Feedback, previous frames are combined with the current frame while distorting by a bubble pattern. The feedback is reinitialized whenever any non-consecutive frame is processed: either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary.
FeedbackDistort
The previous frames of the input clip are distorted by the gradient of a given Lens input clip and combined with the current frame to give a variety of possible effects. The output of each processed frame is stored and then combined with the next frame. The feedback is reinitialized whenever any non-consecutive frame is processed, either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary.
FieldRemove
Adaptively removes video field interlacing artifacts from areas with motion, without blurring the stationary parts of the image. A 'Motion Matte' is generated internally and the moving areas are deinterlaced with the usual loss of vertical resolution, but the stationary areas are not deinterlaced and should remain sharp.
Flicker
Scales the colors of the source clip by different amounts over time for a flickering effect. The pattern of flickering can be random, a periodic wave, or a combination of the two.
FlickerMatch
Adds flicker to the Source clip using the flicker from a second Match clip. For example, a clip can be brightened in synchrony with a flashing light in another clip. To use this effect, first position the corners of the rectangle over an area of the Match clip which has brightness changes you want to copy. A middle or light gray area is best for this. Then select a frame where you want the Source brightness unchanged, and hit the Set Match Level button. When other frames are processed, the Source brightness will be scaled by the average Match brightness within the rectangle, relative to the Match Level.
FlickerMatchColor
Adds color changes to the Source clip using the color changes from a second Match clip. Similar to FlickerMatch but the process is applied to each color channel. To use this effect, first position the corners of the rectangle over an area of the Match clip which has color changes you want to copy. A middle or light gray area is best for this. Then select a frame for which you want the Source color unchanged, and hit the Set Match Level button. When you process other frames, the Source colors will be scaled by the average Match color within the rectangle, relative to the Match Color.
FlickerMatchMatte
Adds flicker to the Source clip using the flicker from a second Match clip, in the areas specified by a Matte. To use this effect, select a frame where you want the Source brightness unchanged, and hit the Set Match Level button. When other frames are processed, the Source brightness will be scaled by the average Match brightness within the Matte, relative to the Match Level.
FlickerMchMatteColor
Adds color changes to the Source clip using the color changes from a second Match clip, in the areas specified by a Matte. To use this effect, select a frame where you want the Source color unchanged, and hit the Set Match Color button. When other frames are processed, the Source color will be scaled by the average Match color within the Matte, relative to the Match Color.
FlickerRemove
Removes temporal flickering from the Source clip. For example, old footage with uneven exposure times can be smoothed out with this effect. To use this effect, first position the corners of the rectangle over an area where the average brightness should remain constant. A middle or light gray area is best for this. Then select a Source frame that has the desired brightness within the rectangle, and hit the Set Hold Level button. When other frames are processed, their brightness will be scaled so the average brightness within the rectangle is equal to the Hold Level. You can keyframe different Hold Level values over time to account for desirable brightness changes.
FlickerRemoveColor
Removes temporal color changes from the Source clip. Similar to FlickerRemove but the process is applied to each color channel. To use this effect, first position the corners of the rectangle over an area where the average color should remain constant. A middle or light gray area is best for this. Then select a Source frame that has the desired color within the rectangle, and hit the Set Hold Color button. When other frames are processed, their colors will be scaled so the average color within the rectangle is equal to the Hold Color.
FlickerRemoveMatte
Removes temporal flickering from the Source clip using a Matte clip to specify the area where the average brightness should remain constant. To use this effect, select a Source frame that has the desired brightness within the Matte, and hit the Set Hold Level button. When other frames are processed, their brightness will be scaled so the average brightness within the Matte is equal to the Hold Level. You can keyframe different Hold Level values over time to account for desirable brightness changes.
FlickerRmMatteColor
Removes temporal color changes from the Source clip using a Matte clip to specify the area where the average color should remain constant. To use this effect, select a Source frame that has the desired color within the Matte, and hit the Set Hold Color button. When other frames are processed, their color will be scaled so the average color within the Matte is equal to the Hold Color.
FreezeFrame
Freezes motion for each duration of Freeze Frames. For example, if Freeze Frames is 5 and the source frames are: 1 2 3 4 5 6 7 8 9 10 11… the output frames would be: 1 1 1 1 1 6 6 6 6 6 11…
GetFrame
Retrieves a specified frame from the source clip for each destination frame. This is meant to be used by animating the value of Get Frame to speed up, slow down, or reverse the input clip in an arbitrary way as desired.
JitterFrames
Each output frame receives a random frame between the current frame plus and minus the Jitter Frame Dist. The jittering is random but repeatable.
MotionDetect
For each frame, finds the difference between the frame and a frame before it.
NearestColor
Collects pixel colors from the input clip's frames that are closest to the given Match Color. This can create, for example, a background-only image from a clip with objects moving over a blue or green-screen background. It can also be used to accumulate the color of a moving object over a non-colored background. The collected colors are reinitialized whenever any non-consecutive frame is processed, either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary.
RandomEdits
Randomly re-edits the entire source clip. The shuffling is random but repeatable.
RepairFrames
Repairs one or more frames of a clip by replacing them with a time-warped version of the surrounding frames.
Retime
Retimes a clip using optical flow based motion estimation and frame interpolation.
ReverseClip
Reverses the frame order of a clip, and optionally also reverses the fields of each frame.
ReverseEdits
Independently reverses segments of the input clip. For example, if Edit Frame Length is 5, and the input clip frames are: 1 2 3 4 5 6 7 8 9 10 11… the output frames would be: 5 4 3 2 1 10 9 8 7 6 15…
TimeAverage
Each output frame is the average of multiple input frames: from the current frame, back to a given number of previous frames. This is similar to the Trails effect, except all frames within the range are weighted equally instead of fading out, so the end points of the trails are abrupt. Each frame contributes only 1/n of the total brightness, so fast-moving objects against a dark background may seem dim. The average is reinitialized whenever any non-consecutive frame is processed: either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary. This effect does not work properly if processed on fields. Please be sure to process on frames.
TimeDisplace
Displaces the Source clip by variable amounts in time depending on the brightness values of a Matte input.
TimeSlice
Divides the output frame into slices, where each slice receives a different frame from the source clip. An example use of this effect might be to make a turning object twist into a helix shape instead of rigidly rotating. The slices are oriented depending on Slice Direction, and receive relative frame numbers between plus and minus half of Slice Number. For example, if the current frame number is 30, Slice Direction is -90 degrees, Slice Number is 12, and Frame Offset is 0, the result will consist of horizontal slices containing approximately frames 30-6 to 30+6 from bottom to top.
TimeWarpRGB
Shifts the red, green, and blue channels in time by different amounts, to give a temporal chroma distortion.
Trails
The previous frames of the input clip are combined with the current frame to give a variety of 'time trails' effects. The output of each processed frame is stored and then combined with the next frame. The trails are reinitialized whenever any non-consecutive frame is processed, either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary.
TrailsDiffuse
The previous frames of the input clip are processed with a pixel diffusion process and then combined with the current frame. The output of each processed frame is stored and then combined with the next frame. The trails are reinitialized whenever a non-consecutive frame is processed, either the first frame, reprocessing a given frame, or jumping to another frame. You must process multiple frames of a clip in a row to observe the effect, and clearing your image cache before rendering may sometimes be necessary.
Table of Contents
  • 1Description

Boris FX Time Unit specs

License Type Permanent
Host Compatibility All at 64-Bit:

Adobe After Effects & Premiere Pro

CC 2017:
Mac OS 10.9, 10.10, 10.11
Windows 7 SP1, 8, 10

CC 2015.3 & CC 2015:
Mac OS 10.9, 10.10, 10.11
Windows 7 SP1, 8, 10

CC 2014:
Mac OS 10.8, 10.9, 10.10
Windows 7 SP1, 8

CC:
Mac OS 10.7.4, 10.8, 10.9
Windows 7 SP1/8

DaVinci Resolve

12.5:
Mac OS 10.9.5, 10.10.5, 10.11
Windows 8 SP1, 10

12:
Mac OS 10.9.5, 10.10.5, 10.11
Windows 8 SP1, 10

11:
Mac OS 10.8.5, 10.9, 10.10
Windows 7 SP1, 8 SP1

DaVinci Resolve Lite

12.5:
Mac OS 10.9.5, 10.10.5, 10.11
Windows 8 SP1, 10

12:
Mac OS 10.9.5, 10.10.5, 10.11
Windows 8 SP1, 10

11:
Mac OS 10.8.5, 10.9, 10.10
Windows 7 SP1, 8 SP1

The Foundry Nuke

10.x:
Mac OS 10.9 / 10.10
Windows 7, 8
Linux RHEL5 and above

9.x:
Mac OS 10.8, 10.9
Windows 7, 8
Linux RHEL5 and above

8.x:
Mac OS 10.7, 10.8, 10.9
Windows 7
Linux RHEL5 and above

Magix Vegas Pro

13.x:
Windows 7, 8, 10

12.x:
Windows 7, 8

Fusion Studio

8.x:
Mac OS 10.10
Windows 7, 8
Linux RHEL6 and above

7.x:
Mac OS 10.9
Windows 7, 8
Linux RHEL6 and above

Assimilate SCRATCH

8.x:
Mac OS 10.7.5, 10.8.2, 10.9
Windows 7, 8

7.x:
Mac OS 10.7.5, 10.8.2
Windows 7, 8

China Digital Video CDV DX & EX

1.10:
Windows 7, 8

DigitalVision Nucoda HD/Fuse/Compose

2015.3 & 2014.2:
Windows 7

DigitalVision Phoenix Finish/Refine/Touch

2015.3 & 2014.2:
Windows 7

FilmLight Baselight

4.x:
Mac OS 10.7, 10.8

HitFilm Pro

4.x:
Mac OS 10.9, 10.10, 10.11
Windows 7, 8, 10

3.x:
Mac OS 10.8, 10.9, 10.10
Windows 7, 8

New BlueFX Titler Pro

4.x:
Mac OS 10.10
Windows 7, 8, 10

Quantel Pablo Rio

3 & 2.1 rev 4:
Windows 7

SGO Mamba FX

2.x:
Windows 7, 8, 10

SGO Mistika

8.x & 7.x:
Linux RHEL6 and above

Toon Boom

12:
Mac OS 10.9.5, 10.10.2
Windows 7, 8

Avid Media Composer

8.x:
Mac OS 10.8, 10.9, 10.10, 10.11
Windows 7 SP1, 8.1, 10

7.x:
Mac OS 10.7, 10.8, 10.9
Windows 7 SP1, 8

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