that's OK.
i can't remember if you can fine-tune ImageIntegration settings in BPP (i don't actually use it.) there are probably tutorials out there regarding this, but essentially what you're trying to do is optimize the pixel rejection parameters so that you're rejecting the right amount of pixels from the stack. pretty much the only way this can be done is to examine the rejection maps that come out of ImageIntegration and fiddle with the sigma low/high sliders (assuming you are using a sigma-based rejection method, which you should if you have enough subexposures.) if the rejection maps show nothing, you're not rejecting anything and that's bad. if the rejection maps show a hint of the structure of what you're stacking, you're rejecting too many pixels. also, i've noticed that sometimes i'll have a couple of bad frames in there with really high backgrounds which seems to have fooled the normalization, and this is the cause of too many pixels being rejected. for my camera and projects i find that the proper settings for the sigma high and low are around 3. you can try using that as a starting point and see what you see.
anyway after BPP has done it's thing, it will have left _c_cc_d_r files laying around somewhere in a subdirectory of the output directory you chose. you simply need to open the ImageIntegration process and load those files, then start messing with the rejection parameters. all of the rest of the ImageIntegration settings are correct for Light integration by default, so you don't need to mess with those.
the "true purpose" of the BPP script is to handle the drudge work of calibrating all the lights from all your different filters when using a mono camera. as you can imagine, it gets kind of old repeatedly creating flat masters for 4 or 5 filters, then running ImageCalibration 4 or 5 times each with a different flat master, etc. so yeah, essentially it's purpose is to calibrate your files. obviously when using an OSC there are a lot fewer steps, but still enough to warrant letting a script handle the calibration.
rob