Site Settings
Chapter Site Settings “Site” refers to the computer system on which Avid Liquid is running and the video peripherals connected to it. Among others, the settings include the selection of connected players and recorders. These settings, which you can access under Edit > Control Panel > Site tab, apply to all system users and, therefore, are not saved for an individual user but are called each time the system is restarted.
Player Settings Player Settings Double-click the icon Player Settings (via Avid Liquid´s Start Menu > Control Panel > Site) to specify players and recorders connected to the system and video, audio and control connections. The dialog box that appears offers two tabs: Settings and Connections. Icon Player Settings Changing Parameters How to change default values page 4 Settings tab Device-specific settings such as drive ballistics, available inputs and outputs, etc.
Chapter Site Settings How to Change Parameters This dialog box is similar to Windows Explorer in terms of its organization. The categories that can be selected appear on the left; to display subcategories, click the plus sign in the box. Use the right-hand field to adjust the parameters for each category by double-clicking a value, entering one with the keyboard or selecting one from the appropriate drop-down menu.
Player Settings Settings Tab This tab can be used for adjusting the technical parameters of the connected devices. Avid Liquid recognizes three categories of players and differentiates among them based on the protocols used for remote control of the devices: Live A virtual player that is not controlled. i.Link DV Controlled via the DV protocol (as per the IEEE 1394 standard). Compatible with all the latest DV and HDV devices.
Chapter Site Settings Assign and Configure Devices The following options allow you to select player and recording devices configure these devices. The devices that appear under Player Settings are available in the Logging Tool, for EZ Capture (DV devices only) and in the Record to Tape tool (recorders only). In the default configuration, three players are configured. You can add additional devices.
Player Settings Default Parameter Matching / Select Device Here you can configure your video devices. First, click the device or connection name on the left of the dialog, then double-check the manufacturer name on the right-hand side. Select the manufacturer of the connected device from the list. Select manufacturer If necessary, you can enter the exact device name in the line above the manufacturer name. Double-click this line to edit it and press ENTER to finish editing.
Chapter Site Settings Live Input (Virtual Live Player) Use the Live Player if the video or audio signal is not from a controllable source (such as TV) or if you are controlling the player source using the controls on the device itself. You can assign a user-defined name for the Live Player. See also “Assigned Name” on page 6. A remark for users of Avid Liquid in combination with analog input/outputs: Use the Live Player to capture analog signals. With IEEE 1394 (i.
Player Settings i.Link DV Devices (IEEE 1394) i.Link DV is a name for devices connected and remote controlled via a DV interface. Other, more or less synonymous names are Firewire or IEEE 1394 (the latter is the official standard name). This interface needs to be integrated in your computer or in the breakout box. With the exception of timing parameters, there are no further settings to define. Timing (IEEE 1394, DV) Double-click the Value you want to edit.
Chapter Site Settings Generic Betacam Driver (Controlled via RS 422) This driver is used to control professional tape decks via a serial cable. See also “Device Control via RS 422 Remote” on page 24. Timing CAUTION: Change these parameters only when the connected device works inaccurately. With Avid Liquid with RS 422 interface, some of the following options do not apply. A special 232-422 cable is needed for RS 422 control. Please contact your Avid Technology, Inc. dealer.
Player Settings Step Emulation Delay [Fields] As the protocol does not define a definite single-step command this behavior is emulated with a jog command at a speed of 1/10 for a certain period of time. With this parameter you can control how long the interface command (1 frame forward / backward) is to be maintained to emulate a one-frame step. Functional Description (RS 422) The technical options for the connected devices are described here.
Chapter Site Settings Video Outputs Depending on the individual device you find the following outputs, either assigned by default (Yes) or not available (No): Composite (CVBS, FBAS) S-Video (Y/C) Component (Y/R-Y/B-Y) SDI SDTI SDTI x (hyper-speed transfer 2x, 4x) The Yes/No settings here describe the standard features of the device. You may add outputs according to your specific studio setup.
Player Settings Options Minimum Preroll PLAY [s] Controls the minimum preroll time used by the driver before automatic preroll adjustment has started during the initial digitization process. If it becomes apparent during the calibration process that the device will never lock faster than with 3 seconds preroll, this parameter should be set to 3 seconds to avoid unnecessary retries during the digitization of the first clip.
Chapter Site Settings Ignore Reference Warnings Avid Liquid displays an error message when the player or recording device signals an imminent problem with the sync or reference signal. Set this value On to ignore these warnings. However, we recommend to pinpoint the cause of the problem, because it may impede the editing accuracy.
Player Settings Connections Tab Use these functions to combine video and audio inputs and outputs of the editing system with the outputs and inputs of the connected players, recorders and live sources. Also select the remote control settings for connected devices. Begin by specifying (click on device name) in the left field to which recorder, player or live source the subsequent settings are to apply.
Chapter Site Settings Video Inputs 1394 - Choose this option if you connected the selected player via an 1394 input (i.Link DV, Firewire). Note for users of Avid Liquid versions equipped with analog signal inputs and outputs: Use the Live Player to input analog signals. With analog video inputs there is no remote control via IEEE 1394 possible. CVBS refers to the cinch connector video input on the break-out box (usually marked yellow).
System Settings System Settings Systems Settings contains parameters which affect the system itself, such as the still image display or the render file storage location. Double-click the icon Systems Settings to open the dialog box.
Chapter Site Settings General Tab This tab contains the following sections: General page 18 Video display page 18 Rendering page 18 General Digital Audio Reference Level You can set the audio reference level in single steps in a range from -9 dBFS to -20 dBFS. The red range (start of overload limit) of the Avid Liquid audio level meters is adapted accordingly (for instance in the Audio Tool).
System Settings Inputs/Outputs Tab On this tab, you can configure the inputs and outputs. (Recorders and players are assigned on the Player Settings > Connections tab.) Video Inputs IEEE 1394 each available DV device is listed here with its manufacturer name and a number; if no device is connected, it says so: No device. The system receives this information directly from the Windows operating system, which in turn checks all i.
Chapter Site Settings Video Outputs IEEE 1394 > Selected Device same functionality and setting as described above. IEEE 1394 > DV Output Format Select either DV or DVCPro 25. If you want to output DV captured material via Record to Tape on a DVCPro device, you need to switch formats (and v.v.). Be aware that Timeline clips will be rendered to the other format before the recording can start.
System Settings HDV variants In many ways, the HDV field is still under development. Standards have not yet been established, not even under specific names, and different manufacturers are pursuing different interests, even though they all refer to it as “HDV”. As a rule of thumb, select HDV2 for a Sony device and HDV1 for a JVC device. Additional criterion: HDV1 for up to 1280x720 pixels; HDV2 is always 1440x1080. The numbers 50 and 60 refer to the (former) PAL and NTSC regions.
Chapter Site Settings Audio Inputs IEEE 1394/DV Embedded Here you can mute the incoming audio signals (On), provided that the player is not in play mode. Audio Outputs Sound device > Selected Device If you have a choice here, select the sound card or driver that you would like to use for your system’s audio output. You may use high-quality audio cards based on the ASIO standard, e.g. for 5.1 or 7.1 sound. Make sure that the ASIO version is 2.0 or higher.
FX Editors Settings FX Editors Settings These settings influence the quality of effects, both in finished sequences and in the preview in the Effect Editors. Double-click the icon FX Editors Settings to open the dialog box. Icon FX Editors Settings Please be aware that these settings apply only to rendered (Classic) effects. Realtime effects are not affected by these parameters.
Chapter Site Settings System Tab Video Draw Method - Bitmap (BMP) is the default setting. Other options are Video Driver, Video for Windows and Bitmap (DIB). Image Cache Size - used for specifying cache size. Default setting: 64megabytes. If your system is well equipped with RAM, increase the setting to achieve higher performance. Avid Liquid supports the MMX function of Pentium processors. If your computer can handle MMX extensions, activate this function to increase system performance.
Plug-In Settings Plug-In Settings These settings are used for specifying which folder contains the additional video filters and video effects to be used with Avid Liquid. The plug-in files must be compatible with the “Adobe Premiere interface for plug-ins” (*.prm). Double-click this icon to open the Plug-In Settings dialog box. Icon Plug-In Settings Click Add and select the directory containing the plug-in you want to add.
Chapter 26 Site Settings
Index Site Settings Index Site Settings A CVBS Video Input (Connections) 16 Video Output (Player Settings) 12 Advanced Settings (FX) 24 AES/EBU Audio Output (Player Settings) 12 Analog Audio Input 16 Audio Output (Player Settings) 12 Audio DV Embedded 15 Audio Reference Level Adjusting 18 Auto (VITC/LTC, Player Settings) 13 Image Cache Size (Render Options) 24 Inputs see also Connections Audio 16 Video 16 D Destination Volume Rendering (System Settings) 18 Digital Audio Player Settings 11 DV Embed
Index Site Settings P Play TC Delay 10 Player Settings 3 Assigned Name 6 Changing Parameters 4, 17 Default Parameter Matching 7 Functional Description 11 Live Source 8 Options 13 Remote IEEE 1394 15 Tape Protection 14 Timecode 13 Timing 10 Players/Recorders, Settings 5 Plug-In Settings 25 Position Request 10 Preroll Player Settings 13 Properties FX Editors 23 Display (Odd/Even/Both) 18 S-VHS see Y/C S-Video see Y/C System Settings 17 DV output format 20 Holdoff 18 Restore Initial State 17 Still Displa
Avid Liquid Reference Manual
© 2005 Pinnacle Systems GmbH. All rights reserved. November 2005 / Pinnacle Systems Documentation, Munich, Germany liquid.documentation@pinnaclesys.com Copyright and Protective Rights This manual or the software described herein, in whole or in part, may not be reproduced, translated or reduced to any machine readable form without prior written approval from Pinnacle Systems GmbH.
Trademarks © Avid Liquid, Avid L iquid Chrome HD , Avid Liquid Blue , Avid L iquid , Avid Liq uid P RO are logos and trademarks of Pinnacle Systems GmbH and Pinnacle Systems, Inc. Pinnacle Systems and the Pinnacle Systems logo are registered trademarks of Pinnacle Systems, Inc. Sony, ClipLink, DV, DVCAM, Digital Betacam, Betacam SP, Betacam SX, Hi8, Video8, HDCAM, D2, Digital8, D8, i.LINK and the i.
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Contents Chapter 1 Introduction ......................................................................................... 17 Preface.................................................................................................. 19 Sources of Information.......................................................................... 20 List of Chapter....................................................................................... 21 Chapter 2 Documentation..............................................
The Sequence Editor ...................................................................... The Logging Tool............................................................................. The Effect Editors............................................................................ The Audio Editor ............................................................................. The Trim Editor................................................................................ Chapter 4 55 56 57 58 59 Signup.......
High Definition on the Timeline ............................................................. Editing HD (MPEG2) Clips .............................................................. High Definition and Effects.............................................................. HD Monitoring and Preview ............................................................ Combining SD and HD Clips in the Same Sequence ..................... High Definition at the Output.......................................................
Creating Objects ................................................................................. Creating a Color Clip..................................................................... Generating a Signal Clip (Reference Level Tones) ....................... Creating Titles ............................................................................... Producing Customized Effects ...................................................... 169 170 172 172 172 Voice-Over ....................................
VideoMachine DBF Import.................................................................. 200 Import Projects to Pinnacle Studio...................................................... 201 Chapter 8 Networking with Avid Liquid ............................................................... Assign network drive or directory .................................................. Network settings............................................................................ Shared Projects............................
Chapter 9 10 Preparing for Editing: Storyboarding ............................................. Batch Digitize (Batch Capture)...................................................... Consolidate ................................................................................... Condense...................................................................................... ClipSync ........................................................................................
Special Functions................................................................................ Matte Track and Track Matte ......................................................... Nesting Sequences (Building a Container) ................................... Fullscreen Display......................................................................... Maximum Inlay Size ...................................................................... Inlay Quality Menu / Inlay Size .....................................
Chapter 11 Realtime FX ....................................................................................... 605 Always Maximum Performance........................................................... 607 Chapter 12 Rendering and Realtime ..................................................................... When Render, When Realtime?.................................................... Realtime and the Effect Preview ...................................................
Matte ............................................................................................. Noise ............................................................................................. Particles ........................................................................................ Stylize............................................................................................ Video .............................................................................................
Chapter 14 Audio.................................................................................................. 805 Audio Postproduction and Audio Effects ............................................. Basics............................................................................................ Audio Tool ..................................................................................... Audio Monitor ................................................................................ Audio Editor....
Chapter 17 Export................................................................................................. 961 Record to Tape.................................................................................... 963 Record........................................................................................... 965 Stripe Tape .................................................................................... 968 Export to File........................................................................
Modifiers and Keyboard Shortcuts (Defaults).............................. 1017 Avid Liquid Control Assigning Keys ............................................ 1021 Glossary........................................................................................... 1023 Index.................................................................................................
Chapter 1 Introduction
Chapter 1 Introduction This purpose of this introduction is to provide you with an overview of Avid Liquid and familiarize you with existing documentation.
Preface Preface Avid Liquid is the professional solution for professional video editing on a computer. All its functions are specifically adapted to meet the requirements of today’s video editing. Its main focus is on the basics: image, audio and editing. Avid Liquid is operated intuitively. Beginners will quickly produce successful results and professional editors will achieve the highest productivity and precision.
Chapter 1 Introduction Sources of Information Product Manual This separate manual describes hardware and software installation, the connection of system components and hardware, non-product-specific settings, etc. Avid Liquid Reference Manual This manual is available in hardcopy form and as well as Acrobat pdf. It describes all functions of Avid Liquid. It is suitable for learning the basics of operation as well as for looking up specific functions as you need them.
List of Chapter List of Chapter Introduction This chapter provides you with an initial introduction to Avid Liquid. It also tells you about sources of information that will help you work with Avid Liquid ( page 17). Documentation This chapter familiarizes you with the user interface and Online Help and offers you tips on the effective use of this documentation ( page 25). Basics This chapter describes the Avid Liquid user interface and introduces you to the terminology used ( page 33).
Chapter 1 Introduction Finish This chapter provides general and introductory information on the effects in Avid Liquid, as well as descriptions of the Classic Effect Editors ( page 509). Software-Based Realtime Effects These effects take advantage of the performance capabilities of modern computer systems by using the graphics-card and mainboard processors for the realtime processing of effects. This chapter also contains a description of newer (> V 6.
List of Chapter Customize Avid Liquid (User and Site Settings) How to configure your Avid Liquid workstation and how to create, customize and save your own user profiles ( page 1003). Glossary and Index The Appendix contains a comprehensive glossary of video, editing and computer terms, as well as the index ( page 1023).
Chapter 1 24 Introduction
Chapter 2 Documentation
Chapter 2 Documentation This manual for Avid Liquid contains all information available at the time of printing of this manual.
Conventions and Symbols Conventions and Symbols This section describes the conventions used to identify special texts, such as warnings. Caution Calls the reader’s attention to particularly important information, or especially “dangerous” actions, i.e. actions that could lead to a loss of data. Note Calls the reader’s attention to important information and practical tips. Functions of Specific Products Some of the functions described in the manual apply only to a specific product.
Chapter 2 Documentation Keyboard Symbol Many of the functions in Avid Liquid can be executed by means of keyboard shortcuts. This symbol identifies a keyboard shortcut. The key names are written in small caps (example: DEL, SHIFT, CTRL). Mouse Wheel If your mouse has a wheel for scrolling, you can also execute some functions using the mouse wheel; move the Playline, for instance.
The Online Help The Online Help You can call Help either from the menu bar or by pressing F1.
Chapter 2 Documentation Title Bar The title bar is the same as in all Windows windows (see Windows manual). Tabs in the Help Window Clicking one of the rear tabs brings to front its corresponding content: Online Help The “Online Help” tab contains the table of contents, the index and the contents window for Online Help. Texts within the paragraphs that are marked in blue indicate cross-references. Online Manual The Avid Liquid Online Manual reflects the contents of the (hardcopy) Reference Manual.
The Online Help Toolbar Contents/Index Click the “display table of contents” button to view a list of topics by chapter. Then double-click a chapter or topic to open the particular document. Under “List of Chapter” on page 21 of the Introduction, you will find a brief overview of the contents of each chapter. Click the “display index” button to view a list of index entries in alphabetical order. In the entry field above the list, enter either the entire word you are searching for or the first few letters.
Chapter 2 Documentation Information Window The information window displays text and illustrations of the help topics. If the topic does not fit in the current window size, scrollbars appear along the margin. Drag the bar downward to advance toward the end of the topic or click the top or bottom arrow. An arrow button appears in the bottom left-hand corner of each help page. Clicking this arrow returns you to the beginning of the help page.
Chapter 3 Basics
Chapter 3 Basics This chapter features a quick introduction in Avid Liquid: the most important software modules, the most important terms, the general principles behind their operation.
Starting and Exiting Starting and Exiting Avid Liquid Chrome HD Avid Liquid Chrome HD only: In order to launch Avid Liquid, you must log on to Windows with power user or administrator rights. Otherwise the editing hardware will not be recognized. Starting Avid Liquid 1 Switch on all the peripherals, including the VGA monitor(s), A/V disks, video recorder and A/V monitor, etc. 2 Start your computer.
Chapter 3 Basics Menus, Dialog Boxes and Tool Buttons This section provides you with an overview of elements frequently used in Avid Liquid. Menu bar As of Version 6, a standard Windows menu bar is available along the top of the program window. It contains the usual menus, including File, Help and Edit, as well as menus specific to Avid Liquid. See also “Standard Windows Menu Bar” on page 51. Shortcut Menus Note: Shortcut menus are always available.
Menus, Dialog Boxes and Tool Buttons Tool Buttons and Toolbars In Avid Liquid, functions (such as “Play”) are called and executed either via a shortcut menu or via tool buttons. Tool buttons are found in toolbars (appear horizontally or vertically in the interface). Sometimes the button you need may not be included in the toolbar (due to restricted space). Nevertheless, you can determine for almost each toolbar which buttons it will contain and how these buttons will be arranged.
Chapter 3 Basics Dialog Boxes Dialog boxes contain information, let you specify functions and select options.
Menus, Dialog Boxes and Tool Buttons Typical Elements in Dialog Boxes Most dialog boxes have a similar layout and contain the following basic elements: Tabs Clicking one of the rear tabs brings its content to the front. Sample tab Entry Fields Entry fields allow you to enter text. Click in the entry field and make your entry via the keyboard. Confirm with ENTER or use TAB to jump to the next field. Check Boxes Click a check box or to select the corresponding option.
Chapter 3 Basics Buttons in Dialog Boxes These buttons apply to all settings of a dialog box. Apply and Close Click to apply the dialog box settings to the current item and close the dialog box. Cancel Click to close the dialog box without applying any changes. This is the same as closing the dialog box from the title bar or the ESC key. Restore Initial State Restores all settings to the state they were in when the dialog box was first opened.
Tour de Avid Liquid Tour de Avid Liquid If your are not familiar with Avid Liquid, have a look at the next few pages. We would like to introduce to you some of the most important software modules, viewers and editors.
Chapter 3 Basics Inlays Inlay windows let you have a look at your video (moving or still), titles and graphics, effects to be rendered, etc. Even audio is displayed - as wave form. Placed around the inlay windows you find all kinds of functions and displays. The example below (a snapshot taken from the Clip Viewer) shows the position of the Playline and the duration of the clip between the mark-in and mark-out points.
Tour de Avid Liquid Picons All objects in Avid Liquid can also be displayed in Picon view. Picons (picture icons) are still images that help you identify clips. Picon view is ideal, for example, for developing a storyboard. Picons are found on the Avid Liquid desktop, in the Project window, on the Timeline and in numerous dialog boxes. For more information on Picons, see “Picon View” on page 255 and “Picon Play” on page 302.
Chapter 3 Basics Right-click the symbol to display a shortcut menu with the following options: Show latest line of error log Opens a text box in the taskbar displaying the latest message. Show error log Opens the list box with all the lines. Reset error indicator Deletes all lines. Show system info Displays system info (same as Control Panel > Site > System Settings > System Info).
Tour de Avid Liquid Select Video Output (LIVE Output) Depending on the connected hardware (e.g. Avid Liquid Pro Box), you can select various analog video outputs here. The option Liquid > IEEE 1394 activates output via the DV interface (useful if you have a TV monitor connected to your camcorder). Note that realtime effects can be previewed only via an analog output and in the Master Viewer’s video inlay.
Chapter 3 Basics InterCom Click this icon to open a dialog box that can be used by members of a workgroup to exchange information. When a message is received, this icon is replaced by a flashing reddish-orange telephone icon ( page 207). (For Avid Liquid , available only with the Broadcast option). Desktop Views The Avid Liquid desktop is able to display several windows at once, and you can configure them on the desktop in different ways.
Tour de Avid Liquid Views (One Monitor) - Timeline only - Sequence Editor above, Project window below - Project window above, Timeline below - Project window only - Sequence Editor above, Timeline below - Single Monitor View (Project window, Source/Master Viewer and Timeline) The most common views are “Project window only” for developing Projects and “Project window above, Timeline below” or “Sequence Editor above, Timeline below” for the actual editing.
Chapter 3 Basics Using the Project Browser The Project Browser proves especially useful when working on a single monitor system. When active, the Project Browser takes up some space of the Timeline. Content area Show/hide rack/ folder area Views Project shortcut menu Rack/ folder area Project Browser The Project Browser is a miniature Project window. Use the this tool button to call up the browser.
Tour de Avid Liquid Show/Hide Rack Tree Click here to either show or hide the rack/folder area, depending on the current view. Toggle tabs Click to toggle available Project tabs. Switch Project In case you need material from a Project other than the current, it is possible to switch Projects. The current Sequence remains on the Timeline. To do so, right-click the Show/Hide Rack Tree button. You get a list of the most recent Projects you worked on (same list as in the Open/Create Project submenu).
Chapter 3 Basics Views (Two Monitors) - The Timeline appears on both monitors - The Project window appears on both monitors - Left monitor: Sequence Editor above, Project window below.
Tour de Avid Liquid Standard Windows Menu Bar The menu bar is located along the top of the program window. You can use the usual Windows buttons in the top right-hand corner to minimize or maximize the program window, but not to scale it to a particular size. Most of the menu commands can also be accessed in other ways. For example, it is also possible to open the Logging Tool for capturing video and audio by clicking a tool button or pressing a function key.
Chapter 3 Basics The Trash To remove items from Racks, or shortcuts from the desktop, you can drag them to Trash. The can expands to indicate that there are items in it. The Trash tooltip, which appears when the mouse pointer rests on the icon for more than one second, indicates the number of items in Trash. Right-click Trash to access its shortcut menu. Open opens a window that displays Trash contents. You can drag items from the Trash window to the Project window to restore them.
Tour de Avid Liquid The Project Window In this window, you can administer all the items needed for editing with Avid Liquid. The Project window displays all the elements for the currently open Project, including audio and video clips, effects, graphics, etc. Similar in design and function to the Windows Explorer, the Project window uses a hierarchy of folders that you can customize to suit the Project and your own preferences.
Chapter 3 Basics The Timeline The Timeline is the workspace in which you compile a film (in Avid Liquid known as Sequence) from the individual objects in the Project. Objects are placed on Timeline Tracks. You can select the number and size of the Tracks. Other elements used with the Timeline include the toolbar, Playline, Timecode Display and Timecode Bar. For more information on the Timeline and on editing video, see “Timeline Layout” on page 368.
Tour de Avid Liquid The Sequence Editor The Sequence Editor combines the Source Viewer, Master Viewer and the Timeline. The Source Viewer (“player”) displays the clip that you want to edit. The Master Viewer (“recorder”) lets you play the Sequence located on the Timeline. For more information, see “Sequence Editor” on page 403.
Chapter 3 Basics The Logging Tool Before you can edit a video in Avid Liquid, the corresponding raw material must be available on your computer or within in the network. The Logging Tool lets you transfer the video data to your hard disk (mostly from a tape). Plus, you can control incoming audio and name clips, and apply a primary realtime color correction (Avid Liquid Blue only). For information on working with the Logging Tool, see the chapter “Input” on page 103.
Tour de Avid Liquid The Effect Editors With the Effect Editors, you can create Transitions and clip effects (FX).
Chapter 3 Basics The Audio Editor Most of the work that you do with audio material requires the Audio Editor. In the standard view, the Audio Editor replaces the Source Viewer above the Timeline and starts with the Mixer tab in front. The second tab contains Output Mapping. It allows you to mix audio signals in subgroups and distribute them to the available outputs. See “Audio Editor” on page 824.
Tour de Avid Liquid The Trim Editor With the Trim Editor, you can optimally coordinate movement in the image for editing purposes and precisely trim transitions between individual cuts. The two inlays show you the frames before and after the edit point. You can check the edit in Preview mode. The Slip Clip function allows you to trim the mark-in and mark-out simultaneously. See also “Trim Editor” on page 440.
Chapter 3 60 Basics
Chapter 4 Signup
Chapter 4 Signup You do not necessarily have to log on to Avid Liquid in order to work with the system, but doing so offers certain advantages, especially when several users are working on the same system. If you log on under a specific user name, - The last Project edited under this name is opened with exactly the same status that it had when it was last exited. - The Avid Liquid user interface is configured with the customized settings for this user (toolbars, keyboard assignment, etc.).
Logging on As an Existing User Logging on As an Existing User If other users are already registered on the system, the User Login dialog box will contain a list of names. Select the appropriate name and click OK. On initial installation of Avid Liquid in a directory where no previous installations exists, only one Default User setting is being created instead of the usual six predefined User Settings you may know from earlier versions (see figure).
Chapter 4 Signup New User/Initial Login 1 In the User Login dialog box, select New User to create a new user. 2 Then enter a name and select a user profile from the list; you can select either: Default - Basic software setting or If any are present, another registered user or a sample user (basic, etc.) with his or her customized settings. In other words, you can either work with the settings of another user or use these settings as a basis for defining your own settings. 3 Click OK.
Load User Profile Load User Profile If you have been working on a different Avid Liquid system, you can load your own individual settings here. In the dialog box, enter the source of this file (such as a diskette) and then open the file. The user name appears in the list and you can now select it. For information on saving User Profiles, refer to “Save User” on page 69.
Chapter 4 Signup User Details You can set up a new user by clicking User Details in either the User Login or New User dialog box. The User Details dialog box lets you add or change the password and comments for a user. User Details Comments This option is intended not so much for biographical information as for a description of the user profile; you can configure your own aliases and optimize them for special applications (for example, “Audio User”).
User Details Passwords Avid Liquid permits you to use a password to protect registered user settings against unauthorized access. Note that a password does not protect a Project against access; it protects a user profile. If you wish to protect the overall system, use a Windows password (see the Windows manual). Adding/Changing Passwords In the User Details dialog box, click Password Protection to enable it. This opens the Change Password dialog box.
Chapter 4 Signup Remove User The User Selection box also lets you remove users. Select the user to be removed in the Registered Users list, then click Remove User. If the user has password protection, enter the password to delete the user name from the list. Avid Liquid prompts you to confirm before removing the user from the list.
Save User Save User To save the settings of a specific user, use this function. For example, you can save the settings on floppy disk so that you can use them on a different system; see also “Load User Profile” on page 65). 1 Select a User from the list and click this button. In the dialog box that appears... 2 ... specify where you want the data to be saved.
Chapter 4 70 Signup
Chapter 5 High Definition
Chapter 5 High Definition This chapter describes the HD capabilities of Avid Liquid.
Basics of High Definition TV Basics of High Definition TV This section contains basic information on HDTV. TV of the future The meaning and benefits of HDTV page 73 Filming in HD What changes... page 76 Editing HDTV What stays the same... page 76 HDTV basic data Overview of the standards page 77 TV of the future High Definition TV (HD or HDTV) means better images and better sound that is almost cinema quality.
Chapter 5 High Definition Digital HDTV is digital, from its recording to its output on the TV set. It is digitally recorded, digitally edited, digitally broadcast or transmitted via a cable network, and received on a digital device. (Converters make it possible to continue using analog TVs and video monitors.) Compressed/uncompressed HD video is generally compressed as per the MPEG2 Standard in order to reduce the data rate.
Basics of High Definition TV Progressive NTSC and PAL/SECAM work with fields. Each of the 30/25 images recorded per second is played twice on the TV screen - once on the even-numbered lines (2, 4, 6, etc.) and once on the oddnumbered lines (1, 3, 5, etc.). This interlacing keeps the image from flickering. TV that is based on the HD standard can (but does not necessarily have to) display full frames, at a rate of up to 60 fps (frames per second).
Chapter 5 High Definition Filming in HD When filming in HD video, PAL and NTSC filmmakers face a new set of creative challenges: The cinematic widescreen format (16:9) requires a new type of image composition and a different resolution for scenes. There tends to be “more” in the image. Progressive mode (frames at a frequency from 24 to 60 fps) can make movements in the image appear differently than they typically did in interlaced mode (field mode).
Basics of High Definition TV HDTV Basic Data There is no definitive HD standard, but a whole range of different substandards. It is not yet clear which of these substandards will prevail. The individual substandards listed below are not directly compatible. Standard Television (SD) Production and Transmission Standards Lines (total) Lines (active) Aspect ratio Frame rate / mode 525 (NTSC) 486 4:3 (rectangular pixels) 29.
Chapter 5 High Definition Digital TV Production Standards Production standards are relevant for filming (recording) and post-production. The table below lists the drop frame formats that are eliminated by the send standard. Active resolution (h x v) Resolution (all lines) Aspect ratio Frame rate / mode 1920 x 1080 2376 x 1250 16:9 (square pixels) 50p, 25i 1920 x 1080 2640 x 1125 16:9 (square pixels) 25p, 25i 1920 x 1080 2200 x 1125 16:9 (square pixels) 60p, 59.94p, 30p, 29.97p, 30i, 29.
Basics of High Definition TV HDV: HDTV for Consumers and Professionals The HDV standard introduced by Canon, JVC, Sharp and Sony is intended to make HDTV available in the consumer sector as well. This format, which is also based on MPEG2 compression, is transmitted via the IEEE-1394 interface (DV, FireWire) and provides two audio channels (MPEG1 Layer 2, 16-bit, 48 kHz @ 384 kbps). It is recorded on standard (mini) DV tape.
Chapter 5 High Definition Device control and timecode HDV/MPEG2 devices can basically be controlled via the DV protocol. However: There is no single-frame stepping (frame-by-frame transport) comparable to standard DV. This means you cannot manually jump frame by frame to timecode positions. Some devices (e.g. the Sony HDR-FX1E) do not display an image in still mode in Logging Tool Video Inlay. This is due to the IPB structure of MPEG2 video recording.
Basics of High Definition TV The levels define the bitstream parameters, such as frame sampling, resolution and bit rates: Main Level (ML) for SD formats High Level (HL) and High1440Level (HL14) For HDTV up to 1920x1152 or 1440x1152 You will find these designations with the Codec Settings or in the Logging Tool, e.g. an entry such as MPEG-2 MP@HL: the profile before the @ and the level after. In the table below, note that the resolutions and bit rates (Mbps) specified are the maximum values.
Chapter 5 High Definition High Definition in Avid Liquid The advent of high definition video resulted in several changes in Avid Liquid. This section summarizes the what, where and why of those changes.
High Definition in Avid Liquid HD-Compatible Products under Avid Liquid All Avid Liquid products (Avid Liquid Blue , Avid Liquid Chrome HD and Avid Liquid ) can work with HDV, D-VHS and MicroMV at the input and output via the IEEE-1394 interface. Avid Liquid Chrome HD permits uncompressed HD (up to 1920x1080) in the SDI input and SDI output via special breakout boxes. All Avid Liquid products can import and edit HD media files of any format via a network or data volume.
Chapter 5 High Definition Timecode Systems HDTV comes with a variety of frame rates (i.e. the number of frames played per second of video). As a result, the previously manageable range of timecode systems offered has grown slightly. The eleven different TC systems in Avid Liquid’s TC displays are identified by the separator between the positions (period, comma, semicolon, colon).
High Definition in Avid Liquid Multiformat in Projects and on the Timeline Multiformat in Avid Liquid means: You can import any clips and media data to one and the same Project and view and edit them in the Project and on the Timeline, regardless of their origin (PAL, NTSC, HD or SD). Avid Liquid can handle all formats and timecode systems.
Chapter 5 High Definition Depending on the setting for Scaling, one of the following may occur: Scaling not activated The image is centered in the image window. At a higher resolution, part of the image is displayed outside the image window; at a lower resolution, a border is visible on all or just two sides: 4:3 PAL clip in a 16:9 1280 x 720 image window without scaling Scaling activated The image is scaled, that is, stretched or squeezed, depending on the scaling option selected.
High Definition in Avid Liquid Timeline and Master Viewer Basically, the same applies to the Timeline and Master Viewer as to the other two viewers. It is possible to combine clips with different aspect ratios and resolutions in one Sequence. However, you will probably prefer to try adapting the non-conforming clips to the Timeline or Sequence format selected, because a mixed master is undesirable.
Chapter 5 High Definition Timeline and Master Viewer On the Timeline, there can be only one timecode system per Sequence. Timeline clips whose TC system differs from the TC system configured for the current Sequence are always played at the current frame rate. This means either that frames are omitted or that new frames are interpolated; the clip length remains the same. The system first attempts to accomplish this using a realtime effect. If it is unsuccessful, the relevant clips are rendered.
High Definition in Avid Liquid Effect Viewer If the effect is applied to a Timeline clip, the Effect Editors and their Effect Viewers adopt the settings of the Timeline and Master Viewer. If the effect is applied to a Project clip, the clip retains the original TC system, aspect ratio and resolution. Nevertheless, the effect parameters themselves are non-format-specific, meaning that stored effects can be applied to all possible TC systems, formats and resolutions.
Chapter 5 High Definition Quality Ranks Cautionary note: Unless you have a very good reason for making a change, always keep these quality ranks set to Normal wherever you find them. For more information, see the next section. The quality ranks do not affect the video’s image quality when capturing! “Quality” is a subjective rather than an exact variable. The final decision belongs to you or your customer.
High Definition in Avid Liquid 4 Batch the Sequence(s) in the master format using, for example, Uncompressed (Batch Digitize module). Call this format “Highest“, for example (it basically makes no difference). The media files at level “Medium Low” are retained. 5 Under Timeline Properties > (Minimal) Media Quality, change the Sequence(s) to the mastercompatible format (in our example, “Highest”). When playing the material, the system now accesses the uncompressed media files.
Chapter 5 High Definition High Definition at the Input An HDV or MPEG2 signal can be played via the DV (IEEE 1394) interface of the editing computer and recorded with the Avid Liquid Logging Tool or EZ Capture.
High Definition at the Input Control Functions and Display in the Inlay HD1 and HD2 devices (e.g. camcorders) can be controlled via the IEEE-1394 interface using the control functions of the Logging Tools/EZ Capture, but not necessarily with the same level of convenience experienced with DV (for information on the limitations, see “Device control and timecode” on page 80).
Chapter 5 High Definition HDV Batch Capture For batch capture, the source material needs a reliable timecode, especially if you are planning on digitizing clips more than once using batch capture (for example, to restore an old Project whose media data has been deleted). Deviations by even one or two frames can make edited Sequences unusable or result in a great deal of trim work. With HDV, the technical requirements for batch capture are not necessarily optimal, above all with HD1 devices.
High Definition at the Input HD Capture Using Avid Liquid Chrome HD: Workflow To ensure an effective workflow, edit your media data in the same format, from shooting to master, especially with regard to the frame rate. Although conversions are possible, they usually involve sacrifices in quality, time or cost.
Chapter 5 High Definition 6 External monitor: SD Standard The HD video signal can also be directed to an SD monitor (NTSC or PAL, 4:3 or 16:9) via the analog output of an SD breakout box. (Edit > Control Panel > Site > Chrome HD Calibration Controls > Standard > SD Standard). Connect an HD monitor to the Pro HD Box or HD&SD box or to the HD recorder (looped). 7 Primary output and Genlock The “primary output” is optimized for synchronous output (Genlock). The recorder should be connected via this output.
High Definition on the Timeline High Definition on the Timeline This section provides information on HD clips and effects on the Timeline. Basically, you can combine clips of all formats and codecs in one and the same Sequence. For the smoothest workflow and best performance, however, try to use material that is as homogenous as possible.
Chapter 5 High Definition HD Monitoring and Preview The image of the HD clips from the Timeline is displayed in the Master Viewer inlay. HD clips can also be displayed in the Source Viewer, Clip Viewer and Effect Viewers. Using fullscreen display In order to enjoy the biggest and best (i.e. unscaled) display of the HD video inlay, your computer monitor and graphics card should have a high resolution: An HD frame can measure up to 1920 by 1080 pixels.
High Definition on the Timeline Combining SD and HD Clips in the Same Sequence As mentioned above, you can combine all possible formats and resolutions on the Timeline. Each time you create a new Sequence, however, you define a specific output format for each Sequence so that a uniform master of the Timeline can be output. Clips that do not exactly match the defined output format are converted to the master format.
Chapter 5 High Definition High Definition at the Output Before output, an MPEG2 Sequence that is fully edited up to this point in the process must be converted to an intact, continuous MPEG2 stream. The IPB structure of the clips used, which was changed by editing and effects, is converted to a new, uniform IPB structure.
High Definition at the Output 3 Select MPEG output format Under MPEG Output Format, select the appropriate format for your recorder, such as HDV1 or HDV2, MicroMV or D-VHS. As a rule of thumb, select HDV1 for a JVC device and HDV2 for a Sony device. Additional criterion: HDV1 for up to 1280x720 pixels; HDV2 is always 1440x1080. The numbers 50 and 60 in the frame rate (fps) refer to the PAL and NTSC regions. If in doubt, test your devices using one of the two settings.
Chapter 5 High Definition Output to MicroMV and D-VHS Basically, this works exactly like HDV: Set the appropriate MPEG Output Format (go to System Settings > Input/Output > Video Outputs > IEEE 1394) and output the Sequence using the Record to Tape module. MPEG2 IPB and Output Using a Fuse Process If you want to output a Sequence made up entirely or partly of HD clips as an MPEG2 IPB file, use the Fuse process.
Chapter 6 Input
Chapter 6 Input This chapter describes the integration of material (objects) for editing and processing in Avid Liquid.
Logging and Digitizing (Capture) Logging and Digitizing (Capture) In Avid Liquid, the Logging Tool is responsible for logging (views) and digitizing (saving to hard disk) A/ V signals or A/V data played via the system’s video and audio interfaces. In the process, clips and Media Files are generated with specific properties such as mono or stereo, an aspect ratio of 4:3 or 16:9, in a specific Media Format and in offline or online quality (product-dependent).
Chapter 6 Input EZ Capture EZ Capture is a tool for the quick and easy recording of DV and HDV video via the IEEE-1394 interface (Firewire, iLink) or for recording analog sources via the analog inputs on a breakout box. The A/V signal can be saved in a number of different file formats, such as MPEG2 video for a DVD. For more complex tasks (such as a subsequent Batch Capture) or for capturing from players controlled via RS 422, use the Logging Tool (see page 115).
EZ Capture Starting EZ Capture Select menu bar > File > EZ Capture, or use quick access toolbar at the top > Input > EZ Capture, or select File > Import Wizard and then this function.
Chapter 6 Input EZ Capture step by step 1 In the Project window, select a Rack in which to store the clips. If you don’t select a Rack, one is automatically created and numbered sequentially: Capture1, Capture2, etc. 2 Start EZ Capture (File > EZ Capture, for example). 3 Select or create a directory for the resulting media files (icon for an open folder). The default directory is ..\EZ Capture, which was created during installation and is located in the media directory.
EZ Capture More Information on EZ Capture EZ Capture is file- and directory-based. This means that you define the file name and the directory in which the data is stored for each clip. This media data is not compatible with Avid Liquid’s Media Management. No compatible metadata, such as a timecode or Reel name, is stored with the data. That’s why a subsequent Batch Digitize is not possible.
Chapter 6 Input Codec Settings These settings determine the file format of the audio and video recording. The number of options activated depends on the signal type and codec. Reference Sets The particular Reference Sets offered for selection depends on your system’s hardware and the input signal selected. If you select an (unedited) Reference Set, none of the other options in this dialog box will be accessible.
EZ Capture The options under Video Settings and Audio Settings vary depending on your selection in the top field: Video Compression Here you can select a video codec: - MPEG1, MPEG2, MPEG4 - M-JPEG - DivX - DV Video Size Select the size of the recorded video (width by height, specified in pixels). Frame rate Frames per second. Quality/Data Rate Depending on the codec, you can influence the data rate of the video stream and/or the quality of the recording here.
Chapter 6 Input Basics Logging and/or digitizing defines clip properties: Æ “Logging” and “digitizing” page 112 Æ Clip-in/clip-out and mark-in/mark-out page 113 Æ Stereo or mono page 114 “Logging” and “Digitizing” (Capture) Let’s begin by defining our terms: “Logging” means viewing (and listening to) played A/V material, where clips can be defined by means of their mark-in and mark-out.
EZ Capture Clip-In/Clip-Out and Mark-In/Mark-Out There is a fine distinction between the two: The clip-in defines the first frame of a clip and the clip-out defines the last frame. Clip-in and clip-out points cannot be moved. If the Playline is positioned on the clip-in (for example, in the Clip Viewer), a triangle is displayed in the lower left-hand corner of the video inlay indicating that “there is no material to the left of (i.e. before) this point.
Chapter 6 Input Stereo or Mono? Whether an audio clip is logged and digitized as “stereo” or “mono” has a decisive influence on audio editing in Avid Liquid. Its behavior at the audio output of the system is determined, i.e. which sound tracks of the recording device are recorded. For detailed information on this topic, see “Stereo and Mono, Panorama and Balance” on page 9.
EZ Capture The Logging Tool and Its Functions The Logging Tool is used for logging and digitizing (=capturing) material played from either a live source or a controllable player. In other words, it defines every aspect of clips from their length to their volume level and even their Media Format. To open the Logging Tool, press the F6 KEY on the keyboard or select File > Capture. To close the Logging Tool click the exit symbol in the upper right corner.
Chapter 6 Input A C D B G F E H I G J K Logging Tool (letters refer to descriptions in text) Video Inlay, Timecode Fields and Status Field The video inlay displays the video signal currently being applied. If you are logging/digitizing audio data only (video Source Track not activated; page 125), a loudspeaker icon appears in the inlay.
EZ Capture an LTC supplied at an analog audio input (optional with some products; LTC In). When a mark-in and mark-out are set, the current value in the TC position field is used. The same happens when you use the Log and Digitize functions. For more information on the timecode options mentioned above, see “Live Input” on page 119.
Chapter 6 Input Status Field (C) This field located above the inlay displays player status messages in plaintext (PLAY, STOP, STILL, REWIND, LOCAL, DIGITIZING, etc.). Graphical Display of Player Status Alternatively, you can right-click the field to display the shortcut menu and switch to a graphical display. The player status messages are then displayed as “LEDs” with accompanying text (Servo, Color Servo, Reference, Remote, Rec Inhibit).
EZ Capture Live Input The LIVE input is used for non remote-controllable video and audio signals, i.e. when you feed in a signal directly from a camera or simultaneously edit the TV program. In Avid Liquid, the LIVE input is treated as a player, but without the option of controlling it via RS 422 or IEEE 1394 (DV). Its video and audio inputs are configured in the same way as any other player (Edit > Control Panel > Site > Player Settings > Connections).
Chapter 6 Input Avid Liquid A remark for users of Avid Liquid in combination with analog input/output hardware: Use the Live Player to capture analog signals. One exception: with RS 422 remote it is possible to input analog signals and control a player device. With IEEE 1394 (i.Link DV) remote control there is DV in/out exclusively. Reels and Racks (E, F) Reel names define where the material originates. Racks define its destination.
EZ Capture If one or more Reels already exist in the Project, select a suitable Reel from the list: The three most recently used Reels are at the top; below them are all the Reels available in the Project (provided that Media Files already exist for them). Optionally you can configure the Change Reel dialog box to not open when you call the Logging Tool ( page 142). Per default the dialog will come up. Avid Liquid Media Management requires that Media Files be assigned to specific Reels.
Chapter 6 Input Controls (Player and Edit Buttons, G) The buttons for controlling the player and for defining clips are located on the left below the inlay. These buttons and their specific icons are found in many Avid Liquid modules. The toolbars are configurable (see “Customizing Toolbars” on page 1010). You can also call these buttons via the keyboard. See “Modifiers and Keyboard Shortcuts (Defaults)” on page 1017 and “Assign Functions to Keyboard” on page 1013.
EZ Capture Step Forward 1 Frame Goes forward one frame. Shuttle Slider Shuttles the tape ahead (drag to the right) and back (drag to the left). You can also fix the slider in one position: Press the SHIFT key and release the mouse button at the desired speed. Goto Mark-In Cues up/jumps to mark-in, if any; otherwise to clip-in. Goto Mark-Out Cues up/jumps to mark-out, if any; otherwise to clip-out. Play In to Out Plays in a continuous loop from the mark-in to the mark-out, if both are set.
Chapter 6 Input Edit Buttons These buttons (in the default configuration, located in the two vertical toolbars next to the inlay) allow you to define clips. Mark-In Sets the mark-in point at the current Playline position. You can set the mark-in point “on the fly” (during playback), or use the player commands to move to the point for the mark-in. If the mark-in point is already defined when you click this button, it moves the mark-in to the new position.
EZ Capture Set Index Picture In some cases the first frame and last frame index pictures may not clearly represent the content of a clip, i.e. in a pan the most telling images may only appear towards the end of the pan. Click Set Index Picture to select another frame, which will serve as the Picon of the clip. See also “Views” on page 37. Set Marker You can set markers at any position and attach comments to them. Also see “Setting Markers and Adding Comments” on page 73.
Chapter 6 Input Stereo or Mono (I) Whether an audio clip is logged and digitized as “stereo” or “mono” has a decisive effect on audio editing in Avid Liquid. Click this button to switch between Mono (single ring) and Stereo (engaged rings). Also see “Stereo or Mono?” on page 114 or for detailed information on this topic, see “Stereo and Mono, Panorama and Balance” on page 9. 4:3 or 16:9 (I) For analog video input only: Select the appropriate aspect ratio for the source material.
EZ Capture The Problem of Selecting Formats Depending on the particular product, a large selection of media formats is now available for selection. Advice as to which one to actually select is hard to give. If you shoot and output DV or HDV, Native Transfer [avi] is probably a good choice: the image quality will be preserved throughout, its storage capacity demands are moderate, and AVI files are compatible with many applications in the field.
Chapter 6 Input Destination Volumes for Digitizing / Capture Volumes (K) The two fields at the bottom right allow you to select the volumes (i.e. hard disk drives or directories) on which the A/V data should be saved (captured), one for video data (V) and one for audio data (A). List of available volumes (V and A) If only one field AV is visible, separate recording of video and audio was deactivated (see also Video Tab/ Audio Tab on page 147).
EZ Capture Select Audio Monitor /Mute With more than two audio signals at the system’s input you may select the inputs you wish to monitor while working with the Logging Tool. Select an option from the menu that appears after you clicked the button. Using Classic Routing for audio monitoring To configure the audio monitor further, open the Audio Editor (F4) and, on the Settings tab, activate Classic Routing.
Chapter 6 Input Clip Tab: Naming and Numbering Clips The Clip tab contains text fields and functions for naming and (automatically or manually) numbering clips, as well as for selecting camera settings for the Multicam function. Taken all together (but also individually), the entries in the Title, Scene, Take/Shot and Attribute fields produce the Clip Name specified above the text fields. Textual Presets can also be used ( page 142).
EZ Capture Multicam Capture If - and only if- you can use tapes with synchronized timecodes (i.e. tapes with identical TCs) for a Multicam edit, assign a camera number here to each of the tapes used. Important: The Reel name must remain the same for all tapes of the Multicam edit. For detailed information on the Multicam function, refer to the Edit chapter: “Multicamera Capture in the Logging Tool” on page 504. If your tapes do not have identical TCs, it is not necessary to assign camera numbers.
Chapter 6 Input Avid Liquid Blue Color Correction Tab This tab contains the functions for primary color correction. Avid Liquid Color Correction works non-destructively, i.e. the material played is digitized or saved without modification, just as it is received via the interface. The correction attributes are saved with the clip metadata and used in real time for playing back the digitized material. The correction attributes are saved with the clip metadata and used for rendering.
EZ Capture Color Correction: Basics Color correction is a science in itself; for this reason, only an outline can be presented here. The Color Wheel The color wheel - a physiologically inspired reflection of the phenomenon of color vision - is based on the assumption that four basic colors form two opposite pairs: red and cyan, blue and yellow. Add to this the brightness, which ranges between white and black.
Chapter 6 Input The position of a point relative to the center of the wheel affects the colorfulness (saturation) of a color; a pale blue is close to the center and a vibrant, fire-engine red is located near the wheel’s periphery. A hue (red, green, blue, etc.) is an angle in the color wheel. Pure red is located at approx. 104 degrees and redviolet (magenta) at approx. 92°. Note that in the degree scale of the vectorscope, 0° is located at “3 o’clock”.
EZ Capture Shadows, Midtones, Highlights, Black, Gamma, Gain Avid Liquid Color Correction can be applied in measured doses in three graduated luminance areas: Shadows (black, pedestal) Midtones (gamma) Highlights (gain, lift, white value) By selecting an area, you can perform selective color corrections. In each of these areas, you can control the red, green and blue color channels and the brightness (luminance - gray bar) separately or together ( page 136).
Chapter 6 Input Separate and Linked Control Avid Liquid Color Correction in the Logging Tool is primary color correction (as opposed to secondary or selective color correction). It is clip-based, meaning that modifications apply from a mark-in to a markout (no key frames). Later on you can edit the parameters in the Clip Viewer. Your settings are retained from clip to clip unless a Reel change has since been performed and a restoration of values is activated (see Logging Tool Properties, page 142).
EZ Capture Linked Control In this mode, the hues are linked in order to keep the luminance value at a constant level. A color cast can be corrected much faster in this mode than if the components are regulated separately. It is applied directly in the inlay using the mouse. 1 Start playing the play source and define a mark-in point ( page 147). 2 Click the Black, Gamma or Gain (shadows, midtones or highlights) button to select a correction area.
Chapter 6 Input Audio Tab Here you can control and adjust incoming audio signals. For a description of the functions and elements of the faders and audio peak meter, see “Audio Tool” on page 17. Audio tab (sample) Destructive and Non-Destructive When an incoming audio signal is digitized or saved without any signal-related changes, the procedure is “non-destructive”. Modifications such as level changes are recorded separately as parameters and are not used until playback.
EZ Capture ASIO Drivers Avid Liquid uses ASIO drivers only for output or playback (Timeline, Clip Viewer, Source Viewer). The activity of an ASIO driver is blocked while the Logging Tool is open, because some ASIO-compatible sound cards interfere with playback via DirectSound (e.g. Windows Media Player). Therefore, when you open the System Settings from within the Logging Tool, you’ll find a corresponding entry under Sound Device > Selected Device.
Chapter 6 Input Playback Level The Playback Level (volume) is a clip attribute and a non-destructive setting. You can already define the volume level at which the clip should be played back on the Timeline when logging/digitizing. Control the Playback Level using the fader on the left side of the tab. The associated level meter (right) is always visible.
EZ Capture Media Tab WARNING: The Quality Ranks do not affect the image quality of captured video. Your clips will not look better if you raise the Quality Rank, but you may easily experience problems with “disappearing” media files if you use this function. For more information, refer to the High Definition chapter. Quality rank leave this setting at its Normal default unless you have specific reason to change it.
Chapter 6 Input Properties This button (upper right-hand corner next to Rack drop-down list box) opens the Properties menu. Some of the options described below are also relevant for the Batch Digitize module. (The menu also offers direct access to the System Settings dialog.) General Settings Open/Close/Change Reel Section Open Select Reel dialog on entering Logging Tool If this option is activated, the Select Reel dialog box ( page 120) is displayed automatically each time you open the Logging Tool.
EZ Capture CAPTURE Section Ignore dropped frames for LIVE Capture The capture process normally aborts when frames are dropped. When active, this option causes any dropped frames to be ignored while the live capture process continues. Bear in mind that inconsistent timecode can make subsequent Batch Digitize impossible. Ignore Timecode embedded in source stream Most analog to DV converters do not handle TC data. In Batch Digitize, this can lead to problems.
Chapter 6 Input Automation Section Auto 3pt (Available only in conjunction with the Send Clips to Timeline (Direct Insert) function - see page 141.) You do not need to set a mark-out when capturing in the Logging Tool but mark-in and mark-out on the Timeline are mandatory. Send Clips to Timeline must be activated. The Logging Tool records the clip for the duration of time period specified by the mark-in and mark-out on the Timeline. The clip is then inserted on the Timeline (and in the rack).
EZ Capture Select one of the following four options (Important: Only in Open End mode, i.e. if no mark-out is set): Create new clip after TC Break Avid Liquid detects a TC break and stops digitizing in order to continue after the interruption. The new mark-in is set so as to take into account a five second preroll time. The additional clip is clearly indicated and stored in the current Rack. Continue digitize Digitizing continues.
Chapter 6 Input The “next volume” meant here is the next available volume with sufficient storage capacity, not necessarily the one which follows as next in the list. Drives and volumes are defined in the Media Management Settings. Important: The access rights must be set to Write (“Video Tab/Audio Tab” on page 147). Additional changes are possible if the list of drives is sufficiently long.
EZ Capture Before Logging/Digitizing: Checklist Before you start logging and/or digitizing, be sure to check the following important settings and options: Is the correct source selected? page 118 Has a Reel been selected/named and a Rack found? page 120 Has a Media Format been selected (if available)? page 126 Have the correct capture drives (volumes) been specified? page 128 Have Source Tracks (audio/video) been specified? page 125 Has Mono/Stereo been defined? page 126 Are problems with th
Chapter 6 Input Changing mark-ins/mark-outs for logged clips In the case of a clip that has already been logged and stored in the Rack, you can change mark-ins and/or mark-outs after the fact: Drag the clip to the Logging Tool inlay. Edit the value in the timecode field or shuttle the player to the desired position, and then click the Log function one again. You should also change the Clip Name, because the modified clip is stored as a new clip in the Rack.
EZ Capture Digitizing (Capture) In the Logging Tool, digitizing is started or terminated by means of the button displayed. Several variants are available. If you’re working with the Live Player set on Custom TC: Enter the desired start TC value in the TC field, start the counter by clicking Play. Now the Digitize button can be selected. Full Control Digitize “Full Control Digitize” means that the system controls digitizing from the mark-in to the mark-out (Batch Digitize is always “full control”).
Chapter 6 Input Start/stop digitizing: Click the Digitize button once to start digitizing. Click it again to stop the process and transfer the clip to the Rack, and to the Timeline if selected ( page 141). If you click Cancel the so far digitized clip with its corresponding Media File(s) are discarded. Digitizing affects the pending A/V signals as they are defined in the particular play sources ( page 118) and as a function of the Source Tracks selected ( page 125).
EZ Capture (Re-)Digitizing Individual Clips You can transfer a clip directly from a Rack to the video inlay in the Logging Tool using drag & drop. The clip data appears in the timecode fields. A new clip and a new Media File are generated in a subsequent digitizing operation. The original clip data and media data is retained. If you want clip and the media data overwritten, use the Batch Digitize function ( page 97).
Chapter 6 Input Automatic Scene Detection Automatic Scene Detection saves you the trouble of manually dividing up your material into individual clips. This function is available only when digitizing via the DV input using i.Link (IEEE 1394) (not when logging and not via analog inputs, if any are available). Automatic scene detection based on metadata does not currently work with HDV/MPEG2 source material. This restriction does not apply to detection based on video content (in the Clip Viewer).
EZ Capture Create Subclips Selecting this option results in one master clip that is as long as the overall digitizing process plus a number of Subclips corresponding to the number that Scene Detection was able to identify. You can trim a Subclip up to the length of the master clip, thus making it unnecessary to enter a Handle Length. If you view a series of Subclips in the Project window (in Detail View!), you will note that they all have the same clip-in and clip-out.
Chapter 6 Input File Ingest File Ingest makes it possible to capture material particularly for the use in a networked environment. While the capture process continues, an editor working on a separate Avid Liquid editing station can already use the media data. Every single frame becomes available the moment it is created. Click Avid Liquid Star t menu > Tools > File Ingest to open the dialog. File Ingest has no video inlay and no audio levels.
File Ingest Step by Step Some of the File Ingest functions you may already know from the Logging Tool. 1 Open File Ingest and select a source from the list in the upper left corner. A remote controlled source (e.g. a video recorder) can be cued to the desired starting point on the tape. However, note that File Ingest is basically a Live capture because the system determines neither the player’s starting point nor its stopping point. 2 Define all Source Tracks (video, audio, stereo or mono).
Chapter 6 Input Import and Editing All clips created with File Ingest can only be imported to a Project (except when you are using Vortex - see the Vortex manual). Important: for immediate playback on your system the imported files must conform to one of the valid playback formats of the your system. Otherwise the media files need to be rendered before playback. 1 If necessary, create a new Rack in the Project. Open the Rack shortcut menu and select Import > Media Clip. 2 Browse to the storage location.
Background Live Capture Avid Liquid Blue Background Live Capture This tool allows you to write a native live signal to the storage medium currently selected via the SDTI input on the blue.box. During this procedure you can already edit the clip created. To open the dialog box, select Tools > Ingest Tool > Live Background capture.
Chapter 6 Input 6 Enter the expected length of the clip. You can stop recording before this time has elapsed; the clip can be used in any case. This information is required for Media Management. When the time has elapsed, recording stops. 7 Enter the settings for the storage medium selected under Edit > Control Panel > Site > Media Management Settings. (See “Media Management Settings” on page 145.) 8 Start the player or initiate signal playback.
Importing Objects Importing Objects The Import function lets you integrate objects in Avid Liquid Projects such as video files, audio files, graphics files, titles, subtitles, crawls, test images, etc. Import involves either creating a shortcut (link) to the object’s storage location (diskette, hard disk, network, CD-ROM, etc.) or saving the file (optionally as a copy) in a Media Directory of the current Project. In either case, a clip is stored in a Rack.
Chapter 6 Input Import - Where from, Where to? The destination of an import operation is always a Rack. This is where the imported clip(s) are stored. Open the shortcut menu for the Rack that you want as your import destination and select Import. A submenu is displayed Media Clip (stills, animations, audio, video, etc.
Importing Objects Video File Formats: *.dif, *.dv, *.dvsd (DV, DVC & variants) *.m2v (MPEG2 I-frame) *.yuv, *.2yuv (uncompressed) *.avi *.mov (QuickTime) *.dvd (Sony specific DV) *.mxf (AV and metadata conforming to the MXF Exchange Format; MXF is not exclusively a video format, contains meta data as well and can even be AV multiplex) *.wmv (Windows Media) *.mpeg, *.mpg, *.m1v, *.vob, *.ts, *.tsp, *.m2t, *.mp2, *.mp4 (MPEG1/2 files) *.dvr-ms (Windows Media Center recorded TV) *.
Chapter 6 Input Importing Media Clips From the Rack shortcut menu select Import > Media Clip to import objects to a Rack, or go via File > Import > Media. Import Media dialog box Instructions for Importing Images and Titles in the 16:9 or 4:3 Format If you work in 16:9 mode: To avoid undesirable distortions, imported Media Files that have been produced with graphics programs or title generators must also be generated using the 16:9 aspect ratio.
Importing Objects Clip Metadata Metadata is additional information on clips that is generated and imported during logging, including: Clip-in/clip-out Reel name Clip name, if any. This applies to Avid Liquid Version 2.55 and higher and to clips that were created in Avid Liquid. The metadata is displayed in the Rack in Detail View (list). These clips can also be digitized by means of Batch Digitize. See also “Metadata” on page 123.
Chapter 6 Input Default TC System Autodetect Framerate should be enabled here. The two other options are only needed in such cases where the automatic mode does not return the desired results, or when you want to force a conversion. Default TC System Select the frame rate that matches the video object you want to import. All values here are fps, frames per second. Assume Drop Frame Enable this option when the selected TC System is of the drop frame type.
Importing Objects Image Import (Global Settings) In the Image Import Properties dialog box, you can define parameters for importing graphics files, such as the default duration of a graphics clip on the Timeline. Be be sure to check these settings carefully when you load a large number of files. These settings may be found in Edit > Control Panel > User > Image Import.
Chapter 6 Input Automatic detection of animations Activate this option if you want Avid Liquid to detect the individual frames in an animation automatically. The software looks for file names that are consecutively numbered in ascending order (for example, "Image001.tif to Image099.tif "). Image Duration Use this option to preset the length of a graphics clip on the Timeline. The default is three seconds.
Copying/Pasting Objects from Other Projects Copying/Pasting Objects from Other Projects Another method for inserting objects in a Project is to copy and paste them using the Windows method: Open a Project, select one or more objects (for example using CTRL+click or SHIFT+click), copy the objects by pressing CTRL-C (or by selecting Copy from the shortcut menu), exit the Project and open the destination Project.
Chapter 6 Input Media Management and Object Import You can also integrate objects in a Project using Avid Liquid Media Management functions ( page 121). Media Management primarily serves to access Media Files; if necessary, however, you can generate objects from these files. See also “Media Files: Functions” on page 143.
Creating Objects Creating Objects This section describes objects that you can create within Avid Liquid (i.e. without exiting the program). It covers the following topics: Create color clip Create monochrome or color gradient backgrounds page 170. Generate signal clip (reference level tones) Using the internal signal generator page 172 Create title Generate still, roll and crawl titles using the integrated titler page 899 Produce customized effects ...
Chapter 6 Input Creating a Color Clip The Create > Color Clip function (in the Rack shortcut menu) allows you to define color clips (for example, for a title background). In the Color Clip dialog box that is displayed when you select this option, you can set the parameters for monochrome clips as well as linear and circular gradients.
Creating Objects Edit Gradient The direction and density of linear and circular gradients can be changed as follows: Click left in the preview window and create a line with your mouse. The gradient depends on the alignment and length of this line. For linear gradients: Use Gradient Settings to repeat the pattern you created and to mirror adjacent areas.
Chapter 6 Input Generating a Signal Clip (Reference Level Tones) Avid Liquid has an internal audio signal generator that allows you to generate individual signal tones: 1 Open the shortcut menu in any Rack and select the Create > Signal Clip option. A clip with the audio (loudspeaker) icon is stored in the Rack. 2 From the shortcut menu of the signal clip generated, open the clip Properties.
Voice-Over Voice-Over Voice-over permits a live audio recording to be synchronized onto the image (for example, in order to record a comment) by inserting an audio clip on the Timeline. For more information on this function, see “Voice-Over” on page 84. Importing EDL/AVID MediaLog Files For more information on this topic, see the section on “Exporting/importing EDLs” on page 19.
Chapter 6 174 Input
Chapter 7 Exchange
Chapter 7 Exchange This chapter describes the functions for exchanging a wide variety of data in many formats between systems and applications. This chapter also describes the integration of Avid Liquid in simple networks. For information on functions that deal exclusively with output, such as Record to Tape, burn DVDs and export files in different formats, see the Export chapter.
XML/ALE/XCE Import and Export XML/ALE/XCE Import and Export Avid Liquid offers a standard interface to exchange Project data in the XML and ALE formats. Clip metadata can be exchanged using the ClipExchange (XCE) format. You can find these functions in È Menu bar > File > Import> (or Export to File >) XML/ALE... Although these files also have the extension *.ale, Avid MediaLog import is not the same procedure as importing ALE Projects; see “Reading in Avid Media Log Logging Lists” on page 199.
Chapter 7 Exchange Import Project (XML or ALE) All available data from the ALE file or XML file will be transferred to the current Avid Liquid Project, including the file paths of corresponding media files. Select menu bar > File > Import > etc. XML import does not copy any media files. To work with existing media files, the importing system needs to be set to recognize the location of these files.
XML/ALE/XCE Import and Export Export Project (XML or ALE) Enter the name and path of the file and select the desired format, ALE (*. ale) or XML (*.xml). Select menu bar > File > Export to File >... All available clip data (as can be displayed in a Rack’s Detail View mode) will exported in the ALE or XML file. The file paths of all media files will be included. This function does not export media data. Choose one of the following options: Export entire Project and that’s exactly what it does.
Chapter 7 Exchange Use ALE Export to Create Shotlists and Batchlists A shotlist (also known as logging list or batch list) contains the most important information about the clips of a project. This information is also called metadata and presented in a way similar to that of an EDL (Edit Decision List). Metadata comprise clip name, Reel name, mark in and mark out, comments, and other info. Shot lists and logging lists can be exchanged between different editing systems.
Use ALE Export to Create Shotlists and Batchlists Global Headings The basic attributes of a Project are defined as “Global Headings”. The must appear at the top of the ALE list, and exactly the way shown in the image above, including the entry “Headings”. FIELD_DELIM means that all list column entries are separated by Tab stops. This is important when the ALE list is imported in a spreadsheet software. VIDEO_FORMAT can either be PAL or NTSC. AUDIO_FORMAT: 22, 24, 44 or 48 kHz.
Chapter 7 Exchange Working With ALE Lists An ALE list is a text file with no formatting. It can be viewed in a simple text editor, but also in a fullblown word processor. Because of its table-like structure it is best edited in a spreadsheet software such as Microsoft Excel. Let’s use a logging list as an example to outline the procedure. You, the editor, want to provide your client with a list of all logged clips and other objects in the Project.
XSend To... XSend To... The XSend To... function allows you to transfer clips, Containers and Sequences quickly and directly from Avid Liquid to QuickTime-compatible applications such as Commotion 4.1 and Adobe AfterEffects for further processing or to an encoding application such as MediaStream for streaming. Avid Liquid currently features predefined interfaces to Adobe AfterEffects, Terran Media Cleaner, Windows Media and QuickTime. You can also use XSend To...
Chapter 7 Exchange Calling XSend To... You will find this function in the shortcut menu for clips and Sequences in the Project and in the shortcut menu for clips on the Timeline. If you have selected multiple clips, you can call XSend To... from the shortcut menu for any of the clips selected. From the submenu displayed, you can then select the application to which you want to send the material.
XSend To... XSend to... Location This function allows you to XSend (in this case, save) clips to any location on your computer or network. No software application will be opened. XSend to... Location; with options Target location Select a directory. Use object name/original media file name You can either save the files under their individually assigned object name (from within Avid Liquid), or under the name originally assigned by the system.
Chapter 7 Exchange XSend to... Location (MPEG2-IPB) This function is reserved for MPEG2 IPB clips. The associated audio is also stored at the selected location. XSend To... Other Applications 1 To configure XSend To... for other applications that are not (yet) listed in the submenu, select XSend To...> Others. 2 In the dialog box, click Add and find the desired file in the Windows selection box displayed. Note: Only executable (*.exe) files can be selected.
XSend To... XSend To... Options The options described below are offered in different combinations as a function of the source material and target application. Single Clip For single clips (without effects), the application selected is opened immediately. Clip(s) with effects Fuse – Select this option if the clips should be transferred to the selected application as a result of the effect. This starts the Fuse process (see page 979). From Mark In to Mark Out – Limits the section to be transferred.
Chapter 7 Exchange Animation, titles with effects Fuse – Select this option if the clips of the Sequence should be transferred to the selected application as a result of the effect (also with roll/crawl titles). This starts the Fuse process (see page 979). From Mark In to Mark Out – Limits the Sequence section to be transferred. Save Fuse File As... – Enter the directory path or select the path from the Windows dialog box (Browse).
XReceive XReceive XReceive is to some extent the counterpart to XSend. You can use this function to retrieve files in your system that can’t be accessed by means of a standard media import or that are not suitable for this type of operation. XReceive connects your system via an IEEE 1394 interface, e.g. to the Sony DU1 Hard Disk Recorder. You can integrate and immediately work with media data and metadata in the Sony-specific *.dlx format in your Project.
Chapter 7 Exchange Calling XReceive To open the XReceive module, select Avid Liquid È Menu bar > Edit > XReceive. Then select the application you want from the drop-down menu (if more than one application is available). Calling XSend/XReceive via the Keyboard See also “Calling XSend/XReceive via the Keyboard” on page 190. XReceive Options Media File Action These are the Copy, Move and Link options already familiar from the standard import.
MXF File Exchange Format MXF File Exchange Format MXF stands for Material Exchange Format. It facilitates the exchange of AV media data including its corresponding metadata. Typical metadata would be information like timecode data and clip names. MXF is a standardized yet open format which can be used across different platforms. Like AVI, MXF is a “wrapper” format, which can contain different essence data while the file format suffix always stays the same.
Chapter 7 Exchange Export MXF MXF Export is an option of Export Sequence as... (File > Export > Sequence...) MPEG MXF (I-Frame only) 1 Select MPEG MXF as the export format. 2 Then click Options. The MXF Settings dialog opens: Bitrate selection 5, 10, 15, 25, 33 and 50 MBit/s are on offer. 5 is the lowest quality (visible pixel artefacts), 50 is best quality. extended video resolution initiates export in 640x512 (NTSC) or 768x608 (PAL) resolution (width x height).
Exporting/importing EDLs Exporting/importing EDLs An Edit Decision List (EDL) contains in chronological order all basic components of a film Sequence, including the mark-in and mark-out points and video and audio tracks. Avid Liquid automatically generates a new EDL whenever you create a new Sequence and continues to update the list as you add and modify editing events. EDLs can be exported and imported.
Chapter 7 Exchange Areas of Application Despite certain drawbacks, EDLs can still be very useful, especially for large projects. Since most of the work required to produce a video does not depend on quality, to keep costs down, it is sometimes useful to do rough editing and experimental work on an off-line suite. Then, with the EDL and source material at hand, to perform final assembly work, using a higher quality on-line editing suite.
Exporting/importing EDLs Available Formats EDLs are alphanumeric files and do not contain any media data. This means the EDLs of even very large Sequences with several hundred events have convenient formats and fit easily on a floppy disk.
Chapter 7 Exchange To export the EDL of a Sequence created with Avid Liquid: 1 In the Timeline, activate playback for the Tracks to be exported. EDLs are limited to a single video Track (V) and a maximum of four audio Tracks (A1 to A4). 2 Click File > Export to File > EDL. 3 A window with the EDL of the active Project on the Timeline appears. The default export format setting is Sony (BVE 9100). To select a different export format (CMX 3600 or GVG) use the drop-down box in the top left-hand corner.
Exporting/importing EDLs Exporting EDLs without Audio Information To export an EDL without any audio information (i.e. only the video data), be sure to deactivate the Audio Playback of all relevant Tracks (deselect the loudspeaker icon in the Audio Playback column) before exporting it from the Timeline. Multi-layer EDLs You can also export multi-layer EDLs using separate export procedures.
Chapter 7 Exchange Importing EDLs Step by Step To import an EDL: 1 Click File > Import > EDL. 2 The EDL Import dialog box appears. Select an EDL. (Note: Avid Liquid supports the above-mentioned EDL formats.) 3 Click Open. The selected EDL is transferred as a new Sequence to the active Project. In the Project window, a new Rack Folder is created. This folder contains the Racks of the various types of media (depends on Sequence imported).
Exporting/importing EDLs Reading in Avid Media Log Logging Lists Logging Lists created with Avid MediaLog can be read in in Avid Liquid and used for Batch Digitize. Go to File > Import > EDL and specify the file type “*.ALE” under Files of type. Open the respective file on the drive (e.g. disk drive) and you will find a folder including a Rack with the logged clips in Project. You can then start digitizing with Batch Digitize. Although these files al so have the *.
Chapter 7 Exchange VideoMachine DBF Import You can import Project data from VM-Studio to a Avid Liquid Project. Proceed as follows: 1 Export the relevant VideoMachine Project. Start by selecting the Timeline menu > Tools > General Preferences > DBF Export Structure. In the dialog box displayed, you can then define which Project data you want to export. The data that can be exported is activated in the screenshot below. You cannot import other data or media data to Avid Liquid.
Import Projects to Pinnacle Studio Import Projects to Pinnacle Studio You can import projects from Pinnacle Studio 10 to Avid Liquid as follows: 1 Inside Studio: The Studio project is saved with the extension *.stx. 2 Start Avid Liquid. Select File > Input Wizard > Import Studio Project. Select/create a Rack and, in the dialog box displayed, select the *.stx file previously saved. Or select File > Open project and then the Studio *.stx file. 3 The Studio timeline now appears on the Avid Liquid Timeline.
Chapter 7 Exchange Networking with Avid Liquid It is possible to retrieve and save AV data not only to local storage media (i.e. hard discs directly attached to the system you are a working at) but also via a network, that is, on remote storage. Even Projects can be shared via a network. To be able to work conveniently, the network needs to provide sufficient bandwidth between local and remote hardware. Thus it is possible to, for example, to use one system for capture and another one for editing.
Networking with Avid Liquid Save Network Data Locally There are several possibilities to transfer data from the network to local or other network media drives: via the Project Media tab The shortcut menu of the Project Media tab offers two options that you can use to transfer data from the network to your Primary Media Volume: Create clips and copy selected media to capture volume and Copy selected media to capture volume. The difference is that in the first case also clips will be added to a Rack.
Chapter 7 Exchange Network settings Three basic options help optimize network performance. Open (via Edit > Control Panel > User > Network) the Network Settings dialog and enable or disable: Network Settings Tab Do not generate AVI index files Speeds up the first file access, but may slow down a bit the overall access speed. Do not generate Peak files No Peak files (used to display audio waveforms) will be created on import. This speeds up the import of large files.
Networking with Avid Liquid WindowsXP Network Settings You need Windows Administrator or Power User rights to install Avid Liquid. To work with Avid Liquid, standard user rights are sufficient. In networks it is often useful to restrict user access. However, this may cause an error message to pop up when Avid Liquid is launched by a user with limited rights (only on Windows XP systems). To avoid this message, the “scheduling priority” for the limited user or the limited user group needs to be increased.
Chapter 7 Exchange Shared Projects Two or more users can simultaneously work on the same Project. Note that in the basic form of a network, there is no central administration to handle such Project sharing. A problem-free exchange and shared editing of Avid Liquid Projects requires that the Avid Liquid applications involved have the same version number. In the case of Avid Liquid Chrome HD , Avid Liquid Blue and Avid Liquid , this means Version 6.1 or later.
Networking with Avid Liquid InterCom: Messaging For Editors Sharing a Project InterCom lets you exchange messages over the network. To use this service you need to assign the local computer to a common root directory of a workgroup. This directory must be accessible for all users intending to be part of the InterKom exchange. You may have to ask your system administrator or IT department to set up such a directory. In Avid Liquid, this function is a component of the Broadcast option.
Chapter 7 Exchange Options: Open this window immediately when I receive a message makes the InterCom pop up in the foreground when a new message arrives. Automatically add senders to address list This puts every sender who mails a message on top of the list of recipients. You can reply immediately without having to select an address from the list. Send and Receive Messages You can use InterCom as soon as the computer is assigned to the common network directory.
Networking with Avid Liquid The names in the list consist of two parts: the prefix before the @ denotes the Avid Liquid user name. If a user has not logged on to Avid Liquid with a specific user name, or with only the default user name, Default is used instead. The second part denotes the computer network name. Examples: MOE@MUCCPRXP or DEFAULT@MUC-CPRXP. 3 Enter your message. 4 To send, click Send or hit ALT-S.
Chapter 7 Exchange OMFI Export Complex audio editing is often carried out on special audio postproduction systems. The Open Media Framework Interchange (OMFI) format has established itself as the exchange standard for this type of work. OMFI makes it possible not only to export the pure editing data (EDL is limited to this type of data) but also allows audio and video Media Files to be exported. Furthermore, it is possible to generate a precise map of a Timeline Sequence with all clips and layers.
OMFI Export Calling OMFI Export The OMFI Export Tool is located in File > Export > OMF. The dialog box below is displayed. It is divided into two areas: Composition and Media.
Chapter 7 Exchange Composition In this area, you can define the components of the Composition (the OMFI term for a Sequence). OMFI Version Select the desired version from the menu. OMFI 2.0 is the default setting; however, you can also select OMFI 1.0. Note on importing in AVID Express: If OMFI 1.0 is selected, you should export AIFF audio data. Volume and panning settings are not retained. Include You can use this area to define the components of the Composition.
OMFI Export Media The Media area of the dialog box contains settings that affect the form and format of the media data that is to be included in the composition: Export with Media Files This option is by default activated. You can use the drop-down menu to specify the file type to be exported (video, audio, audio and video (default setting)). During an actual export, the affected files are converted to an OMF file.
Chapter 7 Exchange From Mark In to Mark Out only Activate this checkbox if only a section in a Sequence needs to be converted to OMF. If only a mark-in point is set, the end of the Sequence is assumed to be the mark-out point. If only a mark-out point is set, the beginning of the Sequence is assumed to be the mark-in point. Start Export Once all the options have been set, click on the checkmark. In the dialog box that opens, specify the name and storage location for the OMF file. The file extension.
OMFI Export Options This area offers composition-related options that rarely have to be changed: OMFI Export options Deactivate the effects that are not supposed to be contained in the composition. Volume means that clipspecific volume levels are transferred.
Chapter 7 216 Exchange
Chapter 8 Administration
Chapter 8 Administration As a preliminary step to the actual editing, this chapter deals with the sorting, finding, viewing, deleting, naming and copying of video and audio clips, i.e. the administration of a Project and all its components.
Media Management Working with Media Files page 326 Æ System formats in Avid Liquid page 331 Æ The media tab in the Project window page 341 Æ Media Management Settings page 346 Æ Search and import media files page 356 Æ Deleting clips, objects and Media Files page 358 219
Chapter 8 Administration The Project The Project is a key Avid Liquid module, used for gathering, organizing and managing objects for productions. These objects include audio clips, video clips, Sequences, graphics, titles, subtitles, opening credits, closing credits, effects, animations, etc. See also “The Object” on page 244. Opening and Creating Projects In Avid Liquid, at least one Project must be open at any one time. To create a new Project... ...click È Menu bar > File > New > Project.
The Project Project Template In Avid Liquid a Template refers to a predesigned standard Project with user-defined objects. For example, if you plan to produce a series of several parts, with a template you could define the standard elements for all parts, instead of having to load the same color bars, titles, subtitles, etc. in several Projects.
Chapter 8 Administration Copy/Delete a Project Changes in a current Project are constantly saved. If you want to freeze the actual state of a Project, you can create a copy of it. Do not use the Windows Explorer for copying or moving Projects! Doing so may cause you to lose data! Do not use the standard Windows dialogs “Save (as)” or “Open” to copy, delete or rename Projects! Save A Copy 1 Select File > Manage Projects > Save a Copy.
The Project Project Structure This section provides information on the basic elements of a Project and on how to work with them. What Comprises a Project? Look at the figure below or at any Avid Liquid Project on your computer’s monitor. The name of the Project appears at the top left in the title bar. Quick Finder Tree area Tabs Tools Rack menu icon Content area Project window (Sample) Tree area The tree area on the left is used for creating and selecting Rack Folders and Racks.
Chapter 8 Administration Working with the Project Window The Project window behaves like any other Windows window with one exception: You can never close it because at least one Project must always be open. You can, however: Minimize it. It then becomes an icon in the taskbar, allowing you to clear a space on your desktop; Maximize it.
The Project Creating New Folders/Racks There must be at least one Rack in your Project in order to structure, organize, load, log and digitize the material you need for editing. In the default configuration, a Rack with the name Sequences is created for each newly generated Project. Rack Folders are optional. 1 To create a new Rack Folder or Rack, right-click the tree area. 2 In the shortcut menu that appears, click either New Rack or New Rack Folder.
Chapter 8 Administration Copying and Moving Racks and Folders If your Project contains one or more Rack Folders or Racks, additional functions appear in the Rack Folder/Rack shortcut menu for working with Racks and Rack Folders. Right-click a Rack Folder or Rack to access the shortcut menu. Cut/Copy/Paste Use Cut to delete a selected Rack or Rack Folder from its current position. Use Copy to create a copy of a Rack or Rack Folder; then use Paste to re-insert it somewhere else.
The Project Creating a Shortcut to a Rack A Shortcut is a link to a Rack or Rack Folder. Any changes you make to a Shortcut (such as deleting an object it contains) are also made directly to the Rack, and vice versa. The only exception is deleting: if you delete a Shortcut, the original Rack is not deleted. 1 Right-click a Rack to display its shortcut menu and select Create Shortcut.
Chapter 8 Administration Open Several Racks Simultaneously To view more than one Rack at once, drag a Rack icon from the Project window’s tree area as a shortcut to the desktop. Double-click the icon to open its Rack window, which is now a Shortcut of the original Rack within the Project window.
The Project Deleting Racks and Folders 1 To delete a Rack or Rack Folder, right-click the Rack or Rack Folder. 2 In the shortcut menu that appears, click Delete. The object is transferred to the desktop Trash. If necessary, you can still retrieve it from there. If you want to use a single object contained in a Rack Folder or Rack in Trash, you have to copy the whole Rack or Rack Folder back to the Project window. It is not possible to access individual objects contained in Racks or Rack Folder in Trash.
Chapter 8 Administration The Project Browser The Project Browser proves especially useful when working on a single monitor system. When active, the Project Browser takes up some space of the Timeline. Toggle Rack/Folder tree visible/invisible Views Rack shortcut menu Rack/Folder area Content area Project Browser The Project Browser is a miniature Project window. Use the this tool button to call up the browser.
The Project Change size and position of browser The boundaries between Timeline and Project Browser as well as between content area and Rack/ Folder area can be moved. Place the mouse on the separating line and drag it to the desired position (see arrows in screen shot above). You may also change the positions of content area and Rack/Folder area. Right-click on the separating line between the areas and select a combination.
Chapter 8 Administration Single Monitor View This monitor layout displays a Project window in the place of the Source Viewer, along with the Timeline and Master Viewer in their usual positions. This view is especially recommended if you use only one monitor. You then have all three of the most important work areas in a single view: Project, Timeline and video inlay, which can be alternated between the Source and Master Viewers.
The Project Toggling between Master Viewer and Source Viewer Because the Project takes the place of the Source Viewer, you can manually switch the Master Viewer to the Source Viewer and back again by clicking the button above the video inlay. They are also switched automatically: When you scrub on the Timeline, the inlay changes to the Master Viewer. When you double-click an object in the Project, the inlay switches to the Source Viewer.
Chapter 8 Administration Project Properties The Project Properties are a combination of several basic settings that users can modify to fit a particular use or preference. To open the Project Properties, right-click the content area or tree area, or click the shortcut menu button on the right-hand side of the toolbar and select Project Properties. All properties and settings that you can open and modify in the separate modules correspond exactly to the Properties and Settings in Edit > Control Panel >...
The Project Restrict subclips to Mark In/Out This option lets you insert a sort of “brake” at mark-in and mark-out points that keeps the subclip from overshooting the current mark-in or mark-out during playback or scrubbing. If this option is not activated, you can continue to view the subclip’s entire media file, including outside the boundaries of the mark-in and mark-out.
Chapter 8 Administration Diagnose Project You can find this function the desktop Trash shortcut menu. It is used to recover Projects and objects that were damaged or lost because of a computer malfunction, or a manipulation of files. If a problem was detected and if the recovery was successful, you will find a new Rack-Folder in the Project, named Diagnose Project.
The Project Backing Up a Project You can back up all or specific parts of the data for a Project. You can access this function under File > Manage Projects >...
Chapter 8 Administration Save to...: Here you have another chance to change the Project name, if appropriate. The Project ID assigned by the system is appended in any case. The two combined form the name of the main backup directory. All other directories and files are stored on subordinate levels, depending on what you chose to back up. You can also define a specific backup directory. Click the icon to the right of the field and look for the path you want, or create a new directory.
The Project Even if you activate Media files only (without Imported/Captured), the system includes a number of other files in the backup. These are Media Management link files that are used for restoring media paths in a networked environment. Leave the Media files checkbox activated if you need to reestablish access to a fixed stock of media data from the backed up and restored Project. Render files You can also back up render files generated by effects.
Chapter 8 Administration Backup Info The number of files selected and the resulting storage requirements are displayed at the bottom of the dialog box. Compare this information with the available capacity, especially if you wish to back up the data to DVD or CD. The OK checkmark is disabled (grayed) if there is not enough room on the current hard disk for the selected options. In this case, delete unnecessary files or use the backup options.
The Project Restoring a Project A Project Restore is basically the reverse of Backup. Consequently, only Projects that have been backed up by means of the Backup function can be restored. You specify whether you want Project, Media and/or Render files to be copied back to your system. You can access this function under Avid Liquid È Menu bar > File > Manage Projects Moreover, the Project you are currently working on in Avid Liquid is not automatically replaced.
Chapter 8 Administration Restore from... The system first looks in the Backup folder that was created by the backup operation. If this folder contains one or more Projects, they appear on a list from which you can select one of them. If your backup files are located elsewhere, click the folder icon to the right to navigate to the storage location. In any case, when you call Restore project the system creates three directories.
The Project Restore Info The number of files selected and the resulting memory requirements are displayed at the bottom of the dialog box. The OK checkmark is disabled (grayed) if there is not enough room on the current hard disk for the selected options. In this case, delete unnecessary files or change the restore options. Options Overwrite without warning Because existing files can also be overwritten, this option allows you to suppress the standard warning message.
Chapter 8 Administration The Object This section tells you everything you need to know about objects in Avid Liquid: Basics Objects defined, basic methods for working with objects, etc.
The Object Basics What Are Objects? In a Project, you will primarily be working with objects. “Object” is the most general word for items contained in a Project such as audio clips, video clips, Sequences, graphics, titles, subtitles, opening credits, closing credits, effects, animations, etc. Racks and Rack Folders are also objects, as are Shortcuts and copies. Objects, Shortcuts, Copies and Media Files “Objects” refer to items contained in a Project, such as video clips, audio clips, etc.
Chapter 8 Administration Shortcut A “shortcut” is linked to the original object. If you edit an original object, the Shortcut is also changed and vice versa. Shortcuts are mostly used to get quicker access to the clip. For example, shortcuts on the desktop give you instant access to several clips which are stored in different Racks.
The Object Object Shortcut Menus Each object in Avid Liquid has its own shortcut menu containing functions that relate to the particular object type. Some functions, however, are available for all objects. Grab Picons Use Grab Picons to update a clip’s Picons at the mark-in and mark-out. For automatic update of all Picons in a Project, see “Project Properties” on page 234. Cut/Copy/Paste Use Cut to delete a selected object or folder from its current position.
Chapter 8 Administration Creating a Shortcut 1 Right-click the object. In the shortcut menu that appears, select Create Shortcut. 2 The system generates the shortcut below the original object and assigns it the same name; however, the object icon now has a small arrow. You can also create a shortcut to an object using the drag&drop function: Drag the object to the desktop.
The Object Tools You can also call the Cut, Copy, Paste and Delete functions from the Project toolbar by clicking the particular button.
Chapter 8 Administration Objects in the Project This section provides information on the interplay between Projects and objects: Object views page 251 Selecting objects page 260 Sorting and arranging objects page 260 Verify imported media page 261 250
The Object Views Avid Liquid makes a distinction between the Detail View (list) and the Picon View (images). This results in a number of variations and editing options: If you and other users are editing a Project simultaneously and you do not see certain clips in the Project, use the Refresh Project Views command (“Shared Projects” on page 206). Detail View The screenshot below shows the Project window with a few Racks and Rack Folders. One Rack in the list is selected.
Chapter 8 Administration Standard Detail View To activate Detail View, right-click the Project window’s content area or click the shortcut menu button on the right side of the toolbar. In the shortcut menu that appears, click Detail View > Standard. “Detail” means that information is displayed in alphanumeric form with clip names, mark-ins, mark-outs, etc.; “Standard” means the information is displayed with the default column settings. You can also activate Detail View by clicking its icon on the toolbar.
The Object Edit View To adjust the Detail View display, right-click the content area to open the Rack shortcut menu. Click Detail View > Edit View to open the Detail View Properties dialog box. Properties box in Detail View In the list, click the check boxes of those items you want to display in detail view. The area at the top of the dialog box shows how the Detail View display looks. You can also use this area to change column width. To do so, drag the column divisions to the required position.
Chapter 8 Administration Save Sets To save a certain configuration as a set, click the Save Set As button and enter a set name. To load a previously saved set, click the Arrow icon on the right of the Set field and click a set in the drop-down list that appears. Click Delete to delete sets. Object icons must always appear at the beginning of a line, i.e. they cannot be moved. For a list of icons, see “Object Icons (Detail View)” on page 257.
The Object Picon View Use Picon View to display objects as miniature images (Picons). In the case of a video clip, the first frame (mark-in) generally appears. If you define a specific index image (during Logging or in the Clip Viewer), this image will appear. Graphics and titles are also displayed en miniature. The Grab Picons function in the Rack shortcut menu updates Picons at the current positions of mark-in or clip-in and clip-out or mark-out, respectively.
Chapter 8 Administration Click Small, Medium or Large to specify Picon size. How many objects will be visible, depends on the size of the window. Clip names also appear in Picon View. If you prefer to display take and scene numbers (for example, if you are working with a screenplay), click the appropriate option under Shortcut Menu > Project Properties (see also Project Properties on page 234).
The Object Object Icons (Detail View) In detail view, each line is preceded by an icon, representing object type and status.
Chapter 8 Administration Object Icons (Picon View) Icons indicating the object status are also used in the Picon View: Effects Applied to Clips (Gray Star) If you applied one or more effects to a clip, a grey star appears in the Picon: Picon with effect and Attributes symbols (left); Media File unavailable (right) Media File Not Available (Exclamation Mark) The exclamation point in the upper left-hand corner indicates that a clip’s Media File is not available.
The Object Clip Being Used in the Current Sequence (Checkmark) If so, the Picon will display a checkmark in its upper left corner. This option can be enabled in the Project Properties dialog ( page 234). In Detail View it says Yes in the Used column position. You may have to edit the view to make this column visible: see “Edit View” on page 253.
Chapter 8 Administration Select All/Invert Selection Click Select All in the Rack shortcut menu to select all objects in a Rack. In Picon View, selected Picons appear with a yellow frame around them; in detail view, selected items are highlighted. CTRL+click to select individual objects. Click Invert Selection to select the items not selected and vice versa. This is useful if you want to select nearly all objects in a Rack, except for a few.
The Object Sorting Using the Arrow Icon Alternatively, you can also repeatedly click the heading of the column you want to sort, thereby toggling between the three sorting options, represented by the different arrow icons that appear (or don’t appear) in the heading. An arrow pointing downwards represents ascending order, upwards, descending order, and no arrow, unsorted. Every column can be sorted, but you can only display the information sorted based on one column at a time.
Chapter 8 Administration In the dialog choose from the list a method of restoring the connection: Copy the located Media File to a Project media directory Move the located Media File to a Project media directory establish a Link between object and Media File (which stays at its location). With the option Process only missing media unchecked, the operation includes all clips selected or in Rack. If Verify Imported Media cannot find a matching Media File, another dialog comes up.
The Object Find Tool The Find Tool is a powerful tool for finding practically any object in a Project. It offers a complex series of operators for customized searching and lets you conveniently organize results.
Chapter 8 Administration Open Find Tool To use the Find Tool, click Edit > Find. Find window The Find Tool includes three tabs which are used for specifying search parameters and displaying results. On the right-hand side of the window are additional search commands and options for transferring results.
The Object Search Criteria The following pages show how to set tab parameters for effective searching. Item + Location Tab Item + Location tab with search string Use the options in the Item + Location list boxes to specify the attributes of the object you want to find. To perform a search, the Item + Location window must contain at least one search string.
Chapter 8 Administration Operator List Box Use the Operator list box to specify criteria for further narrowing down your search. Various search routines are available in this box, for example: begins with Use to search for items that begin with the search term. ends with Use to search for items that end with search term. Operator List Box contains Use to search for items that contain the search term. doesn’t contain Use to search for items that do not contain the search term.
The Object Variable Field What appears in this area depends on what you selected in the Column list box. The following boxes can appear, for example: Text box This box appears, for example, when you specify Name in the Column box and is used to search for a text string (maximum of 29 characters). Right-click the text box to open a shortcut menu with the functions Undo, Mark and Copy.
Chapter 8 Administration More List Box Use the More list box to specify the basic search operators AND and OR. Up to four search strings can be linked with these logical operators. Every line represents a search string. The default setting is “inactive” (---), in which case the system only searches for the first string. Use the AND and OR operators to search for and link additional strings. More list box Whether you use AND or OR depends on to what degree you want to narrow down the results.
The Object Select Use the Select tab to specify in which areas and for what types of media you want to search. The search procedure always applies to the active Project. The following two options are available: Racks to search in Media types to search for Select tab Racks to search in Use this function to specify which Racks to search through. This is especially useful if your Project involves many clips stored in a lot of different Racks. Click a check box to activate/deactivate it.
Chapter 8 Administration Media types to search for Use the Media Types to Search For box to specify what type of media the Find Tool should look for. Click the required check boxes. The logical operator between the various boxes is understood to be “OR”. Use this function to prevent types of media from being displayed that you are not looking for - even if they fulfill the criteria specified under Item + Location. This function can be useful, for example, if you are looking for a certain video clip.
The Object Search Result Display This box displays the results of a given search.
Chapter 8 Administration The Search Result area offers two shortcut menus. To open the objects shortcut menu, right-click an object in the Search Result area. The options provided in this menu let you open an object, transfer it to the Timeline, copy it etc. To open the Rack shortcut menu, right-click a free area in the Search Result area. The functions in this menu can apply either to all search objects or only selected objects.
The Object Command Bar Use the three buttons at the top of the right-hand side of the Find window to control the actual operation of the Find function. Find Now Once you have set all find parameters on the various tabs, click this button to begin the search. Stop Click this button to halt a search at any time.
Chapter 8 Administration Create Rack Use this option to create a new Rack into which you want to copy selected or all files. The dialog box that appears lets you specify a Rack name and location. Move To Rack Use this function to move objects from their present Rack to another, already-existing Rack (“moved” objects are deleted from their previous Rack). Use the Move To Rack function only if you are absolutely sure that you don’t need the objects any more at their original location.
The Object Copy to Rack Use this function to copy objects to another Rack (“copied” objects remain in their previous Rack). Use this function for temporary operations with a specific selection of objects.
Chapter 8 Administration Viewing and Editing Objects: the Clip Viewer Using the Clip Viewer, you can view (or listen to) and edit audiovisual objects. Such objects are referred to as “clips”, and not just in Avid Liquid.
The Object Opening Clip Viewer The Clip Viewer can be opened in one of two ways: Right-click an object in a Rack or on the desktop. Click Open in the shortcut menu that appears. or: Double-click the object you want to view. Provided you have selected the appropriate option in Project Properties ( page 234), the Clip Viewer will open along with the desired object. The image appears in the window. It can be in the form of a video inlay (when the object is a video clip) or a graphic (e.g.
Chapter 8 Administration Basic Clip Viewer Functions Current position Length of clip from Extend of Playline mark-in to mark-out dialog Mark-in and mark-out icons Position bar Playline Clip Viewer 278
The Object Navigation Using the Position Bar The position bar is identical in the Clip, Source and Master Viewers and (in a miniaturized form) in Picon Play. Although the width of the bar is fixed, it is possible to view specific sections of a clip in the desired resolution. This makes navigation and thus finding scenes much easier, especially in long clips. Zoom scale Navigation bar Playline position Position bar Zoom Scale The zoom scale allows you to change the scale of the position bar.
Chapter 8 Administration Set Mark-In/Mark-Out To insert a mark-in or mark-out point or to change their position, move the Playline to the required position and click the Mark-In or Mark-Out button. To change the position of a mark-in or mark-out point, you can also move the mark-in and mark-out icons on the position bar while pressing ALT+drag. The mouse pointer turns into a cross. While the mark-in and mark-out points are being moved, the image in the inlay represents current position.
The Object Brief Overview: Scrubbing Video Below the image display window is a position bar which represents the length of the clip. With the Playline (press the left mouse button) you can move back and forth on the position bar. The process of dragging the Playline back and forth on the position bar is referred to as “scrubbing.” During scrubbing a bracket appears next to the mouse pointer.
Chapter 8 Administration Timecode Formats The PAL and NTSC-DF/NTSC-NDF timecode formats use different separator characters between seconds and frames. Examples: NTSC Non Drop Frame: 01:00:00.00 (dot) NTSC Drop Frame: 01:00:00,00 (comma) PAL: 01:00:00:00 (colon) See also chapter “High Definition”, section Timecode Systems.
The Object Additional Clip Viewer Functions Underscan/Overscan This toggle switch lets you choose between Underscan and Overscan inlay view. Activate Underscan to show the whole frame with all pixel information displayed. Activate Overscan (deactivate Underscan) to display a cut-off view, typical of a television picture. The default setting is Underscan.
Chapter 8 Administration Using Classic Routing for Audio Monitoring To configure the audio monitor further, open the Audio Editor (F4) and, on the Settings tab, activate Classic Routing. Then, on the Output Mapping tab, set up the connections between channels A1 to A4 of the Classic bus and the selected outputs (e.g. the sound card). If the scrubbing mode was activated, you can scrub frame by frame by using the RIGHT ARROW/LEFT ARROW keys.
The Object Comment box Set Marker Delete Marker Set Markers and add comments Display attached comments To display the entered information, including the timecode data of the given position, rest the mouse pointer on a Marker for about a second (comment appears automatically) or double-click the Marker to open the comment box. Marker comments in clips are transferred to the Timeline and can be accessed there in the same way.
Chapter 8 Administration GoTo Marker List Click this button to open a window with a list of all Markers and comments for a clip. Click a given entry to move the Playline to this position in the clip and display the corresponding image in the inlay. If you don’t find this button in the standard toolbar of the Clip Viewer, open the Customize window (right-click in toolbar) and drag the button to the toolbar ( page 1010). Marker Comment - contains a Marker comment created by the user.
The Object Waveform Inlay If you are editing an audio-only clip in the Clip Viewer, the waveform of the clip is displayed in the inlay window: Waveform Inlay The illustration shows a stereo clip. Both Source Tracks are arranged in the upper area. The two lines of the Playline encircle an image frame. The lower area shows the same Track in larger scale. The section above is indicated by a rectangular frame. You can mouse-scrub in the lower and upper waveform.
Chapter 8 Administration Shuttle Playback (JKL) The Shuttle Playback function is available for fast or slow reverse and forward playback of video and audio.
The Object Make Subclip Click this button to create a Subclip from a given clip, defined by the position of the mark-in and markout. This function is particularly useful when you want to isolate several different scenes and takes from a long clip. Every new Subclip is saved in the Rack. The term “sub” only defines the relationship of these clips to the original clip and its Media Files. In the Project window and on the Timeline, they are handled in the same way as any other clip.
Chapter 8 Administration The Active checkbox lets you temporarily deactivate or reactivate Attributes. Also see “Tab: Special” on page 298 and “FX Properties” on page 299. You can also double-click a Timeline clip to open the Clip Viewer with an extended dialog box. Video tab page 290 Audio tab (Playback level) page 294 Scene tab page 322 Video Tab (Primary Real Time Color Correction) This tab contains the functions for primary color correction.
The Object Shadows, Midtones, Highlights Black, Gamma, Gain Color Correction can be applied in measured doses in three graduated luminance areas: Shadows (black, pedestal) Midtones (gamma) Highlights (gain, lift, white value) By selecting an area, you can perform selective color corrections. In each of these areas, you can control the red, green and blue color channels and the brightness (luminance - gray bar). Hue and Saturation These two functions affect the entire image.
Chapter 8 Administration 1 Select Black, Gamma or Gain (shadows, midtones or highlights). 2 Drag one of the color bars or the luminance bar to the desired position or enter a value from -255 to 255. Single-click the small button next to a bar to reset it to the original value. 3 The effect is instantly visible in the video inlay. 4 A blue five-point star appears on the clip Picon in the Rack indicating that Color Correction attributes exist for the clip.
The Object The Color Wheel The color wheel - a physiologically inspired reflection of the phenomenon of color vision - is based on the assumption that four basic colors form two opposite pairs: red and cyan, blue and yellow. Add to this the brightness, which ranges between white and black.
Chapter 8 Administration RGB Color Model It is also possible, however, to use three bars for quantitatively displaying a hue. These bars (one red, one green, one blue) can be seen in Avid Liquid Color Correction. A color appears to be composed of different percentages (bar lengths) of the three basic colors RGB, apart from the pure basic colors themselves. RGB is generally specified in values from 0 to 255. Example: (0,255,0) is pure green; (0,0,0) is black; (255, 255,255) is white.
The Object Opening the Object Properties Box Right-click an object to open its shortcut menu and click Properties to display the following or a similar dialog box: Customize Full view of Properties window with customize dialog box on right The Properties differ slightly depending on the object type. The General tab is available for all objects. See also “General Elements of the Object Properties Box” on page 296. The V tab is available for video clips and image objects.
Chapter 8 Administration Customizing the Object Properties Box 1 Click the wrench icon to open a field containing three tabs: General, Timecodes and Special. 2 Drag the elements you want to include in the dialog box from the appropriate tab to the required position. The position of existing buttons is shifted to make way for the added tools. Remove any elements by dragging them to a tab or the desktop. The mouse pointer turns into a trashcan symbol when an element is in an area in which it can be removed.
The Object Audio Mode Used to switch audio clips to mono or stereo. (See also “Stereo and Mono, Panorama and Balance” on page 813.) Scene/Take/Attributes Use this option, for example, if you are creating your video based on a screenplay. You can adjust the Project Properties so that objects in Picon View are displayed either with their name or scene and take numbers ( page 234). Camera This option assigns the clip to a specific camera (see the section on multicam editing in chapter “Edit”).
Chapter 8 Administration Tab: Special Created Indicates the date and time the object was created. The system clock serves as a reference. Modified Indicates the date/time when the object was last changed. The system clock serves as a reference. Index Picture If applicable, displays the selected index picture. Parent Project For a clip that was inserted in the current Project by means of CTRL-C/CTRL-V or Create Clip (Media Management, page 344): The original Project in which this clip was created.
The Object FX Properties FX Properties provide information on and access to the effects applied to an object. You can activate or deactivate the effect parameters and clip attributes. The effect editors are listed below the horizontal line and the attributes are listed above it. Activating and deactivating parameters and attributes: Click the appropriate checkboxes. Double-click an entry to open the Effect Editor or Clip Viewer. The effects are not deleted; they are just not applied.
Chapter 8 Administration Preparing for Editing: Storyboarding A storyboard is used to roughly outline the course of an editing job. Using Picons, you can quickly put together a Sequence to get a rough idea of what a film will look like. With the Picon Play function and Clip Viewer, you can view and edit clips. Afterwards you can transfer your storyboard Sequence for fine editing to the Timeline or Source Viewer with the Send To Timeline function or with drag&drop.
The Object Storyboarding on the Desktop You can arrange Picons on the desktop in any way you like. Drag clips from a Rack (or Racks) to the desktop to begin arranging them. The Picons that appear are Shortcuts (represented by the arrow icon in their bottom left-hand corner). This means that any changes you make to the clips also affect the clips in the Rack (for example, if you define new mark-in and mark-out points they will also appear changed in the original clip).
Chapter 8 Administration Picon Play Picon Play is possible both in Picon View and in Detail View. Activate Picon Play ALT+double-click the Picon or clip name. Double-click a clip’s Picon (Picon View) or a name (Detail View). For this to work, you have to have selected the option Start Picon Play in the Project Properties dialog box ( page 234). Avid Liquid starts playing the clip in a window in Picon format (its size depends on the size you specified in Picon View).
The Object Shortcut Menu for Objects on the Desktop Picon View can be controlled just like in a Rack ( page 251) with an object’s shortcut menu. Use the Mark-In/Mark-Out mode to see the actual images at the in and out points. Moreover, three special functions are additionally available for desktop storyboarding: Select All Overlapping Click an object in a series, then right-click and select this option to select all overlapping objects in the given series.
Chapter 8 Administration Transferring Storyboards (Send to) You can also transfer a Storyboard (i.e. a connected series of clips) to the Timeline or Source Viewer. Select all the clips and click Send to > Timeline. The clips are then grouped (video and audio combined in one clip) and inserted (at the location of the Playline). If you want to have more control over the process, proceed as follows: 1 Empty the Timeline (“New Sequence” on page 414). 2 Load one of the clips you selected to the Source Viewer.
The Object Batch Digitize (Batch Capture) Batch Digitize is the automatic digitizing of what is in many cases a large number of clips and is, therefore, usually the next step after logging ( page 147). However, this function is also recommended for the transition from offline to online editing or for “cleaning up” Projects. Clips generated by means of the EZ Capture function are not suitable for Batch Digitize.
Chapter 8 Administration The Batch Digitize Module After the clips have been selected, the Batch Digitize module is displayed above the Timeline instead of the Sequence Editor. When you call this module, the Clip tab is displayed in the foreground with the following segments: The Batch Digitize Module Batch Settings These options affect the size and number of Media Files generated. Condense to Mark-In/Out Use this option to digitize clips from mark-in to mark-out.
The Object Handle Length In the default configuration (Handle Length = 0), digitizing is performed exactly from the clip’s mark-in point to its mark-out point. If you enter a value (in frames) under Handle Length, this will be added to both the mark-in and mark-out, i.e. the Media File created will be a bit longer. Example (for NTSC): From a clip with mark-in = 00:01:00.00, mark-out = 00:02:00.00, handle length = 30 frames, a Media File is created with a length of 1:02 minutes (clip-in = 00:00:59.
Chapter 8 Administration Merge works only with clips of the same type; for example, if a clip with the Source Tracks VA1A2 follows a clip with the Source Tracks VA3A4, separate Media Files are generated. See also example illustration below. 00:00.30:05 00:00.30:00 2 Clips within Merge Distance V A1 A2 5 Frames V A1 A2 1 Media File 00:00.30:00 2 Clips within Merge Distance V A1 A2 V A1 A2 00:00.30:05 5 Frames 00:00.30:00 2 Media Files V A1 A2 V A1 00:00.
The Object Batch Info This section contains information on the current batch job. Total Duration This field initially contains the accumulated duration of all the clips, as they were sent from the Project to be batched, that is, before the options Handle Length, Use Mark-In/Out or Merge if less than... are applied. The actual duration of all resulting Media Files is calculated, and displayed, when you launch the Batch. That duration can be longer or shorter, depending on material and options selected.
Chapter 8 Administration Starting/Stopping Batch Digitize Before you begin, be sure to check the following settings: The Media Format/Codec (depending on product) selected Destination volumes for digitizing If more than one destination volume is registered, select one from the list box. When necessary, Batch Digitize employs all volumes (disk drives) available through Media Management to complete the current batch job. See also “Media Management Settings” on page 346.
The Object Player A general player device error occurred. Check the device setup, cabling, existence of reference signal etc. Preroll The preroll position could not be located on the tape (Reel). Most probably a wrong tape was inserted, or there is TC problem. Routing The Source Track selection and the actual device parameters don’t match (Example: the clip calls for VA1A2A3A4 but the device delivers only VA1A2). TC break A TC break was detected and the clip(s) could therefore not be digitized.
Chapter 8 Administration Batch Properties The Batch Digitize Properties dialog box is in part identical to the Logging Tool Properties dialog box: page 142. Batch Digitize and Render Effects If you use Batch Digitize to digitize the clips of a Sequence that has already been edited in order, for example, to achieve a higher image quality, note the following: All the rendered components of this Sequence (clip effects, Transitions, slow-motion clips, accelerated clips, etc.
The Object Consolidate The Consolidate function copies the media data required by clips (individually or in a Sequence), thus permitting those that are no longer needed to be deleted. Once a Sequence has been completed you can, for example, discard the surplus raw materials in order to create more space on the storage media. Consolidate can also be applied to individual clips. You also have the option of storing the consolidated clips in a Rack (see also Condense on page 317).
Chapter 8 Administration Calling Consolidate The Consolidate function is located in the clip and Sequence shortcut menus (in the Project), and in the Rack shortcut menu. Consolidate dialog box 1 Select one or more clips, or a Sequence. If you use the Rack shortcut menu, you can also select Consolidate for all the objects in the Rack. 2 Select Consolidate from the shortcut menu. When a Sequence is selected, all the clips in the Sequence are consolidated.
The Object Include identical files (move to new location) In the default configuration, the consolidated media data is saved to the directory from which the original data was taken. However, with this option you can divert the consolidated data to a directory of your choice, which is especially useful if the original media volume is near capacity limit. Either select this directory in the Media Management Settings or create it, and identify it as the Primary Volume ( page 347).
Chapter 8 Administration Consolidate and the Consequences After Consolidate has been successfully applied, the number of new Media Files contained in the Project Media Directory can be no more than the number of clips contained in the consolidated Sequence (a single consolidated clip results in up to five Media Files, one video file and up to four audio files). Avid Liquid Media Management then ensures that the clips reference these new Media Files, i.e.
The Object Condense The Condense function generates copies of clips. Associated Media Files are not copied (see also Consolidate on page 313). This function is used, for example, to generate the inventory of a Sequence. It allows you to view exactly what material and what length of material was used - a useful function if you need to create a music list or archive footage list.
Chapter 8 Administration Calling Condense The Condense function is located in the clip or Sequence shortcut menu in the Project. Condense dialog box 1 Select one or more clips, or a Sequence. If you use the Rack shortcut menu, you can also select Condense for all the objects in the Rack. 2 Select Condense from the shortcut menu.
The Object ClipSync The Rack shortcut menu contains the ClipSync option that allows you to synchronize clips according to several criteria, such as a mark-in or Markers individually set as synchronous points.
Chapter 8 Administration How to Synchronize Clips 1: Select objects Open the shortcut menu for a Rack containing clips to be synchronized and select ClipSync (either for all the clips in the Rack or for selected clips). The ClipSync dialog box is displayed containing a list of the selected or marked, valid clips from the rack. For example, if you have selected only video clips, there is nothing for ClipSync to do and so the list is empty.
The Object Synchronize to marker You can synchronize to the first Markers in the clips (in earlier TC counts). Otherwise the rules described under “Synchronizing to timecode” apply. 3: Specify criterion If necessary, you can define the selected synchronous point more precisely by means of a second criterion.
Chapter 8 Administration Automatic Scene Detection (Clip Viewer) Automatic Scene Detection (found in the extended dialog box of the Clip Viewer) divides a longer clip with different takes (scenes) into a number of shorter clips. Automatic Scene Detection operates on the basis of Æ video content page 323 or Æ metadata page 325 “Foreign” media data (such as imported clips that were created with a different Codec) is automatically rendered before scene detection.
The Object Scene Detection Based on Video Content The system analyzes differences in the video content frame by frame. For example, if a shot of an evening candlelight dinner is followed by a daytime market scene under a blue sky, it’s easy to deduce that this is a new scene and create a new clip. Other motifs, such as a fast pan, can prove more problematic for the system since the content varies wildly from frame to frame.
Chapter 8 Administration 9 Once you’re satisfied with the scene analysis, select one of the Create clips options: - Consider all clip markers: This option considers even the “normal”, gray Markers as scene starts. Thus you can mark a clip manually, and have it sliced in Subclips or Masterclips automatically. - Subclips (with identical clip-in and clip-out for all created clips) - Masterclips (each clip has its own clip-in and clip-out) See also “Subclip or Masterclip?” on page 324. 10 Click Create Clips.
The Object Scene Detection Based on Metadata With this variation, the system analyzes the start/stop data (datestamp/timestamp) that DV camcorders write to the tape each time recording begins. Important: Not all manufacturers equip their devices with this function. If the material does not contain timestamp data, the system automatically falls back on video content based detection.
Chapter 8 Administration Media Management Media Management in Avid Liquid provides greater clarity and more transparency in the handling of Media Files, especially for users working in a networked environment. It facilitates and organizes the exchange and shared usage of Media Files and the selection of Media Formats and digitizing drives. Media Files, you may remember, contain the digital image and audio information necessary for editing.
Media Management Basics Certainly it is also possible to work in Avid Liquid without giving much thought to Media Files. To a large extent, the software organizes the interactions between clips and Media Files in the background. When Projects become more complex and the exchange of data becomes more important, however, you should familiarize your self with some of the basics of Media Management. Compatibility Projects and Media Files that were created in Avid Liquid up to and including Version 2.
Chapter 8 Administration Identifying a Media File What makes a file a Media File from the point of view of Media Management? Still Media File This type of Media File is sufficiently defined by a Reel name and the name assigned when the file was created. The following metadata identifies a Streamed Media File: Reel name The name of the Reel must be specified for logging and digitizing ( page 120). An unmistakable and unique Reel name is especially important in a network environment.
Media Management Naming of Media Files by Avid Liquid (Streamed media) Up to and including Version 5.6x Media Management names new and imported Streamed Media Files ( page 327) as well as imported animations on the basis of the timecode data. For example: 15030512N 15040613N V0.yuv The first number is the timecode of the clip-in (hhmmssff). Timecode system: N stands for Non Drop NTSC and D for Drop Frame NTSC, P for PAL. The second number is the timecode of the clip-out.
Chapter 8 Administration - LN (Proxy NTSC 15 Hz) - LF (Proxy Film 12 Hz) - H3 (HD 30 Hz) - H6 (HD 60 Hz) CF450037 (project ID) The system assigns this number for the purpose of assigning Reels and Projects. All entries up to this point are part of the directory path name. All clips in the same directory have the same path because they come from the same Reel.
Media Management System Formats and Codecs in Avid Liquid This section provides information about the system formats and codecs available in Avid Liquid. System Formats Analog and digital video and audio material can be recorded, stored, edited and transmitted in many “formats”. The term “format” has no very precise definition and is confusing because of the many ways in which it is used. The “formats” that you work with as a Avid Liquid user primarily depend on your editing system.
Chapter 8 Administration Avid Liquid uses the following Media Formats: Uncompressed (YUV) File formats *.2vuy, *.yuv: full YUV resolution, no transcoding, difference only in file extension. HD formats available. MPEG-2 variants MPEG2 I 422P@ML MPEG I-Frame only, variable compression at 5, 10, 15, 25, 30, 40 or 50 MBit/sec File formats *.m2v, *.mxf; *.
Media Management Render formats When rendering effects, Avid Liquid generates files of a specific format. This format is defined in the Timeline Properties dialog or when you create a new Sequence. The selected Render/Fuse format is then valid for all render files generated from that Sequence. It is also the format of choice when you use the Fuse function to create video files from a Sequence. A list of available Render/Fuse formats can be found on page 335.
Chapter 8 Administration CAUTION: When you create and use individually defined Codec Presets you’re always risking to operate outside commonly accepted conventions and standards. File exchange could become difficult or even impossible because of incompatible formats. Open the Codec Presets dialog: Edit > Control Panel > Site.
Media Management MPEG2 I-Frame Codec Options Here you define the Bitrate (compression) and vertical resolution (Height; when Profile Constraints is set to None). When IMX is selected as a profile, Bitrate and Height cannot be modified. The Extended 512/608 Height setting is needed only in some special cases. In “standard cases”, it neither hurts nor helps.
Chapter 8 Administration Avid Liquid Chrome HD Capture (native) DV [dif], DVCPro 25 [dif], MPEG 2 IPB (mp@ml/hl), HD MPEG 2 IPB (= HDV, MicroMV, DVHS) Native capture means that the video and audio signal is not transcoded but is copied on a bit-bybit basis from source to a hard disk. This means that you cannot modify the signal during the capture procedure. Native transfer works only with IEEE-1394 and SDTI input.
Media Management Avid Liquid (incl. Pro) Capture (native) DV [avi], DV [dif], DVCPro 25 [avi/dif], MPEG2 IPB, HD MPEG (HDV) Capture (via Encoder) DV [avi], DV [dif], DVCPro 25 [avi/dif], MPEG2 IPB, Uncompressed Realtime playback (Timeline) DV [avi], DV [dif], DVCPro 25/50, MPEG 2 IPB, MPEG 2 I-Frame, MPEG 2 IMX, HD MPEG IFrame, HD MPEG IPB, Uncompressed, HD Uncompressed Render DV [avi], DV [dif],DVCPro 25/50, MPEG 2 I-Frame, MPEG 2 IMX (opt.
Chapter 8 Administration Identical Media Files Initially, Media Management handles Media Files in different Media Formats (I-MPEG, DV, Uncompressed, PCM, etc.) that are otherwise identical (same Reel, same clip-in/clip-out) as one clip that exists in two or three Media Formats (Clip-based View). Probably the most common example of this involves video Media Files with synchronous audio Media Files (e.g.
Media Management Streamed media Streamed Media Files are stored as described below; the words in the directory path written in italics are generated by Avid Liquid: For digitized media (Logging Tool, Batch Digitize): “DriveLetter:/DirectoryName/Reels/ReelName.ProjectID/MediaFileName”, where the “MediaFileName” conforms to the convention described above ( page 329). Media Management assigns these files to the Reel name allocated for logging/digitizing (“Selecting/Creating a Reel (E)” on page 120).
Chapter 8 Administration Matching Clips to Media Files In order to be able to play a clip, at least one Media File, or part of, must be found that matches the clip’s metadata. This matching operation works as follows: 1 On the basis of the clip’s metadata, Media Management first searches the associated Reel directory to find a Media File range that matches the clip’s mark-in/mark-out range. 2 The first range found is preselected. 3 Next Media Management searches the other files in the directory.
Media Management Media Tab in the Project Window The Media tab in the Project window provides access to the Media Files of the current Project and to all Media Files that can be accessed by Media Management (see also Media Volumes (Directories) on page 347). The left-hand area of the window contains a hierarchical tree (arranged by Streamed media and Still media on a Project- and Reel-specific basis); the area on the right contains the Media Files.
Chapter 8 Administration Media Files: Views and List Headings The Media Files can be displayed as Picons and in the form of a list. You can sort each column (in the Detail (List) View) and edit the list. (See also “Objects in the Project” on page 250.) Right-click a free space in the right-hand area of the window or click the button at the top of the Project window to display the shortcut menu for the Media tab.
Media Management Project Name or ID of the Project in which the Media File was created. Audio Rate Sampling rate for audio Media Files. Audio Bits Bit rate for audio Media Files. Video Aspect Aspect ratio (4:3, 16:9). Path Directory path for the Media File ( page 338). File Name of the Media File (system name, page 329). Location Freely assignable name for the volume (storage medium/location) where the file is stored, such as an abbreviation (see also Editing Media Directories on page 348).
Chapter 8 Administration Media Files: Functions Open the shortcut menu by right-clicking on the Media tab in the Project window or clicking the tool button. Open This function loads the Media File in the Clip Viewer. If the data rate is sufficiently high, Media Files can easily be played via a network connection as well. Direct editing is not possible; if you wish to do so, create a clip from the Media File (see below). Properties This function opens the Object Properties dialog box ( page 294).
Media Management Tags are not updated automatically. Reset and start a new count for fresh results. Also, for a correct count of used media be sure to choose the Clip based viewing mode ( page 342). Reset This function resets the values under Tag used media to zero (for example, to restart counting). Check Links This function checks whether the link(s) to the Media File(s) are correct and indicates any lost links. Refresh View This function updates the list displayed.
Chapter 8 Administration Media Management Settings To view the options and default settings for Media Management, select Edit > Control Panel > Site > Media Management Settings. Among other things, these settings are important for the Logging Tool because they allow you to define the directories for digitize and save operations. The Media Management settings are not user-specific; they apply to the particular system.
Media Management Video Tab/Audio Tab Separate volumes for video and audio Activate this option if you wish to save video and audio media files in separate directories. If only one tab is displayed (Video/Audio combined) a separate destination volume for audio has not been specified in the Logging Tool ( page 128). It is normally recommended that video be saved with its audio data.
Chapter 8 Administration Editing Media Directories You can add to and modify the list of volumes, remove any entries not needed and change their order. You can also assign the volumes individual names. Add This function opens a Windows dialog box in which you can find and select the relevant volume. Click OK to add it to the list. You can also create a new directory (folder). Click the button and enter a location and name for the new folder.
Media Management Import Drive column (Right next to the Primary Volume column) Important in networked systems where the Media Management is centrally administered. Add the network file path and put the X in front of that list entry (right-click). Thus the centralized Media Management can keep track of locally import objects. Access Rights column You can assign the Write or Read attribute (right-click to open the shortcut menu) in order to protect specific directories.
Chapter 8 Administration Format Ranking Tab You need this list if you have identical clips (video or audio) in different file formats. In earlier versions of Avid Liquid, you were able to specify a preferred file format for playback - but no more than one. The variety of formats is now greater, however, and it could happen that Media Management will need information on how you wish to rank the different media types.
Media Management Importing Media Clips When importing media clips to a Project, you can create copies of the relevant Media Files in the relevant Project Media Directory or move files to this directory (see “Media Volumes (Directories)” on page 347 and “Project Media Directories: Where Are the Files Stored?” on page 338). For more information, see “Importing Media Clips” on page 162. You can also bypass the import operation as described.
Chapter 8 Administration Media Management and Object Properties The Object Properties window provides information on the object and to a lesser extent, on functions, depending on the object type. You can call the Properties dialog box from the shortcut menu of any object. The elements on the dialog box’s General tab are the same for all objects (see also General Elements of the Object Properties Box on page 296). The V and A1...A4 tabs are described below.
Media Management Quality rank Indicates the “quality level” assigned for capture, which is normally the default value 16 (normal). Can be used to associate another set of media files with the current clip. See the appropriate section in chapter “High Definition”. Media File Name Name under which the system saved a Media File on the hard disk (see also Naming of Media Files by Avid Liquid (Streamed media) on page 329).
Chapter 8 Administration Options: Depending on the object type, these options and list boxes are either available for selection or not (grayed). Interlacing In this list box, you can define the sequence of fields. It applies to images produced by means of interlacing, i.e. that comprise a sequence of even and odd lines. Some graphics programs convert the default sequence, which can cause the images to flicker. You may be able to prevent this effect by changing the field sequence.
Media Management PAL format can vary (768x576 or 720x576) depending on pixel shape. As mentioned above, most graphics programs generate square pixels. Positioned side by side, 768 of them make up the full width of the video format. For television images, only 720 pixels are necessary since the pixels are somewhat wider than they are high (i.e. rectangular). As a result, 768 square pixels = 720 PAL pixels.
Chapter 8 Administration Media Management and the Windows Explorer You can also find the file names generated by Media Management in the Windows Explorer. Media Files are easy to identify by the timecode information and the directory containing the Reel name. For most Media Files a file exists with the same name containing metadata for this Media File. Search and Import Media Files (Search Media) This tool locates and imports Media Files to your Project.
Media Management 1: Define Search Criteria What are you looking for? Video, audio, images? Certain file names or parts of file names? Select the options. The list displays all selected file extensions. Where do you want the tool to search? Select a drive or folder. To speed up the search, you may also exclude certain folders. Using the Ignore paths function, you can select specific directories and exclude them from the search. To do so, click Edit and either enter a path name (e.g. C:\Programs) or use the
Chapter 8 Administration Deleting Clips/Objects and Media Files Delete clips/objects page 358 Delete Media Files page 360 Delete render files page 360 Restore deleted objects, Media Files and render files page 362 Clean up Project page 363 Deleting Clips/Objects To remove one or more objects (clips, Sequences, effects, etc.) from your Project, you can select from among four different options: Delete (shortcut menu option): Select one or more objects, open the shortcut menu and select Delete.
Media Management The Delete dialog box contains several options for deleting objects or Media Files. Avid Liquid always asks you exactly what you want to delete in order to keep you from accidentally deleting an object you still need. When you delete Media Files, a second dialog box may be displayed depending on the circumstances ( page 360). Delete dialog box The delete options refer to the objects you selected in the Rack. The number of objects selected is specified.
Chapter 8 Administration Graphics and Title Clip(s) This option deletes graphics and title clips with/without Media Files. When you delete specific Media Files, you are asked to confirm the deletion ( page 360). Effect(s) This option deletes clip effects, transitions, audio effects, etc., but not the original effects in the Avid Liquid FX Rack. Shortcut(s) This option deletes shortcuts, including those on the desktop.
Media Management Deleting Render Files (Project) The shortcut menu for the Trash icon on the desktop contains a number of options for deleting render files that apply to the current Project. Select Delete Render Files Of Project:... All This option deletes all existing render files in the Project. Not used by any Sequence This option deletes render files that do not reference any existing Sequences in the Project.
Chapter 8 Administration Restoring Deleted Objects, Media Files and Render Files A number of options are available for retrieving “deleted” objects, files and statuses. Sometimes, however, certain manipulations are required and sometimes it cannot be done.
Media Management Trash (Desktop) The Trash icon on the Avid Liquid desktop keeps deleted objects. If you have not emptied the Trash in the meantime, you can regenerate all the objects it contains. Drag or copy the relevant objects to the desired location. Undo List Many modules have Undo/Redo functions. By repeatedly clicking this function, it is possible to restore an earlier status. However, you may also lose other work steps.
Chapter 8 364 Administration
Chapter 9 Edit
Chapter 9 Edit This section describes the Avid Liquid function that deals more specifically with the editing of Sequences on the Timeline, such as how to insert, trim, delete and move clips on the Timeline. The basics of audio editing are also presented.
Video Editing Video Editing Basics This section provides you with information on the Timeline. The Timeline is the area in which the Sequence is compiled.
Chapter 9 Edit Timeline Layout As the basic tool for non-linear editing, the Timeline not only allows you to gain an overview of your editing work, it also provides flexible and powerful functions. There is no set assignment of clips to Tracks - all video and audio clips, graphics, title clips and transition effects can be positioned anywhere on any Timeline Track.
Video Editing Timecode Bar The Timecode Bar displays timecode in various scales ( page 369), from single frames to several minutes. Mark-in points, mark-out points and markers defined on the Timeline or in the Master Viewer appear on the timecode bar. The space between mark-in and mark-out points appear shadowed. Changes to Timecode Bar scaling have no effect on the position bar in the Master Viewer and vice versa.
Chapter 9 Edit You can also change Timeline resolution via the keyboard. Press the ARROW UP key (same as Zoom Out, dragging slider to the right) to see an overview of your Sequence. Press the ARROW DOWN key to display up to the highest resolution (individual frames). Timecode/Zoom Display The display below the Zoom tool indicates the Zoom factor and the current position of the Playline on the Timeline (Master Timecode). The separator (,;:.) between the values indicates the TC system used.
Video Editing Timeline Properties Click the right-hand mouse button on the Timeline to access the shortcut menu. Under Timeline Properties you’ll find several options that allow you to personalize Timeline editing. The dialog box has two tabs: General relates to every new Sequence that you create, open or edit. The settings on the Current Sequence tab relate only to the Sequence that is currently on the Timeline. These options are described in the section entitled “New Sequence” on page 414.
Chapter 9 Edit Show sync breaks during trim This works the way the dupes display works. You first have to enable the Sync Break indicator for all or one particular Track before you can use this option ( page 378). Extended sync break display This extends the standard Sync Break functionality: Normally, a sync break (that’s when the original relation between audio and video clips is disrupted) is displayed only as long as the original clips still retain some overlap.
Video Editing Slice Numbers The Slice Number bar, located on top of the Tracks, displays a number for every edit event in ascending order.
Chapter 9 Edit Slice Colors In addition to the standard gray, Slices can appear with one of the following colors, thus indicating how (i.e. in terms of frame rate, frames per second, fps) corresponding Timeline areas will be played back: Green Green slices identify segments that are ready for immediate realtime playback. They contain either realtime hardware effects or effects that have already been rendered. The system falls back on existing render files.
Video Editing Toolbar The toolbar is located at the top of the Timeline and contains buttons for navigating on the Timeline and playing, marking and processing clips and Sequences. This toolbar can be customized like any other Avid Liquid toolbar. (See “Customizing Toolbars” on page 1010.) The default toolbar contains buttons for basic functions.
Chapter 9 Edit Track Headers The Track Headers are in the area to the left of the actual Tracks. This area is used for organizing the Tracks in a Sequence, defining Source Track Mapping, specifying Track display, naming Tracks, etc. Whether a Track is active or not active for editing also appears here. The Track Headers are divided into six columns: The top row of the Track Headers contains the column headers. Right-click a particular column Header to customize Tracks.
Video Editing Track Name The Track Name column shows the name of every Track. Here you can modify the Tracks and adjust what appears on them. page 378 This column is also used for defining Tracks as active or not active for editing. See also “Activate all / Deactivate all” on page 381. In this column the Source Timecode will be displayed, if the option has been enabled. See page 378. Video Playback The Video Playback column is used for activating and deactivating video playback of Tracks.
Chapter 9 Edit Configuring Tracks You can “configure” Tracks both individually and for the entire Timeline. In other words, you can name, delete, add, copy, zoom in, zoom out, etc., either all the Tracks as a group or a single Track. Adjusting All Tracks (Track Name Header) To adjust all Timeline Tracks as a group, right-click the header of the Track Name column. In the shortcut menu that appears, use the options provided to control the appearance and functionality of the Tracks.
Video Editing Head - displays the first frame of the clip as a Picon at the beginning of the clip. Tail - displays the last frame of the clip as a Picon at the end of the clip. Index - displays the index frame in the middle of the clip (see“Set Index Picture” on page 125). Marker - displays clip markers (if set). See also “Setting Markers and Adding Comments” on page 284.
Chapter 9 Edit Source Timecode - when active, the timecode data of a Timeline clip will appear below the Track name. This refers to the position of the Timeline Playline covering a clip on the Timeline. Thus you know the clip’s TC data, not only the master TC of the Timeline. The Track height must not be below 38 pixel (see “Track Height” on page 381). Source Timecode refers to the clip TC Text Click Text to open a submenu with various options for controlling the display of clip information.
Video Editing Comment - displays clip comments. Mark-In/Out - displays the timecode of the mark-in and mark-out. AV Media - displays the clip path, i.e. the name and location of the corresponding Media File. Sample: clip with all text information available These options only appear if clip display is large enough. The Text data also appears in the tooltip (activated by resting the mouse pointer on a clip for about one second).
Chapter 9 Edit Protect All Click Protect all to protect all Tracks and hence all elements on the Timeline from being modified. When this function is activated, you cannot directly access the clips or other elements on the Tracks. Protected Tracks are played back normally during Timeline playback (when playback is activated). The Picons of protected Tracks appear with a darker background.
Video Editing Delete Track Click Delete Track to delete the current Track from the Timeline. The system prompts you for confirmation. Add Matte Track Click Add Matte Track to add a Matte Track as a subordinate track to an existing track (a special type of Subtrack). This function is used for Track Matte (alpha channel) effects. For a more detailed explanation, refer to: “Matte Track and Track Matte” on page 478. When Matte Tracks are used, another column is added to the Track Header area on the far left.
Chapter 9 Edit Add Sub Track Subtracks are useful for setting up complex Timelines such as those used, for example, in multilayer compositing. They serve as Containers - although only on a Track-specific basis - and not as freely moveable objects. Subtracks have no other purpose than to achieve order and clarity, and thus differ from Matte Tracks. You can configure as many Subtracks as you wish.
Video Editing The shortcut menu for a Subtrack also contains the Expand/Collapse Level functions. When you collapse (raise) the Subtrack level, the Subtrack is shifted onto the same hierarchical level as the Subtrack immediately above it. In the screenshot above, this is illustrated by Subtracks 6 to 9. Objects on different Subtracks are independent of one another.
Chapter 9 Edit Track Priority Track Priority is defined vertically (higher Tracks have higher priority). In other words, the higher tracks encompass everything below them. This lets you apply effects at several levels (multi-layering). You can insert any number of Tracks in order to create effects like keys, 2D/3D effects, etc. To change a Track’s Priority, drag its Track name in the Track Header to a different position.
Video Editing Source Track Mapping If you are working with the Sequence Editor ( page 403), Source Track Mapping is important for inserting clips on the Timeline; it serves as a sort of “signpost” for the Source Tracks. When you use the appropriate function to insert a clip from the Source Viewer on the Timeline or when you use the Send To > Timeline function in the Project window, the Source Tracks (i.e.
Chapter 9 Edit Source Track Labels Source Track Labels in the Source Track Mapping column identify the Timeline Tracks on which the Source Tracks should be inserted. The following Labels are possible: “VA” means that a clip is positioned on a Track with video and audio grouped. Tracks labeled with “A” only contain audio (no video signal in clip). “V” means that only a video signal is positioned on the Track.
Video Editing Mappings Disabled Deactivate Mappings Enabled so that when you press the Insert Arrow instead of the clip itself a gap the duration of the clip appears on the Timeline Tracks (if they are edit-active) based on Source Track Mapping. This applies to both grouped and ungrouped clips. Mapping Individual Tracks You can define mapping for each Track. To enable/disable mapping click the Source Track Label (toggle switch).
Chapter 9 Edit Edit Styles Avid Liquid’s two Edit Styles determine how objects are inserted on the Timeline, regardless of whether you use a mouse (drag&drop) or the Insert Arrow and Source Viewer: Overwrite Style Objects that are inserted overwrite any objects or gaps on the particular Track. page 391 Film Style As at the film cutting table, here the material at the insertion point is “cut” and the clip is inserted between the “two parts”. Subsequent objects and gaps are shifted accordingly.
Video Editing Overwrite Style When working in Overwrite Style, the inserted clip replaces an area on the Timeline Track equal in size to the clip’s duration. To activate Overwrite Style, click the tool button (between Source and Master Viewer). When Overwrite Style is active, a red square appears at the top center of the button. Which Timeline Tracks are overwritten depends on which Source Tracks a clip contains and on Source Track Mapping. (See “Source Track Mapping” on page 387 for details.
Chapter 9 Edit Film Style If you insert a clip with the Insert Arrow in Film Style, a cut is created at the insert point. To activate Film Style, click the tool button (between Source and Master Viewer). When Film Style is active, a yellow square appears at the top center of the button. Based on Source Track Mapping (see also Source Track Mapping on page 387), the Timeline Tracks are rippled by the duration of the clip.
Video Editing Navigating on the Timeline This section describes how you can find your way on the Timeline, set the Playline to specific points on the Timeline, and view/listen to video/audio. The information below also applies to the Playlines in the Clip, Source, Master and all other Viewers. The timecode display to the lower left of the Timeline refers to the current position of the Playline.
Chapter 9 Edit Moving the Playline In Scrub Mode: Click the point on the Timeline where you want to position the Playline. In Edit Mode: Click the desired position within the Timecode Bar ( page 369). Scrubbing Drag the Playline over the Timeline. Video is played back simultaneously. (Audio scrubbing: page 283). If you reach the end/beginning of the Timeline, the system automatically scrolls the Timeline farther.
Video Editing Button Navigation The toolbar is located at the top of the Timeline and contains buttons for navigating on the Timeline. This toolbar can be customized like any other Avid Liquid toolbar. (See “Customizing Toolbars” on page 1010.) GoTo Start Jumps to the beginning of the Sequence/clip. GoTo End Jumps to the end of the Sequence/clip. Step Back 1 Frame Jogs backward one frame at a time. Step Forward 1 Frame Jogs forward one frame at a time.
Chapter 9 Edit GoTo Mark-Out Jumps to the mark-out point, if set; otherwise to the end of the Sequence/clip. GoTo Previous Marker Jumps backward to the next Marker in that direction, if one is set. GoTo Next Marker Jumps forward to the next Marker in that direction, if one is set. GoTo Previous Edit Jumps backward to the previous Edit, if it exists. GoTo Next Edit Jumps forward to the next Edit, if it exists. The system registers each point on the Timeline where a clip, transition, title, etc.
Video Editing GoTo Previous Gap Click the GoTo Previous Gap button to position the Playline at the beginning of the closest previous Gap on any Track. GoTo Next Gap Click the GoTo Next Gap button to position the Playline at the beginning of the next Gap on any Track. A Gap is defined as the space between two adjacent clips on a Track. Timeline Markers /Cue Marker Timeline Markers can be set anywhere on the Timeline and can be provided with a comment as needed.
Chapter 9 Edit Marker List Click this button to open the Marker List. This window contains a list in chronological order of all the Marker set in the current Sequence. Marker list Double-click a marker entry to make the Playline move to the corresponding Marker position. Marker Comment - contains a Marker comment created by the user. To enter a comment, doubleclick the Marker and type in information in the field that appears. Sequence - shows the timecode position of a Marker on the Timeline.
Video Editing Undo/Redo In the default configuration, these two functions are available on the Timeline and Master Viewer toolbars. Undo Cancels the last edit action and returns the software to the state it was in before you performed that action. Avid Liquid saves the last 64 changes you made in any given module, permitting you to revert to practically any previous state. The Undo History summarizes all available Undo steps in a list of edit actions.
Chapter 9 Edit Transition Shortcut Menu Like all the objects in Avid Liquid, a Transition has a shortcut menu. Here you can, for example, define the Transition duration or alignment: Edit To create or edit a Transition, click Edit to open the appropriate Transition Effect Editor. Transition effect shortcut menu Duration To change the default duration of a Transition, click Duration and enter the required duration in hh:mm:ss:ff.
Video Editing Cut/Copy/Replace Click Cut to delete a Transition from the Timeline and transfer it to the clipboard. You can then insert the Transition elsewhere on the Timeline. Click Copy to create a copy of a Transition on the clipboard. You can then insert the Transition elsewhere on the Timeline, while keeping the Transition at its original position. Click Replace to change Transition type without changing basic parameters like duration, alignment, etc.
Chapter 9 Edit Valid and Invalid Transitions If a Transition is not possible, you will not be allowed to set it. The examples below illustrate why this might happen: Invalid Transitions The pictures below illustrate how Transitions can be set. Dissolve (top); fade-in/fade-out with leeway (middle); fade-in/ fade-out without leeway (bottom) If you insert, delete or move a clip in the area of a Transition, the entire Transition is deleted.
Video Editing Sequence Editor The Sequence Editor combines the Source Viewer (“player”), Master Viewer (“recorder”) and Timeline (permits non-linear editing and the creation of Sequences). Clips are inserted on the Timeline by means of the Insert Arrow.
Chapter 9 Edit Source Viewer Master Viewer Sequence Editor and Timeline 404
Video Editing Source Viewer The Source Viewer is used to prepare clips for editing and insert them on the Timeline. It is equipped with the same functions as the Clip Viewer ( page 276), but also offers the Insert Arrow and the two Edit Styles ( page 390).
Chapter 9 Edit Loading Clips to the Source Viewer There are various ways to load clips (and clip shortcuts) to the Source Viewer. Regardless of the method you use, a shortcut of the clip is created in the Source Viewer. Therefore, any changes you make to a clip always affect the original in the Project window. When you insert a clip on the Timeline, a copy of the clip is created. Thus, the original clip is not affected. This copy can be transferred to the Project (with Cut/Copy, Paste).
Video Editing Clip Name List The last 20 clips you loaded in the Source Viewer appear in the Clip Name List. The last loaded or selected clip appears at the top of the list. If you dragged several clips at once to the Source Viewer, they appear in the order they were in the Project window. Clip Name List Right-click Clip Name List shortcut menu > Clear List to delete all entries or individual entries.
Chapter 9 Edit Mark-In and Mark-Out Priorities The mark-in has priority over the mark-out, i.e. to match a clip to the Timeline mark-out, only set the mark-out in the Source Viewer. The Timeline mark-in and mark-out have priority over the clip mark-in and mark-out.
Video Editing The Insert Arrow Single-click the Insert Arrow to transfer a clip defined in the Source Viewer to the Timeline. The button is located between the Source and Master Viewers.
Chapter 9 Edit Master Viewer The Master Viewer is used for displaying output of the Timeline. All actions performed in the Master Viewer have a direct effect on the Timeline and vice versa. All buttons are available for both areas and are used to activate the same functions. The Master Viewer is similar in design to the Source Viewer and Clip Viewer. However, it is not used for processing and playing clips, but rather Sequences.
Video Editing Loading Sequences to the Master Viewer/Timeline There are three ways to load Sequences to the Master Viewer (and thus onto the Timeline): You can double-click them in the Project window, use the Send To... option in the shortcut menu or drag them to the Master Viewer’s inlay. When you transfer several Sequences to the Master Viewer (from the desktop or a Rack), they appear in the Sequence List in their original order. The Sequence List is used for selecting Sequences.
Chapter 9 Edit Setting Mark-Ins and Mark-Outs To define a specific insertion point or exit point on the Timeline, first set a mark-in or mark-out. To do so, position the Playline at the corresponding position on the Timeline and click the Mark-In/Mark-Out button. It makes no difference whether you position the mark-in or mark-out first. If mark-ins or markouts already exist, they are replaced.
Video Editing Timecode Displays The two timecode indicators at the top of the Master Viewer display information on current Playline position and duration between mark-in and mark-out. The display is in standard timecode format. Playline position Duration You can activate a freely scalable, moveable timecode display: see page 493. Video Inlay The video inlay displays Timeline output at the current Playline position. A clip’s mark-in/mark-out points are graphically displayed in the video inlay.
Chapter 9 Edit Sequence The Sequence is the film that is edited on the Avid Liquid Timeline.
Video Editing When you reboot your computer after a system crash (e.g. due to a power failure), a new Sequence is automatically created. Avid Liquid’s Instant Save ensures that you will not lose your data. The Sequence you were editing before the crash can be found in both the Sequence List and Sequence Rack. Name and Template Enter a name for the new Sequence here. The Autoincrement option adds a number to the file name (which is retained unchanged), always incremented by +1.
Chapter 9 Edit FX Quality All effects will always be rendered in the best possible quality, without compromise. When you’re editing and testing, however, sometimes speed takes priority over quality. For the purpose of a preview, this option lets you lower the quality a little. Media Quality and Min Media Quality IMPORTANT: These settings do not affect image quality.
Video Editing Sequence Menu Click the Sequence Menu button in the top right-hand corner of the Sequence Editor to open the Sequence menu. Use this menu to adjust settings for handling and displaying Sequences on the Timeline. Save A Copy Of Sequence... Use this option to save a copy of a current Sequence on the Timeline. Enter a name for the copy so that it can be saved under this name in the Project’s Sequence Rack.
Chapter 9 Edit The timecode of the current Timeline is the master TC, because in non-linear editing the Timeline is the master. Therefore, the recording tape (or master tape) needs a compatible timecode. For example: Your sequence starts at 10:00:00.00 hours, but the tape has been striped (coded) starting at 02:00:00.00 hours - record to tape in insert mode will inevitably fail. Solution: adapt the Timeline TC or stripe the tape accordingly (see page 968).
Video Editing Play to Out Plays in a continuous loop from the current position of the Playline to the mark-out, if one is set. If there is no mark-out, plays to the end. Press CTRL+SPACEBAR (default assignment). For customized assignments, see “Assign Functions to Keyboard” on page 1013. Shuttle Playback (JKL) page 288 Sequence as a Clip On the Timeline, a Sequence appears as a more or less complex collection of clips.
Chapter 9 Edit Three-Point Editing Three-point editing is useful for subsequently inserting clips in Sequences and replacing clips. After you have defined three editing points, Avid Liquid sets the fourth. See also “Mark-In and Mark-Out Priorities” on page 408. Replace an edit in an existing Sequence as follows (see example below, the video clip is to be replaced, while the audio Track is to remain intact): 1 Select Overwrite Style since you want to overwrite the clip on the Timeline.
Video Editing Example Before insertion Name 1 Name 2 Name 3 inactive After insertion Name 1 Name 2 Name 3 inactive Four-Point Editing The fourth point is unnecessary for editing, unless you want to fit a clip into a specific gap, shorten it or lengthen it. In this case, the fourth point forces the system to edit the clip using the exact acceleration or deceleration required by means of the Timewarp effect. In other words, it automatically executes the Fit to Fill function of Linear Timewarp.
Chapter 9 Edit Timeline Editing Whether you choose to edit with the Sequence Editor or work directly on the Timeline depends on the particular application and your personal preference. Both are possible in Avid Liquid. You can even use a combination of the two methods. This section tells you how you can edit and trim directly on the Timeline. It describes the following areas in detail: Timeline edit functions page 423 Adding objects Drag&drop; Send To...
Video Editing Timeline Edit Functions The toolbar is located at the top of the Timeline and contains buttons for navigating on the Timeline and playing, marking and processing clips and Sequences. This toolbar can be customized like any other Avid Liquid toolbar. (See also “Customizing Toolbars” on page 1010.) Edit Button Click this button to activate the Edit Mode of the mouse cursor. This mode permits you to access elements on the Timeline so that you can, for example, select, trim and delete objects.
Chapter 9 Edit Adding Objects There are various ways to position objects on the Timeline in order to edit a Sequence (other objects already on the Timeline are overwritten or shifted depending on the Edit Style specified - see “Edit Styles” on page 390). Drag&Drop You can drag objects directly to the Timeline from the Project window, Clip Viewer, Source Viewer (hold down the CTRL key) and desktop. They are positioned where the object is when you release the mouse button. When you drag a clip with A1..
Video Editing Replacing Objects To replace a clip on the Timeline with another clip, drag the “replacement clip” while pressing CTRL and drop it directly onto the clip to be replaced (not onto the Track above it). The mouse pointer changes to a symbolic representation of this replacement clip. Two conditions apply, however: The replacement clip must be taken from a Rack (not from the Timeline) and must be at least as long as the clip to be replaced.
Chapter 9 Edit Selecting Objects To process objects on the Timeline, for example, to copy, move or delete them, they first have to be selected. Selected objects appear “recessed” on the Timeline. Clicking Objects Click the Edit Mode button on the Timeline toolbar to put the mouse cursor in the necessary mode for selecting objects (= Edit Mode). To temporarily switch to Scrub Mode, hold down the ALT key. The type of mouse pointer reveals what mode the system is in.
Video Editing Mark and Select Clip Under Playline Clips which intersect with the Playline and are placed on active Tracks can be highlighted in two ways, using two functions: Mark clip(s) under Playline Sets a mark-in and a mark-out at the first possible and the last possible range of the clip(s) involved. This can be, e.g. in the case of long sound clip, quite a big range. The clip(s) itself are not selected. Select clip(s) under Playline Works the same way a single click on a clip works.
Chapter 9 Edit Align Use the Align function to align clips: the default insert point for clips is at the left edge; for Transitions, the middle. Press the ALT key repeatedly while dragging an object to toggle between the three available insert points: beginning (mark-in), middle and end (mark-out) of the clip/Transition. Insert point at mark-in Insert point at center Insert point at mark-ou Snap Mode Another tool available for precision positioning is the Snap Mode.
Video Editing Copy/Cut and Paste Use the Paste function to reposition clips from the clipboard (after Copy or Cut; page 429). This information applies to actions within the same Sequence; otherwise, refer to the note below. 1 Position the Playline where you wish to insert the clip. 2 From a suitable Track, call the Timeline shortcut menu (right-click an empty area on the Timeline). 3 Click Paste.
Chapter 9 Edit Trimming Objects Trimming involves shortening and lengthening Timeline objects. How trimming affects other objects on the Timeline depends on the Edit Style you have selected (see also Edit Styles on page 390) If you are working in Overwrite Style, trimmed objects delete whatever was previously at a given position on the Timeline or create gaps. If you are working with Film Style, trimmed objects shift other objects on the Timeline (objects are rippled or moved).
Video Editing Slide Tool The Slide function allows you to move one or more clips on a Track without resulting in gaps to the left or right of the clip or clips. In other words, this function trims the mark out point of the clip located before the selection and the mark in point of clips located after the selection. You can activate the Slide function as follows: 1 Mark the clip or clips using the Lasso function or using CTRL+click or SHIFT+click.
Chapter 9 Edit Delete from Playline to Next/Previous Edit After positioning the Playline on a clip, you can click one of the two toolbuttons to create a gap (when in Overwrite Style/red) or immediately close up the gap by shifting the clips (when in Film Style/yellow). The deleted area extends to the next or previous Edit (mark-out or mark-in). This function affects clips on active Tracks. It cannot be used to delete outside the gap.
Video Editing Open (Double-click) Calls the Clip Viewer with extended dialog (Attributes). Set Clip Marker Set Clip Marker inserts a clip marker at the Playline. Delete Clip Marker Delete Clip Marker deletes the clip marker at the Playline. Zoom To Clip Zoom To Clip zooms Timeline display to approximate clip length. Cut Cut deletes a clip from the Timeline and moves it to the clipboard. As long as a clip is not inserted at another position, it appears on the Timeline with a grid over it.
Chapter 9 Edit Expand Clip (To Available Media) Expand Clip is available only for subclips with individual clip-ins and clip-outs. Subclips are clips that have already been defined as such in the Logging Tool or have been digitized with a Handle Length in a Batch Digitize operation ( page 150). Select one or more clips and call the function from the shortcut menu. Expand Clip makes the media file of the clip completely available for trimming the clip on the Timeline.
Video Editing The Playline position in the Source Viewer corresponds to the position of the Playline in the clip on the Timeline. Optionally, a mark-in can also be set. See “Timeline Properties” on page 371. You can use Match Frame e.g. to load a clip and to re-insert its audio source Track in case a clip audio Source Track was not inserted on the Timeline or if it is not in sync. Match Frame to Project Same procedure as Match Frame to Clip, but selects the original clip in its original Project Rack.
Chapter 9 Edit Container You can use the Container functions to nest Sequences. page 482 Item Link You can group clips on different Timeline Tracks. See also “Item Link” on page 450. Disband Clip Clips that were inserted on the Timeline as a grouped or linked clip, including video and audio Source Tracks, are disbanded on the Timeline via a shortcut menu command. The underlying free Tracks are used for this. If there are objects on the underlying Tracks, additional Tracks are automatically created.
Video Editing Adjust Audio This menu option is visible only if the Audio Editor is open and the clip is an audio clip or contains audio. For a detailed description, see “Global Modification of Volume and Panning (Adjust Audio Function)” on page 869. XSend to... See “XSend To...” on page 183. Add Linear Timewarp This functions calls the Add Linear Timewarp dialog. Use it, for instance, to quickly create a slomo or a freeze. See “Linear Timewarp” on page 781.
Chapter 9 Edit The clip effect list contains all effects applied on a clip. You can control the order in which effects are applied to a clip by rearranging the order of the effects in this list. To move an effect, click it and then click Move up or Move down. Order is important, for example, in the case of GPU and CPU realtime effects. Maximum system performance (maximum number of realtime effects) is achieved when CPU effects are applied before GPU effects (CPU at the top of the list; see page 632).
Video Editing Remove Effect Click Remove Effect to delete an effect from a clip (you can also do this by clicking the Trash button). Properties Click Properties to open the Clip Properties box with information on the current clip. Most items (such as Name, Source Tacks, Comments, etc.) can be edited, even for multiple clips. (See “Object Information: Properties” on page 294.
Chapter 9 Edit Trim Editor Of course, if you want to more precisely trim cuts once you have finished raw editing a Sequence on the Timeline or while you are inserting clips in a Sequence, you can do this with the Timeline or Source Viewer. However, if you want to see the mark-out frame of the outgoing clip and mark-in frame of the incoming clip side-by-side so that you can, for example, coordinate movement in the pictures for a perfect Transition, then you should use the Trim Editor.
Video Editing Opening the Trim Editor/Basics To open the Trim Editor, click the Open Trim Editor button on the Timeline’s toolbar (or F5). The Playline automatically moves to the closest edit on an active Track. This edit and also edits on other active Tracks at the exact same timecode position are activated for trimming. Furthermore, yellow handles appear in the mark-in and mark-out areas to be trimmed on the Timeline. Note that the waveform display of audio clips slightly impairs the performance.
Chapter 9 Edit Protected and Inactive Tracks Protected Tracks and inactive Tracks are handled differently during trimming (see also Trimming with the Trim Editor on page 464): If all Tracks are protected or edit-inactive, no edit is available. The Playline remains at its current position when you open the Trim Editor. If more than one Track is edit-active, when you open the Trim Editor the Playline moves to the next edit and deactivates all other Tracks for the current trim.
Video Editing Customizing Digital Audio Scrub To the left and right of the timecode fields, you will find editing fields in which you can enter the range (in frames) for digital audio scrubbing ( page 816). These fields allow you to edit audio frame by frame in the Trim Editor. Note the following: 1 You can activate or deactivate digital audio scrub by pressing the SCROLLLOCK key. 2 Scrubbing is then applied to the Tracks activated for audio scrubbing.
Chapter 9 Edit Trimming (Examples) With single or multiple edits selected for trimming, you can trim the mark-in and mark-out point(s) with the tool buttons or by scrubbing the Timeline or video inlays. As you trim, the video inlays in the Trim Editor window are updated to display the current mark-in and mark-out points. Scrub the mouse in the left inlay to trim the outgoing frame(s). Scrub in the right inlay to trim the incoming frame(s).
Video Editing Trim Both When trimming both the outgoing and incoming clip, their duration change since the edit moves on the Timeline. However, the subsequent clips stay in the same position and Sequence duration remains unchanged. Before After Trimming both Slip Clip Click the Slip Clip button to choose both the mark-in and mark-out of a selected clip. When Slip Clip is activated, both the mark-in and mark-out of one clip are trimmed and shifted by the same number of frames in the same direction.
Chapter 9 Edit Selecting Previous or Next Edit To change edits, click GoTo Next or GoTo Previous. This causes the Playline to jump to the closest edit after or before the current edit, and the selected handles appear on the newly selected edit. The Trim Editor video inlays change to display the new outgoing and incoming frames. When you select a different edit, the system automatically deactivates the Slip Clip mode and returns to Trim Both mode. Edits on protected or inactive Tracks are ignored.
Video Editing Restoring an Edit You can use the Undo/Redo buttons in the Trim Editor to undo/redo the steps you performed since opening the Trim Editor. To restore an edit to the state it was in before you opened the Trim Editor, click the Restore Edit button. Options Show only full result With this option enabled both Trim Editor viewers will always show the complete, composited image, that is, including all effects and layered images from above and beneath the current edit point.
Chapter 9 Edit Special Functions This section describes the functions that are not needed every day but can be very useful for specific tasks. Sync Lock Sync Lock combines objects on different Tracks (and that’s all objects on these Tracks) to prevent them from being moved relative to each other to avoid unwanted asynchronous audio. This, however, only makes sense in Film Style and has corresponding effects. A white dot in the column indicates if a Sync Lock is activated for a Track.
Video Editing Trim Mark In to the Left (Lengthening) Trim Mark In to the Right (Shortening) Trim Mark Out to the Left (Shortening) Trim Mark Out to the Right (Lengthening) 449
Chapter 9 Edit Item Link This function can be accessed via the shortcut menu of an object. It allows you to link several objects (clips to clips, Transitions to Transitions) to form one group. They remain linked until Item Link is deactivated. As long as they are linked, their multiple components react just like a single object: clicking on one selects all items belonging to the group as well. If you move one, the other ones move as well. The same applies to the deletion of items.
Video Editing Deselect Individual Items To temporarily remove an object from a group, select the entire group and then the respective object while keeping the CTRL key depressed. This option is not a substitute for Autoselect Linked Items: the group itself with all the links remains. Add Item to Linked Items Click the object of the group and then (while keeping the SHIFT key depressed) on the following object(s).
Chapter 9 Edit Select a handle of a linked object BEFORE: AFTER: If in this group the Mark Out of one object is selected, all Mark Outs of the objects of this group are selected automatically as well.
Video Editing Editing - Examples and Illustrations This section again summarizes the various editing options available in Avid Liquid. Certain editing procedures are illustrated with examples. Creating a Sequence page 453 Overwrite and film styles illustrated page 454 Timeline trimming page 459 Trimming with the Trim Editor page 464 Creating a Sequence In order to create a Sequence, you should already have a rough idea of the course of the editing job.
Chapter 9 Edit Overwrite and Film Styles illustrated The two Edit Styles ( page 390) define how the insertion or deletion of a clip or gap will affect the other objects on the Timeline: Inserting a Clip in Overwrite Style When working in Overwrite Style, the inserted clip replaces all objects in the insert area on the Source Tracks specified in Source Track Mapping. Editing with the Insert Arrow When inserting with the Insert Arrow, the clip in the Source Viewer is inserted on the mapped Source Tracks.
Video Editing Editing with Drag and Drop When inserting a clip with drag&drop, you can insert objects on the Timeline from, for example, the Project window or desktop.
Chapter 9 Edit Inserting a Clip in Film Style When you insert a clip in Film Style, existing parts of a Sequence are not deleted by the inserted clip. Instead, a cut is made at the insert point and the second “piece of film” is attached to the mark-out of the inserted clip. Editing with the Insert Arrow When inserting with the Insert Arrow, the clip in the Source Viewer is inserted on the mapped Source Tracks. See “Source Track Mapping” on page 387 for details.
Video Editing Editing with Drag and Drop When inserting a clip with drag&drop, you can insert objects on the Timeline from the Project window or desktop. Before insertion Name 1 Name 2 After insertion Name 1 Name 2 Deleting Clips Deleting a Clip in Overwrite Style When deleting a clip in Overwrite Style, the objects which followed the deleted clip are not rippled and a gap which corresponds in length to the duration of the deleted clip results.
Chapter 9 Edit Deleting a Clip in Film Style When deleting a clip in Film Style, the objects which followed the deleted clip are rippled to fill the space (no gap results). Before deletion Name 1 Name 2 After deletion Name 1 Name 2 Deleting Gaps There are two ways to delete a gap: Trim the gap on the Timeline until it disappears Set a mark-in and mark-out on the Timeline at the beginning and end of the gap. Click the Trash button to delete the gap.
Video Editing Timeline Trimming You can perform the following trimming operations via the mouse or keyboard. Trimming clips page 459 Trimming Transitions page 463 Simultaneously trimming several objects page 463 Trimming Clips The effect of trimming on other objects on the Timeline depends on which edit style you specified. The simplest type of trim is the single trim. To perform a single trim, click the trim area at the beginning or end of a clip and drag the clip in the desired direction.
Chapter 9 Edit Single Trim in Film Style: Clip A Clip B Clip A Clip C Clip B Clip C Clip B Clip A Clip C Trim Mark-Out Clip A Clip C Clip B Clip A Clip B Clip B Clip A Clip C Trim Mark-In 460 Clip C
Video Editing Single Trim in Overwrite Style: Clip A Clip B Clip C Clip C Clip A Clip A Clip B Clip B Clip C Trim Mark-Out Clip A Clip B Clip C Clip A Clip C Clip B Clip B Clip A Clip C Trim Mark-In 461
Chapter 9 Edit Trim Both The Trim Both option trims two clips - the mark-out point of the outgoing clip and the mark-in point of the incoming clip. The total duration of both clips remains unchanged. Clip A Clip B Clip A Clip B When using Trim Both, it makes no difference which edit style is activated. Slip Clip The Slip Clip option modifies the content of a clip on the Timeline by moving the mark-in and mark-out the same distance in the same direction.
Video Editing Trimming Transitions Drag the beginning or end of a Transition to move its mark-in or mark-out point. Simultaneously Trimming Several Objects To trim several clips on the Timeline at once, mark the different trim points by holding down the CTRL KEY and clicking them. (The selected clips can be at different positions on the Timeline.) Drag one of the handles to trim the clips.
Chapter 9 Edit Trimming with the Trim Editor Basics page 464 Opening the Trim Editor in different Timeline situations page 465 Going to next/previous edit page 467 Simple trim with the Trim Editor page 468 Adding trims by activating additional Tracks page 470 Manually changing selected trims page 471 Slip clip mode page 472 A trim with Transition page 473 Basics The default trim mode is Trim Both. To select a different mode, click either the outgoing or incoming clip in the Trim Editor.
Video Editing Opening the Trim Editor in Different Timeline Situations This section describes the effects of activated/deactivated Tracks and overlapping Edits. No Tracks Active BEFORE AFTER Edit closest to Playline Mark-in and mark-out of the edit are selected Playline moves to the closest edit Track is now active The Playline automatically moves to the closest previous/next edit. The Track with the edit is set active. Trim Both is activated.
Chapter 9 Edit Two or More Active Tracks BEFORE AFTER Edit closest to Playline on an active Track Edit closest to Playline These Tracks become/ remain inactive Playline moves to the closest edit(s) on an active Track(s) The Playline jumps to the closest previous/next edit on an active Track(s). All active Tracks which do not have an edit at this position become inactive. All edits at same position are selected and Trim Both mode activated. All Tracks involved are active.
Video Editing GoTo Previous/Next Edit in Different Edit Situations These situations occur if the Trim Editor is already opened and you are using the GoTo Previous/Next Edit function. One Track Active BEFORE AFTER Closest edit on an active Track This Track switches to active Playline moves to the closest edit on an active Track The Playline jumps to the closest edit on an active Track.
Chapter 9 Edit Manually Selecting Trims BEFORE Leading Track AFTER Edit at Playline Secondary Tracks This Track switches to inactive Playline moves to closest edit on leading Track The active Track(s) with the Playline exactly at the edit we call “leading Track(s)” for that trim. The active Tracks with manually selected edits we call “secondary Tracks.” Click Goto Next/Previous Edit to move the Playline to the closest edit on one of the leading Tracks.
Video Editing Trim Outgoing Trim outgoing clip to the left or right Trimming to the left or right, shortens or lengthens the outgoing clip. Every object to the right of the trimmed edit(s) on the trimmed Track(s) is rippled. As a result, the Track(s) gets shorter or longer. Trim Incoming Trim incoming clip to the left or right Trimming to the left or right, shortens or lengthens the incoming clip. Every object to the right of the trimmed edit(s) on the trimmed Track(s) is rippled.
Chapter 9 Edit Adding Trims by Activating Additional Tracks By manually setting a Track active (by clicking on the Track name in the Track header area), the edit on the Track closest to the Playline of the leading Track is selected for trimming. BEFORE AFTER Track is inactive Track is set active. Edit automatically selected for trimming Trim State The edit on the additionally selected Track is assigned the activated trim mode.
Video Editing Manually Changing Selected Trims Click a mark-in or mark-out directly to change selected trims. The type of mouse pointer indicates whether Trim Outgoing or Trim Incoming is activated. Selecting a Mark-In on an Inactive Track BEFORE AFTER Click here The Playline moves to the edit and Trim Incoming is activated The Track becomes active. Tracks that do not have an edit at this position become inactive. The Playline moves to the selected edit.
Chapter 9 Edit Trimming Mark-In and Mark-Out Simultaneously It is possible to activate different trim modes for the same group of selected edits (for example, Trim Outgoing and Trim Incoming at the same time). In the example above, when the outgoing clip is trimmed to the left it becomes shorter and when the incoming clip is trimmed to the right it also becomes shorter. Slip Clip Mode Activate the Slip Clip mode in the Trim Editor to slip clips.
Video Editing If the leading clip gets slipped, all other clips involved are also slipped. Slipping and trimming at the same time is not possible. BEFORE AFTER Select this mark-out by clicking it This mark-in is also selected and Slip Clip mode is activated for this clip A Trim with Transition BEFORE AFTER Trim edit to the left Transition moves with the edit The Transition moves with the edit and remains at the same position in relation to the edit itself.
Chapter 9 Edit Audio in the Timeline This section contains information on audio editing on the Avid Liquid Timeline. Audio clips basically behave the same as any other object, whether in the Clip Viewer, Source Viewer, Master Viewer or on the Timeline. Nevertheless, there are a few special points that you should note. (For more information on the subject of audio, see the section on “Audio Postproduction and Audio Effects” on page 806).
Audio in the Timeline Other functions in Avid Liquid related to synchronicity: Sync Break - Indicates a loss of synchronicity both visually and numerically. page 379 Item Link - Individual objects on different Tracks can be combined in groups to prevent them from being moved relative to one another. page 450 Sync Lock - All the objects on all or specific Timeline Tracks can be linked together.
Chapter 9 Edit Volume and Panning Audio clips have a specific volume (level) and a specific left/right alignment, called panning or balance, depending on stereo or mono properties. This information is defined when the clips are digitized or imported, along with their stereo or mono characteristics (“Stereo and Mono, Panorama and Balance” on page 813). Nevertheless, you can also change these parameters later on.
Special Functions Special Functions Matte Track and Track Matte Matte effects created on a special Timeline Track page 478 Consolidate and Condense (Building a Rack from a Sequence) The Condense function combines all the clips of a Sequence to form a new Rack ( page 317); Consolidate creates copies of required Media Files ( page 313). Nesting Sequences (building a Container) Sequences can be nested on up to ten levels.
Chapter 9 Edit Matte Track and Track Matte The Matte Track lets you very easily set up a track matte effect. These effects are key or mask effects, which can also be animated. Step 1: Set up Matte Track page 480 Step 2: Create a track matte (mask) page 481 Step 3: Set up Track Matte effect page 481 A Matte Track is a special Timeline Track that acts like subtrack.
Special Functions How can this result be explained? The white X is filled in with the color bar pattern - that’s why the clip above the Matte Track is called “Fill” or “Foreground”. The black area around the X is replaced by the background, provided by the clip beneath the Matte Track. This is a standard-issue key effect. The X itself is a title clip created in TitleDeko. It’s just the letter X, color white, horizontally stretched, on a black = transparent background. This clip provides the alpha plane.
Chapter 9 Edit Step 1: Set up Matte Track A Matte Track can be created on any Timeline Track. 1 Right-click the Name area of a Timeline Track and select Add Matte Track. 2 The Matte Track, in a greenish tint, is added just below the Track. A new column appears. By clicking the Minus sign inside the little box you can collapse the Matte Track. To delete a Matte Track click the Name area and select Delete Track.
Special Functions Step 2: Create a Track Matte (Mask) For a first tryout we recommend the creation of a simple geometric pattern or just even a letter, like in our example. You can use TitleDeko to produce that clip, but any other image or video, with or without an alpha plan, will do. Step 3: Set up the Track Matte Effect The order of events is not really important. We’ll proceed top-down. Make sure that Video Playback (monitor symbol) is active on all three Tracks.
Chapter 9 Edit Nesting Sequences (Building a Container) If you want to include Sequences as objects on the Timeline, drag them from the Project window to the Timeline or the Source Viewer (or use Send To command from the shortcut menu). You can now edit the Sequence just like a clip, e.g. include it in another Sequence (building Containers), apply effects or trim it.
Special Functions Build Container You can use the Build Container function to combine a specific segment of a Sequence (or a complete Sequence) into a container from within the Timeline. This function can be activated via the toolbar shortcut menu or the function icon shown here; it may be necessary to copy the latter from the function library to the Toolbar.
Chapter 9 Edit Step Into Container First insert a Sequence (Container) within the Sequence (Top Sequence) currently being edited. Then open the Container’s shortcut menu and select Container > Step Into Container. Opening the container The opened Container is now located on the Timeline including all individual objects. A tab indicating that the current Container is “stepped into” (opened) appears left of the Track Headers. By clicking this tab, you reach the higher Sequence, i.e.
Special Functions Layer 1 container opened An area is highlighted in color on the Timecode bar and is limited by mark-in and mark-out points. This area corresponds to the length of the Container in the higher Sequence (in this case the main Sequence). The indicated timecode refers to the Container currently open. Also the Timeline layout corresponds to the current Container. See “Dismantle Container” on page 486. Insert Further Containers Insertion of further Containers leads to an increase in tab pages.
Chapter 9 Edit Edit Containers You can edit an opened Container just like any other Sequence. When changing the length of clips within the Container, thus changing the entire length as well, note that lengthening/shortening the Container does not automatically affect the next higher level(s).
Special Functions Fullscreen Display You can scale the video in the Master Viewer to the size of your computer monitor. This function (pictured on the left) is found in the Master Viewer’s Function Library (right-click > Customize > Special tab). Keyboard commands (such as Play/Pause = SPACEBAR) and scrubbing in the image continue to function as usual. Press ESC to exit fullscreen display. You can, for example, view HD without a special HD video monitor.
Chapter 9 Edit Maximum Inlay Size This toggle button lets you switch the Master Viewer to full resolution and display it at its maximum size, i.e. 640*480 pixels for NTSC and 768*576 pixels for PAL (square pixels). However, this may simultaneously reduce the size of the Source Viewer. This function is available only with a desktop (computer monitor) resolution of at least 1280*X because if the desktop resolution were too low, the enlarged Viewer would not leave enough space for the Timeline.
Special Functions In this example, the desktop is set to 1280 * 1024 (width * height) and the videos inlays are displayed in PAL format. The Clip Viewer displays its image at the default size and resolution, which is one quarter of the PAL or NTSC resolution. The Full-size button has no effect on the Clip Viewer.
Chapter 9 Edit Inlay Quality Menu / Inlay Size This function lets you change the size and display quality of the video inlays in Avid Liquid. Important: These options apply only to the inlay display (preview), not to rendering or output to tape. Click the button to open the selection menu. High/Low Resolution When set to Low, the image appears a little flatter or softer but the comb artifacts caused by video interlacing and often visible with the High Quality setting are eliminated.
Special Functions Full Screen: CCIR Pixels/Square Pixels - Only in Fullscreen Mode and only for PAL/NTSC Computer monitors, whether LCD or CRT, can only display square pixels. The same is not true of video. The CCIR (ITU) Standard stipulates rectangular pixels for NTSC and PAL. Normally, all the inlays in Avid Liquid run based on square pixels. The signal for the monitor display is interpolated for this purpose.
Chapter 9 Edit Identical areas were cut from the bottom left-hand corner of the same video frame, once with the square setting and once with CCIR pixels. As you can see in the enlargement, the pixels at the same locations are not identical. Why is this? Because in the one case the lines (i.e. the horizontal rows of pixels) in the frame are 720 (CCIR) pixels wide and in the other case are 768 (square) pixels wide (according to PAL specification).
Special Functions Scalable and Moveable Timecode Display If visitors to your editing suite are straining their eyes because they can hardly read the timecode data, it’s time for you to activate the large TC display: This toolbutton is found in the Function Library of the Timeline toolbar (right-click > Customize > Special). The TC window is freely moveable. To resize it, drag the window frame with the mouse. Right-click on the field to open a shortcut menu.
Chapter 9 Edit Multicamera Editing When recording events using multiple cameras simultaneously (often with linked identical timecodes), you also want to view the images simultaneously and cut directly from one source to another. The multicamera function from Avid Liquid makes this possible.
Special Functions Determining Sync Points in the Clips If you don’t have any synchronous tapes, two methods are available for synchronizing clips or setting them to identical timecodes: Æ Synchronize captured clips using MulticamSync (recommended method); Æ Synchronize using the TC Shift command (in the Logging Tool); for more information, see page 506.
Chapter 9 Edit Synchronizing Clips Using MulticamSync 4 Call the MulticamSync command from the Rack’s shortcut menu or by selecting Menu Bar > Project > MulticamSync. 5 The top section displays the list of clips (max. 16) that will form the Multicam clip. In the middle section, select the previously defined sync point (you can ignore the second list box). MulticamSync: Five video clips form one five-camera multicam clip. 6 Click Sync selected clips for Multicam.
Special Functions 8 The Rack now contains the Multicam clip, identified by the extension *.Sync. You can, of course, rename this clip. 9 Load this clip in the Source Viewer or drag it directly to the Timeline (or do both). 10 Continue reading as of “Multicamera Clips in the Source Viewer” on page 499 or “Multicamera Editing on the Timeline” on page 502. If You Have Questions about the Length of the Multicam Clip .... ..
Chapter 9 Edit Properties of the Multicam Clip A Multicam clip is actually many clips. The Properties dialog box for a clip contains a General tab with a Camera list box where you can switch the Multicam clip to any of its Camera clips. You can also create copies of the Multicam clip and assign each copy to a specific camera, resulting in one clip per camera.
Special Functions Multicamera Clips in the Source Viewer In the Source Viewer, a Multicam clip is displayed with all its camera images. All the clips remain synchronous. If you scrub one clip, all the others follow. 1 In preparation: Drag the two tool buttons pictured from the Source Viewer’s function library to the toolbar. Activate the Multicam display. We’ll discuss the other command later on. 2 Transfer the Multicam clip to the Source Viewer (for example, using drag & drop).
Chapter 9 Edit Are one or more camera images missing from the Viewer? Right-click in the inlay and select a display that shows all the cameras (2x2, 3x3, 4x4). 4 Click an image to activate the clip or camera. 5 Each time you click an image, a Multicam Marker is set on the position bar. The number in the Marker refers to the camera that is being cut to. (You can disable this option: Right-click in the image area and disable the Markers as desired.) You can also use the camera buttons from the library.
Special Functions Tips and additional functions Get the tool buttons pictured on the left from the function library and place them on the Source Viewer tool bar: The Marker List provides an overview of the Multicam Markers. Right-click the marker list to open a shortcut menu, which also contains an option for deleting the Markers. The Goto previous/next marker option can be used for easy and precise navigation.
Chapter 9 Edit Multicamera Editing on the Timeline The method described here is recommended especially for Multicam clips that have not already been edited in the Source Viewer by means of Multicam markers (“Multicamera Clips in the Source Viewer” on page 499). Preparation 1 Position the Multicam clip (*.Sync) or Camera1 clip generated in the Logging Tool on the Timeline. 2 Transfer the Multicam clip (*.Sync) or Camera1 clip generated in the Logging Tool to the Source Viewer.
Special Functions Tips and Variations Whenever you move the Multicam clip on the Timeline or insert another clip, it is necessary to resynchronize the Source Viewer and Timeline. First select Match Frame and then reactivate ganging. The button must be highlighted in yellow. A good way to check synchronization is to compare the Source timecode and the Source Viewer timecode: If synchronization is correct, they will be identical (see Source Timecode, page 380).
Chapter 9 Edit Multicamera Capture in the Logging Tool You need at least two tapes with an identical timecode. 1 Load the first tape, open the Logging Tool, assign a Reel name, and select a Rack for the clips as well as the media format (Codec). So far, this is the standard procedure in the Logging Tool. Audio must be taken from one of the synchronous tapes. This tape will become the Camera1 tape and the Multicam clips will be formed from it.
Special Functions 5 Capture this clip with the same TC values for the mark-in and mark-out (if possible; at the very least, make sure you have a long TC area that overlaps, i.e. is synchronous). This creates a video-only clip with the same TC data as the Camera1 clip. 6 Repeat Steps 3 and 5 until all the tapes and clips have been processed, each time incrementing the Camera number by 1 (n+1). Continue as of “Multicamera Clips in the Source Viewer” on page 499.
Chapter 9 Edit Synchronizing with the TC Shift Command (in the Logging Tool) The TC Shift command lets you add or subtract a value from a tape’s actual TC so that you can record clips with the desired timecode. If activated ([Edit > Control Panel > User >] Logging Tool > Properties > General > Activate TC Shift mode), TC Shift appears as a TC input field in the Change Reel dialog box. The Change Reel dialog box opens every time you change a tape.
Special Functions Multicamera: Shooting Tips Improvised Multicamera If it isn’t possible to link the TC generators of the cameras being used, synchronization will have to be done manually. To simplify the process, note the following: Record on tapes of the same length. All cameras should have enough battery power to record the event in one go. Every time you change a tape or battery, you lose synchronicity.
Chapter 9 508 Edit
Chapter 10 Finish
Chapter 10 Finish This chapter contains basic information on video effects. Note that these descriptions apply to Classic editors and effects (Clip FX and Transitions). If you’re working with Avid Liquid effects for the first time, read the following sections of this chapter.
Effects in Avid Liquid: The Basics Effects in Avid Liquid: The Basics In their broadest sense, effects are used to modify, distort, and optimize digitized video and audio. Avid Liquid provides effects for both video and audio clips. Among them you will find ready-made effects and effect editors that can be used immediately, some of which can also be played back in real time (depending on the hardware combined with Avid Liquid or the product version).
Chapter 10 Finish Alpha Magic Wipes Collection of alpha wipe patterns; feature of Gradient Wipe and Gradient Wipe with Border editors; Realtime (GPU); Rack Folder: Realtime Transition FX > Editors.
Effects in Avid Liquid: The Basics Effect Basics This section provides basic information on the effects available from Avid Liquid. Be sure to read this section if you have not yet worked with Avid Liquid effects.
Chapter 10 Finish What Are Clip Effects (Filter)? Clip effects only involve a single clip. Another commonly used expression for Clip effect is “filter”. By applying one or more clip effects to clips, you can manipulate them in a variety of ways. Example of a clip effect Certain clip effects, such as color or keying effects, only influence the appearance of a video - they do not alter a clip’s position. In contrast, effects like 2D effects alter size, position, rotation, etc.
Effects in Avid Liquid: The Basics Where are the Avid Liquid Effects? The Library tab in the Project Window contains the following Avid Liquid effects (note that the basic structure has changed since Version 5.0; the actual selection and display depend on your Avid Liquid editing system): Realtime Clip FX Rack in Avid Liquid (sample illustration) DVD Menus - Templates for DVD menus. Realtime Clip FX - This folder contains realtime clip (filter) effects with separate editors.
Chapter 10 Finish Classic Transition FX - This Folder contains Transition effects and effect editors from Avid Liquid that you can use to create and edit your own transition effects. The Presets Rack contains ready-to-use Transitions. Plug In Clip FX - These Folders and Racks contain effects from third-party vendors included in the Avid Liquid scope of supply, e.g. Hollywood FX. To add more plug-in effects, select Control Panel > Site > PlugIn Settings. Plug In Transition FX - Same as above.
Effects in Avid Liquid: The Basics Applying Effects to Clips When using effects, remember that clip effects can be used for individual clips, while Transitions involve two clips (or, more generally, two video signals) and are independent objects. Transition effects To apply Transition effects, drag them from the Project window to the edit point between two clips on the Timeline, or in the case of a fade-in or fade-out to the beginning or end.
Chapter 10 Finish “Track Effects” You can apply a clip effect to an entire Timeline Track (in other words, to all the clips on this Track). To do so, drag the effect to the Track’s name field. A colored line appears. As a result you can, for example, change all the video clips on a Track to black and white, reduce their size - or both, because you can also apply multiple effects.
Effects in Avid Liquid: The Basics Effect Icon on a Timeline Clip If one or more effects have been applied to a clip, the clip appears with a colored line at the top and with one or more effect icons. The Timewarp Editor, however, is indicated as a broken line along the bottom edge of the clip. If the line at the top loses its intense color and appears more pale, this means that the effect(s) or Attributes are deactivated. See also “FX Properties” on page 299.
Chapter 10 Finish Effect Symbol in Picon View If you apply one or more effects to a clip, a white five-point star appears in the upper right-hand corner of the Picon displayed in the Picon View in the Project window or on the desktop. The blue star represents active clip Attributes. Picon with effect symbol and attributes symbol in the upper right-hand corner FX Properties FX properties provide information on and access to the effects that have been applied to an object.
Effects in Avid Liquid: The Basics Effect Editors (Basics) In addition to the ready-made effects supplied, Effect Editors are provided that allow you to individually create and adapt clip effects and Transitions. This section provides you with basic information and an overview of the Effect Editors in Avid Liquid: What is an Effect Editor? An Effect Editor is a workshop for creating effects whose parameters you yourself modify.
Chapter 10 Finish Wipe Editor Use this editor to create wipes. The Wipe Editor is equipped with an alpha channel, making it possible to define transparent parts of a clip so that another clip can show through. The appearance of this mask can be controlled with many different parameters, including Pattern, Position and Size. For details, see “Clip FX Wipe Editor” on page 583. 2D Editor Use this editor to control, for example, size, position, rotation and border to create effects such as picture-in-picture.
Effects in Avid Liquid: The Basics Classic Transition Effect Editors Use these editors to create transitions between clips. Since these effects always involve two clips (an incoming and an outgoing clip), they can be rather complex. The functionality is basically the same as for the corresponding Clip FX Editors.
Chapter 10 Finish Selecting an Editor from a List (applicable to Clip FX:) 1 Click the button shown and select the Effect Editor you want from the menu displayed. 2 Then click the clip that you want to edit. Retrieving an Effect Editor from the Rack 1 In the Project window, click the Library tab and drag the Effect Editor you want from one of the Folders/Racks to a clip in the Timeline.
Effects in Avid Liquid: The Basics Opening Transition Effect Editors Transition Effect Editors appear as separate objects on the Timeline because they are positioned on the edit between two clips or at the beginning or end of a clip. 1 Drag the desired Effect Editor from the Rack to the interface between two Timeline clips or the beginning or end of a clip. 2 Right-click the Transition to open its shortcut menu and select Edit, or 3 Simply double-click the Transition.
Chapter 10 Finish Elements and Functions of the Effect Editors Tabs Acceleration curve Playline position Toolbar Effect parameters Duration Video inlay Toggle incoming/ outgoing Position bar Close editor Toolbar Example of an Effect Editor (normal view): 2D Editor for Transitions This section describes the various elements of the Effect Editors and explains how they are used. All Effect Editors are organized in the same way and even have some of the same parameters.
Effects in Avid Liquid: The Basics Effect Viewer The editor’s Effect Viewer lets you preview effects. When you open an Effect Editor, the default graphics appear. Effect Viewer with default image Click the Zoom button to zoom in and out on the Effect Viewer’s video inlay. Also, with any effect tool selected you can temporarily enable the Zoom tool by pressing the right mouse button. Drag up to zoom in on the inlay, drag down to zoom out.
Chapter 10 Finish Position Bar The position bar, located below the video inlay, can be used for scrubbing. As you drag the Playline, the timecode value also changes to reflect current position and duration. For more information on how the position bar works: “Navigation Using the Position Bar” on page 279. Press the LEFT or RIGHT ARROW key to move the Playline one frame. Key Frames and clip Markers also appear on the position bar.
Effects in Avid Liquid: The Basics View RGB Channels and Alpha Channel In some cases it is very useful to view a clip’s color channels (red, green, blue), its luminance channel, or its alpha channel - if available. Click the button shown here and select from the menu: Normal - all channels are displayed, including an existing alpha channel. Alpha Overlay - visualizes the alpha channel by a red overlay, where solid red indicates full transparency which blocks out the RGB channel background.
Chapter 10 Finish For example, a picture which passes over another picture can be defined with just two Key Frames. The first Key Frame positions the image in the top, left corner of the screen; size is set to 0. The second Key Frame increases the size of the image to 100% and centers it. When you run the effect, Avid Liquid interpolates between the different settings in the two Key Frames.
Effects in Avid Liquid: The Basics Deleting Key Frames To delete a Key Frame, click the Goto Next/Previous button to move the Playline to the Key Frame you want to delete. Click the Delete Key Frame button to eliminate the Key Frame. DELETE CTRL + X to delete and copy to clipboard. Moving Key Frames Hold the ALT key and drag the Key Frame with the mouse (left button pressed) to the desired position. Commenting on Key Frames Key Frames, just like Markers, can be commented on.
Chapter 10 Finish Goto Next Marker Moves the Playline forward to the next Marker. Move Canvas Click this button to move an image on the Canvas. This function only works if you have zoomed in ( page 527) on the Canvas. You can now drag the image within the video inlay. Right-double-click the video inlay to restore the default Canvas size. Safe Action Area/Title Marks Click this button to superimpose Safe Action and Title Marks on the image visible in the Effect Viewer.
Effects in Avid Liquid: The Basics For Example... For example, you have an effect with two Key Frames. The first Key Frame is called KF1; the second, KF2. To keep things simple, the only difference between KF1 and KF2 is the color of the clips’ borders: With KF1, the image has a red border, while with KF2 it has a blue border. The beginning of the effect is represented by KF1 (red border). KF1’s values are positioned at the bottom left-hand corner of the grid.
Chapter 10 Finish Splined Acceleration You can also set a splined acceleration so that the rate of change varies over time. Splined acceleration is displayed as a curve. There are two types of acceleration splines you can use on an effect: Default Acceleration Curve or Accelerate - Decelerate. These options are available in the shortcut menu. You can set an acceleration curve three ways: Drag the acceleration line with the mouse. Drag the slider under the Acceleration field at the bottom of the box.
Effects in Avid Liquid: The Basics Default Acceleration Curve The figure below shows a positive acceleration setting in default mode. In the case of positive function curves, the rate of change is high directly after the first Key Frame at the beginning of the effect (KF1) and lower towards the end of the effect (KF2). With an acceleration setting of 85, for example, border color may change from red to magenta to purple all in the first half of the effect.
Chapter 10 Finish The figure below is an example of a negative function curve in default mode. In the case of negative function curves, the rate of change is low directly after the first Key Frame at the beginning of the effect (KF1) and increases towards the end of the effect (KF2). With an acceleration setting of -85, for example, border color may take the first half of the effect to change from red to magenta.
Effects in Avid Liquid: The Basics Accelerate - Decelerate The other mode for splined acceleration is Accelerate-Decelerate. In this mode, the rate of change varies twice. The figure below illustrates an example of a positive setting in this mode. More (fas ter) Blue border More (faste r) Change time Less change over Red border Frame of KF1 Time Frame of KF2 Positive accelerate-decelerate curve Rate of change is higher at the beginning and end of the effect, and lower in the middle.
Chapter 10 Finish With negative accelerate-decelerate settings, the rate of change is lower at the beginning and end of the effect, and higher in the middle of the effect, as shown in the figure below. Blue border Less (slo Change More Change over Time Le er) ss (slow wer) Red border Frame of KF1 Time Frame of KF2 Negative accelerate-decelerate curve Acceleration Range In both splined modes, the acceleration range is +/- 100; 0 is the default setting and corresponds to linear acceleration.
Effects in Avid Liquid: The Basics Effect Parameters and Options Using the two tabs to the left in the Effect Editor, you can customize the effect parameters and other options. Effect Parameters Tab The left-hand tab contains in its drop-down menus all parameters for the given effect.
Chapter 10 Finish Certain related functions that are set using a slider (such as width and height) can be linked together by clicking the Lock button (Lock icon closes). In this case, any changes made to one parameter directly affect the other. If the Lock icon is open, parameters can be set separately. To fine-tune effect parameters, it is recommended that you use the mouse wheel on your wheel mouse.
Effects in Avid Liquid: The Basics Toolbar The toolbar located below the tabs and acceleration curve contains special effect editing buttons. To customize the buttons on this toolbar, drag them from the General tab in the Customize window. (See also “Customizing Toolbars” on page 1010.) Restore Initial State Restores initial state (to when editor was first opened). Restore to Default Resets all parameters to the default factory settings.
Chapter 10 Finish Effect Editor Shortcut Menu An Effect Editor’s shortcut menu contains options for adjusting effect settings. Effect Editors shortcut menu Undo Click Undo to cancel the last action you performed and return the effect to the state it was in before you performed that action. Avid Liquid notes the last 64 changes you made during any given effect editing session, permitting you to revert to practically any previous state.
Effects in Avid Liquid: The Basics Copy Click Copy to copy the Key Frame at the Playline to the clipboard, without deleting it from the effect. You can then use Paste to insert the copied Key Frame elsewhere in the effect. CTRL + C Paste Click Paste to insert a cut or copied Key Frame from the clipboard into the effect at the position of the Playline. CTRL + V Cut > (with submenu) Click Cut > to open a submenu for specifying which properties you want to remove from a given Key Frame.
Chapter 10 Finish Show Click Show to open a menu for controlling the display of the preview in the Effect Viewer. These settings do not affect the effect itself; they are merely display options for customizing the appearance of the clip in the preview.
Effects in Avid Liquid: The Basics Deactivating Modified Settings activated deactivated A concave (pushed in) square on the tab item bar indicates that the settings in that drop-down have been modified (i.e. are no more the default settings) and are activated. To deactivate all the values in a drop-down menu, click the square so that it appears normal (not pushed in). Note that this does not reactivate the default settings - it merely prevents the settings from being applied to the effect.
Chapter 10 Finish Effect Rendering Resident programs (meaning programs that run in the background, such as antivirus programs) may block or interfere with rendering. Internet firewalls can also cause problems. Be sure to deactivate these programs while working with Avid Liquid. Render Viewer Rendering occurs automatically in the background. During rendering a pulsating Sigma symbol appears on the taskbar. To monitor the rendering process, click the Sigma button to open the Render Viewer.
Effects in Avid Liquid: The Basics Any rendering process that has been stopped manually must also be restarted, otherwise no further rendering will take place. Click Close to exit the Render Viewer (the pulsating Sigma signal indicates that rendering is continuing in the background). “Idle” indicates that there is nothing to render. During rendering, a display appears with information on the rendering status (remaining time, number of frames rendered, etc.).
Chapter 10 Finish Delete Functions in the Timeline Shortcut Menu These delete functions are applied to render files belonging to the Sequence currently located on the Timeline. Select: Delete Render Files... between Mark-In/Out to delete files selectively or of current Sequence (all) to delete all the render files of the Sequence. Rendering and Preview Quality (relevant only for Classic Effects) Use an effect’s Properties window to control rendering and preview quality.
Effects in Avid Liquid: The Basics Saving Individually Created Effects An effect which was created using one of the Effect Editors may be saved and renamed for later use. That’s how to proceed: 1 Create the effect, insert it on the Timeline either as clip effect or Transition. 2 Open the shortcut menu of the effect by clicking the colored line or the effect icon (Clip FX only), or in case of a Transition open the shortcut menu of the Transition. 3 Select Copy.
Chapter 10 Finish Detailed Description of Classic Effect Editors This section provides detailed descriptions of the Effect Editors available in Avid Liquid as well as stepby-step examples for creating transitions and clip effects.
Detailed Description of Classic Effect Editors Transition Effect Editors: Basics Transitions always require two video signals. The simplest type of transition effect is a Dissolve in which the clip to the left of the Transition on the Timeline (outgoing clip) is mixed with the second clip (incoming clip). This involves two video signals. The parameters of these signals can be controlled in the Effect Editors.
Chapter 10 Finish When you open the 2D Editor for Transitions, on the right-hand side above the inlay the following button appears. Represented on the button are the two clips involved in the Transition effect: Outgoing clip Foreground Incoming clip Background When editing a Transition effect you have to distinguish between the outgoing and incoming clip. Click the left or right area of this button to define which clip is active for modifying. In the screenshot above, the incoming clip can be modified.
Detailed Description of Classic Effect Editors Transfer Mode (Compositing Operation) In the case of a foreground clip, various functions (Transfer Modes, formerly compositing operations) are available for defining how it covers the background clip. The options available are more or less the same as those available in advanced graphics software. Use the Send Clip to Foreground/Background button to toggle between the background and the foreground option specified in the Priority dialog box.
Chapter 10 Finish Double-click the video inlay to restore the default settings of the activated button. 2D Editor for Transitions Position Use this function to control the horizontal and vertical positioning of the incoming and/or outgoing clip. Adjusting settings in menu: Move the sliders to a particular position/value between +/- 400 % (four times the image width or image height). Click Center Image to position a clip in the middle of the video inlay.
Detailed Description of Classic Effect Editors Size Use this function to control image size. Adjusting settings in menu: Move the Width and Height sliders to a particular position/value between 0 and 400 %. If you want width and height to be controlled simultaneously (aspect ratio), click the Lock button. Click Original Size to restore the object in the Effect Viewer to its original size. Click Fit to full Size to adjust a smaller or larger image to the size of the Effect Viewer.
Chapter 10 Finish Border Inside Use this function create a border within a clip’s area and control its dimensions. An inside border reduces the dimensions of a clip. Adjusting settings in menu: Move the Height and Width sliders to values between 0 and 100% (in relationship to the clip’s dimensions). Click Softness to create a soft edge along the inside edge of the border. Set Transparency to 0 to 100 to define border transparency.
Detailed Description of Classic Effect Editors Shadow Use this function to create a shadow. Adjusting settings in menu: Set X and Y Offset to specify a clip-to-shadow distance (= offset) of +/- 50% (in relationship to clip width and height). Specify a value under Softness to define shadow edge softness; specify a value under Transparency to define shadow transparency. To create a colored shadow, specify a color under Color. Adjusting settings directly in video inlay: Click the Shadow button.
Chapter 10 Finish Transparency Use this function to define the transparency of a clip in front of a background. You can enter a value between 0 and 100 (completely transparent). With Edge Softness you can create a transparency gradient, in which transparency increases towards the edge of the clip. With an edge softness of 100 (maximum setting), clip contours practically disappear. Edge Softness also alters a clip’s outside border. Transparency values in overlapping areas of a clip are handled cumulatively.
Detailed Description of Classic Effect Editors Step by Step: Creating a Transition 2D Effect 1 Position the two clips between which you plan to create a Transition on the Timeline. In this example, the Outgoing Clip contains a racecar heading toward the camera and the Incoming Clip shows a yellow racecar coming from the left.
Chapter 10 Finish 3 Right-click the Transition to open the Effect Editor’s shortcut menu. Click Edit to open the 2D Editor. 4 The 2D Editor appears above the Timeline (that is, if the specific view is activated). The incoming clip appears in the Effect Viewer. The Edit Outgoing/ Incoming Clip button above the Effect Viewer on the right shows that the incoming clip is defined as the foreground clip (hence, as the “priority” clip it can be edited) and the outgoing clip as the background clip.
Detailed Description of Classic Effect Editors Click the Position button to move the clip to the top right-hand corner (see below). Make sure the Playline is located at the first Key Frame. 6 Now define the final state of the effect. To do so click the Goto Next Key Frame button to move the Playline to the Key Frame at the end of the position bar. Set Size and Position to default to adjust the clip so that it fills the entire inlay as the foreground image.
Chapter 10 Finish 8 To define a narrow, transparent blue outside border for the incoming clip, open the Border Outside drop-down menu. Specify an appropriate border width for the small picture under Width; adjust Softness and Transparency. To define a color either click the Color box to open the color selector and select a color or click anywhere on the desktop. All changes you make to settings are automatically reflected in the object.
Detailed Description of Classic Effect Editors 10 Close the editor by clicking the Close Editor button in its top right-hand corner. Background rendering of the effect begins immediately. You can monitor this process in the Render Viewer. To do so click the Sigma button. See also “Render Viewer” on page 546. 3D Editor for Transitions The 3D-Editor for transitions is used for generating 3D effects between two clips. The 3D Editor has four drop-down controls in addition to those of the 2D Editor.
Chapter 10 Finish The Wipe Editor button in the Master Viewer’s toolbar is used for opening the Wipe Editor. If you now click an already existing transition in the Timeline, this transition will be loaded into the Editor, which now also assumes the functionalities of the Transition FX Wipe Editor. The Wipe Editor’s functions are essentially identical to those of the 2D Editor, the only difference being the addition of the Pattern and Gaussian Blur menus ( page 603).
Detailed Description of Classic Effect Editors Pattern First select the shape of the Wipe areas: Rectangle or Circle. You can select a gradient (see Transparency > Softness). Use the Repeat X and Repeat Y sliders to define how many wipe areas you want to create (“wipe areas” refer to the individual elements of a pattern). Repeat X divides a picture up into a number of areas along the horizontal axis; Repeat Y does the same along the vertical axis.
Chapter 10 Finish Step-by-Step: Creating a Transition Wipe Effect 1 Position the two clips between which you plan to insert a wipe transition on the Timeline. In the Project window, click Library Tab > Folder Classic Transition FX > Editors in the tree area. Drag the Transition FX Wipe Editor to the cut between the two clips. If the transition is not completely gray (i.e. fully or partially red), insufficient leeway was provided on either the start, end or both sides of the transition.
Detailed Description of Classic Effect Editors 5 Open the Size drop-down menu and set both Width and Height to 0% to reduce the size of the clip to nothing. This can also be done with the Size button. 6 Open the Rotation menu and set Rotation to 90 degrees. This can also be done with the Rotation button. Example of a transition wipe 7 Close the editor by clicking the Close Editor button in its top right-hand corner. Background rendering of the effect begins automatically.
Chapter 10 Finish Clip FX 2D Editor In contrast to the Transition FX 2D Editor, the Clip FX 2D Editor exclusively works with individual clips. Opening the Clip Effect 2D Editor There are several ways to open the clip effect 2D Editor and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 523): Click the Open 2D Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor.
Detailed Description of Classic Effect Editors Otherwise the functions of the 2D Editor for clips are identical to those of the 2D Editor for transitions and are described there: “2D Editor for Transitions” on page 553). If you want the Key Frame effect to have a color background, simply position a color clip underneath the effect clip on the Timeline. (See “Track Priority” on page 386.).
Chapter 10 Finish Special Feature of the 3D Editor: The Z Axis In the default configuration, the Z axis is perpendicular to the monitor surface and extends into the depth of an imaginary space. The three axes x, y, z are at right angles to one another. y z x 3 Axes: x, y, z For better orientation and handling, the three axes are superimposed on the image in the viewer. The axes become visible when you start editing parameters.
Detailed Description of Classic Effect Editors Position This option lets you define the movement of the image along the two spatial axes: Position X - Horizontal movement (left/right; range of slider +/- 400 percent). Position Y - Vertical movement (up/down; range of slider +/- 400 percent). Position Z - Movement into the depth of the space (“backward”/“forward”, range of slider +/400 percent).
Chapter 10 Finish Rotation This option lets you set image rotation around the central horizontal axis (x), the central vertical axis (y) and the axis perpendicular to the center point of the image section (z). You can also move the pivot point.
Detailed Description of Classic Effect Editors 359° spin control Hold down the mouse button and turn the knob by dragging the indicator. One full rotation corresponds to 360°. With each complete rotation, the value in the Spins editable box (see below) is raised or lowered, i.e. the rotation counter changes each time you pass the 359° mark. Spins and Angle edit boxes If you wish to program several full spins over the effect duration, enter a value in the top box.
Chapter 10 Finish Now shift the y Pivot point to +50 percent: the point is shifted upward by half the image height to the upper left-hand corner of the image. y y: + 50 z x: - 50 Rotate x x Pivot point at top left-hand corner of image Turning the y Spin control further has no effect other than what was described above because the Pivot Point is simply moved upward on the y axis. If you change the x Spin control, however, you will see a difference.
Detailed Description of Classic Effect Editors Backside Image If you rotate an image so that the back is visible, the same image appears but reversed left to right (default setting). The area below the Spin control contains several functions for editing the appearance of the back. Flip horizontal/vertical Activate the appropriate checkboxes to flip the back of the image horizontally and/or vertically.
Chapter 10 Finish Camera The sliders in the Camera drop-down menu apply to a virtual camera whose “viewfinder” is represented by the fixed dimensions of the Effect Viewer. As with images, you can rotate the camera on three axes and change its Pivot Point. In addition, you can move the camera in space, and it is equipped with a function that allows you to change its field of view. Thus, you can change the examiner perspective.
Detailed Description of Classic Effect Editors 359° spin control Hold down the mouse button and turn the knob by dragging the indicator. One full rotation corresponds to 360°. With each complete rotation, the value in the Spins editable box (see below) is raised or lowered, i.e. the rotation counter changes each time you pass the 359° mark. Spins and Angle text boxes If you wish to program several full spins over the effect duration, enter a value in the top box.
Chapter 10 Finish Field of View This parameter allows you to enlarge or shrink the image section (range: 1.0 to 135.0°) The default value is 50.4°. This is almost exactly the field angle achieved in still photography using a lens with a 50 mm focal length. This lens creates a perspective corresponding to the field angle of the human eye.
Detailed Description of Classic Effect Editors 3D Transition Effects and Multilayer 3D Clip Effects As with the 2D Editor, the 3D Editor makes a distinction between Incoming/Outgoing clip and Foreground/Background when you apply the effect to two clips, i.e. use the effect as a Transition. The corresponding function button for switching between clips for editing can be found in the same location as in the 2D Editor, above the inlay.
Chapter 10 Finish Pageturn Pageturn generates an effect that is similar to the turning of a page in a book. You can set the page-turn direction, back-of-image display, light accents and other parameters presented individually below: Pageturn (some parameters not visible) Radius Defines the bend radius with which the image is uncurled. The higher the value, the further the bend. Curl Defines how far the image should be curled or the status at the start of the effect.
Detailed Description of Classic Effect Editors Roll When Roll is activated, the image is rolled up into a spiral, tighter or looser depending on the radius selected. When Roll is not activated, the image corner always remains visible when curled. Front Light Sets a light accent on the inside of the bend (i.e. the front of the image). To define a color, click the Color box and select a color. Use the slider to set the intensity of the accent.
Chapter 10 Finish Highlight direction Changes the position of the highlight on the outside of the bend. Move the slider to shift the highlight closer to or away from the corner of the image (default = 50). Highlight falloff Changes the softness of the highlight´s edges. A value of 0 creates a very broad and soft transition (default = 50).
Detailed Description of Classic Effect Editors Clip FX Wipe Editor When you create a wipe, an alpha channel is added to the clip. This channel operates like a mask placed on top of a clip which causes only parts of the clip to appear. The mask can take on many forms, and it can be animated.
Chapter 10 Finish Unlike the Transition FX Wipe Editor, this editor does not have Foreground/Background and Incoming/ Outgoing functions since clip effects always only involve one clip. In this case the priority is important because the wipe effect uncovers the image contents that are underneath the clip with the wipe effect.
Detailed Description of Classic Effect Editors Color Editor The Color Editor is used for controlling a clip’s coloring. Key Frames permit dynamic effects to be created. Opening the Color Editor There are several ways to open the Color Editor for clip effects and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 523): Click the Open Color Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor.
Chapter 10 Finish Brightness and Contrast Use this function to control brightness, contrast and chroma. Adjusting settings in menu: Adjust the Brightness, Contrast and Chroma sliders to the required position. Adjusting settings directly in video inlay: Click either the Brightness or Contrast button and drag the mouse pointer up and down in the inlay. Hue and Saturation Use this function to control hue, saturation and lightness. With the menu: Move the sliders to set each parameter.
Detailed Description of Classic Effect Editors Equalize Use this function to equalize the color channels and luminance channel. Adjusting settings in menu: Select the channel you wish to control in the Channel list box. You can control red, green and blue either individually or simultaneously for all three. Move the Amount slider to choose a value between 0 and 100. With 100, the particular color or luminance is distributed equally throughout the entire image. With 0, the original image appears.
Chapter 10 Finish Keying Editor A key effect is used to make a certain area of an image transparent (for example, areas with the same brightness or color) in order to then replace this area with another image.
Detailed Description of Classic Effect Editors Opening the Keying Editor There are several ways to open the Keying Editor for clip effects and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 523): Click the Open Keying Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor.
Chapter 10 Finish Key Types Avid Liquid offers five different types of keys. Luminance Key - Used for keying areas with a certain brightness (i.e. affects the luminance signal). Chroma Key - Allows certain colors or color ranges to be keyed. Blue Screen Key - Used for keying a defined blue for creating the blue-screen effect. Green Screen Key - Used for keying a defined green. page 596 RGB Difference Key - Used for keying specifically defined monochrome color areas.
Detailed Description of Classic Effect Editors Show Mask This function makes the Key Mask(s) in the image more visible by providing a uniform gray area. Transparency Here you set the transparency of the key area. Luminance Key The Luminance Key operates with an image’s luminance signal, i.e. the various gray scales of a picture. Luminance keying is not only useful for gray-scale and b/w graphics and pictures, but also for images with high brightness contrasts.
Chapter 10 Finish Threshold Threshold and Key Transparency are functions of one another. The value set under Threshold defines the luminance range for Key Transparency and vice versa. Key Transparency defines the level of transparency for the luminance levels specified under Threshold. To set threshold, either enter a numerical value in the Threshold field or drag Point B to the right or left in the graph. Threshold range is 0 (black) to 100 (white).
Detailed Description of Classic Effect Editors The luminance difference between the two points in the curve defines the hardness or softness of the transition in between. A value of 2 would create, for example, a hard transition. To soften it, either raise Threshold (move Point A to the right) or reduce Cutoff (move Point B to the left). To increase or decrease keying with both points simultaneously, drag the line between the points.
Chapter 10 Finish Curve - same as Multi Line, except that the line curves through each point. Curve shape depends on the relative location and distance of the current point to those on either side of it. Freestyle - lets you draw lines “by hand” by dragging the mouse in the graph. Chroma Key Using Chroma Key you can key a color or color range in a specified luminance range. The color to be keyed in a picture can thus be defined precisely.
Detailed Description of Classic Effect Editors Selecting a Color Area in the Color Wheel The mouse pointer turns into a cross when it is in the color wheel. Drag the mouse pointer in the color wheel to create a frame of any shape in it. After you release the mouse button, the area enclosed by the line is then the selected color area. The following options are also available: Increase/add area: SHIFT+drag the cursor to define more than one area or increase the size of an existing area.
Chapter 10 Finish Blue Screen Key/Green Screen Key Blue-screen keying is used for recordings in front of a blue background. For best results the background should be in the standard blue-screen color (approximately corresponds to Pantone 2735) and have even lighting. The parameters described here operate in the same way for the Green Screen Key Editor. When working with material originally created in DV, you should use a green background and the Green Screen Key Editor.
Detailed Description of Classic Effect Editors Threshold The value you set here determines the size of the key range on the UV level (i.e. the two color difference signals R-Y and B-Y). The key center point is calculated from all the UV values for the image. The slider allows you to set the environment to be keyed to the calculated average value. Luma Threshold and Luma Cutoff These parameters affect the range of luminance (brightness) to which the key should apply.
Chapter 10 Finish RGB Spill Suppression This function suppresses smaller impurities in the image foreground by de-saturating the interfering color values. This type of spill suppression works in the RGB color space. It follows YUV spill suppression in the calculation Sequence. Foreground frame with blue screen background Background Keying result Blue Screen Key RGB Difference Key Use the RGB Difference Key to specify which color you want to make transparent in the clip.
Detailed Description of Classic Effect Editors Color Click this field to open the color palette. To specify the color you want to use, click a color in this color spectrum. Pick a color You can also use the Pipette (Eyedropper) to specify the key color. Simply click the Pipette button and continue to hold down the mouse button, then release the mouse button anywhere in the software interface or desktop. This action selects the color value at precisely the location where the mouse button was released.
Chapter 10 Finish Filter Editor The Filter Editor contains a wide range of effects used for alienating video material. Opening the Filter Editor There are several ways to open the Filter Editor for clip effects and load a clip for editing (see also Opening Effect Editors and Editing Clips (= Applying FX Editors) on page 523): Click the Open Filter Editor button on the toolbar to the right of the Master Viewer. Click a clip to load it into the editor.
Detailed Description of Classic Effect Editors Invert Use the Invert function to use the color or lightness which is complementary to the one you originally specified. Channel - Use the Channel list box to select a color, luminance or alpha channel to which you want to apply a function. The following channels are available: None, RGB, Red, Green, Blue, Luminance, Alpha.
Chapter 10 Finish Posterize Use the Posterize function to limit the number of colors in a picture. The system maps the image’s pixels based on the colors that are the closest match. Use this filter to create large, flat areas in an image. Channel- Use the Channel list box to select a color, luminance or alpha channel to which you want to apply a function. The following channels are available: RGB, Red, Blue, Green. Amount - Use the Amount option to limit the number of colors used for posterizing.
Detailed Description of Classic Effect Editors Gaussian Blur This filter lets you add a controllable blur to the image. Radius defines the degree of the blur. Both Directions, Vertical or Horizontal determines the visual impression of the filter. Gaussian blur Cropping See also “Cropping” on page 557. Transparency See also “Transparency” on page 558.
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Chapter 11 Realtime FX
Chapter 11 Realtime FX This chapter provides information on the realtime effects in Avid Liquid. With realtime effects, you can preview effects immediately, without having to wait for them to be rendered. For basic information on effects, see the “Finish” chapter in the section on “Effect Editors (Basics)” on page 521. This chapter describes the Effect Editors that have been modified as of Version 6 (as opposed to the Classic editors).
Always Maximum Performance Always Maximum Performance Avid Liquid realtime effects need no special hardware. The effects use all your computer’s existing capabilities. That‘s the reason they‘re called “host-based” effects, the host being your computer with the combined power of all its components, most prominently the microprocessor and the graphics card.
Chapter 11 Realtime FX Rendering and Realtime This section provides you with information on when effects are realtime-capable and when they have to be rendered, as well as what this means for the Timeline playback (preview).
Rendering and Realtime Realtime and the Effect Preview On the Timeline, the above-mentioned effect types are indicated in the Slices (the numbered segments above the Timeline) by means of defined colors.
Chapter 11 Realtime FX Sometimes, however, even realtime effects have to be rendered before a usable “preview” or view of the effects becomes possible. Such scenarios include, for example: A software-based realtime effect combined with render effects. A software-based realtime effect combined with other software-based realtime effects. In this case, host PC performance plays a decisive role. A software-based realtime effect with multiple streams of HD video.
Rendering and Realtime Render Management of Realtime Software Effects The yellow Slice marking above a realtime Transition or a clip that was edited using a realtime filter indicates that: This segment can be played back immediately without waiting for rendering. However: When the segment is played back, individual frames may be dropped, depending on the complexity of the effect(s) and on computer performance.
Chapter 11 Realtime FX Optimizing Realtime Preview Some tips on enhancing your system‘s realtime performance. First CPU, then GPU (in effect editing) You can apply all realtime effects in all combinations imaginable to a clip. But: The best performance is achieved when CPU effects are applied first, and GPU effects last. The processing order of effects applied to a clip can be viewed and changed in the clip’s FX Properties: The list reflects the order in which effects were initially applied.
Rendering and Realtime The Render Viewer The Render Viewer is an inlay in which you can monitor the current render process. In the taskbar, click the symbol shown to open this view. Although the sequence of frames in the Render Viewer may appear to be mixed up (especially if you combined realtime and render effects), it isn’t; Render Management, which is working in the background, distributes specific resources to the different effects.
Chapter 11 Realtime FX Functions and Parameters of the Effect Editors (Non-Classic) The new Effect Editors in Avid Liquid (as of Version 6) have a different interface from that of the classic editors, as well as expanded functions, such as Key Frames for each parameter. All GPU effects and CPU effects, also the AFX PlugIns use the expanded Effect Editor. This section describes the parameters and functions of these Effect Editors.
Functions and Parameters of the Effect Editors (Non-Classic) A: Parameter Menus These menus list the parameters of the Effect Editors. Most parameters are combined in groups, such as Position, Size, etc., as seen here: Parameter groups of the Effect Editors Parameters are the variables of an effect that can be modified (e.g. Position, Transparency, Border, etc.). Many of these parameters are subdivided into further categories. For example, Size is divided into Horizontal and Vertical.
Chapter 11 Realtime FX B: Options - with or without Key Frames? This is an important option. It determines whether or not you will work with Key Frames. You have two choices: Without Key Frames, you cannot make dynamic changes to clips. For example: If all you want to do is to reduce the size of the clip and move it, and you want to do this for the entire length of the clip, you will find it faster and easier to deactivate Key Frames here. In other words, static effects do not require Key Frames.
Functions and Parameters of the Effect Editors (Non-Classic) C: Parameter Curves You can provide each parameter with its own Key Frames, thereby assigning Size independently of Rotation independently of Cropping, etc. This is illustrated in the Parameter Curves area: Each parameter has its own curve For more information, see the section on “Parameter Curves” on page 620.
Chapter 11 Realtime FX Setting Effect Parameters There are four ways to modify parameters: Æ Using a slider or knob. Æ Entering a value on the keyboard. Æ Directly in the inlay using tool buttons. Æ Using the Parameter Curve of the particular parameter.
Functions and Parameters of the Effect Editors (Non-Classic) Key Frame Icons The parameter settings from the menus are stored in the key frame icons. For the Size menu, for example, the key frame contains the values for Horizontal and Vertical. When you drag the Key Frame icon and drop it on a Key Frame on the Position Bar below the Effect Viewer, this Key Frame takes on the stored values (in addition to its own values declared up until this point).
Chapter 11 Realtime FX Parameter Curves You can use as many Key Frames as you want for editing each parameter of an Effect Editor. All these Key Frames are then linked by means of a Parameter Curve. This curve demonstrates how the value of a particular parameter changes over the course of the effect (for example, how an image becomes larger or smaller). You can edit the Key Frames directly in the curve, as well as modify the curvature itself.
Functions and Parameters of the Effect Editors (Non-Classic) Overview The first time you open an Effect Editor, the curve field is empty. The first curve(s) don’t appear until you open a parameter menu. The screenshot below contains two curves, one representing Size Horizontal (= width) and one representing Size Vertical (= height). If these parameters were linked, you would see only one curve.
Chapter 11 Realtime FX Value scale This vertical scale is purely a quantitative measure. It has nothing to do with the units of size, it only indicates “more” or “less”. This scale must retain its relevance even when different parameters, such as Size and Rotation, are displayed simultaneously. Because Size is specified as a percentage (+/-400) and Rotation is specified as a degree (0-360), the two cannot be measured against the same ruler.
Functions and Parameters of the Effect Editors (Non-Classic) Here is another example. You are working with a ten-second color clip with unlinked Horizontal and Vertical parameters. The clip is transformed from a narrow, vertical line to a narrow, horizontal line (it has completely disappeared by the last frame, which is why this frame is not shown below).
Chapter 11 Realtime FX Working with Curves In its original state (parameters not yet modified, Key Frames enabled), the curve appears as a straight horizontal line at the zero level. A Key Frame (small box) is visible at each end point. The handles for the Bezier function are parallel and horizontal (see “Bending Bezier Curves” on page 626). When you bring the mouse pointer near the curve, the pointer changes shape (pointing index finger) and the curve is highlighted to indicate that it is now selected.
Functions and Parameters of the Effect Editors (Non-Classic) Interpolation Each Key Frame on a curve has an Interpolation option in its shortcut menu. Interpolation describes the way in which parameters change between two Key Frames. Right-click a Key Frame on a curve to display a shortcut menu containing the Hold, Linear and Bezier options. Hold This option sets the parameter value to the right of the Key Frame to the Key Frame’s constant value. In other words, there are no more changes.
Chapter 11 Realtime FX Bending Bezier Curves You may already be familiar with this type of curve from vector graphics programs. Each Bezier curve has small handles attached to each of its Key Frames, with Control Points at the ends of the handles. When you drag these points, it changes the bend of the curve.
Functions and Parameters of the Effect Editors (Non-Classic) Functions of the Parameter Scale and Position Bar For greater clarity, the parameter scale and position bar (time scale) can be: Moved vertically or horizontally Drag theparameter scale up or down, or to the left or right. The Position Bar beneath the curve view is linked to the Zoom control of the Effect Viewer. Zoomed in/out Drag the scale while holding down the CTRL key.
Chapter 11 Realtime FX Additional Key Frame Functions Select All Key Frames on a Curve Right-click anywhere on the curve line to open the shortcut menu and select Select all Key Frames of parameter). Assign Identical Values to Multiple Key Frames It is often necessary that all or part of the Key Frames share identical parameter values.
Functions and Parameters of the Effect Editors (Non-Classic) Curve Key Frames and Position Bar Key Frames Whenever you insert a Key Frame on a Parameter Curve, a corresponding Key Frame also appears on the Position Bar (although this is not visible when curve Key Frames overlap). The two Key Frames thus created are linked; when you delete one, the other is also deleted.
Chapter 11 Realtime FX Additional Options Channel Processing In Effect Editors for which it is relevant, the Options tab contains an area entitled Channels. Here you can select the channels to which the effect modification should be applied (Red, Green, Blue and/or Alpha). In the default configuration, the effect is applied to all channels (even if none are activated here). Effect Editors offering this option include, for example, Posterize and Base Color Correction.
Effects and Effect Editors Effects and Effect Editors This section contains a complete listing of all the software-based realtime Effect Editors in Avid Liquid. We have not attempted to list all the standard effect parameters, such as Size and Position, or other parameters that are self-explanatory. All CPU/GPU realtime effects can be found on the Library tab, in the Realtime Clip FX and Realtime Transition FX folders.
Chapter 11 Realtime FX Preliminary Remarks This section contains information on realtime effects and a quick introduction to the correct application of these effects. GPU and CPU Avid Liquid’s software based (or host-based) realtime effects have been optimized for either the graphics card processor (GPU) or the computers’s central processing unit(s) (CPU). To facilitate identification of these effects, all realtime effect editors are marked either “GPU” or “CPU”, such as “2D GPU”.
Effects and Effect Editors Discrete Parameters Some effect parameters (for example, the number of sides for MultiShape Crop) can be set only in wholenumber increments (thus making them “discrete”). If you want to change discrete parameters between the beginning and end of an effect, the change occurs in abrupt steps. For example, every few frames an additional side suddenly appears in the effect image. Intermediate steps are not possible.
Chapter 11 Realtime FX Position the Transition across the edit between clips. A Transition always requires two images (even if one of them is “black”, or blank Timeline) and, therefore, always requires “leeway”, i.e. material extending beyond the displayed clip length. With A/B editing, the same clip would look like this: Fade out Fade in The two red arrows indicate the extra “leeway”. If there isn’t enough leeway, the Transition turns completely or partially red.
Effects and Effect Editors 5 How do I apply a transition? Drag the desired Transition to the edit between two clips. Important: Even if there is only one frame between the clips, you won’t be able to drop the Transition. Make sure you have enough “leeway” ( page 633). 6 How do I edit effect parameters? First you have to open the Effect Editor. In the case of Clip FX, right-click the colored effect line along the top of the clip or the effect icon to display the shortcut menu.
Chapter 11 Realtime FX Realtime Clip FX Editors Lens Flare This effect generates an optical reflection that radiates outward in all spectral colors just as it would appear if light hit a camera lens from the side. Magnify This effect generates a magnifying glass that can be moved across the image. 2D Editor (GPU) Editor for two-dimensional effects (XY) including parameters for borders and shadow. For individual slide effects, enlarging/reducing image size.
Effects and Effect Editors MultiShape Crop This editor lets you crop an image from multiple sides and at all possible angles. In the initial configuration, the image is displayed as an octagon. Using the parameters for Radius and number of Sides you can, for example, create a many-pointed star.
Chapter 11 Realtime FX Page Curl This effect causes the image to roll up like a sheet of paper in a tighter or looser roll. The back of the page shows either the mirror image or a user-definable color. Page Peel Same as Page Curl except that the image is not rolled, i.e. the edge is always visible. Accordion This effect folds up the image in a series of parallel folds like an accordion. Bevel Crystal This effect generates the impression that you are viewing the image through a polished crystal.
Effects and Effect Editors Stained Glass This effect is like viewing the image through glass with an irregular surface, causing distortion and magnification effects. Base Color Correction This effect lets you set the luminance (Y correction in the Black, Gain and Gamma brightness ranges), the individual color channels (red, green, blue), Saturation (Chroma) and Hue. Brightness and Contrast sliders are also available.
Chapter 11 Realtime FX Key Gain and Key Offset Key Offset specifies the amount that is to be added or subtracted from the key image. Gain specifies the value by which the key image is multiplied. Higher gain provides higher contrasting keys with sharper edges. Invert Key reverses the region that is keyed out. Spill Suppression Spill Suppression is the mechanism for removing a color cast from the foreground image.
Effects and Effect Editors Luma Keyer With a luminance key, only those areas of an image that have a specific brightness (Y) are made transparent. The brightness range around a middle value can also be provided with a soft transition to an unkeyed area. Parameters: Center sets the center luma value that will generate a full key. Radius sets the radius around the center value that will generate a full key. Softness softens the transitions from key to non-keyed regions.
Chapter 11 Realtime FX Sepia Superimposes the monochrome, reddish-brown tint of a very old photograph onto the image. Track Matte CPU With Track Matte CPU it is possible to create a tailor-made, even animated alpha plane.
Effects and Effect Editors Swirl Superimposes a whirlpool (as you see in your bathtub) over the image. Can be edited in several categories (Size, Position, Angle, etc.) Sphere Section Projects the image on a cone- or rhombus-shaped three-dimensional body, whose appearance can be altered with several controls. Shards The image disintegrates into many triangular pieces (roughly resembling shards).
Chapter 11 Realtime FX Realtime Transition FX Editors 2D/3D GPU These two editors differ only with regard to the 3D parameters (Y and Z Rotation). Both are processed by the graphics processor. 2D/3D CPU The Classic 2D Editor is also available on the CPU realtime platform with an identical set of parameters. The only options not available are superimposing the Title Safe Area and displaying gridlines when zooming into the Canvas.
Effects and Effect Editors Band Wipe The new image advances across the old image from both sides and in a definable number of bands, like the teeth of a comb. Barn Doors The new image advances across the old image from both sides like the two wings of a barn door. Parameters such as direction and colored border permit variations on this theme. Clock Wipe The new image covers the old image in a growing, round segment like the sweep of a hand of a clock.
Chapter 11 Realtime FX Radial Wipe The previous image is tipped out of the visible area via one of the four corners, revealing the new image. Slide Slides the new image over the previous one. Wedge Wipe Same as the Clock Wipe except that the segment grows in both directions (with the Clock Wipe, one of the two “hands of the clock” remains fixed). Wipe Same as Slide but with two additional parameters (Edge Softness and Border). Presets In these Racks you find predefined effects, arranged by GPU and CPU.
Effects and Effect Editors PlugIn FX / Hollywood FX The Pinnacle Hollywood FX included with Avid Liquid are also realtime-capable. Hollywood FX count among the GPU effects. The Hollywood FX Editors are located on the Library tab in the Realtime Transition FX and Realtime Clip FX Racks under the names HFX Filter and HFX Transition. The Transitions have a number of Presets that can be found in the Specials folder.
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Chapter 12 AFX PlugIns
Chapter 12 AFX PlugIns Avid Liquid’s AFX PlugIns are sophisticated clip effects aimed at high-end compositing and image touch-up. They provide all tools needed for superior keying and matte effects as well as stunning particle effects. Please also refer to the Acrobat PDF version of this Reference Manual (accessible via the Online Help). Most of the figures are represented in color, which in many cases makes understanding the effects a little easier.
Common Effect Elements Common Effect Elements Many of the effects share several common parameters. To save space, we’re describing these parameters in detail here, rather than explaining them for every effect that uses them. The Color Map The Color Map is a powerful map generator that gives you precise control over color and transparency transitions throughout the map.
Chapter 12 AFX PlugIns Using the Color Controls The color controls consist of the following: Color bar This strip along the top illustrates the color mapping in effect. Color markers These markers specify the color and transparency at the point where they touch the map gradient. The triangle at the top of a marker is black when it is selected. Transparency bar Click in the lower bar to set the transparency (alpha) of the selected marker.
Common Effect Elements Managing Presets Presets are small files stored in the Color Map Presets folder, which must be in the same folder as the active copy of Avid Liquid. If you have more than one copy of Avid Liquid, you can share a presets folder by putting an alias to it in the other folder. The preset names in the presets pop-up menu are the same as their file names, so you can use the Windows Explorer to copy, rename, and delete presets. Any changes are immediately reflected in the color controls.
Chapter 12 AFX PlugIns YIQ Channels (NTSC Color Space) Many effects also allow you to apply effects in the NTSC standard chrominance and luminance color space known as YIQ. The YIQ channels are as follows: Luminance represents the luminance channel, designated by the letter Y. Chrominance represents the chroma channels, designated by I and Q. In Phase Chrominance represents the in-phase chrominance channel, which is designated by the letter I.
Description of all AFX PlugIn Effects Description of all AFX PlugIn Effects What they are AFX PlugIns are all Clip Effects (as opposed to Transitions). Although clips with AFX effects are displayed with a yellow Slice on the Timeline and are immediately played back at a low frame rate, the effects must in fact be rendered (in the background) to obtain a clear impression. How they work AFX PlugIns share the standard Effect Editor interface.
Chapter 12 AFX PlugIns Blur and Sharpen The Blur and Sharpen effects contain AFX routines for blurring and sharpening clips. Blur page 656 Channel Blur page 656 Edge Blur page 658 Edge Blur EZ page 658 Motion Blur page 659 Radial Blur page 660 Sharpen page 660 Super Blur page 661 Unsharpen page 661 Blur Blur is a general-purpose blurring effect that softens image detail; sharp edges are lost while large features remain.
Description of all AFX PlugIn Effects Channel Blur Like Blur, Channel Blur is a general-purpose blurring effect that softens image detail; sharp edges are lost while large features remain. It also gives you precise control over blurring horizontally and vertically, but it allows separate blur amounts only in the red, green, blue, and alpha channels. Parameters: Type of Blur determines whether the blur is Gaussian or Box. Link Vertical links the vertical blur to the amount of horizontal blur.
Chapter 12 AFX PlugIns Edge Blur Edge Blur applies a blur to the edges of your image, as defined by the alpha channel. You can use this type of edge treatment to composite multiple images to correct ragged edges; make computer-generated graphics, animations, and text look more organic and photorealistic; and to more convincingly blend and integrate multiple images. To treat edges, Edge Blur uses the “Super Blur” algorithm, which quickly and easily produces high-quality blur effects.
Description of all AFX PlugIn Effects Motion Blur Motion Blur blurs the image in any direction to simulate the blur that occurs naturally when objects move on film. Using this effect, you can simulate motion blur without having to add keyframes or move a layer. The effect blurs an image along the vector you specify, at any angle. Angle specifies the angle of the blur. Blur Length specifies the distance covered by the blur. Start Angle determines where the blur begins.
Chapter 12 AFX PlugIns Radial Blur You can use the Radial Blur effect to create two types of blurs: zoom and spin. Zoom blurs create blurs in depth. Spin blurs appear to spin about the center, defined by the Center point parameter. Channels determines the channel or combination of channels to which you apply the blur effect. You can apply it to the red, blue, green, of alpha channel individually, RGB, or RGBA. Center determines the position of the blur by specifying its center on the x and y axes.
Description of all AFX PlugIn Effects Super Blur Super Blur creates two attractive blur types. Blur Type controls the type of blur: Faster or Better: - Faster creates a Box blur effect at an extremely high speed. - Better creates a better-looking Gaussian blur. It is slower than the Faster setting. XY Control determines whether the x blur and y blur are independent or change together. X Blur Amount sets the amount of horizontal blur from 0 to 100.
Chapter 12 AFX PlugIns Channel This is currently a one-member group: Shift Channels Shift Channels replaces the alpha, red, green, and blue channels of a clip with other channels. To replace one channel with another, select the new channel from the list menu next to the name of the channel being replaced. The menu contains 10 choices: Alpha, Red, Green, Blue, Luminance, Hue, Lightness, Saturation, Full On, and Full Off.
Description of all AFX PlugIn Effects Color Balance HLS Color Balance HLS changes the color of your clip by independently adding to or subtracting from the Hue, Lightness, and Saturation (HLS) values. Huecontrols the image’s color scheme, represented by an angular control. Lightness controls the lightness or darkness of the image. Saturation controls the color intensity of the image.
Chapter 12 AFX PlugIns Color Map Color Map colorizes an image using a pair of sophisticated color blend ramps. Stylize your footage with bold color treatments, add duotone and tritone style colorization, or recolor an image dramatically to create editorial transitions. Color Map can be used for fine control of monochrome images, spot matting using transparent bands, and psychedelic color transformations. The custom color controls include up to 32 markers, each specifying a color and transparency.
Description of all AFX PlugIn Effects Colors: Premultiply Colors treats areas with a low alpha value as dark. Disable this option to avoid color fringing on antialiased images. Color Map 1 specifies how the selected channel will be colored. The left side of the color bar sets the color of the channel’s 0 value, and the right side maps the channel’s 255 value. The rest of the control is used for editing. Color Map 2 is identical in function to Color Map 1.
Chapter 12 AFX PlugIns Replace Color Replace Color replaces one color with another or keys out the selected color to make the areas that contained it transparent. You define criteria based on hue, lightness, and saturation tolerance. A color matching scheme then uses those criteria to replace or key a color, using the hue, lightness, and saturation transforms you define. View specifies a view of the layer for which the color is to be manipulated.
Description of all AFX PlugIn Effects Lightness Transform controls the lightness, or brightness, value of the replacement color. Saturation Transform controls the saturation value of the replacement color. Tint Tint changes the color information for your clip. You control these changes by specifying the colors to which black and white pixels are mapped. Map Black To controls the colors to which black is mapped. Map White To controls the colors to which white is mapped.
Chapter 12 AFX PlugIns Distort This group contains a variety of distortion effects. Corner Pin page 668 Hall of Mirrors page 669 Mirage page 672 Turbulence page 677 Turbulence EZ page 680 Turbulent Edges page 681 Corner Pin Corner Pin slants, scales, or applies perspective to a clip. Basically, you treat the clip as if it were a sheet of rubber—stretch any corner and pin it in place.
Description of all AFX PlugIn Effects Hall of Mirrors Hall of Mirrors creates multiple reflections of the layer and provides controls to affect the reflections. Hall of Mirrors can create myriad design effects, from simulating infinite mirror reflections to creating visual echoes and motion trails. The image below shows an example of the Hall of Mirrors effect. Hall of Mirrors example Images specifies the number of object reflections.
Chapter 12 AFX PlugIns Scale determines the scale relationship between iterations. This setting controls the relationship between iterations, so anything less than 1.0 will yield reflections shrinking into the distance: Fifty images at 0.95 scale; five images at 0.55 scale Rotation controls the rotational relationship between iterations.
Description of all AFX PlugIn Effects Transfer Mode controls how the mirror effect is applied. Behind draws the reflections behind the original layer. In Front draws the reflections in front of the original layer. The other transfer modes are the standard transfer modes. Fade controls the fade relationship between reflections. Each time a reflection is rendered, this setting determines how much more it should fade than its predecessor (see below).
Chapter 12 AFX PlugIns Mirage Mirage simulates mirages, heat waves, jet wash, and other thermal currents that may cause distortion patterns within your effect shot. Mirage can be used as a central design theme within an animation, or it can be used as a realism-enhancing touch to elements of fire, light, explosions, or other hot properties within your effect shot. This image shows an example of the mirage effect: Apple mirage View Mode determines what is shown in the Composite window.
Description of all AFX PlugIn Effects Detail determines how much high-frequency distortion is visible in the mirage: Detail examples Scale specifies the size of the waves within the mirage.
Chapter 12 AFX PlugIns Blur controls how much blur is added to the distortion. More blur creates hot, close, jet-wash type images; images with little or no blur more closely resemble distant distortions like desert mirages: Blur examples The Custom Control The figure below shows the mirage custom control, appearing in the effect window. The distortion field is the green and red (center square) area.
Description of all AFX PlugIn Effects Changes you make using the mirage custom control affect the values in the Mirage dialog box. Try using the mirage custom control instead of the standard Producer Point, Direction, Field Length and Field Width controls. Click anywhere off the edge of the active composite layer to hide the mirage custom controls. Click Mirage (bolded) in the Timeline to reveal the controls. Velocity determines the speed of the distortion field.
Chapter 12 AFX PlugIns Bend causes your distortion effect to bend to one side or the other, with negative numbers causing a leftward bend, and higher numbers causing a bend to the right (see below). Bend examples Windspecifies a vector, perpendicular to the distortion field, that bends the field to one side like wind. The direction of the vector is controlled by positive and negative values, and the strength is controlled by the amount of the value relative to 0.
Description of all AFX PlugIn Effects Turbulence Turbulent Distortion quickly and easily distorts images with turbulent noise. Create water distortion, heat waves, and many other effects in your images. Create powerful organic distortions and exciting style effects, with maximum control: Turbulent Distortion example Note that because the controls are identical for horizontal and vertical distortion, we’ve only explained them once.
Chapter 12 AFX PlugIns Detail determines how much detail is in the distortion field; it is similar in function to a focus or sharpness control. Increasing sharpness in the distortion field creates more abrupt transitions between distorted and unaffected areas of the image: Detail examples Scale controls how big the distortion field is.
Description of all AFX PlugIn Effects Aspect Ratio stretches the distortion field horizontally when positive; negative values stretch the distortion field vertically: Horizontal and vertical Aspect Ratio values Position controls where in the turbulent noise field the distortion field is centered. Animate this point to create drifts or eddies. Mutation Rate controls the speed of the distortion field’s change over time. Higher numbers create faster changes.
Chapter 12 AFX PlugIns Turbulence EZ Turbulent Distortion EZ is a simplified version of Turbulent Distortion. Detail determines how much detail is in the distortion field; it is similar in function to a focus or sharpness control. Increasing sharpness in the distortion field creates more abrupt transitions between distorted and unaffected areas of the image. Scale controls how big the distortion field is.
Description of all AFX PlugIn Effects Turbulent Edges Turbulent Edges modifies the edge of a layer’s alpha channel to give an organic, rippling look. Turbulent Edges can add natural, chaotic edges to any layer. You can use this effect for a stylistic effect or an organic one. Mutation Rate controls the speed at which the turbulence changes, where 0% creates no change, and 100% creates substantial changes on each frame. Scale determines the size of the edge disturbance.
Chapter 12 AFX PlugIns Gain specifies how much of the effect will be applied. Higher numbers make the effect stronger: Gain examples Turbulent Edges works best with soft-edged alpha channel layers and masks. If you have a hard-edged layer or mask, you may need to increase Gain to see the effect. High Gain values can produce artifacts in deep concave edge corners. Applying an alpha bevel to the source image prior to applying Turbulent Edges may produce a more even result.
Description of all AFX PlugIn Effects Image Control Effects in the Image Control submenu affect standard image characteristics, such as brightness, contrast, black and white levels, and posterization. Brightness and Contrast page 683 Invert page 683 Levels page 683 Posterize page 685 Threshold page 685 Brightness and Contrast Brightness and Contrast adjust the brightness and contrast characteristics of your clip independently. Brightness increases and decreases the lightness of the pixels in the clip.
Chapter 12 AFX PlugIns Histogram The histogram displays the number of pixels in the channel at values ranging from 0 to 255. This shows whether the values of pixels are distributed throughout the possible range; if not, you may be able to improve the quality of the image by remapping the pixels’ values to make better use of the available range.
Description of all AFX PlugIn Effects Posterize Posterize changes the number of tonal levels (or brightness values) for each channel in an image. The effect then remaps each pixel to its closest matching level. Level designates the number of tonal levels in the image. For example, the default value of seven tonal levels in an RGB image gives you seven tones for red, seven tones for green, and seven tones for blue.
Chapter 12 AFX PlugIns Keying This group contains a number of keying effects. Blue Screen Key page 686 Color Key page 688 Green Screen Key page 689 LumiKey page 689 Smooth Screen page 691 Spill Killer page 693 Spill Killer EZ page 695 BlueScreen Key BlueScreen Key compares the blue channel to the red and green channels and creates a matte based on the differences. Min and Max specify the minimum and maximum threshold values.
Description of all AFX PlugIn Effects Merge Matte combines the matte created by the keyer with any pre-existing matte in the alpha channel of the image. This can be used to build up a complex matte. None ignores the alpha channel and replaces it with the keyed matte. Darker compares the values of corresponding pixels in the alpha channel and in the keyed matte and keeps the lower (darker) value.
Chapter 12 AFX PlugIns Color Key Color Key creates a matte by keying out all the pixels in your clip that are similar to a color you specify. Color specifies the color from which the matte is created. Use the eyedropper to select a color from anywhere on your image or screen, or click the color tile to bring up the color picker and select a specific color. Min and Max specify the minimum and maximum threshold values.
Description of all AFX PlugIn Effects Moving the Input sliders toward the middle increases the contrast in the image, and moving the Output sliders in decreases the contrast of the image. Using the Levels effect is different from changing the contrast with the Brightness and Contrast effect because the Levels effect can weight changes toward the highlights or the shadows. You can also adjust the gamma curve with the Levels effect.
Chapter 12 AFX PlugIns Merge Matte is used to combine the matte created by the keyer with any preexisting matte in the alpha channel of the image. This can be used to build up a complex matte. None ignores the alpha channel and replaces it with the keyed matte. Darker compares the values of corresponding pixels in the alpha channel and in the keyed matte and keeps the lower (darker) value.
Description of all AFX PlugIn Effects Smooth Screen As video and film production becomes increasingly digital, bluescreen and greenscreen footage is frequently required to meet production needs. However, few people realize that filming bluescreen or greenscreen footage is a science, and often a shoot will take place with a dirty, poorly lit, or creased screen. As a result, compositors are often given horrible footage and then are expected to extract a perfect matte.
Chapter 12 AFX PlugIns Using the Smooth Screen effect The figure below shows a bluescreen image before and after applying Smooth Screen. Uncorrected bluescreen; smoothed screen Note that the areas of light and dark blue in the left image are removed, leaving a field of relatively solid blue. The effect that Smooth Screen can have on matte creation is astounding. The image below shows two examples of a standard color key. In both examples, the keyer is using identical settings.
Description of all AFX PlugIn Effects Spill Killer Spill Killer mathematically analyzes and corrects for colored spill, caused by bounced light from the surface of a bluescreen or greenscreen. When a foreground element is contaminated by reflected spill light, Spill Killer removes the spill from the contaminated pixels without harming their original colors. It will also correct many spill situations that other spill suppressors cannot, including fringe and motion blur areas.
Chapter 12 AFX PlugIns Using Spill Killer The image below shows an actress filmed against a bluescreen. You can easily see the effect that blue spill has on the foreground layer when the shot is composited against black. Blue tint is visible on her shirt, arms, and hair. Blue spill Start with a Target of 0% and Suppression at 100% to create a saturated correction you can see easily. Then adjust Lower and Upper Limits—you’ll see clearly what parts of the image you’re affecting.
Description of all AFX PlugIn Effects Spill Killer EZ Spill Killer EZ is a simplified version of Spill Killer. Depending on the color relationship between the foreground and background elements, you’ll occasionally need to use Spill Killer to correct some spill situations that Spill Killer EZ cannot. Spill Killer provides more specific control than Spill Killer EZ but is more demanding.
Chapter 12 AFX PlugIns Matte This section comprises seven matte-related effects. Edge Finder page 696 Edge Finder EZ page 698 Matte Feather page 700 Matte Feather EZ page 702 Matte Feather Sharp page 702 Miracle Alpha Cleaner page 704 Edge Finder Edge Finder creates a precise border for a layer’s alpha channel.
Description of all AFX PlugIn Effects Border Width controls the width of the border and therefore the width of the final edge blur (see figure below:) Border widths of 4 and 16 Border Color controls the color of the border. For interlayer blurring, leave the blur white. For halo or glow effects, you can use other colors. Border Blur Amounts blurs the border to soften anti-aliasing caused by complex alpha channel shapes: Border blurs of 0 and 2.
Chapter 12 AFX PlugIns Edge Finder EZ Edge Finder EZ is a simplified version of Edge Finder that controls the edge with a simple Border Width value. Border Width controls the width of the border around the alpha channel. The effect handles blurs and smooths automatically. This is the fastest, easiest way to define the edge-blur region.
Description of all AFX PlugIn Effects After creating the neon tube effects, we used the effect, with a blur value of 100 pixels, on the text layer to generate the glow matte for the wall. Composite Color Matcher was used to tint the wall the same color as the neon: Blur used as a glow matte We created a few more layers using colored solids and track mattes to generate layers for highlights, darker glows, shadows, and the like.
Chapter 12 AFX PlugIns Matte Feather Matte Feather creates a gradual change (feathering) from opaque to transparent at the edge of a layer’s alpha channel. You can use it to correct dirty or ragged layer edges where the keyer wasn’t precise enough. It can also soften a hard edge on a computer-generated object to help make the object fit into an organic scene. Approximately 70% of all layers can be fixed using just Feather Width, Edge Threshold, and Edge Post Blur.
Description of all AFX PlugIn Effects Using the Matte Feather effect Matte Feather can be effective on even the roughest of mattes. The following image shows an element with an extremely rough alpha channel. Jaggy puffin alpha channel In a compositing environment, this kind of matte is completely unacceptable, but these are the results you get sometimes when using certain chromakeyers or when generating lumakey mattes.
Chapter 12 AFX PlugIns Matte Feather EZ Matte Feather EZ is a simplified version of Matte Feather that controls the blurring and edge size with a simple Feather Size value. It is designed to be fast, easy, and intuitive. Many times, you can correct an edge with one simple adjustment. Feathering can be used as a soft matte choker, to eliminate unwanted fringe and chatter caused by lowquality keying or source footage.
Description of all AFX PlugIn Effects Using Matte Feather Sharp The left image in the following figure shows a stone texture masked by an incredibly jaggy alpha channel and composited over solid black. The right image shows the effect that Matte Feather Sharp has on the matte. While the rough edges have been smoothed away, the sharp points and corners of the matte remain pristine.
Chapter 12 AFX PlugIns Miracle Alpha Cleaner When you extract alpha channels using procedural keyers such as traditional bluescreen, luminance, or difference keyers, there can sometimes be a trade-off between acceptable edge detail and foreground noise in the resulting alpha channel, otherwise known as chatter. Miracle Alpha Cleaner lets you zap grain, break away holes in the matte, and fix many other problem areas that would otherwise require a separate manual matte touch-up.
Description of all AFX PlugIn Effects Using Miracle Alpha Cleaner The figure below is an example of a matte pulled from a noisy bluescreen, which produced an alpha channel with quite a bit of background noise. Applying Miracle Alpha Cleaner removes a lot of that noise, even with the default settings. Miracle Alpha Cleaner before and after To try to remove the remaining noise at the sides and corners of the matte, we can increase the Connection Threshold value.
Chapter 12 AFX PlugIns Now that we have seen how Miracle Alpha Cleaner can reduce noise, let’s see how it fills holes. The following illustration shows a matte created with the LumiKey effect.
Description of all AFX PlugIn Effects Noise The Noise section contains six effects: Channel Noise page 707 Median page 708 Min/Max page 708 Noise page 709 Channel Noise Channel Noise adds noise to the red, green, blue, and alpha channels of your clip. Red, Green, Blue and Alpha Noise control the amount of noise to be added to each specific channel. Seed determines the noise pattern.
Chapter 12 AFX PlugIns Median Median replaces extreme pixel values with the median RGB values of adjacent pixels within a given radius, softening the look of a clip. Median removes small flaws such as those due to dust particles or film scratches, and at higher values it can create abstract painterly looks. Channel specifies the channel(s) to which the effect is applied. Link Vertical links the Vertical Radius to the Horizontal Radius amount.
Description of all AFX PlugIn Effects Noise Noise randomly changes the pixel values throughout the clip. Adding noise creates a sensation of graininess, which obscures fine details. Channels specifies the channel(s) to which the effect is applied. Noise controls the amount of noise added to the clip. Seed determines the noise pattern. Specify a different Seed value each time you apply the effect to generate a different pattern each time.
Chapter 12 AFX PlugIns Particles This section covers three particle effects. Fractal Clouds page 710 Fractal Fire page 713 Fractal Tunnel page 717 Fractal Clouds Fractal Clouds gives you quick control over one of the most powerful tools: fractal noise. With Fractal Clouds, you can create clouds, oceans, water ripples, and planet surfaces, and much more. Transfer Mode controls how the cloud image is applied to the layer. Replace replaces the layer with clouds.
Description of all AFX PlugIn Effects Appearance controls the look of the turbulent noise (see below). Clouds look like standard Photoshop clouds. Billows have a round, puffier shape and texture. Filaments have a thin, wispier shape and texture. Clouds, Billows, and Filaments Detail determines how much detail is in the cloud pattern. Detail is similar to a focus or sharpness control. Scale controls the size of the cloud texture.
Chapter 12 AFX PlugIns The Black Clip and White Clip properties don’t necessarily refer to the colors black and white. The left image in the next image shows a standard Fractal Cloud layer, created using dark- and light-blue colors. Increasing the Black Clip value increases the dark blue in the image, producing the middle image. By adjusting the Aspect Ratio value, we can stretch the clouds horizontally, creating a reasonable representation of a cloudy day.
Description of all AFX PlugIn Effects Fractal Fire Fractal Fire is an optimized fractal noise factory to make your pyrotechnic soul burn. Create a nearly endless variety of fire effects, including solar flares, napalm explosions, smoky oil fires, or an inferno to make the devil inside you proud. Fractal Fire example Colors Note that the fire gets its distinctive look from mapping the texture with the color map. The default map has been tested to create a believable and organic fire look.
Chapter 12 AFX PlugIns Under puts the fire under the layer, so that it is visible only where pixels in the alpha channel have a value of 127 or lower (where they’re more black than white). On masks the fire image with the layer's alpha channel. Mask uses the fire’s alpha channel to mask the layer. Stencil uses the fire’s alpha channel to exclude areas of the layer. Stencil is the inverse of Mask. Smokiness adds a smoky artifact to the top of the flames.
Description of all AFX PlugIn Effects Direction specifies which direction the fire burns from the flame base. This control is useful for adding horizontal flames, like those from flame throwers or jets. Bias controls the position of texture. Changing Bias moves the texture’s high and low points through the color map. When you use Bias in conjunction with Gain and the Color Map controls, you have very specific control of the fire’s appearance. Gain controls the amplitude of texture.
Chapter 12 AFX PlugIns Flame Edge Scale controls the size of the edge transition, providing greater control of fire motion. Higher numbers create larger, rolling flame edges. Flame Edge Amplitude specifies the frequency of edge artifacts on the flames. Higher numbers produce more frequent edge changes. Flame Edge Slope determines how gradually or abruptly the sides of the flames fade out. Higher numbers produce a more gradual transition. Flame Base controls the position of the bottom of the fire.
Description of all AFX PlugIn Effects Fractal Tunnel Fractal Tunnel creates complex, turbulent tunnel effects, perfect for effects shots featuring wormholes, whirlpools, and other tunnel environments. Transfer Mode controls how the tunnel effect is combined with the target layer. Replace replaces the layer with the tunnel. Over places the tunnel over the layer, combining the alpha channels from the layer and the tunnel.
Chapter 12 AFX PlugIns Scale controls how big the tunnel texture is. By carefully setting Detail and Scale, you can create the illusion of immense size. Bias controls the texture’s position. Changing Bias moves the texture’s high and low points through the color map. Using Bias with Gain and the Color Map controls, you have specific control of the tunnel’s appearance. Gain controls the amplitude of texture.
Description of all AFX PlugIn Effects Zoom controls the illusion of the depth of the tunnel. Higher numbers make the tunnel look deeper. Twist specifies how much the tunnel corkscrews as it moves through space. Higher numbers create a stronger twist; positive and negative numbers create twist in opposite directions. Rotation determines a rate of rotation for the tunnel. Rotation differs from twist in that rotation moves the entire tunnel uniformly.
Chapter 12 AFX PlugIns Stylize This section contains nine effects: Alpha Ramp page 720 Drop Shadow page 722 Emboss page 722 Framer page 723 Grunge page 724 Mosaic page 725 Real Shadows page 726 Video Feedback page 728 Alpha Ramp Alpha Ramp quickly creates circular, curved, or linear alpha ramps directly into the alpha channel of your current effect. This effect instantly enhances any effect, without requiring additional matte layers within your composite.
Description of all AFX PlugIn Effects Ramp Edge Point is the top, center point of the ramp. If the curvature is 100%, then this is the center of the radial ramp. Ramp Width is the size of the radiant between the black and white values on the ramp. Ramp Curvature determines the curve of the ramp. When Ramp Curvature is 100%, the ramp is conical, and at 0%, it’s linear. At values in between, the ramp is circular with a variable-width flat center.
Chapter 12 AFX PlugIns Drop Shadow Drop Shadow creates a shadow effect on the layers below the layer you apply it to. You can specify the color, size, severity, and position of the drop shadow. Shadow Color determines the color of the drop shadow. By default, the shadow color is black. However, you can use the eyedropper or the color picker to specify any color for the shadow. Opacity determines how much the background layers will show through the shadow. The default value is 50%.
Description of all AFX PlugIn Effects Framer Framer quickly and easily performs a fundamental motion graphics design task: drawing boxes and frames around objects on the screen. While drawing boxes isn’t difficult, it can be a tedious, time-consuming chore. This effect takes care of it with two mouse clicks. Corner 1 positions the upper-left corner of the frame. Corner 2 positions the lower-right corner of the frame. Frame Width controls the thickness of the line making up the frame.
Chapter 12 AFX PlugIns Grunge Grunge creates organic-looking, distressed edges inside the alpha channel of the layer. You can use it to stylishly distress objects for a torn-page look, or to simulate different kinds of corrosion. Use Grunge wherever you want to add a little bite to your images. Grunge Styles specifies which kind of Grunge will be applied. Decay provides a furry, invasive look.
Description of all AFX PlugIn Effects Acid Bath is the smoothest and most gradual Grunge effect. It has a blurrier, graduated look, like chemical damage: Acid Bath Grunge Amount controls the intensity of the Grunge effect. Higher numbers return more Grunge. The slider goes only to 1.0, but you can set higher values: click the Grunge value and then enter a new one. You may need to use a high setting to completely obliterate large film-res areas.
Chapter 12 AFX PlugIns Real Shadows Real Shadows adds realistic perspective shadows to any layer with an alpha channel. Real Shadows is specifically designed for situations where the target layer is animated, such as keyed footage of people on a bluescreen or greenscreen. The image below shows how the use of shadows can mean the difference between a believable shot and a fake shot. Apart from the shadows, the two images are identical.
Description of all AFX PlugIn Effects Custom Control The Real Shadows custom control is available in the Composite window. This gives you powerful and intuitive control over the placement of the shadow, making it easy to align it to the motion of the target layer. The custom control is particularly convenient for animating the shadow that you see when a character’s foot steps off the ground, which looks fake when you use an ordinary drop shadow.
Chapter 12 AFX PlugIns Video Feedback Video Feedback creates multiple iterations of the layer, using a unique time-slipping compositing algorithm. Video Feedback simulates the effect of pointing a video camera at its own monitor, creating an infinite reflection (see the image below). In addition, the time-slipping compositing system can create chaotic patterns unattainable in any other way. Video Feedback example Video Feedback does not operate in the normal way.
Description of all AFX PlugIn Effects Rotation sets the degree of rotation between iterations: Rotation Offset specifies the x,y offset relationship between iterations. Transfer Mode determines the interaction of the iterations with the original layer. Behind draws the iterations behind the original layer. In Front draws the iterations in front of the original layer. The remaining transfer modes behave like the standard layer transfer modes.
Chapter 12 AFX PlugIns Video This section features three effects: Broadcast Safe Colors page 730 Field Blend page 731 Field Swap page 731 Broadcast Safe Colors The Broadcast Safe Colors effect alters pixel color values so that they can be accurately represented when viewed on a standard television. Computers and televisions view color differently. Computers see colors in terms of red, green, and blue, whereas televisions see colors in terms of differing composite signals.
Description of all AFX PlugIn Effects You can specify the Max Amplitude (IRE) value in the range 100 to 120 IRE units. The default value of 110 IRE units provides a safe, conservative starting point. Reducing the level to 100 can significantly change the appearance of the image. Increasing the level to 120 pushes the maximum allowable level and may produce undesired results.
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Chapter 13 Special FX
Chapter 13 Special FX Timewarps and Color Correction Color Correction Editor page 735 Linear Timewarp page 781 Timewarp Editor page 788 734
Color Correction Editor Color Correction Editor The Avid Liquid Color Correction Editor provides primary and secondary color correction functions, including the necessary diagnostic tools (such as the Waveform Monitor and Vectorscope). The first part of this section will provide you with an overview of the editor’s elements and functions. The second part contains a brief discussion of color theory, which you can skip if you’re already familiar with color correction.
Chapter 13 Special FX Color Correction Editor (Overview) Opening and Operation Color Correction Editor operation is the same as clip Effect Editor operation (general instructions for use can be found under “Classic Clip Effect Editors (Filters)” on page 521).
Color Correction Editor Diagnostic Area (1) A C B D G H E F Diagnostic area of the Color Correction Editor This area contains functions for analyzing and assessing the image material to be edited. A - This knob lets you adjust Display intensity. B - List box for selecting the Display (Vector, Waveform, Histogram, Lightning, Cube, Vectorlight) or Reference Source. For descriptions of the individual Displays, see: page 754.
Chapter 13 Special FX Compact Display and Magnifier (2) A - Compact Display of the three correctors (Primary, Six Vector, Selective); you can edit the tool buttons and sliders. B - Zoom and scale When the Zoom is activated, an enlarged view appears wherever the mouse pointer is positioned in the inlay. Moving the slider changes the zoom scale in four different stages. C - Opens/closes the expanded Color Correction Editor.
Color Correction Editor Correction Area (3) A B C Correction area The original material is edited in this area. Changes are immediately visible in the inlay and at the monitor output. A - A Reference Source (in an orange frame) is displayed. Select the reference source from the shortcut menu for the relevant Timeline clip. See also “Reference Source” on page 763. B - Buttons (Color and Gray Balance, HistoMatch, HueMatch, etc.
Chapter 13 Special FX Primary and Secondary Correctors (4) You can apply the three correctors individually or combine and apply them consecutively (from left to right). Primary Color Correction (left) - Permits basic color editing; for example, you can quickly correct a color cast or change the contrast ( page 762). Six Vector Color Correction (center) - Permits the selective adjustment of six defined color areas (red, magenta, blue, cyan, green, yellow; page 774).
Color Correction Editor What is Color? Depending on who you’re talking to, this question can have many different answers. A physicist might say that color is an electromagnetic radiation of a certain wavelength. A doctor might tell you that it’s the stimulation of light-sensitive receptors on the retina. An artist might say, it’s a subjective impression. And a philosopher would perhaps answer, it’s nothing but an idea. In any case, color has something to do with light.
Chapter 13 Special FX When examining a color bar in the vectorscope, each of the colors named above is represented by a glowing dot at a specific location of the screen (located at the tip of an arrow; see figure). The arrows are called vectors. With the aid of these vectors, all the possible points (= colors or hues) within the wheel can be precisely defined mathematically.
Color Correction Editor RGB Color Space On a computer monitor, colors are generated by means of red, green and blue dots illuminated at different intensities. If you look closely enough at the monitor, you can see these dots. The red, green and blue (RGB) variables can be stored digitally as bytes with values from 0 to 255. The notation (255,255,255) means “white”, (0,0,0) means “black” and (0,255,0) means a fully saturated “green”.
Chapter 13 Special FX Practical Tips for Using Color Correction Color correction is one of the most complex and difficult areas of postproduction. For non-professional users, we’d like to offer the following tips: No Exact Color Correction on the Computer Monitor You should always evaluate any color correction on a calibrated video monitor or television. Because of the different display technologies, the colors on the video monitor and computer monitor do not match.
Color Correction Editor 2 View the screen through the blue filter (or turn on the Blue Check feature on the monitor).
Chapter 13 Special FX Adapting the Environment A professional colorist studio is gray and drab. Surrounding colors must not be allowed to distract from the motif. Try to design your editing room to be as neutral as possible: Dim the lights as much as possible. Use lighting that is neither too “warm” (light bulbs) nor too “cold” (neon tubes). The ideal setup is a color temperature of 6500 K and indirect lighting. Remove all bright colors from your field of vision (flowers, pictures, etc.).
Color Correction Editor Working with the Vector and Waveform Diagnostic Displays This section describes how to work with a vectorscope, waveform, etc. Reading this section will help clarify much of the information on color and color models from the previous section and give it a concrete basis in reality. If you’re already familiar with this topic, skip to the description of the individual color correctors (“Primary Color Correction” on page 762 ff.). 1 Begin by importing the RGBspace.
Chapter 13 Special FX Unlike an analog vectorscope, the digital Vector Display of Avid Liquid Color Correction displays disconnected points. This means, for example, that the typical line patterns are omitted from standard color bars interpretation. Another remark about color bars: The additional points visible in the digital display are the results of minimal “stray colors” in the transition to adjacent colors that are produced through anti-aliasing.
Color Correction Editor 6 Initially an image appears that is similar to the hexagon in the Vector Display but without the circular scale. The axes are identified as Cb and Cr. You are looking up at a cube whose uppermost corner is positioned exactly above its lowest corner. Left-click in the display above the Cr axis and drag it downward in an arc. The cube is rotated to a position similar to the one in the image below: The RGBspace.
Chapter 13 Special FX 7 Close the Color Correction Editor and reopen it immediately to call the standard test image (Note: Make sure there is no clip selected on the Timeline!). The Vector Display contains the following image: The standard test image in the Vector Display How can this be explained? The six radiating lines that characterize the RGB color space are created by the six color bands at the top of the test image.
Color Correction Editor With a luminance of Y = 128, you see the plane of possible colors for the YUV space (here only every fourth color value is displayed as a pixel dot). These values come from the color square in the center of the test image. Color gradients (Cb,Cr) are arranged on the left and right (half resolution). These two lines form the axis intersection at Y = 128. The gray-scale wedge (luminance from 0 to 255) appears as a green Y axis in conformity with YUV.
Chapter 13 Special FX 8 Naturally, test images always provide very tidy Vector and Waveform Displays. The interpretation of “real” video signals can appear confusing but only at first glance. Here are three examples: Video image and the associated Vector Display In this image, a green apple (the Granny Smith variety, to give you an idea) is being dipped in a can of yellow paint. To the right is a can of blue paint and in the background a few splashes of red, yellow, blue and turquoise paint.
Color Correction Editor The same motif as it appears in the Waveform Display: Video image and the associated Waveform Display This display shows a relatively uniform distribution of brightness, a wide band that mainly falls between 20 and 80 percent. The short black band at the lower left-hand edge of the image is mapped on the zero line at the bottom left. At points the highlights on the apple and paint cans extend above the 100 percent line.
Chapter 13 Special FX Diagnostic Displays (Overview) Avid Liquid Color Correction provides various diagnostic displays for assessing and analyzing video signals. You can select them from the top left-hand list box (above the Diagnostic Display area), or by clicking their respective buttons. Vector Display The Vector Display allows you to analyze, control and adjust the color components in a video signal. It is called automatically when you activate the Hue-Saturation button (see figure).
Color Correction Editor You can set the Saturation (S) and Hue (H) directly in the Vector Display. Saturation Drag the mouse pointer across the display, either toward or away from the axis intersection. A double-click resets the value to initial state. Hue Drag the mouse pointer in a circle around the axis intersection. Waveform Display The Avid Liquid Waveform Display represents the luminance component of a video signal (video level).
Chapter 13 Special FX Cube Display The Cube Display is a three-dimensional display of the video signal along the Y, Cb and Cr axes. Cube Display rotated to an individual perspective Clicking the Rotate button automatically takes you to the Cube Display. You can then drag the mouse pointer over the display to create the desired perspective. Simultaneously hold down the SHIFT key to rotate the display around the Y axis.
Color Correction Editor Lightning Display This display shows the color values of all three signal components (YCbCr). All the other displays can indicate either the color component or the luma component. The Lightning Display is used especially in video analyzing technology. Lightning Display Basically, you are shown two sides of the Cube Display, one of which is upsidedown (in the bottom section). The Y component is plotted along the center vertical axis.
Chapter 13 Special FX Vectorlight Display The Vectorlight Display combines several different displays: Vector Display (bottom left) Waveform Display (top right) The other two are variations of the Cube Display (similar to the Lightning Display). The Y axis is the center vertical axis in the top left display and the center horizontal axis in the bottom right display. Changing the Hue value rotates the image around the Y axis and will help you gain a clearer understanding of the displays.
Color Correction Editor Histogram The Histogram shows the distribution and frequency of the RGB values contained in an image. It has no spatial relationship to the associated image. Color correction using the Histogram (HistoMatch) is described elsewhere: page 772. Histogram Display A field is displayed for each channel (red, green, blue). The values are plotted from left to right on the X axis (0 to 255), the scale is divided by 10 scale marks along the upper horizontal lines.
Chapter 13 Special FX One more example: Image and histogram The motif is a circular gradient from blue to red. A large number of blue pixels are present resulting in a distinct display of R, G and B: three lines to the full height. Red is also present in the requisite specification; theoretically, however, it is only a single pixel (determined by the gradient definition) and therefore it does not show in the histogram display. The gradient appears as a ramp in the R and B fields.
Color Correction Editor Tools Legalizer Four options will help you stay within certain signal-related limits. CCIR 601 Limits the image output signal to the values permitted by the CCIR-601 Standard by clipping any exceeding components. Use the SoftClipping function to configure signal clipping ( page 761). Work only in CCIR This option confines values within the limits of CCIR 601, meaning that illegal colors cannot even be created during correction (rather than only be clipped at the output).
Chapter 13 Special FX Primary Color Correction A basic feature of Primary Color Correction is the fact that it affects the entire color balance of an image. In other words: If, for example, the red component in Gamma is increased, the whole image takes on a more or less distinct reddish “cast”. Or it’s a cast that is removed by increasing this component.
Color Correction Editor Operating Variants When working with Primary Color Correction, you can choose between several operating variants. For purposes of comparison and matching, you can also display a Reference Source. Separate Channel Control Using the mouse, you can adjust the bars for the color channels (red, green, blue) and luminance (gray) individually. You can also edit the display fields: Click a field and enter a value or use the UP ARROW or DOWN ARROW keys to increase or decrease values.
Chapter 13 Special FX 3 Activate the Set Split Size function to change the size of the Reference Source displayed within the correction inlay. The orange frame indicates its dimensions. Drag the mouse pointer from the corner or side from which it should be displayed. 4 You can display other Reference Sources as described under step 1. Or you can select the Last Source or Next To Last Source from the center list box above the diagnostics inlay. These options refer to the edited clips.
Color Correction Editor Gain (Highights) Gain primarily affects the bright spots in an image such as highlights and reflections. You can raise or lower Gain to correct point-sized overexposures/underexposures. Gain is the variable usually affected with the conventional contrast control on TV or Video Monitors. However, a much more effective contrast adaptation is achieved through the combination Gain and Black (see “Contrast” on page 766).
Chapter 13 Special FX Linking of Hue and Saturation This function allows you to modify Hue and Saturation simultaneously but only in the Vector Display ( page 754). The Vector Display is automatically called when you click this button. The mouse pointer changes on the Vector Display. If you drag the mouse pointer: In a circular motion, the color locuses rotate around the axis intersection, i.e. the Hues change; Up and down, the Saturation rises/falls.
Color Correction Editor Correcting Color Cast (with the Mouse) You can correct a subjectively perceived predominance/lack of a particular hue quickly and easily using linked Primary Color Correction: 1 Open the Color Correction Editor. 2 Click the clip you want to edit. It can be located in a Rack or on the Timeline. If necessary, move to a specific spot in the clip using the position bar or the navigation buttons.
Chapter 13 Special FX Gray Balance (Subsequent White-Balancing) To a large extent, the human eye is able to adjust to the predominant color temperatures of light. This is why the same white object under different lighting conditions is still perceived as “white”. A video camera must be set to the current definition of “white” before recording and when the light color (color temperature) changes.
Color Correction Editor In actuality, however, this spot has the coordinates Y = 234, Cb = -7, Cr = 7, in other words, an undesirable cast. In the Cube Display the narrow, finely curved line of green dots is especially obvious, indicating the cast. In order to correct this, you would click the 1-Point Gray Balance button (and also the Zoom) and look for a point in the image that is as achromatic as possible. In this case, it’s simple: Either the body of the light bulb or the black outline.
Chapter 13 Special FX 3-Point Gray Balance 3-point Gray Balance affects Black, Gamma and Gain. When you click the button, three control squares connected by a line appear in the image. The black square represents Black, the gray one Gamma, the white, Gain. 1 Drag the control squares to spots in the image which correspond to their respective luminance ranges. The black square goes on the darkest spot, the white one to the brightest, the gray square somewhere in between.
Color Correction Editor Color Balance 1-Point and 3-Point Color Balance match a Reference Source and the clip that you want to modify. In contrast to the otherwise similar Tone Balance function, luminance is affected by the Color Balance function. 1-point Color Balance page 771 3-point Color Balance page 771 1-point Color Balance 1-Point Color Balance affects Black, Gamma and Gain simultaneously.
Chapter 13 Special FX HistoMatch The color balance of two images can also be matched on the basis of the associated histograms. This can be done either manually or automatically. You must have a reference source. The two histograms should be somewhat similar from the start in order to achieve a satisfactory result. See also “Histogram” on page 759. HistoMatch (Automatic) 1 Load the clip you want to correct in the Color Correction Editor.
Color Correction Editor HueMatch This function is used to match the correction clip as closely as possible to the Reference Source and affects saturation and hue. 1 Define a Reference Source ( page 763) and call it from the diagnostic display. 2 Define a working rectangle in both the Reference Source and the working image using the button provided. Matching is performed on the basis of the working rectangles selected. If you do not define separate rectangles, the entire image is used.
Chapter 13 Special FX Six Vector Color Correction Six Vector Color Correction is already considered to be secondary correction because the hues R, Mg, B, Cy, G and Yl can be edited independently of one another. For example, you can easily use this function to “repaint” a red car blue. Six Vector Color Correction appears in the Compact Display between the inlays and in the bottom half of the Color Correction Editor when it is opened all the way.
Color Correction Editor Selective Color Correction Selective Color Correction permits a very precise definition of the hues you wish to edit. You can pick up to 15 individual hues or color ranges. You can even edit the range for which no selection has been made (the “Garbage”). Selective Color Correction appears as a Compact Display between the inlays and in the bottom half of the Color Correction Editor when it is opened all the way.
Chapter 13 Special FX Defining Vectors - Selective Color (A) Initially no Vectors are defined. 1 Load the clip you want to edit in the Color Correction Editor. 2 Click the Add Selective Color button in the Selective Color area to activate the Pipette (Eyedropper). 3 Determine the color area in the correction clip as precisely as possible by also using the Zoom ( page 738). - Single-click to define a 3x3 pixel area around the Pipette position.
Color Correction Editor Color Isolation (B) In order to edit a color as precisely as possible, the color must be isolated from the spectrum of colors in the image. Otherwise you might have unwanted color corrections in similar areas. Avid Liquid specifies each selected color Vector as a numeric “center” in YCbCr values: This center is determined mathematically on the basis of various values using the Pipette.
Chapter 13 Special FX The hue (H) is represented by the size of the segment angle (the “width of the wedge of pie”). The saturation (S) is represented by the radial extension of the segment. The third dimension, luminance (L), is visible only in the Cube Display ( page 756). The transition range (Softness, dark blue marking) defines the transition from the selected range (light blue) to the non-selected surroundings. The larger the transition range, the softer the transition.
Color Correction Editor Hue (H)Switch to the Vector Display and click the H icon. Working image: Only the ranges that meet the Cb center, Cr center plus/minus Hue range criterion are displayed. The rest of the image is displayed as standard gray (Y=128). Vector Display: The currently valid hue range is displayed as a segment of a circle. Move the Range slider so that the standard gray disappears from the areas you want to edit or until the blue segment includes the relevant color locuses.
Chapter 13 Special FX Operating Variants Color Isolation Using the Mouse You can also isolate colors directly in the inlay or in the Vector Display using the mouse. First you must have selected at least one Vector (see “Defining Vectors - Selective Color (A)” on page 776). Then activate Color Isolation by clicking the button displayed and position the mouse pointer on the inlay or Vector Display. The display contains the selection range, which appears as a larger or smaller blue spot.
Linear Timewarp Linear Timewarp Use Linear Timewarp to quickly and simply generate linear speed effects in video clips and animations, such as slow motion, fast motion, fit to fill, reverse playback, freezes, strobe effects, etc. Add Linear Timewarp is a function in a clip’s Timeline shortcut menu. “Linear” means: the playback speed does not change during playback, i.e., remains constant. Dynamic modifications of speed and direction using Key Frames are best achieved with the Timewarp Editor ( page 788).
Chapter 13 Special FX Add Linear Timewarp /Edit Linear Timewarp Add Linear Timewarp can be found in the shortcut menu of any video or animation clip on the Timeline. If a clip has already been edited with Linear Timewarp, open the shortcut menu by right-clicking the colored broken line at the bottom of the clip, and call the function (Linear Timewarp or dynamic Timewarp Editor). TIP: Apply the Timewarp effect first, then all other effects.
Linear Timewarp Avid Liquid Chrome HD Linear Timewarp: Realtime Capabilities Linear Timewarp can also be played in realtime (no render). Please note: To activate realtime mode, un-check the Motion detection checkbox (no checkmark visible; see also Control Panel > Site > TARGA Performance Settings > Realtime Timewarp;). Please note: Computation: only Mix Fields or Cut Fields guarantee realtime. Other selections switch back to render mode. There is no reverse realtime playback, at no speed.
Chapter 13 Special FX Parameters (Overview) Add Linear Timewarp Clip Length Displayed is the length (or duration) of the original clip just as it sits on the Timeline, prior to any Timewarp treatment. Speed Here’s where you set playback speed and direction. Reverse Check the box to select reverse playback. Percentage or factor Click the % checkbox if you prefer to enter values as a percentage of standard playback speed (which is 100%). Otherwise a factor will be used (1.0 = 100%).
Linear Timewarp Freeze: The resulting clip has a default duration of 5 seconds if Apply clip length is checked (see below), otherwise its original duration. The image frozen is the one at the clip’s mark-in point. Fit to Fill (dynamic speed) When checked, a manually entered Speed becomes redundant. Use Fit to fill to close the gap between mark-out of the Timewarp clip and the mark-in of the next clip on the same Track.
Chapter 13 Special FX Motion Detection In the default configuration, this function is activated. For motifs with a lot of motion or very unsteady cameras, it may be better to deactivate Motion Detection. Strobe Effect The Strobe effect is best used for motifs with a great deal of motion. Strobe plays a configurable number of identical frames in succession before repeating the same number of the next frame (omitting those in between). For example: Instead of the standard frame sequence 1-2-3-4-5-6-7 etc.
Linear Timewarp Generating a Freeze (Still) When you apply a Linear Timewarp (or the Timewarp Editor) to a 1-frame clip, Avid Liquid assumes that you want to freeze exactly this frame, i.e. that you want to turn it into a still. The procedure is as follows (based on the example of a clip frozen at the end): 1 Using the Add Edit button (see figure), trim the last frame from the clip. It helps to select a Timeline scale of the same size.
Chapter 13 Special FX Timewarp Editor The Timewarp Editor allows you to modify the play speed and direction of video clips. You can control speed and direction changes dynamically with Key Frames. The Timewarp Editor is a clip effect. Timewarp effects are played in real time (with restrictions; see remarks on page 786). For basic information on video effects, see “Effect Editors (Basics)” on page 521 and “Key Frames” on page 529.
Timewarp Editor Opening and Using the Timewarp Editor The Timewarp Editor is used like a clip Effect Editor (for general information see “Classic Clip Effect Editors (Filters)” on page 521). To open the Timewarp Editor: Drag the Editor Picon from the Library tab of the Project window to the appropriate clip. Open the Editor by right-clicking the continuous colored line on the bottom edge of the clip or from the clip’s FX Properties dialog box ( page 299).
Chapter 13 Special FX Functions of the Timewarp Editor (Overview) The Timewarp Editor generates a (rendered) destination clip from a source clip. In the simplest case, it is only a matter of reversing the play direction or decreasing/increasing the play speed. Using multiple Key Frames, you can combine the two parameters in one clip as often as you like. B C D H G E A F H I Timewarp Editor (overview, default assignment) A - Editing and control functions (source clip) B - Rendering options (e.g.
Timewarp Editor Setting and Editing Key Frames The Timewarp Editor contains the usual range of buttons for setting, deleting and copying Key Frames (for basic information, see “Key Frames” on page 529). However, it also allows you to do the following: Set a Key Frame Press the CTRL key and click the desired position in the grid. The mouse pointer changes to a hand with an extended index finger and a plus sign. This applies to the upper and lower diagrams. The curve changes accordingly.
Chapter 13 Special FX Edit Key Frames (Linearize) You can extend/shorten Key Frames upward/downward to modify shifts in speed and/or direction. When the mouse pointer is positioned near a Key Frame, it becomes an arrow. An arrow pointing to the left means that you are editing the segment to the left of the Key Frame and an arrow pointing to the right indicates the Key Frame to the right. Left-click and drag the upper or lower end of the Key Frame to the desired location.
Timewarp Editor Interpretation of the Diagrams and Examples The upper diagram maps the chronology of the source clip (vertical axis and position bar to the left) against the chronology of the destination clip (horizontal axis and position bar). In its initial state when you call a clip that has not yet been edited, the following applies: Source clip chronology = destination clip chronology.
Chapter 13 Special FX When Does a Timewarp Clip End? By strict definition, the destination clip ends where the straight blue line exits the diagram grid. This means that logically it can be played only to the point at which the last frame (interpolated from the source clip) was played back. Beyond this point, the last source clip frame is played back as a still and continues this way for as long as you wish. However, basically, the destination clip ends whenever you want it to.
Timewarp Editor The figure shows the resulting phases: First the clip accelerates until it reaches about 160% of the initial speed. In the second phase, it decelerates to 0% (Stop). In the third phase, it runs backward, initially accelerating (to -100%) and then decelerating until it stops again. In the next phase, the clip plays in the forward direction and accelerates. In the final phase, it decelerates back to the standard speed.
Chapter 13 Special FX Imagine you wanted to cross a room from one wall to the opposite wall; the walls in this example representing mark-in and first, mark-out and last Keyframe. You set out and walk slower and slower until you stop right in front of the wall. If you constantly slow down, don‘t you need more time to cross the room, more than when you walk your constant normal speed? Yes, you do.
Timewarp Editor Playback Loop It is also possible to form a “loop”, i.e. a clip that is played to the end, jumps back to the beginning and is replayed. This can be repeated any number of times: In the segments where the speed remains constant at 1.0, the straight ascending lines in the upper diagram run parallel to the standard line. Each of the almost vertical descents designates the position at which the clip returns to the starting position (by means of an extremely fast “rewind”).
Chapter 13 Special FX Linear and Nonlinear (Curve) The transitions between the play directions (forward and reverse) and speeds can be configured in several different ways, as illustrated by the next example. The diagram below describes a clip that is played repeatedly from beginning to end and from end to beginning: war d rd For kwa Start Ba c End Key Frame 0.
Timewarp Editor rd Start kwa Bac End Forw ard The figure below shows the same Key Frame distribution as the figure above except that the transitions have not been linearized: Non-linearized variant of previous example This destination clip demonstrates soft transitions between the forward and backward passages.
Chapter 13 Special FX Standard Applications This section provides you with step-by-step instructions for frequently used applications such as slow motion and stills (Freeze). For the task of creating these standard applications we recommend you use the Add Linear Timewarp function ( page 781). When you exit the Timewarp Editor, the rendering of effects begins. If the effect has changed the length of the source clip, you must manually trim the clip to the new length on the Timeline:.
Timewarp Editor Reverse Playback (Linear) Clips played in reverse have speed factors with a minus sign: -1.0 means the source clip is played at the standard speed but from the mark-out to the mark-in. Reverse slow motion is also possible (e.g. “0.45”). 1 Set a mark-in and mark-out on the Timeline clip that you want to edit. Make sure you don’t set a mark-in and mark-out on the first or last frame of the clip (i.e. the clipin and clip-out of the Media File).
Chapter 13 Special FX Adjust to Length (Fit to Fill) Instead of specifying a speed factor in the editor, you can define a length for the destination clip, e.g. if you want to fill a gap of a specific duration on the Timeline. 1 Drag the Timewarp Editor to the appropriate clip. 2 Trim the clip to the appropriate length. Shortening it means accelerating the clip and lengthening it means slow motion. Doubling the length = half speed (0.5). 3 If you wish to edit this clip further, open the Timewarp Editor.
Timewarp Editor Motion Detection In the default configuration, this function is activated. For motifs with a lot of motion or very unsteady cameras, it may be better to deactivate Motion Detection. Strobe Effect The Strobe effect is best used for motifs with a great deal of motion. Strobe plays a configurable number of identical frames in succession before repeating the same number of the next frame (omitting those in between). For example: Instead of the standard frame sequence 1-2-3-4-5-6-7 etc.
Chapter 13 Special FX Individual Applications You can create complex Timewarp Effects quickly and easily using the tools of the Timewarp Editor. The basic principle is presented here step by step. For your first attempt, select a clip with a lot of motion in the motif (or in the camera work) and load it in the Timewarp Editor. Initially the source and destination clips are identical. 1 Set the Playlines in the source and destination clip position bars to the mark-in if they’re not already there.
Chapter 14 Audio
Chapter 14 Audio Audio Postproduction and Audio Effects This chapter describes the audio functions of Avid Liquid Basics Facts you should know about audio editing in Avid Liquid page 807 Audio Tool Control output levels page 819 Audio Monitor Avid Liquid Blue : Separate monitor control page 823 Audio Editor Æ Multichannel mixer page 826 Æ Rubberbanding, adjust level, pan and balance directly on the Timeline page 834 Æ Output mapping: Assigning signals page 839 Æ Audio Routing (Classic) to assign audio s
Audio Postproduction and Audio Effects Basics This section provides a basic description of audio editing in Avid Liquid: ASIO and DirectSound page 808 32-bit floating point audio page 809 Special characteristics of audio clips page 810 Inserting audio clips on the Timeline page 813 Assigning Tracks page 813 Stereo and mono, panorama and balance page 813 Muting Timeline Tracks page 816 Audio scrubbing and monitoring page 816 Working with more than 16 audio Source Tracks (real-time playback) page 818 807
Chapter 14 Audio ASIO Driver and DirectSound As of Version 6.x, Avid Liquid supports the use of sound cards that are based on the ASIO driver standard. ASIO stands for Audio Stream In/Out. ASIO sound cards are often high-quality and offer many configuration options for audio professionals in particular. This does not necessarily mean that you now need an ASIO-compatible sound card; Avid Liquid also works with the popular DirectSound sound cards, which also offer multichannel output.
Audio Postproduction and Audio Effects (Multiple) DirectSound and ASIO Cards/Drivers in the System If this is your configuration, choose either a DirectSound or ASIO card, or an ASIO driver in combination with a sound card. Make your selection as described in the two previous sections. DirectSound is the alternative to the available ASIO drivers (if more than one is installed) and can be found under Edit > Control Panel > Site > System > Inputs/Outputs > Audio Outputs > Audio device.
Chapter 14 Audio Special Characteristics of Audio Clips As objects, audio clips are very similar to video clips (moveable, trimmable, etc.) but they do have a few special characteristics. You can access these functions via the shortcut menu for the Audio Playback column, which is located at the beginning of the Timeline and is identified by the loudspeaker icon. See also “Audio Playback” on page 377.
Audio Postproduction and Audio Effects Show Panning/Balance Clip-Specific Panning/Balance Panorama (pan) lines (yellow) show the right and left orientation of the output signal of an audio clip: Pan line at the top of the clip means left, at the bottom, right. You can activate either Pan Lines or Volume Lines, but not both. See also “Clip Panning” on page 830. Track-Specific Panning/Balance You can also define the surround and left/right orientation for an entire Timeline Track.
Chapter 14 Audio Waveform Choose this option to graphically display a clip’s audio signal. This is useful, for example, when the editing work you are doing revolves around a certain audio event (such as a continuous drum beat), in which case you can use the wave peaks as reference points. It is only possible to display a waveform for individual audio Source Tracks. V-A-grouped clips cannot be displayed in waveform mode.
Audio Postproduction and Audio Effects Inserting Audio Clips on the Timeline Audio clips can be inserted on the Timeline in three different ways. Each of the methods is described in detail on the page indicated: Drag&drop - Inserts (grouped) clips on Timeline Track ( page 424). Send To... - Inserts clips at the Playline position in accordance with the Source Track Mapping ( page 387).
Chapter 14 Audio Stereo and Mono A stereo signal in its original meaning reflects a spatial sound source. To create a spatial impression between “left” and “right”, two signals have to be used. For this reason, the term “stereo” refers to a pair of audio signals. A stereo signal understood in this sense consists of two signals that subjectively sound the same, but create an acoustic space centrically between “left” and “right”.
Audio Postproduction and Audio Effects Stereo or Mono or Pseudo-Stereo? If you ask yourself which kind of clips to work with, stereo or mono, make a decision on the basis of your end product: Stereo-Master: if all sources are stereo (in the above-mentioned meaning), work with stereo audio clips down the line without having to deal with the left/right assignment. Mono-Master: identical signals are applied at two or more audio Tracks of a master tape.
Chapter 14 Audio Muting Timeline Tracks (Audio Playback) Audio Playback on/off Select this function from the Audio Playback column shortcut menu to switch the playback of one or all Timeline Tracks off or on. It is the same as activating or deactivating playback directly in the Audio Playback column of a Timeline Track (by clicking the Loudspeaker icon).
Audio Postproduction and Audio Effects The three steps of successful scrubbing: 1 Enable scrubbing (hit SCROLLLOCK key) 2 Select scrub type (analog or digital, shortcut menu of taskbar Audio Tool icon) 3 Select Timeline Tracks for scrub (two max, SHIFT-click Loudspeaker icon in column) To scrub frame by frame use the ARROW RIGHT/LEFT keys. Press the ARROW keys and the SHIFT key simultaneously to move the Playline by 10 frames each.
Chapter 14 Audio Selecting Audio Tracks for Scrubbing and Monitoring (Clip/Source Viewer) If you are working with clips including three or four Source Tracks (A1 to A4), you have to select the Source Track(s) you wish to listen to when scrubbing. Please note: This has no effect on the Audio Editor’s Output Mapping. To do so, drag the function Select Audio Tracks from the toolbox of the Clip or Source Viewer to the tool bar. Select a Track combination from the shortcut menu.
Audio Postproduction and Audio Effects Audio Tool The Audio Tool influences and monitors the audio output signals. In the signal path sequence, it follows the logical output busses, which makes it the ultimate audio levels control before the physical outputs.
Chapter 14 Audio Output Level Meter The Audio Tool displays the level of the outgoing audio signals in the form of up to four vertical bars that change from yellow to red when the level exceeds -9 dB (default), thus indicating that the level is nearing the overload threshold. Avid Liquid Blue and Avid Liquid : The overload threshold can be set in steps of 1 dB (-9 to -20 dB) (Edit > Control Panel > Site > System Settings > General > General > Audio Reference Level).
Audio Postproduction and Audio Effects Clipping The red “LED” indicator above each of the scales shows whether the overload threshold has been exceeded, in which case the system clips the signal. Also, in the max dB Field, the value 0.0 is displayed in red and a red cross appears and stays to indicate that the system has clipped the signal. Reset using the Reset button. A second, yellow LED indicator flashes at the output if the signal was already clipped with one of the audio effects.
Chapter 14 Audio When these problems occur, you may still be able to hear something through the connected speakers, depending on how you have configured your system. Other possibilities when audio is (apparently) absent: Audio Playback of Timeline Track(s) is disabled (Track Header: Audio playback column - is loudspeaker icon visible?). Tracks are routed to incorrect Output Busses (Audio Editor > Audio Mixer > check Output Mapping). Track is muted or another Track is set to Solo (check Audio Mixer).
Audio Postproduction and Audio Effects Auxiliary Level in the Taskbar An auxiliary level is located next to the Audio Tool icon in the taskbar. The two topmost segments in the four part scale change to red if the outgoing level reaches overload. Digital Scale and Digital Audio Digital audio requires different level indicators than analog audio. Avid Liquid works with a digital scale, designed for a range between 0 dB and minus infinite dB.
Chapter 14 Audio Audio Editor In the Audio Editor, the audio signals are mixed and distributed to the available outputs of the system hardware. The Audio Editor must always be open during audio editing on the Timeline.
Audio Postproduction and Audio Effects Opening the Audio Editor To open the Audio Editor click its button in the Master Viewer’s toolbar (or press F4 in the standard keyboard assignment). In the standard view, the Audio Editor replaces the Source Viewer above the Timeline. The settings in the Audio Editor (such as active Fader segments and SendFX Busses) apply to the current Sequence. If you create a new Sequence, the default settings are applied.
Chapter 14 Audio The Audio Mixer As a virtual mixing console, the Mixer is the core of the Audio Editor. You can use it to operate any number of fader units, each of which is responsible for one Timeline Track. You can also use it as an eight- or twelve-channel mixer, as appropriate: In this case, each fader unit and its associated Timeline Track represents one “audio channel”. Plugin audio effects (up to 16 per fader unit) are integrated here.
Audio Postproduction and Audio Effects MASTER OUT Audio Tool OUTPUT MAPPING LEFT L RIGHT R Mute/Solo Mute/Solo FADER UNIT SENDfx BUS Bus Type Bus Type Output Level Output Level L L R R OUTPUT BUS STEREO (1) OUTPUT BUS STEREO (2) Bus Fader Bus Fader Send FX Insert FX Insert FX Input Level Clip Fader AUDIO MIXER Audio Playback TL TL Stereo Audio Clip Stereo Audio Clip The path of the audio signal through the Audio Editor 827
Chapter 14 Audio Selecting Timeline Tracks and Fader Units When you open the Audio Editor, the number of fader units visible in the Mixer is always the same as the number activated for Audio Playback on the Timeline Tracks. In the default configuration, five fader units are displayed (Name 5 to Name 1). The fader units have the same names as their associated active Tracks. You can add (or remove) any number of fader units by single-clicking the appropriate Audio Playback column.
Audio Postproduction and Audio Effects Standard Fader Functions This section describes the most important functions of the Fader Units. You can show or hide the individual function groups by clicking the Plus and Minus signs in the left-hand column. If you don’t see all the sections displayed below in your software, activate all the options on the Audio Editor’s Settings tab. The signal path traverses the fader unit from bottom to top; therefore, we’ll start with the Track Type.
Chapter 14 Audio Track Type Click this field to select the track type appropriate for the audio clips on the associated Timeline Track. Avid Liquid recognizes three types of audio clip: Mono One audio channel (Source Track) per clip Stereo Two audio channels (stereo) per clip (default). Classic Up to four mono audio channels or 2x2 stereo channels per clip The figure shows you how this affects the fader peak meters. (Also see “Bus Types and Track Types” on page 841.
Audio Postproduction and Audio Effects Clip Faders (for the Current Clip) These faders let you control the volume level of the current clip right where the Playline is currently located. An Audio Key Frame is set that moves when the fader is moved. In the main operating range of +12 dB to -20 dB, the control range is linear and has a wide-spaced scale; below -20 dB it has a narrow-spaced scale. Double-click the Fader or the scale to reset to the 0 dB position.
Chapter 14 Audio Output Volume (Track) This section lets you raise or lower the volume equally for all the clips on the assigned Track. Because this fader is located after the effect section, you can use it, for example, to re-attenuate effectrelated increases in volume. This setting is static for the entire Track (no Key Frames). Routing to a Logical Output Bus (Bus Type) In this section, you can select the Logical Output Bus or the “sum” to which the fader unit signal should be routed.
Audio Postproduction and Audio Effects Mute and Solo (Track) Mute Click this option if you want to mute this Track only. The loudspeaker icon no longer shows “soundwaves”. The signal is not routed to the output bus. Solo Select this option if you’re playing the Sequence and want to activate audio playback for one specific Timeline Track only. Only this signal is forwarded to the output bus.
Chapter 14 Audio Send Bus Faders Send Busses are a special type of standard fader specifically used for effect editing. In the software user interface, Send Bus Faders can be identified by their greenish color and their (non-editable) name (Send FX1, Send FX2, etc.). Send Bus Faders are not assigned to Timeline Tracks but instead get their signals from one or more fader unit(s) or mixer channel(s). The effect signal is then routed to an output bus and thus inserted in the master signal.
Audio Postproduction and Audio Effects 3 Position the Playline at a certain location in the clip and adjust the volume at this location in one of the following ways: Using the mixer - by moving the Fader of the appropriate fader. (If you locked Faders, you can adjust several clips on several Tracks at once). Using the mouse - by going into Edit Mode (the mouse pointer turns into a hand with pointing index finger if placed near the Volume or Pan Line, a plus symbol appears next to it).
Chapter 14 Audio Moving Key Frames When moving the mouse pointer (make sure that you are in Edit Mode; page 423) near the Volume or Pan Line, it turns into a hand with a pointing index finger. Click Key Frame and drag it to the required position. In Version 7, the behavior of the next Key Frame to the immediate right was changed: If it has not yet been moved, it shifts along with the previous Key Frame. If it has already been modified or was inserted after the face, it retains its position.
Audio Postproduction and Audio Effects Key Frame Toolbar Located below the Mixer is a toolbar with various buttons for controlling Key Frame functions. Key Frame toolbar These buttons can be used for setting, copying and deleting Key Frames. The following information applies to working with both Volume and Pan Lines. Each audio clip always has two Key Frames, one at the beginning and one at the end. A new Key Frame is set wherever the volume or pan is changed.
Chapter 14 Audio Undo/Redo Key Frame Set Key Frames in Volume and Pan Lines can be individually deleted via Undo Key Frame. This can be done on one or several audio clips at the same time. These audio clips have to be highlighted (selected). Redo Key Frame sets a Key Frame removed by Undo. Copy/Paste Key Frame Click this button to copy Key Frames with their audio or pan settings. Click this button to insert copied Key Frames elsewhere on the Volume or Pan Lines (or even to other clips).
Audio Postproduction and Audio Effects Output Mapping: Assigning Signals The signals from the individual Mixer channels and Send Busses are reunited in the output busses before being distributed to the physical hardware outputs. We call these output busses “logical” busses, as opposed to the actual physical busses to which you connect your speakers or VCR. Output Mapping is system- and hardware-dependent. The Mapping settings cannot be stored with the current Sequence.
Chapter 14 Audio Why Busses? The logical output busses and the actual connection options form a grid on the Output Mapping tab. Small dots serve to define and display the relationships between logical busses and physical outputs. The audio signals intended for the different busses are combined in these busses according to their properties: A Stereo Bus receives all audio signals with the “left” property at its left channel and all “right” signals at its right channel. The Surround 5.
Audio Postproduction and Audio Effects Bus Types and Track Types In the default configuration, the logical output busses available are Classic (A1 - A4), Stereo and Surround. Each individual channel (fader unit) of the Audio Mixer must be assigned to one of these busses, unless you want it to retain the default setting (Stereo). Base your assignment on the audio clips currently located on the assigned Timeline Track (A1 - A4 grouped, stereo or mono clips).
Chapter 14 Audio If you play back audio in the Clip Viewer or Logging Tool, you can define the Audio Monitor with this bus. To do so, assign channels A1 to A4 to the appropriate output channels (for example, on the sound card). The Classic bus is visible only if you activated the corresponding option in the Audio Editor Settings. The Clip Panning section is not visible until you activate classic routing. In Classic Routing, make sure the lines are drawn from the subsums to the four logical outputs A1 to A4.
Audio Postproduction and Audio Effects Outputs on the breakout box (Analog) Edition Pro, for example, might be listed here. All analog outputs (if more than one exists) are sent the same signal. DV (IEEE 1394) embedded output Only one DV recording device can be activated at any one time. If several such devices are connected to your system, select one as follows: Edit > Control Panel > Site > System > Inputs/Outputs > Video Outputs > 1394.
Chapter 14 Audio The one exception, however, is when you export via the Dolby Digital 5.1 Encoder (DVD export; “true” 5.1) or as Matrix Surround (Sequence Export, DVD Export; “pseudo 5.1”): These encoders mix the surround channels in a special stereo signal. The surround effect will not work unless surround 5.1.mapping is correctly assigned. For more on this topic, see the section on “Output” on page 865.
Audio Postproduction and Audio Effects Overview of Output Mapping The table below summarizes the most important information on mapping and mono/stereo. This information does not apply to classic routing (for Classic Routing, see next section). # Clip Property 1 Mono (A1 only) 2 Same as above 3 Mono (A1 - A4) Separate effect editing* 4 Same as above 5 Stereo (A1 only) Track Type Mono Track Type Stereo x x x x x Logical Output Bus Stereo Logical Output Bus Surround 5.
Chapter 14 Audio # Clip Property Track Type Mono Track Type Stereo Logical Output Bus Stereo Logical Output Bus Surround 5.
Audio Postproduction and Audio Effects Audio Routing A1 to A4 (Classic Routing) NOTE: Audio Routing in the form described here was retained in Version 6.0 (and later) mainly in order to maintain compatibility with older Sequences (created using Version 5.6x or earlier). When editing new Sequences, use Output Mapping ( page 839; see previous section). If you play back audio in the Clip or Source Viewer or Logging Tool, you can define the Audio Monitor with this bus.
Chapter 14 Audio Interpreting the Audio Router (Classic) Timeline Tracks Scroll bar Source Tracks Prefab output sets Submix Track matrix Audio Editor Classic audio routing Timeline Tracks are arranged vertically next to each other (as in the Mixer). They represent the Timeline rotated by 90 degrees. Four Tracks appear at a time. Use the scroll bar to see additional Tracks. Every Timeline Track has four Source Track columns (A1 to A4).
Audio Postproduction and Audio Effects Predefined Routing Sets You can either use one of the predefined routing sets or create a customized one. The predefined routings are suitable for most applications. Standard The example below shows all uneven Source Tracks routed via Submix 1 to A1.
Chapter 14 Audio This setting causes a level increase at the output of up to 6 dB. Audio Routing: Stereo-Mono Multi Channel - This setting permits a “Direct Out” with four channels. Audio Source Tracks 1 to 4 are routed to logical outputs A-1 to A-4, i.e. input = output. Customized Routing Sets To create a customized routing set, in the drop-down menu click Custom Set. The difference between this window and those of defined sets is that the dots in the matrix can now be edited (and appear darker).
Audio Postproduction and Audio Effects Audio Editor Settings On this tab, you can determine the functionality of the Audio Mixer. The Settings in the Audio Editor (such as active Fader segments and SendFX Busses) apply to the current Sequence. If you create a new Sequence, the default settings are applied. If you open an existing Sequence, you work with the existing Audio Editor settings for this Sequence. Output Mapping is system- and hardware-dependent and does not change from Sequence to Sequence.
Chapter 14 Audio Working with Insert Effects, Send Effects and Busses You can also edit audio effects using the Audio Editor. The concept page 852 Insert effects page 853 Send effects page 854 The Concept You’re probably familiar with the concept from hardware audio mixers: All have at least one three-band equalizer with send-effect and effect-return connections plus the associated faders, whereas high-end models have many more options.
Audio Postproduction and Audio Effects Insert Effects Insert effects are inserted directly into the signal path of a fader or channel. All the signals of this channel traverse the effect editor(s), but each is processed separately within the effect. Insertion of these effects requires that the fader’s Insert/Send FX section be expanded (see left). Two effect slots are provided in the default configuration. The number of slots increases automatically when you insert additional effects.
Chapter 14 Audio Send Effects You can use send effects to bundle multiple channels and route them to the same effects. The edited signal is forwarded from the send bus to an output bus where it is mixed with the output signal. A1 to A4 are routed to the Send FX1 send bus, edited there with effects and mixed with the output signal via an output bus (not shown). The advantage of this procedure is that the same effect (or combination of effects) does not have to be configured individually for each channel.
Audio Postproduction and Audio Effects 2 Click in the insert/send effect section. From the list of available effects, select those that are appropriate (such as the popular combination Equalizer and Reverb shown in the figure here). In the send bus, as well, the insert effects are processed from bottom to top. If you need more than the two insert slots provided in the default configuration, you can configure them on the Audio Editor’s Settings tab.
Chapter 14 Audio Surround 5.1 Sound A surround sound system puts you right in the center of the action because, unlike a stereo system with two speakers, you experience sound from six speakers: Three in front, two in the rear and one for low frequencies that can even be placed under the couch, since the human ear is unable to localize low tones. The term “Surround 5.1” stands for five speakers plus one subwoofer. Avid Liquid lets you produce your own 5.1 surround sound mixes.
Audio Postproduction and Audio Effects The Surround 5.1 Concept Of the existing surround systems, 5.1 is the most widespread. It is known under different brand names, including AC-3, Dolby Digital, DTS and MPEG2 Multichannel. The six 5.1 channels are normally set up as follows: Center This channel is mainly used for dialog spoken by visibly active people or for sounds that define or explain the image.
Chapter 14 Audio Dolby Digital 5.1 Creator (Consumer) Avid Liquid is equipped with the Dolby Digital 5.1 Creator®, a surround sound encoder that allows you to generate “true” 5+1-channel audio that can be burned to a DVD. In contrast to Dolby Prologic, for example, Dolby Digital 5.1 separates all audio channels when encoding and decoding, thus retaining the full spatial impression during playback, provided you have suitable devices and a correct speaker configuration. Like DD 5.
Audio Postproduction and Audio Effects Surround panning is Track-specific, meaning that it is not set for each individual clip. Therefore, note that when you move a clip, surround panning does not move with it! That is why we urge you once again to perform audio postproduction last of all. The Timeline setup described is only a basic configuration. Naturally, you can also reserve many more Tracks for the mix and incorporate send busses in the surround mix.
Chapter 14 Audio The surround 5.1 bus fader with its level meter for the six surround channels appears on the right Let’s take a closer look at the Surround Panner: Signal location Front/rear slider Listener position Surround space Left/right slider The listener sits at the center of the surround space. The gray dot indicates the spot in the room at which the sound seems to meet.
Audio Postproduction and Audio Effects This means: The surround bus routes the entire audio signal on the particular mixer channel to the specific surround bus channel. For the listener, all the sound seems to be coming from one speaker (provided the other channels are set to mute). When the gray dot is not located at one of these extreme positions, the signal is distributed to two or more surround channels. In the figure below, the signal location is centered directly behind the listener.
Chapter 14 Audio Surround Lines on the Timeline When you change the surround position of a channel or signal, something also changes on the Timeline. Three surround rubberbands are visible on the Track - note that this is on the entire Track, because surround panning is track-specific and not clip-specific. Surround rubberbands The surround position is determined by two lines: One line represents movement along the X-axis (left/right) and the other along the Y-axis (front/ rear).
Audio Postproduction and Audio Effects Tips for Surround Mixing Static Surround Sound If you want to maintain a specific surround composition for the entire duration of a Sequence, start by creating it at the beginning of the Timeline. Then repeat the settings at the end of the Sequence Track by Track. The surround rubberbands must run horizontally over the entire length of the sequence. Dynamic Surround Sound Of course, the real fascination of surround sound is in the dynamic change in sound events.
Chapter 14 Audio Distribution of Sounds to Channels Commentary and dialog Words spoken by actors in front of the camera as well as off-camera commentary (voiceover) should be routed to the center channel. This will ensure that even listeners who are not sitting at the optimal center point will be able to localize these sound events accurately. Distributing the sound to the left and right would move this impression to the right or left, depending on the listener’s position.
Audio Postproduction and Audio Effects Output The logical 5.1 output bus with its six channels can be found on the Output Mapping tab. Assuming you have the necessary hardware, each of these channels is assigned to a physical hardware output. Check here to determine whether the default assignment corresponds to the port characteristics of your hardware, i.e. whether the logical channels are also output to the correct speakers.
Chapter 14 Audio Special Functions This section describes a number of special audio functions: Cross Fade page 867 1-click Fade In/Out page 868 Global modification of volume and panning page 869 Add Dissolve page 871 Audio Mix Automation (live audio mix) page 872 External (hardware) audio fader page 874 Voice-Over page 876 Audio Settings page 878 Reference Level (Create Signal Clip) page 172 866
Audio Postproduction and Audio Effects Cross Fade The Cross Fade blends out the outgoing clip, while simultaneously fading in the incoming clip. Fade-ins and fade-outs are always linear. Cross Fade can be found in the Project window on the Library tab in the Folder Classic Transition FX > Audio. Insert the fade at a transition or at the beginning or end of an audio clip.
Chapter 14 Audio 1-click Fade In/Out This function facilitates the creation of audio fade-ins/outs. The Audio Editor has to be open and the Volume Lines have to be visible. Make sure you are in Edit Mode ( page 423). 1-click Fade In/Out Create fade-in: move the mouse pointer to the beginning of an audio clip near the volume line and keep the CTRL key pressed. The symbol of an ascending volume line appears next to the mouse pointer.
Audio Postproduction and Audio Effects Global Modification of Volume and Panning (Adjust Audio Function) The Adjust Audio option allows you to increase or decrease the volume level of one or several audio clips. Each individual Key Frame is modified by the indicated value. Also Panning can be globally modified. 1 Open the Audio Editor. 2 Select one or several clips. 3 Click right in one of the selected clips and select Adjust Audio from the shortcut menu.
Chapter 14 Audio Please note the following: The maximum/minimum value is defined by the Key Frames with the highest/lowest value in a selected clip. Levels of minus infinite remain unchanged even if the value is decreased beyond the maximum value (otherwise all fade-ins/outs would get lost). The maximum/minimum values of volume lines can, in case of global changes, reach the indicated extreme values sooner than values of other Key Frames.
Audio Postproduction and Audio Effects Add Dissolve This function automates the insertion of Cross Fades and Dissolves. Proceed as follows: 1 Set the Playline near the editing point. Make sure the respective Timeline Track is enabled. If there are several overlapping editing points at this point, you can insert several Dissolves at the same time (if the Tracks are active). 2 Now you have two options: Add Dissolve with or without option ( page 871).
Chapter 14 Audio Audio Mix Automation In the Audio Editor, Avid Liquid lets you mix down one or more channels live - and not just the volume, but also panning, including surround panning. By linking faders, you can edit multiple Tracks or channels simultaneously. Start by activating the Audio Mix Automation function of the Tracks to be mixed by clicking on the box underneath the Fader. See also “The Audio Mixer” on page 826.
Audio Postproduction and Audio Effects Stopping Audio Mix Automation You have three options for stopping Audio Mix Automation: Click the function again Click Stop or Play, Run to mark-out.
Chapter 14 Audio Additional Options Additional options for Audio Mix Automation can be found in the Audio Editor on the Settings tab: Record confirmation dialog At the end of recording, a dialog box appears in which you can define the Key Frame density and the affected Tracks. Start recording after first touch Recording doesn’t begin until you move a Fader. Until that moment, the rubberband remains the same.
Audio Postproduction and Audio Effects Installation To connect the external fader, your system must be equipped with a midi interface (gameport) with a Dsub 15-pin connector. This interface may already be mounted on your motherboard or may be available via an installed sound card. You may also use Danka Data Device’s midiLink adaptor which connects to your computer’s COM port (www.dankadata.com).
Chapter 14 Audio Voice-Over In combination with suitable hardware, the Voice-Over function turns Avid Liquid into a live audio recorder, e.g. for comments that can be spoken directly “onto the image”. The clips are then inserted on the Timeline synchronized with the image. The clip generated using the Voice-Over function is saved in the Capture directory of the destination volume for this Project (for example, “R:\Start-PAL...”).
Audio Postproduction and Audio Effects Controlling Voice-Over Input To access a fader for controlling the Voice-Over signal, select Edit > Control Panel > User > Audio Settings. Use the arrow button at the bottom right to add a level and fader. Important: Level meters and faders are activated and usable only if they are supported by the sound card selected. You can also define a preroll and postroll for the Voice-Over operation in the Audio Settings dialog box.
Chapter 14 Audio Audio Settings Select Edit > Control Panel > User > Audio Settings to configure specific Audio Mix Automation, Voice-Over and audio format parameters. Audio Format Here you can toggle between the standard 16-bit audio format and the higher-quality 32-bit floating point audio format. For more information, see “32-bit Floating Point Audio” on page 809. Parameters for Audio Mix Automation Enter the desired values for Preroll and Postroll in the two fields.
Audio Postproduction and Audio Effects Preroll/Postroll These entries define the preroll and postroll settings for the Voice-Over session. Preferred device This option lets you select different sound cards (if installed). Preferred quality This option selects the audio quality (Stereo, Mono, Sampling, etc.). Input level Single-click the small triangle on the bottom right to add an audio meter and a fader to the dialog box, with which you can then control the incoming signal.
Chapter 14 Audio SmartSound: Background Music Made to Measure SmartSound (if you’re not already familiar with it from Pinnacle Studio) is a tool that generates a secondby-second customized soundtrack for the Timeline. With SmartSound, you won’t encounter the typical problem of ready-made pieces of music that are either too short or too long but seldom fit. SmartSound “composes” on the spot. Opening the SmartSound Dialog Box To open the SmartSound dialog box, select File > New > SmartSound Clip.
Audio Postproduction and Audio Effects Selecting and Listening to Music The music genres and libraries are listed on the left, the titles are in the center and the available variants of the selected title are on the right. Other list boxes contain different categories (such as sound effects). Many sounds and music titles are initially available only as sample sounds and can be purchased directly on the Internet. Click the Prelisten button to hear a sample.
Chapter 14 Audio More SmartSounds Click the SmartSound button to open a dialog box containing, among other things, information on installed SmartSound libraries and access to additional SmartSounds (Internet connection required). SmartSound Media Files These files can’t simply be imported from a folder to a Project, because they’re generated by the SmartSound module internally as needed and are not available as WAV files.
Audio Postproduction and Audio Effects Audio Effects This section provides you with information on working with audio effects: Basics Æ Where can I find audio effects? page 884 Æ Applying effects and opening Effect Editors page 884 Æ Audio effects are real-time effects page 884 Æ Changing effect parameters in real time page 885 Æ FX Properties page 299 Æ Saving effect settings page 885 Æ Effects and output level page 886 Avid Liquid audio effects (standard) Æ Equalizer page 886 Æ Maximizer page 888 Æ Ech
Chapter 14 Audio Where Can I Find Audio Effects? In the Project window, click Library tab > Classic Clip FX > Audio. Here you will find the Equalizer, Echo and Maximizer effects. Applying Effects and Opening Effect Editors 1 Drag the desired effect onto the relevant clip. 2 Right-click the effect icon (or the colored line) on the clip to open the shortcut menu. Depending on the Track height and Timeline scale selected, the effect icon might not appear. However, the colored line is always visible.
Audio Postproduction and Audio Effects Changing Effect Parameters in Real Time You can evaluate the effect of the Equalizer, Maximizer and Echo directly at the audio material. Follow the steps indicated below: 1 Select the range of the respective audio clip on the Timeline by means of mark-in and mark-out (or highlight a range with the shortcut menu of the Slice Track). 2 Drag the desired audio effect onto the clip. 3 Start a playback loop by clicking the button Play In to Out.
Chapter 14 Audio Effects and Output Level Changes to Equalizer, Maximizer and Echo settings have an influence on the level of the output signal. If level increases significantly, clipping may be activated already within the effect. In Audio Tool (output), the LED indicator on top (yellow) blinks while clipping. In this case, reduce Gain (see also Clipping on page 821).
Audio Postproduction and Audio Effects Bell Equalizer and Slope In the Mid range, use the Slope (Q) slider to define the frequency range (bandwidth) used for amplification or attenuation. Depending on the settings, amplification or attenuation falls to the right or left of the center Frequency by a defined factor. Together with the specified center Frequency, Q determines the bandwidth for amplification or attenuation.
Chapter 14 Audio Maximizer The Maximizer is an effect for optimizing loudness. With this function, “normalized” audio material with level peaks in the headroom range (see also Digital Scale and Digital Audio on page 823) sounds even louder and denser without exceeding the maximum modulation limit. Tone quality is only minimally affected. Maximizer Like the Equalizer, the Maximizer is also a real-time effect.
Audio Postproduction and Audio Effects Echo Three parameters are available for influencing the outcome of an echo effect: Delay, Feedback and Mixup. Click Dry to temporarily eliminate the echo from the signal (for example, to compare the manipulated and original signals). Echo effect Delay Use this field to specify how long the output signal should be held in the buffer before it is sent back to the signal. To create a reverberation effect, use a relatively small delay value.
Chapter 14 Audio Cross Fade The cross fade blends out the outgoing clip, while simultaneously fading in the incoming clip. page 867 Add Dissolve With its Add Dissolve function, Avid Liquid provides a convenient means of inserting cross fades. See also “Add Dissolve” on page 871.
Audio Postproduction and Audio Effects Avid Liquid Plugin Audio Effects (VST) These plugins are compatible with VST, which has become the de facto standard for plugins in the audio field. This means that all VST plugins can be integrated in Avid Liquid (see “Integrating VST Effects” on page 892). Some of these plugins come with their own graphical user interfaces, while others retain the look and feel of the Avid Liquid Effect Editors. To find these effects, select the Library tab Realtime Clip FX > Audio.
Chapter 14 Audio Integrating VST Effects If you have additional VST plugins, copy them to the following directory:...\[Avid Liquid program directory]\PlugIns\VST. You can also create a subdirectory here. To locate the added effects within Avid Liquid, select the Library tab > Realtime Clip FX > Audio. (It is, however, necessary to restart the application. After plugins are removed from the directory, a restart will take much longer than usual.
Audio Postproduction and Audio Effects Applying VST Effects VST effects are applied just like any other clip effect. Simply drag the effect from the Rack and drop it on one or more clips of your choice. Then click either the red line or the effect icon on the clip to open the effect editor. You can also apply one or more audio VST effects to an entire Timeline Track. In this case, drop the effect(s) on the Track name. Then right-click the colored line to open the editor.
Chapter 14 Audio Grungelizer The Grungelizer lets you add noise and crackle to the audio to create the impression of old records or vintage radio recordings. The parameters are: Crackle This knob supplies the crackle typical of records. This parameter is adjustable; the most crackle is produced when it is set to the far right. RPM Turntable speed: 33, 45, 78 Noise Produces a uniform noise base; the volume is adjustable. Distort Adds sound distortions.
Audio Postproduction and Audio Effects Reverb This effect determines sound character by simulating the rooms in which tones/sounds/noises are created and perceived. The reflection of soundwaves (commonly referred to as echo) plays an important part. The size of the room and the nature of the reflecting surfaces create differences in the direct perception of the sound source and in the delayed perception altered by reflection. A number of room simulations are available.
Chapter 14 Audio StereoEcho StereoEcho is a delay effect with separate settings for the left and right channels. It can also be configured as a single mono delay, in which case the maximum delay time will be doubled. Delay 1 (2) The delay time for the left channel. The maximum delay time is 1486 ms, unless you link the two channels and apply the effect to the mono channel. In this case, the maximum delay time is 2972 ms (1000 ms = 1 second).
Audio Postproduction and Audio Effects Chorus The Chorus effect is used to generate a “warmer” sound. The following parameters are available: Time This parameter lets you define the basic delay for the Chorus signal as compared to the original signal. The higher the value, the more drastic the effect. Lower settings generate flanger-like effects, medium settings are used for a classic chorus effect, and higher settings are mainly used for special effects.
Chapter 14 Audio StereoSpread This effect expands or contracts the spatial impression of a stereo signal. The sound sources that are distributed to the left and right move perceptibly closer together or farther apart. Move the slider to the left or right until you like the spatial sound experience produced. Inverse This knob serves to reverse the channels (L>R, R>L). Center Should normally be On (knob is illuminated).
Chapter 15 Titler
Chapter 15 Titler A member of the Pinnacle TitleDeko family of character generators is part of the software bundle that comes with Avid Liquid. Please note: TitleDekoRT is the default integrated titler. If TitleDekoPro is bundled with the editing software, it needs to be installed separately from its CD. If TitleDekoPro is installed, it will be launched when you click the CG symbol. If it is not installed, standard TitleDekoRT will be launched.
Title as Project Metadata / Save Title Path As of version Avid Liquid 5.6, all title metadata files (*.tdk) are part of the Avid Liquid Project. Thus all titles can be shared by several users in the network. Copies of the metadata will be used on a local level. If you want to keep a title file, you need to save it in TitleDeko (using the Save as... function) to a directory of your choice. The save path selection in the Titler Settings no longer exists.
Chapter 15 Titler 902
Chapter 16 DVD Authoring
Chapter 16 DVD Authoring What is DVD? A DVD (digital versatile disc) is a storage medium that is almost universally usable. DVDs provide superior image and audio quality, are easy to handle and, above all, interactive. With DVDs, viewers can help determine the program - for example, by retrieving different segments on the DVD directly using one or more menus and without rewinding, fast-forwarding or waiting.
The sections below contain the following information: Step by step DVD authoring page 906 Your first project: Not just for beginners! DVD Menu Wizard page 909 Helps you generate DVD menus How DVD authoring works page 910 Basics, structure and definition of terms DVD authoring: Reference page 915 Overview and detailed description of all the functions and features of the Avid Liquid Authoring Tool Designing DVD menus page 947 Texts, buttons and backgrounds Burning a DVD page 959 How to put the finished
Chapter 16 DVD Authoring Step by Step DVD Authoring This section describes how to create a DVD (also known as DVD authoring) by taking you through a step-by-step example. You can use it either to get a preliminary look at the functions or to start your first DVD project using your own material. However, only the most important functions will be described. 1 Build a Sequence or retrieve a finished Sequence from the Timeline.
Step by Step DVD Authoring 8 Drag Link number 1 from the Link list to the beginning of your first chapter on the Timeline. The frame at the Playline position is displayed in the Master View. It will be easier to position the Link at the start of the clip if you also press the SHIFT key to activate magnet (snap) mode. Drop the Link on the DVD Track. This sets an Absolute Target. The Marker remains in this position even if you move the clip being viewed.
Chapter 16 DVD Authoring 13 Set additional Return Markers as desired. 14 And now for the preview that lets you test the menu and check navigation. Select the Preview tab. After a brief delay, the menu appears in the inlay. 15 Use the arrow buttons and click OK to activate and select the buttons. You can also jump from the beginning of one chapter to the beginning of another.
DVD Menu Wizard DVD Menu Wizard Avid Liquid helps you generate DVD menus quickly and easily with the DVD Menu Wizard, which combines menu template selection with the AutoLink function, i.e. it automatically links menu buttons to audio/video. If necessary, you can then fine-tune your work in the DVD Editor. 1 Call the DVD Menu Wizard. (If the toolbar above the Timeline does not already contain this button, right-click the toolbar and select Customize.
Chapter 16 DVD Authoring How Does DVD Authoring Work? This section introduces the basic terminology and the basics of authoring using Avid Liquid. The interactivity of a DVD is the result of authoring. If you only want to export a film to DVD instead of to a DV or VHS tape, use Export to DVD in Avid Liquid. DVD Editor Follow the usual procedure to assemble your material on the Timeline. Insert a DVD menu before the start of the Sequence.
How Does DVD Authoring Work? Essential terms: DVD menu Presents the options for a DVD and is operated from the DVD player remote (or tested in the DVD Editor’s preview mode). - With Avid Liquid, you can use menu templates and modify them or even design new menus from scratch. - DVD menus are always played in a loop. - Menu backgrounds and menu buttons can be animated (motion menus). - The first menu on the Timeline is the main menu (top-level menu).
Chapter 16 DVD Authoring DVD Timeline Layout You build a DVD Sequence on the Timeline just as you would any other Sequence (meaning in a linear progression from left to right). Jumps, branches and Return Markers, i.e. the Links between menus and chapters, are created later by means of DVD navigation.
How Does DVD Authoring Work? Note the following: Links currently function in a horizontal Sequence only. This means that you cannot select individual Tracks at a particular position on the Timeline. When clips are arranged one above the other (according to the usual Timeline priority), the uppermost clip is always played.
Chapter 16 DVD Authoring menu. From that point on, the Sequence is determined by the navigation structure you created. Although the export is performed sequentially, this has no effect on the interactive use of the DVD. To transfer to DVD, use the Export to DVD module. The procedure at a glance: Generally speaking, the entire DVD production process follows this progression: 1 Edit Sequence, render all effects (if necessary).
DVD Authoring: Reference DVD Authoring: Reference This section describes all the Avid Liquid DVD authoring functions, organized according to the tabs in the DVD Editor. But first a brief summary of the individual elements you will need to create a DVD: DVD Authoring: Elements The basic components are as follows: Timeline with SequenceThis is where you arrange the contents of the DVD, including video, audio, graphics and...
Chapter 16 DVD Authoring Links Tab This tab contains the basic tools for rendering a DVD menu operational. Here you can assign individual menu buttons to the selected image Sequences. Each menu, which can also consist of several pages, has one Link (or chapter) list. Depending on your computer desktop’s resolution, you may be able to switch to fullscreen mode, which will allow you keep the DVD Editor Master View permanently displayed (see figure below).
DVD Authoring: Reference Link List This list contains an overview of all the chapters and Links between menu buttons and video/audio in the current Sequence on the Timeline. The list refers to the menu currently displayed on the right side of the Viewer. List of all the Links for a DVD menu and the associated DVD Markers on the Timeline’s DVD Track as well as the menu buttons No (number)These are the numbers of all the chapters/Links for a DVD menu.
Chapter 16 DVD Authoring Track Specifies the Track to which a Link relates: In the case of an Anchored Target (with relation to a Timeline clip), it specifies the name of the Track on which the clip is located. If there is no entry or this field contains “---”, it specifies an Absolute Target, i.e. a Link with a permanent relation to the Timeline. In this way, you can easily distinguish between target types in the list.
DVD Authoring: Reference Commands and Tool Buttons To the right of the Link list is a series of commands in plaintext that allow you, among other things, to assign, delete and move Links. You can also call these commands using the tool buttons pictured. Set Absolute Target An Absolute Target relates to the Timeline. It remains in its position even if you move clips and other components of the Sequence. The DVD Marker for a Link set with an Absolute Target is positioned on the DVD Track.
Chapter 16 DVD Authoring Set Anchored Target An Anchored Target relates to a clip and moves when the clip is moved. This is an advantage if you edit the Sequence later on. The eye of the anchor is round (for an Absolute Target, it’s square). The Marker for a Link with an Anchored Target is inserted in the clip; an anchor symbol at the beginning of the clip indicates that an Anchored Target relates to this clip (it is “anchored” there with relation to the clip). A DVD Marker is also set on the DVD Track.
DVD Authoring: Reference In rare cases, Anchored Targets in Containers and copied Sequences may have to be manually re-assigned; also, it may happen that Anchored Targets are converted to Absolute Targets. Generally we recommend to fine-edit a Sequence before you begin DVD authoring. Create/Delete/Move Return Marker A Return Marker is a Marker that triggers a return to the menu that was activated when the Return Marker was created.
Chapter 16 DVD Authoring Insert Additional Link/Reset Link/Delete Link The more Links you set in a menu, the more options you give the DVD user. Adding and deleting Links serves to structure the contents of a DVD. Insert additional Link Click this button to add a blank Link to the list; this Link must then be assigned a target. The Link is always inserted above the current (= selected) list position.
DVD Authoring: Reference Animated Picon The menu Picon does not have to be static. You can underlay all suitable menu buttons with moving images. But please note: This is possible only for single-page menus and buttons with alpha (“thumbnail buttons”). Technically speaking, the image area of each Picon is keyed out (by alpha plane) and transparent to reveal the image behind the DVD menu. Like looking through a window. The process for setting animated picons can either be mostly automatic or manual.
Chapter 16 DVD Authoring Please note: The size and position of the clips are automatically adapted in the 2D Editor (GPU realtime only!) to fill the menu button cutouts: At the mark-out, the clips are adapted to the length of the DVD menu, meaning that they are trimmed. The mark-in remains the same. It is best to define the cutout and length of the clip ahead of time (Clip Viewer, Source Viewer). Note that, like DVD menus, animated picons are played in a loop.
DVD Authoring: Reference Setting Animated Picons Manually 1 Select a Link or select a menu button from the DVD menu, which amounts to the same thing. 2 Click Animated Picon. The image range is now replaced by a black-and-white checkered field, which is the usual method for displaying an alpha plane. If desired, perform the same procedure for other picons. Menu ready for animated picons (black-and-white checks) 3 Exit the DVD Editor.
Chapter 16 DVD Authoring Add/Delete Page A DVD menu is not limited to a single page. When it has more than one page, each page belonging to the same menu contains one or two buttons that allow you to page forward and back. A list box above the menu inlay lets you select and go to specific pages. Add Page This button appends a page of the same type as the menu currently selected to the last page of the menu.
DVD Authoring: Reference Identifying DVD Markers and Menus When working with more than one DVD menu, it is helpful to identify menus and their Markers uniquely. You can do this as follows: Select patterns and colors Click a colored square above the inlay to open a palette of colors and striped patterns and select a design for each menu. The menu and the associated DVD Markers and Return Marker take on the same design.
Chapter 16 DVD Authoring Desktop/Inlay In addition to viewing the current menu, you can also modify or switch views in order, for example, to view and modify the navigational relationships of the menu buttons. Selecting a Menu Background (Motion Menu) You can use any moving or still image as a background but the menu background must be either fully or partially transparent, or non-existent (see also “Designing Menus with the DVD Menu Editor” on page 950).
DVD Authoring: Reference Autoplay This function initiates a jump from a menu to a certain chapter (Target) after a predefined period of time. There‘s no need to activate a button. That‘s how you do it: 1 Link menus and Targets the usual way. 2 Per each menu page you can define one single button for Autoplay. After the defined period of time the menu automatically connects to the button’s Link (chapter). 3 Right-click either the button in the inlay or the line belonging to the button in the Link list.
Chapter 16 DVD Authoring Effects with DVD Menus (Transition Menu) You can also apply effects to DVD menus - e.g. after a menu button is selected, the entire menu is turned like a page in a book before the actual jump command is executed. Such effects are often seen on commercial DVDs. In this case, however, you need the menu to be a “normal” graphics clip that you can edit on the Timeline.
DVD Authoring: Reference 8 When the effect is finished, move the original Target of the menu button to the beginning of the effect (if necessary - it depends on the structure of your effect) by clicking the Target and using the tool buttons shown. 9 Test the results in the DVD preview. Repeat the procedure as needed for other menu buttons.
Chapter 16 DVD Authoring AutoLink Tab These functions save you from having to position each individual Link manually. If you use them, it helps to have a clearly structured Sequence. For example, let’s say you have combined the chapters of your film into six containers. These six Links can be created in just a few seconds. When you reuse AutoLink, the Links previously generated are overwritten.
DVD Authoring: Reference Basics 1 Position the menu on the Timeline, open the DVD Editor and select the AutoLink tab. 1 Display the Sequence events and Tracks. 2 Select/remove Links by clicking the check box. 3 Click Apply. 4 Select a Marker design (see “Identifying DVD Markers and Menus” on page 927). 5 If necessary, go to the Links tab and click the Set Picon option to update the menu with the correct picons. 6 Continue editing the Links as needed on the Links tab.
Chapter 16 DVD Authoring Menu range This option reduces the range of Links listed to those in the Timeline range up to the next DVD menu (if any) or up to the end of the Sequence. If this option is not activated, all the targets possible for the Sequence are listed (i.e. including those located before the current menu). Verifying Links Click a Link in the list and the Playline jumps to the associated position on the Timeline (see the Jump to column).
DVD Authoring: Reference Highlight tab Highlights outline or overlay the menu buttons and indicate the button status in a manner similar to the way the tool buttons in Avid Liquid change when you rest the mouse pointer on them or click the command. In the DVD player, highlights make it easier to select menu options and navigate the menus. Note that the highlight effect does not appear until you view it in the DVD player or a DVD simulation because they use the subpicture capabilities of the DVD standard.
Chapter 16 DVD Authoring Highlight States The highlight buttons in DVD menus indicate three states, and a special visual highlight is assigned to each of these states. For this purpose, subpictures with a particular color and transparency are used and superimposed on the actual button (see below). This allows you to design graphically complex buttons and interactivity, because if you used only the subpictures permitted by DVD specifications, the results would not be very satisfying visually.
DVD Authoring: Reference Why Subpictures? Subpictures are superimposed on the video and can be used on a DVD for such things as subtitles and overlays as well as for menu button highlights. Even when created in a graphics program, a subpicture does not really have its “own” colors; the colors are assigned dynamically as soon as the subpicture is played in the DVD player. This assignment (mapping) of color and transparency is performed on the Highlight tab.
Chapter 16 DVD Authoring Example Since this is not such a simple topic, we recommend that you start by examining the subpicture and highlight structure based on an example: 1 Open the DVD Editor and select any DVD menu template. 2 Go to the DVD Menu Editor and, for simplicity’s sake, delete all menu buttons except one (click to select and then delete). (See also “Designing Menus with the DVD Menu Editor” on page 950). 3 Click OK to exit the DVD Menu Editor. 4 Click the button shown on the left.
DVD Authoring: Reference 7 From the list box, select the Selected state. 8 Now select the Color 1 to 4 pixel types one after the other and assign any colors you wish in the color field. 9 Move the mouse pointer across the highlight and observe which areas of the highlight change. 10 For each pixel type, play with the transparency as well. (If the slider is in the white area, the pixel type is opaque; in the black area it is fully transparent). The opposite of transparency is opacity.
Chapter 16 DVD Authoring Overview of Button and Highlight Functions This section provides an overview of the highlight functions. Moving a Text/Picon and Highlight You can move a button text, button highlight and button Picon (menu button graphics) either individually or as a group. To do so, activate one, two or all three of the tool buttons shown either simultaneously or in succession. Then click a button and move the element to the desired position.
DVD Authoring: Reference Avoiding a Highlight Collision DVD specifications prohibit the overlapping of highlights. Avid Liquid’s DVD Editor is provided with an “alarm signal” for such situations. It should be located on the toolbar when you start moving highlights. If you don’t see it on the toolbar, retrieve it from the function Library (right-click toolbar and select Customize). If highlights overlap, the button flashes. Click the button to display the collision areas in bright red.
Chapter 16 DVD Authoring Button Status List Box Begin here by selecting which of the three possible button statuses you would like to edit. Palette and Pixel Types You can define a color and a degree of transparency for each of the four pixel types. Click the radio button to select the pixel type you want to edit. Color Selection You will probably recognize these variations from other areas of Avid Liquid.
DVD Authoring: Reference Templates Tab Avid Liquid comes with a set of standard DVD menus. You can select one on the Templates tab and then customize it using the DVD Menu Editor (see also Creating and Designing DVD menus on page 947). Selecting a Menu Template If you have already opened the DVD Editor with a template, you can replace this template with a different one. The Links already defined are transferred to the new template along with their picons and additional menu pages are added as necessary.
Chapter 16 DVD Authoring Master View Tab The Master View shows you the image on the Timeline, thus allowing you to set targets “on sight”. When you define targets using drag and drop, this tab is automatically opened as soon as the mouse pointer rests on the Timeline and when you scrub the Timeline position bar. If you work with a computer monitor resolution greater than 768 vertical pixels, you can activate the Master View permanently: Click this button to activate fullscreen mode.
DVD Authoring: Reference Navigating with Arrow Buttons Start by using these buttons to select the menu buttons and then click OK to confirm your selection and execute the command (jumps to selected chapter). Player Buttons Previous/Next Chapter: These buttons let you jump from chapter to chapter in either direction without previously selecting a button in the DVD menu. The order of the chapters is based on the Timeline. The Stop button stops play and exits the preview.
Chapter 16 DVD Authoring Options Tab You can select from among four options: Show numeric labels at Timeline markers This option makes it easier to assign Links and Timeline DVD Markers. Use colors for DVD Menus and related markers in Timeline Activating this option is especially useful if you are working with more than one DVD menu. The Links are then assigned more clearly to their menus (See also “Several Different DVD Menus” on page 926.).
Creating and Designing DVD menus Creating and Designing DVD menus Menus are the basic interactive components of a DVD; they present the DVD contents and options available for selection. Technically speaking, a DVD menu is a graphics file with an integrated navigation structure. The file can have an alpha channel for fully or partially transparent areas, which means it can also be animated (for example, with a background video).
Chapter 16 DVD Authoring Blank Template A blank template is an empty DVD menu without buttons, background, texts, etc. In this case, you start from scratch and have two options: Retrieve Blank Template from Library Rack 1 In either the Project window or Project Browser, open the Library tab. 2 Go to the Rack called DVD Menus. 3 Drag the blank menu to the Timeline and drop it at the desired location. It doesn’t matter which Track because the DVD menu automatically jumps to the DVD Track.
Creating and Designing DVD menus Importing a DVD Menu 1 In either the Project window or Project Browser, open the Library tab. 2 Go to the Rack called DVD Menus. 3 Drag the blank menu to the Timeline and drop it at the desired location. It doesn’t matter which Track because the DVD menu automatically jumps to the DVD Track. If this Track does not yet exist, it is automatically created. 4 Double-click the DVD menu to open the DVD Editor.
Chapter 16 DVD Authoring Designing Menus with the DVD Menu Editor You may remember the DVD Menu Editor integrated in Avid Liquid from TitleDeko; the two applications are also related. The elements of a menu are buttons, text, backgrounds and images. The DVD Menu Editor adds the highlights for interactive button navigation in the menu.
Creating and Designing DVD menus Opening the DVD Menu Editor First open the DVD Editor (for example, by double-clicking a DVD menu on the Timeline). Then click this button in the Editor task bar or click Edit menu. Finish by clicking OK to return to the DVD Editor, where you will find the new or edited menu.
Chapter 16 DVD Authoring Kerning and Leading control the “a-b” tool but only in the case of text objects. Select a text object and use the mouse pointer to drag the text frame to the left or right and change letter spacing (= kerning). For multi-line text objects, you can change line spacing by dragging the mouse pointer vertically (= leading). Drag one of the corner handles to distort the object. The Chain and Broken Chain are tools for grouping and ungrouping objects.
Creating and Designing DVD menus Character and Object Looks The first tab contains the palette of prepared looks. Click the text object to select it and then click a look. Or first select a look and then write the text using the text tool. These settings also apply to rectangular and round objects which, like the characters, can be assigned a color, edge or shadow.
Chapter 16 DVD Authoring DVD Menu Buttons These buttons allow you to turn a normal title into a DVD menu. They control navigation while also using visual highlights, if desired. Button Types Except for the menu background, any object on the desktop can be declared a menu button. Click the object and assign it a button type from the list: Normal button The standard button, a round or rectangular object, a text button.
Creating and Designing DVD menus Arranging Buttons: Be Careful of Highlights Be sure to leave a gap between buttons, especially if the buttons have highlights. Highlights must not overlap. In the DVD Editor, a button highlight problem (= “collision”) is indicated by this flashing symbol. You then need to change the distance between buttons in the DVD Menu Editor (See also “Avoiding a Highlight Collision” on page 941.).
Chapter 16 DVD Authoring In the DVD Editor, you can display the relationships that were automatically assigned at the start and also change them simply by dragging the colored lines. Click the button shown on the left to change the menu view along the following lines: Navigation view (DVD Editor) Now when you press the right arrow on the DVD remote, in this example you will be returned to the first button (as seen from the left).
Creating and Designing DVD menus Designing Menus with Adobe Photoshop You can also use Adobe Photoshop to create DVD menus with highlight buttons for Avid Liquid. For problem-free importing of these menus, note the conventions below. In particular, you must ensure that the layers of all the graphic elements used have specific designations in Photoshop.
Chapter 16 DVD Authoring Link (Menu) Buttons The name of a link button starts with “(#...” and a digit. A particular digit can occur only once for each menu because the digit serves to define the link to a highlight layer. For example: (#3) Button 3. Two variants of link button exist: static and dynamic. A static button has no alpha and appears in the menu exactly as it was created in Photoshop, e.g. a text on a colored background (“Play video 1”).
Burning a DVD Burning a DVD In order to save blanks and time, before exporting and burning the DVD you should test it: in the DVD Editor preview and possibly, on a software DVD player (see remarks below). For extensive projects, you should also check the volume of data from time to time while authoring to ensure that the length of the program, quality requirements and medium capacity are coordinated with one another.
Chapter 16 DVD Authoring 960
Chapter 17 Export
Chapter 17 Export As of Version 7, all possible methods for outputting Sequences, clips, metadata, files, etc. are integrated into the File menu on the menu bar. This chapter describes all these output options. Record to Tape page 963 Æ Transferring the audio/video signal to a controllable recorder via the digital/analog interfaces page 965 Æ Striping tapes and recording leaders page 968 Export to File...
Record to Tape Record to Tape Select File > Record to Tape to open the appropriate window. This window contains two tabs Æ Record page 965 Æ Stripe Tape page 968 plus a recorder toolbar and a drop-down list box for selecting a recorder and video inlay. The timecode of the current Timeline is the master TC because the Timeline represents the master in non-linear editing. This means that the recording tape (or master tape) must have a compatible timecode.
Chapter 17 Export Output HDV/DVHS/MicroMV If you want to record one of these MPEG2 formats: Look under Edit > Control Panel > Site > System Settings > Inputs/Outputs > Video Outputs > IEEE 1394 > MPEG2 Output Format to find out whether the desired format is selected. The recorder must be set to the current Timeline and output format; otherwise an error message will be issued. In addition to the MPEG2 family (for example, HDV1), the frame rates and resolutions must also match.
Record to Tape Record To transfer a Sequence to a connected recorder, click the Record tab and select from among the options listed below The Record to Tape command requires a recorder that can be controlled via IEEE 1394 (i.Link DV) or RS 422. If you don’t have a controllable recorder connected, start playback from the Timeline and operate the recorder manually (without the Record to Tape module).
Chapter 17 Export 2: Select Recording Mode NOTE: The recording modes available for selection depend on the control protocol used by the recorder (IEEE 1394 or RS 422 Betacam protocol) and your editing system. Select Dump To Tape and the recorder will start as soon as you click Record. Important: The data is transferred to all available tracks on the recorder (V, A1 to ...), i.e. all tracks are overwritten.
Record to Tape 3: Start Recording If everything is set correctly, click Record. In Insert and Assemble mode, the recorder now cues the tape to the Sequence’s starting point on the Timeline or to the specified Mark-In and, following a brief preroll, starts to record. In Dump To Tape mode, the recorder immediately starts recording at the current tape position; the Sequence is output directly. In the case of MPEG2 output formats, the MPEG2 stream is rendered before recording begins.
Chapter 17 Export Stripe Tape In order to be able to edit in Insert mode, the recording tape must have a complete timecode (or, in Assemble mode, at least a few seconds for a first cut-in). You can work without a striped tape only if you select the Dump To Tape option and are sure that the Sequence can be transferred to the tape in one go. If there are interruptions, the recorder may not start with a clean cut.
Record to Tape Select Stripe Sequence First determine whether you want to start striping with a specific leader. Click Select Stripe Sequence and select the Sequence from the menu displayed (you can generate your own Sequences and store them in Project templates so that they are always available for creating a Project. The list of available Sequences always applies to the current Project). The Sequence’s Head Frame and Tail Frame are displayed in the image windows.
Chapter 17 Export Fifteen seconds of black preroll are automatically recorded before the encoding sequence starts. On recorders that are controlled via the RS 422 interface, this preroll always starts 15 seconds before the specified start of the sequence. This means that encoding starts at the specified timecode minus 15 seconds. (On some devices controlled via i.Link, you can change the preroll in the player settings.
Export to File Export to File These export functions export to one or more files. Depending on your selection, the media data from clips or a Sequence is converted to another media format, or is simply copied. All export formats are accessed via the same Export dialog box. The parameters offered for selection change according to the destination format. The current Timeline format also plays a role; for example, the available frame rates (fps) for a Fuse are adapted to the PAL/NTSC/HD scan frequencies.
Chapter 17 Export General Functions of the Export Dialog Box Open the Export dialog box from the menu bar: File > Export to File > [any export format]. This section describes the commands in the dialog box and how to create custom export presets.
Export to File List of Export Formats This list contains all available export formats. Make sure the selected export codec is actually installed on your system (for example, DivX or RealMedia). If not, the export will fail. List of presets Frequently used, standard export presets are available for every export format. A preset is a set of defined parameters that can also be modified (see below). For the sake of clarity, some presets are sorted by PAL/NTSC and aspect ratio (4:3/16:9).
Chapter 17 Export Information on the Destination Format For formats that are not burned to disc, the calculated size of the export file(s) is indicated here. The storage capacity requirements, including temporary files, is displayed as a function of the format selected. At a minimum, this much space must be available on the destination medium (hard disc, USB stick, etc.). Export Using Standard presets 1 Select the object(s) in the Rack or the Sequence on the Timeline (mark-in/out) to be exported.
Export to File Edit and Save Custom presets You can change a preset preset and save it for future use. 1 Select a preset and click Modify Preset. 2 Configure the parameters as desired. - Slide the fader to the right or left. - To edit a field, double-click and enter a new value; then press ENTER or TAB or click once more. - Right-click the field to restore the original value. (Not every value entered is possible. If a value is not possible, the system takes the valid value closest to your entry.
Chapter 17 Export Export MPEG-1, -2, -4 Click Modify Preset to open the Edit Presets dialog box. This dialog box contains three tabs - General (information on the preset), Video and Audio - whose parameters are described below. Video Parameters Width by Height Specified in pixels. Note the values permitted for the selected format standard. Interlacing (not available for MPEG-1) Select the field sequence, or Progressive for fullscreen mode. Aspect Ratio 4:3 or 16:9.
Export to File Closed GOP See “Closed GOP” on page 991. Encoding Quality (MPEG-4 only) The maximum value is 100 (percent). Audio Parameters Sample Rate 32 kHz, 44.1 kHz or 48 kHz. Avid Liquid operates internally at 48 kHz. Channels Stereo, Mono, MultiChannel. Mono generates a downmix to one channel. Sample Size 8 or 16 bit. The latter setting provides better quality. Encoding MP2 The audio file has the extension *.mpa. MPEG-4 For MPEG-4 video export only.
Chapter 17 Export Export Windows Media Windows Media is the proprietary format of the Microsoft Windows operating systems and, therefore, widely used. Avid Liquid generates *.wmv files (video with audio) and *.wma files (audio only). Profile List This list contains a large selection of presets for almost any application. These presets can be edited in Avid Liquid only to a limited extent.
Export to File Fuse Fuse is a downmix of several media files to a single file. It allows a separation of video and audio data, meaning that you can produce only one video file from the numerous media files behind the clips of a Sequence. This function is often used as a convenient method of further processing the output of a Sequence (for example, in another application). Initially, three presets are available: Standard, No Import, No extra Audio.
Chapter 17 Export Options Import after Fuse After the Fuse process is completed, the clip for the Fuse file is imported to the active Rack. Create separate audio streams This option generates separate files for each individual audio stream, and up to eight files when Render/Fuse Output Mapping is used. For more information, refer to the Audio chapter. Embed audio if possible This option applies only to “wrapper” formats, such as *.avi or *.mxf.
Export to File Export DivX The DivX codec is based on the MPEG-4 standard. DivX provides extremely high compression compared to MPEG-2, which makes it very popular, especially for downloading movies from the Internet. Video Video Encoding DivX. Interlacing See “Interlacing (not available for MPEG-1)” on page 976. Audio Select MP2 or MP3. This codec is not included in Avid Liquid’s standard scope of supply.
Chapter 17 Export Export 3GPP 3GPP permits multimedia on cell phones and PDAs. Video compression is provided by MPEG-4 or H.263 codecs; audio is encoded to the 3GPP standard, either by means of AMR (Adaptive Multirate Codec) or AAC (Advanced Audio Coding). Avid Liquid generates files in the *.3gp format. These codecs are not included in Avid Liquid’s standard scope of supply. 3GPP export is not possible until you install the codecs on your system. Video Encoding H.263 or MPEG-4.
Export to File Export AVI AVI (Audio Video Interleaved) is a file format developed by Microsoft in which audio and video data is stored together in one file (which is why it’s also called a container format). Here you can select whether to encode the data with the DV codec or in MJPEG format. The file extension is always *.avi, except when you export audio only, in which case it is *.wav. Video Encoding DV or MJPEG. Interlacing Progressive (frames); 1st/2nd field first.
Chapter 17 Export Export Audio Only If you’re only concerned with exporting audio files, use AVI export, which provides an Audio Only preset. However, you can also produce your own preset using the method described above. To do so, go to the File area, select Audio Only and save this preset.
Burn to Disc (VCD, SVCD, DVD) Burn to Disc (VCD, SVCD, DVD) This chapter describes the output of MPEG1 and MPEG2 material, which is usually burned to disc media, either immediately or after additional editing. Avid Liquid offers you several options, ranging from the elementary stream as a basis for DVD authoring, to ready-to-play DVD (provided you have a DVD burner). These functions are available under File > Burn to Disc > DVD, SVCD, VCD.
Chapter 17 Export Burn to Disc: General Functions If you select DVD, SVCD or VCD for exporting or burning, the Destination area of the Export dialog box will contain several more parameters. For basic information on the Source and Description areas and on working with presets, see page 972. List of formats List of presets CD/DVD burner settings and capacity information Burn to Disc Burner The DVD or CD burner appears here.
Burn to Disc (VCD, SVCD, DVD) Copies Enter the number of identical discs you want to burn. As soon as one disc is completed, you are prompted to insert a new medium in the burner. Eject Opens the disc drive tray. Capacity indicator Indicates used and available capacity on the current destination medium. Fit best possible quality on disc Avid Liquid automatically adjusts bit rate settings to take optimal advantage of the medium’s capacity.
Chapter 17 Export Burn DVDs/Export Compatible Data Select one of the standard presets or create one to meet your own requirements (see “Edit and Save Custom presets” on page 975 and the description of video and audio parameters and other options starting on page 990). The following is a brief overview of the standard presets. DVD Video_TS path Creates a directory on the destination medium and saves VOB files there, along with other necessary data that can later be burned to a disc.
Burn to Disc (VCD, SVCD, DVD) Burn SVCDs/Export Compatible Data SVCD stands for Super VideoCD. Basic data includes: 480 x 480/480 x576 pixel resolution (NTSC/PAL) at 29.97 fps/25 fps. 4:3/16:9; progressive or interlaced; MPEG-2 at max. 2.576 Mbit/second (audio and video). One or two audio channels, MP2 44.1 kHz; mono/stereo; max. 224 kbit/second.
Chapter 17 Export Video and Audio Parameters for DVD, VCD and SVCD To modify a preset, select the Custom standard preset (or another) and then click Modify Preset. Note that when you modify the preset parameters, they may fall outside the range of the format standards - for example, by exceeding the maximum bit rate. Video Parameters Interlacing Select interlaced (Top/Bottom field first), or else Progressive for full frame.
Burn to Disc (VCD, SVCD, DVD) Variable Mode (VBR) Variable bit rate (VBR) is the answer when you have frame sequences with different degrees of complexity where the rate and, therefore, the compression fluctuates around an Average. When you specify a Maximum value, you can encode especially fast (high motion) or complex (high detail) scenes at a higher bit rate and thereby improve the quality of the visual impression. The Average value can be no greater than the Peak Value currently set.
Chapter 17 Export Audio Parameters Various options are available for selection, depending on the destination format (DVD, (S)VCD). Sample Rate 48 kHz (for DVD), 44.1 kHz (VCD, SVCD). Encoding MP2 As per MPEG-1, Layer 2, at 44.1 or 48 kHz compressed; file extension is *.mpa; various bit rates available. PCM Uncompressed audio, at 44.1 kHz or 48 kHz, file extension is *.wav. AC3 (Dolby Digital Stereo/Dolby Digital 5.1) see “Dolby Digital Stereo® and Dolby Digital 5.1®” on page 993.
Burn to Disc (VCD, SVCD, DVD) Dolby Digital Stereo® and Dolby Digital 5.1® Avid Liquid is equipped with Dolby Digital 5.1 Creator®, a surround sound encoder that makes it possible to generate “true” 5+1-channel audio that can be burned to DVD. In contrast to Dolby Prologic, for example, Dolby Digital 5.1 separates all audio channels when encoding and decoding, thus retaining the full spatial impression during playback (provided you have suitable devices and a correct speaker configuration).
Chapter 17 Export Options Re-encoding Following the initial export, these options can help accelerate further export processes that use the same material, provided that temporary files were not deleted and that the original material was not modified. Always the whole movie All the data is re-encoded for export/burning. No existing MENU files Existing menu data is not re-encoded. No existing CHAPTER files Existing DVD chapters (Chapter/Title) are not re-encoded.
Burn to Disc (VCD, SVCD, DVD) IPB Settings IPB Settings determine the parameters of the MPEG2 elementary stream (for example, the bit rate) and, therefore, the quality of the result. You access the IPB Settings when you edit the MPEG-2 MP@HL (M2V)+ codec or the DVD PAL/NTSC codecs (under Edit > Control Panel > Site > Codec Presets). These codecs are used for capture (Logging Tool only, not EZ Capture) or as Render/Fuse codecs.
Chapter 17 Export Constant (CBR) A constant bit rate (CBR) ensures that each image is handled with (nearly) the same compression. This has the advantage of allowing you to make an exact precise calculation but it ignores the fact that some simple frame sequences can be encoded equally as well at a lower bit rate, meaning that you would be “wasting” bandwidth. This is not so important, however, if you have a lot of free space available on the CD or DVD.
Burn to Disc (VCD, SVCD, DVD) GOP GOP (Group of Pictures) relates to the sequence of I, P and B frames used for MPEG compression. I frames (intra-codec picture) store the contents of an image at their full resolution; P and B frames each store changes in the image that occur between I frame and I frame. P stands for forward Predictive pictures and B stands for Bi-directional pictures. GOPs are very basic elements of an MPEG stream.
Chapter 17 Export Closed GOP Frequency A closed GOP ends on a P frame, an open GOP on a B frame. 0only the first GOP is closed, all other will be open. 1all GOPs are closed. If an open GOP is closed, the current GOP size increases by +1. Exception: NTSC @ GOP = 18 Æ 16; PAL @ GOP =15 Æ 13 0 to 10 only IPB capture: every nth GOP is closed. (These remarks refer to a single, consistent MPEG stream.
Burn to Disc (VCD, SVCD, DVD) Reference Picture Period and open/closed GOP sizes (Overview) At Open GOP a Reference Picture Period of 1 is not available. At Closed GOP, a Reference Picture Period of 1 and a GOP size of 1 I-frame only will be activated.
Chapter 17 Export GOP Structure Samples With different settings for GOP type, N and M values, a wide range of GOP structures is possible: GOP Size GOP Type (N) RefPicture Period (M) IPB Structure 13 Closed 3 IPBBPBBPBBPBBIPBB... 12 Closed 3 IPBBPBBPBBPBIPBB... 12 Open 3 IBBPBBPBBPBBIBB... 1 Closed 1 IIIII... 2 Closed 1 IPIP... 4 Closed 1 IPPPIP... 2 Open 2 IBIBIB...
Burn to Disc (VCD, SVCD, DVD) Extended resolution Generates larger images (extended height). NTSC: 512; PAL: 608. Attention: extended resolution is not conforming to DVD specs. Inverse Telecine (NTSC; with Avid Liquid Bl ue /Avid Liquid C hrome HD ; IPB Capture only) Inverse Telecine makes sense only in NTSC because it reverses a “trick” used when converting from film (24 frames per second) to NTSC video (29.97 or 30 frames per second).
Chapter 17 Export Tips on Setting it Right In addition to all said about quality and speed settings, we recommend to keep the following facts in mind: Use open GOP whenever possible because image quality from frame to frame will maintain a similar level. Use variable bit rate (VBR). CBR is a must for VCD and other fixed bit rate applications, but otherwise, because of “zero bit stuffing”, a waste of bandwidth.
Chapter 18 Customize Avid Liquid
Chapter 18 Customize Avid Liquid Avid Liquid adapts itself to your way of working - not the other way around! You can customize the software interface as well as assign functions to peripherals such as the keyboard or Avid Liquid Control as desired. Each user can individually optimize his or her working environment, store it on a diskette and use it on other Avid Liquid systems. At the same time, certain settings are dependent on the particular system configuration or studio environment.
User Settings User Settings Basics and Definition of Terms Avid Liquid comes with six standard toolbar assignments and specific default settings in other modules as well. page 63 You can always restore the default settings, for example by logging on to the system under one of the defaults or by resetting the values in specific modules (see the tool button shown here). What Is Saved? Avid Liquid constantly notes changes made to the software interface and dialog boxes.
Chapter 18 Customize Avid Liquid Templates Avid Liquid offers two other types of Templates: Project Templates and Timeline Templates. These Templates are available to all users. Project Templates can be loaded when you create a new Project. Timeline Templates are available once you have opened a Project. (“Project Template” on page 221.
User Settings Managing Property Sets Using Property Sets, you can quickly change user settings. Calling Property Sets Select Edit > Control Panel. The Control Panel is used for adjusting the main hardware and software settings. Avid Liquid manages two types of Property Sets: Site (system-related settings) and User (user-related settings). These categories are divided up between the two tabs on the left side of the Control Panel.
Chapter 18 Customize Avid Liquid Available Property Sets The User tab is used for managing Property Sets created by logged-in users. In this tab you can save and load the settings for individual tasks, such as logging, raw editing, final editing and audio editing.
User Settings Creating New Property Sets Depending on the category under which you want to create the new property set, first select the appropriate tab (Site or User). Right-click the list box. From the shortcut menu that opens select New Property Set. Avid Liquid inserts a set with the temporary name New Set into the list box. Activating Sets The active set has a check mark in front of its name. Click in front of the set name you want to become active and the check mark moves accordingly.
Chapter 18 Customize Avid Liquid Customizing Toolbars Many modules in Avid Liquid are equipped with functions and toolbars that you can access with the mouse.
User Settings 1 Right-click a toolbar to find out whether it can be customized. 2 In the shortcut menu that appears, click Customize to open a dialog box with usually one to three tabs: Player, Edit and Special. Which tabs appear depends on the software module. The buttons that can be integrated in the particular toolbar you are using are available on the tabs.
Chapter 18 Customize Avid Liquid You cannot access buttons that are forced out of the toolbar area when you add new buttons. To make room for existing buttons as well as new ones, you may have to remove some other buttons or spacing elements. Calling Tools Once Tools that are not often used do not have to be placed on the toolbar to call them once. Click on the right side of the toolbar to open a shortcut menu: Select the desired function from the list of tools.
User Settings Assign Functions to Keyboard In Avid Liquid, you can assign certain functions to certain keys. You can select whether these functions should only be effective in certain modules or whether they should be available everywhere (placed on the Global Layer). For example, you can specify that pressing the spacebar always executes Start/Stop Playback for the Timeline even while you are working in the Audio Editor. In addition, you can assign menu commands to keys.
Chapter 18 Customize Avid Liquid Selecting Modules 1 Select Edit > Control Panel > User > Keyboard Settings to open a dialog box. 2 It is easy to assign keys: To do so, first select from the drop-down menu the software module you want to customize, then simply drag the desired functions from the tool box to the given keys (to open the tool box, click on the wrench icon in the lower left). Assignable keys appear “pushed” when you move the cursor over them.
User Settings Remove Function from Key To remove a function from a key, click on the key and press DEL (or click on the Trash icon). Functions are never deleted permanently - they are always available in the tool box. Customizing the Global Layer Global keyboard shortcuts always have the same function, irrespective of what module is currently active. Important: If a key is assigned two different functions, the module-specific function takes priority over the Global Layer function.
Chapter 18 Customize Avid Liquid Key Caps Click on this icon displayed in the right-hand corner of the task bar to open the Key Caps window which shows the current keyboard assignments. This window contains a keyboard image with the assignment for the current module. You can execute functions by clicking on the respective key icon. Global layer functions are color-coded. Individual assignments: see “Assign Functions to Keyboard” on page 1013.
User Settings Modifiers and Keyboard Shortcuts (Defaults) The default keyboard shortcuts allow you to activate the most frequently used functions. For example, you can start and stop the playback of video and/or audio clips in any video inlay by pressing the SPACEBAR. Please note that the keyboard shortcuts are default settings that come with the software.
Chapter 18 Customize Avid Liquid Timeline Actions Key or Key Combination Snap object/Playline to closest edit SHIFT Drag up/down to zoom in/out ], ARROW DOWN/UP Scrub audio (toggle on/off) SCROLL To copy Track, drag up/down CTRL Switch to cursor Edit mode (temporarily) ALT Actions (only in edit mode) Click objects to select several items SHIFT Switch to Scrub mode (temporarily) ALT Sequence Editor 1018 Action Key or Key Combination Drag clip from Source Viewer CTRL Scrub audio (toggl
User Settings Effect Editors Actions Key or Key Combination Double-click returns image to original state Po sition bu tt on sel ecte d Horizontal movement only SHIFT Vertical movement only CTRL Size button selected Drag up/down to adjust image size SHIFT Rotation button selected 90-degree increments only SHIFT 45-degree increments only Ctrl Border inside tool selected Drag up/down to adjust border size SHIFT Pick border color from image ALT Border outside tool selected Drag up/down to
Chapter 18 Customize Avid Liquid Keyboard Shortcuts Use Avid Liquid’s Key Caps function ( page 1016) to obtain an overview of current key assignments.
User Settings Avid Liquid Control Assigning Keys You can access these settings under Edit > Control Panel > User > Control Panel. Control Panel Dialog Box Customizing: Control Avid Liquid Control is an control panel for remote control of the player/recorder connected. You can assign customizable tools to its keys. A Global Layer can also be defined (just like for the keyboard). See also “Customizing the Global Layer” on page 1015.
Chapter 18 Customize Avid Liquid Assign Keys 1 From the menu bar, select Edit > Control Panel > User > Control Panel to open a dialog box. 2 To assign functions to the keys, first select a module form the list, e.g. Timeline/Master Viewer or Logging Tool. 3 Then use the same procedure as for customizing toolbars: simply drag a given function to a particular key. It is also possible to assign shortcut menu functions to keys. These are represented by a “T”.
G G Glossary
Glossary 1080/24p 3:2 Pull-Down 4:2:0 One of the possible formats within the ÆDTV standard developed by the ÆATSC for the digital broadcasting of TV programs in the US. 1080/24 p stands for the vertical resolution of 1080 lines and an aspect ratio of 16:9. For a movie picture, 24 images per second are usually exposed in the camera and Projected at the same image frequency.
Glossary of particular importance in ÆPOST PRODUCTION, e.g. when ÆCHROMA KEYS or ÆLAYERING is supposed to be carried out. D9 by JVC, Digital Betacam by Sony and DVCPRO50 by Panasonic as well as MPEG-2 422 P@ML are just some of the formats using 4:2:2. 4:4:4:4 AES/EBU This ÆSAMPLING RATIO corresponds to 4:4:4, but includes an additional ÆKEY SIGNAL (ÆALPHA CHANNEL) with equally high ÆRESOLUTION.
Glossary Also the undesirable steppiness visible in the case of diagonal or curved lines in computer graphics or along sharp key edges is known as aliasing effect Æ ANTIALIASING. Analog technology processes and transmits data in the form of concrete physical values (electric flows). The accuracy (ÆRESOLUTION) depends on the way of physical data storing. Analog data can be invariably changed (e.g. audio/video level). API ÆCOMPONENT SIGNALS Application Programming Interface.
Glossary edit, all Tracks on the video tape are added free of disturbances at the cutting point, but all Tracks are newly written. The other editing method for video tapes is known as ÆINSERT EDIT. Asymmetrical ASCII Asymmetrical lines are shielded with a single-wire and used, among other things, for transmitting audio signals (cinch). In contrast to symmetrical audio lines, they are more susceptible to disturbances. American Standard Code for Information Interchange.
Glossary Background 1) Refers to the background of a key animated scene ÆBLUE BOX. 2) The second image plane in video mixer panels is sometimes referred to as background. Background Rendering ÆRENDERING. Background rendering systems may render Sequences without requiring the full power of the computer. The user may continue processing his application while the computer renders in the background.
Glossary broadcast market and markets it as a successor of the Betacam SP format widely used by TV broadcasting stations. B-frame Bi-directional frame ÆMPEG BIOS Basic Input Output System Designation for the automatic "start program" of a computer. It is stored on a separate chip. The BIOS basically controls the access to the microprocessor and prepares the acceptance of commands. A program cannot operate without the BIOS. Bit Binary Digit Basic unit in ÆDIGITAL TECHNOLOGY.
Glossary B-Y Chroma Keying Color difference signal of one of the analog ÆCOMPONENT SIGNALs. It is created by subtraction of the luminance value (Y) from the blue contribution of a pixel. The color difference signal B-Y includes information regarding chrominance and saturation. Color key. Video effects technique in which areas of a video picture that appear in a specific saturated hue (color shade) are replaced by corresponding parts of a different video image.
Glossary noticeable distortions can be heard. This is particularly important to keep in mind when converting audio signals, for example, from analog to digital or between different digital formats (ÆA/D CONVERSION). Converters only offer distortion-free operation up to a precisely defined level. 2) The threshold or the setting of a suitable threshold during ÆKEYING. For example, if ÆLUMINANCE KEYING is carried out, one has to predetermine up to which luminance value keying is supposed to take place.
Glossary Composite Compression Video signals can be coded in various ways: Composite systems process information on brightness and color (ÆLUMINANCE and ÆCHROMINANCE) in combination, that means they form one single signal. In ÆCOMPONENT SYSTEMS, chrominance and luminance are separately processed. Composite and component systems are available in analog and digital versions. ÆCVBS. Digitization of large quantities of video and film material creates large amounts of data.
Glossary Consolidate Consolidate is a function included in some editing systems to delete superfluous data that were not used in the current Project. The remaining data are written onto the hard disk in such a way that the shortest possible access times are realized (ÆFRAGMENTATION). The write/ read head does not permanently have to be moved between the different sectors, thus making the system faster and more efficient.
Glossary The effect is often visible in the case of checked patterns on cloth. Such fine structures which represent high bandwidth frequencies change slightly in amplitude and phase from line to line. CVBS CSDI Color Video Burst Signal. ÆSDTI CTL Capstan TRacking Logic. offer two different options, i.e. the user may choose whether he wants to replace or move the scene at the registered editing point. CVBS Color Video Blanking Synchronous signal.
Glossary D5 D9 D/A conversion A format for digital tape recording in the case of which digital ÆCOMPONENT VIDEO SIGNAL with four sound channels is recorded on a 1/2" wide technical pure iron tape according to ÆITU-R 601. In contrast to D1, the signals are quantisized at 10 bits. The D5 format developed by Panasonic works without data reduction and is thus preferably used in post production. The maximum recording time per tape is 123 minutes.
Glossary Data recorder Recorders that enable recording and playing of digital data by means of a magnetic tape. Data recorders are generally used for archiving digital data permanently as well as for backup purposes. There are, however, also data recorders that are used in video technology, for example in the field of server technology or archiving of transmitted TV programs. Additional coder/ decoder to transfer mere data into displayable video signals are however necessary.
Glossary Digitizer Video board that offers connections for analog video signals and converts them into a digital format for further processing by PC. DIN four-pole Video device in S-VHS or Hi 8 tape format as well as S-Video-suitable monitors and other accessories generally include a DIN four-pole jacket, also known as 4-pole-mini DIN jacket. The manufacturers refer to this jacket as S-Video or ÆY/C on their devices.
Glossary ground of this special timecode: NTSC does not work at a frame frequency of 60, but of 59.94 Hz. This value corresponds to 29.97 frames per second rather than 30, the fact of which causes problems during timecoding. The 0.03 frames missing per second add up to form complete frames and cause a difference between timecode value and number of frames. This problem is technically solved by applying the drop frame method. Two frames per minute are simply left out.
Glossary Market introduction of this format developed by JVC and presented in 1995 for the first time was repeatedly delayed due to the unclear situation regarding digital broadcasting standards and due to copyright problems. DVB Digital Video Broadcasting DVB includes a packet of features for broadcasting programs via a digital, terrestrial network. DVB is the European equivalent of the American ÆDTV. DVCAM Digital video tape format. DVCAM is based on the ÆDV FORMAT and was developed by Sony.
Glossary suitable as a storage medium in the field of computers. (More than 500 lines horizontal resolution). Here, the DVD is used as ÆDVDROM and ÆDVD-RAM. The DVDRAM, however, is based on a different storage method than all other DVD standards. For this reason, DVD-RAM is not compatible with DVD-ROM or DVD-Video, which means that it cannot be played back by means of Consumer Electronic players, thus reducing the use of DVD-RAM exclusively to the use as a mass storage medium in the computer sector.
Glossary DVD-ROM DVD-Read Only Memory. A DVD-ROM is not manufactured as a preform and recorded later, but is copied from a matrix similar to a record or audio CD. The already recorded or written DVD leaves the manufacturing site and can, under no circumstances, be written later. The DVD-ROM can include any kind of data and is therefore mainly used as a computer storage medium. It can be compared with a CD-ROM, but offers increased storage capacity.
Glossary off-line/on-line mode, the editing decision list is of vital importance: The EDL generated in ÆOFF-LINE EDITING is read into the ÆON-LINE SYSTEM as a basis for the final cut. The problem inherent in this process is that while the EDL contains all of the timecode values required for post-editing, it does not include any information about effects, color corrections, sound level settings or similar items of information.
Glossary Field Sequence Fragmentation Frame rate Each PAL video frame (ÆFRAME) consists of two fields. When editing, one has to pay attention that explained in simple terms - the right Sequence is adhered to. Each first and second field has to follow alternately, and the two first fields may not be edited successively. Changing, partial deletion or completion of existing data on a ÆHARD DISK leads to increased hard disk fragmentation.
Glossary very common. Frequency indications are often used in video technology for various purposes, e.g. for determining bandwidths, sampling rates and carrier frequencies. FX Abbreviation for effects. It is used in various different fields, of film and TV production. In post production, the FX is commonly referred to as a general term for any kind of image manipulation such as wipes and keying effects, 3D image manipulation, color variations etc.
Glossary tions (sustained data rate). A good measure for the quality of a disk is the minimum data rate guaranteed by the manufacturer. The maximum top values often mentioned are of lesser importance in video operations. If longer video scenes are to be disk-recorded, the continuously reached data rate should not drop, since this could cause dropouts, i.e. interruptions in the motions. Some manufacturers offer special AV hard disks.
Glossary The maximum horizontal resolution of the PAL standard is 5 MHz, i.e. 410 lines. VHS devices reach a maximum horizontal resolution of approx. 3 MHz (approx. 250 lines). Host Main computer of a system, either representing the central computer or carrying out certain controlling or monitoring functions. hard disks can be linked to one another via IEEE 1394. IEEE 1394 today supports up to 16 devices per system and enables a maximum of 63 devices to be connected.
Glossary Interlace For interlaced scanning the video frame is divided into two fields. These are transmitted and built up in succession. The first field contains all uneven lines of the picture, the second one all of the even lines. In the ÆPAL STANDARD, 25 frames (hence 50 fields are transmitted per second. The human eye does not perceive these 50 fields as a Sequence of individual pictures, but as a continuous event.
Glossary JPEG Keyframe Joint Photographic Experts Group. Keyframes are frames within an effect Sequence determined by the user as start, turning or finish of an effect. JPEG refers to a standard for compressing digital frames. The JPEG method is based on ÆDISCRETE COSINE TRANSFORMATION (DCT). Key 1) Collective term for different functions enabling partial combination of two video frames to form one new frame. Examples for this are ÆCHROMA KEYING and ÆLUMA KEYING.
Glossary are controlled in such a way that scenes can be marked on the original tape in order later to be copied onto another recorder scene by scene. There are, however, two limitations for creative work: If a scene with a different length is supposed to be copied onto the already edited tape, all successive scenes have to be recopied again, since all scenes have to be on the tape in linear order. Simple insertion as in conventional film editing is not possible.
Glossary Main Level Megahertz M-JPEG ÆMPEG A ÆFREQUENCY of one million oscillations (samples) per second. (ÆHERTZ) Motion JPEG is a video compression process which is based on ÆJPEG (JOINT PHOTOGRAPHIC EXPERTS GROUP). During this process, each single frame is compressed separately, and the data stream generated in this way is processed as a linked Sequence of JPEG-compressed single frames.
Glossary MP ÆMPEG MP@ML ÆMPEG MPEG MPEG is a standardized compression procedure particularly suitable for the compression of data of fullmotion pictures. In the case of MPEG being an asymmetrical compression method, coding is far more complicated than decoding. Important: MPEG specifies the data format and the decoding process, but lets the manufacturer decide how to create the data.
Glossary Hence, MPEG-2 provides a special sub-procedure for different applications. It is equally important to note that, while MPEG-2 prescribes the decoding in detail, it is up to the individual manufacturers to use their own coding procedure. The only prerequisite is that MPEG-2coded data must be readable and playable on any type of MPEG-2 decoder. Therefore, in contrast to ÆM-JPEG, exchangeability of MPEG data between two systems is ensured.
Glossary the digital dynamic range. Signals which are pure digital generations do not contain any noise. Non-drop frame times.This permits a mixture of film and video cutting methods. Picture material can be handled in a speedy and flexible manner. Strictly speaking, NTSC does not work at a frame rate of 60 Hz, but of 59.94 Hz. This corresponds to 29.97 frames per second. Non-Square-Pixel Due to this uneven figure, problems may arise in relation to the timecode. The 0.
Glossary This combined scanner unit consists of a laser diode and a lens with a photodiode at the back. The laser beam of the laser diode is thrown back by the reflective rear side coating of the CD. If the beam hits the lands, it is directly reflected into the lens system at high intensity, while the pits, by contrast, scatter the beam and only a little light falls on the photodiode. The changing intensity of the reflected light impulses therefore reproduces the bit Sequence or data stream.
Glossary Platform Postproduction Preread In our somewhat narrower definition, a platform is the combination of processor and operating system with which a computer or a workstation operates. The work processes used by the motion picture and video industry can be divided into several phases. Postproduction describes the production phase of post-editing the recorded material. It therefore comprises work steps such as cutting, effect editing, post-addition of sound to the film and graphical editing.
Glossary Progressive Scanning During progressive scanning, a picture is built up line by line. PAL on the other hand uses ÆINTERLACED SCANNING instead. Progressive scanning is commonly used with computers, but has also recently been used in some video devices which are marketed in the USA and which take into account the ÆDTV SPECIFICATIONS. Program Stream In contrast to the ÆELEMENTARY STREAM, the Program Streams consist of only one file in which audio and video are linked to each other (multiplexed).
Glossary RAID 3: Frequently used for disk recorders and servers. These arrays are highly efficient and, compared to RAID 0, offer an increased level of data security by storing back-up information on an additional disk which can be used to reconstruct data even if one of the other disks of the arrays fails to operate. RAID 4: Based on RAID 3 but in contrast to that, it is also possible to transmit smaller data blocks.
Glossary Rotoscoping was already in use back when animated films were still drawn manually. Advanced computer systems have simplified rotoscoping with numerous semiautomatic functions. RS-232 Standard for the transmission of serial data over short distances. For example PCs have RS-232 interfaces (ÆCONTROL INTERFACES). RS-422 Standard for the transmission of serial data over medium distances (up to 300 m).
Glossary be extended from 8 bits to 16 or 32 bits (wide). Naturally, the data transmission rates also increase as a result. An ultrawide SCSI interface with maximum bus width achieves 40 MB/s. The ultrawide SCSI 2 bus manages a maximum data throughput of 80 MB/s. SDI Serial Digital Interface This interface initially and primarily developed by Sony, was standardized under the name SMPTE 259M.
Glossary application purposes: news servers, transmission servers and postproduction servers. Video servers are available in single or multi-channel designs. tion of a device such as crosstalk effects between conducting Tracks. Storage Requirements With analog systems in particular it is difficult to achieve and maintain high signal-to-noise-ratios. Shortcuts The computer-based processing of video pictures requires a far greater quantity of storage space than conventional PC applications.
Glossary with up to eight controllers (e.g. workstations) per loop. The workstations themselves can be connected to a maximum of 128 devices within the loop (e.g. hard disks). The American company, Pathlight developed the IMageNet SSA Workgroup Storage Network on the basis of SSA. This network currently offers a bandwidth of 80 MB/s; 160 MB/s is planned. For this reason it is particularly suited to the data-intensive applications so typical of digital post-editing.
Glossary Synchronization Timecode 1) The linking of image and sound signals in order to run image and sound events simultaneously. The timecode incorporates numbering of each individual picture. A timecode is assigned to each individual frame which is then recorded together with the video picture. 2) The balanced coupling of individual devices with a timing signal, e.g. studio clocking.
Glossary Unbalanced ÆASYMMETRICAL Underscan An underscan switching on the monitor makes it possible to view the complete video signal on the monitor. In underscan mode, even those parts of the video picture can be viewed which are normally not shown on the screen (ÆVITC, blanking intervals, copy protection signals). VCR Video Cassette Recorder in distortions and alienation of the original picture content (ÆALIASING,Æ ANTIALIASING). Disturbances may occur in extreme cases. VHS Video Home System.
Glossary Workstation Powerful computer with a fast processor, high clocking rate and equipment which is geared towards professional work. WORM Write Once Read Many. Storage medium that allows to be written on only once. WORM CDs are suitable for the long-term archiving of data and for backups. They can only be written on once, but can be read out any number of times. XLR Multi-pole, stable plug connection.
I Numerics 0 dB (Audio Editor) 831 1080/24p Glossary 1024 1394 Record to Tape 964 16:9 Glossary 1024 16:9 Aspect Ratio Import Images 162 1-Click Fade In/Out 868 2D Editor Clips 568 Realtime FX 636 Transitions 553 2D-Editor Realtime FX 636 3:2 Pull-Down Glossary 1024 32-bit Floating Point (Fuse/Render files) 843 32-bit Floating Point Audio 809 32-bit Floating Point Audio and Clipping 821 3D Editor Clip FX 569 Realtime FX 636 Transitions 569 3D Transition Effects 579 3D-Editor Realtime FX 636 4:1:1 Glossary
Index Matte Feather Sharp 702 Median 708 Min/Max 708 Miracle Alpha Cleaner 704 Mirage 672 Mosaic 725 Motion Blur 659 Noise 709 Overview 649 Posterize 685 Radial Blur 660 Real Shadow 726 Replace Color 666 Sharpen 660 Shift Channels 662 Smooth Screen 691 Spill Killer 693 Spill Killer EZ 695 Super Blur 661 Threshold 685 Tint 667 Turbulence 677 Turbulence EZ 680 Turbulent Edges 681 Unsharpen Mask 661 Video Feedback 728 YIQ 654 AIFF (Audio Format OMFI Export) 213 ALE/XML Import/Export of Projects 177 Alias (Me
Index Waveform Inlay in Clip/Source Viewer 287 Audio (Clipping) 32-bit Floating Point (Clipping) 821 Audio clip Glossary 1027 Audio Editing More than 16 Source Tracks 818 Audio Editor 824 0 dB 831 Audio Levels 831 Faders 831 Fuse/Export Routing 843 Insert Effects, Send Effects 852 Key Frame Toolbar 837 Mixer 826 Open 825 Output Mapping 839 Settings 851 signal path (the way of the audio signal) 826 Solo 833 Audio Effects 883 Apply in Real Time 885 Cross Fade 867 Dry 886 Echo 889 Equalizer 886 FX Propert
Index Automatic Scene Detection (Logging Tool) 152 Automatically update Picons (Timeline) 371 Autoplay (DVD authoring) 929 AUX Glossary 1027 Auxiliary Level (Audio) 823 AV hard disks Glossary 1027 AVI Glossary 1027 Import from Adobe Premiere 161 AVI index files (network) 204 Avid Media Log 199 Axes of Rotation 572 B Background Glossary 1028 Background (pixel type DVD) 937 Background Capture 157 Background Rendering 546, Glossary 1028 enable/disable 546 Background/Foreground (Transition Effects) 552 Balanc
Index Burn to Disc 985 Bus Glossary 1029 Bus type 832 Bus Type (Output Mapping) 841 B-Y Glossary 1030 Bypass (Audio Function) 893 Byte Glossary 1030 Channel Display (Color Correction Editor) 761 Channel Noise (AFX PlugIns) 707 Chapters (DVD) 911 Checkboxes (Basics) 39 Checkmark on clip picon (= used in sequence) 259 Choirus (VST PlugIn) 897 C Chroma Color Editor 586 Calling Tools Once 1012 Chroma Key Editor 594 Camera (3D) 576 Luminance Range 595 Perspective 3D 579 Select Color 594 Camera (Clip Properties
Index Clip Fader (Audio Mixer) 831 Clip Info (Timeline) 432 Clip numbering (Automatic/Manual) 130 Clip Panning (Audio Mixer) 830 Clip Viewer 276 Automatic Scene Detection 322 Classic Routing for audio monitoring 284 Color Correction 289 Functions (basic) 278 Go To Marker List 286 Make Subclip 289 Markers and Comments 284 Position Bar 279 Primary Color Correction 289 Scrubbing (Audio) 283 Scrubbing (Video) 281 Select Audio Tracks 283 Set Mark-In/Out 280 Shuttle Playback 288 Timecode Fields 281 Underscan/Ove
Index Pipette 170 RGB Color Model 170 Select Color(s) 170 Color saturation Glossary 1031 Color space Glossary 1031 Color Wheel 741 Basics 133, 293 Chroma Key 595 Colors of audio indicator lines 811 ColorWash (Selective Color Correction) 779 Complete systems Glossary 1031 Component signals Glossary 1031 Composite Glossary 1032 Compositing Glossary 1032 Composition OMFI 212 XSend to...
Index dB Glossary 1036 dB Display Audio Tool 820 DCT compression Glossary 1036 DCT format Glossary 1036 DDR Glossary 1036 Default magnet for scrubbing and editing 372 Delay, Echo Audio Effect 889 Delete Audio Key Frames 837 Delete clips before/after playline position 432 Folder/Racks 229 Media files and Project data 222 Media Files, Render Files, Clips, etc.
Index DV Record to Tape 964 DV Tools (AVI-Import) 161 DVB Glossary 1039 DVCAM Glossary 1039 DVCPRO Glossary 1039 DVCPro 25 Record to Tape 964 DVCPRO50 Glossary 1039 DVD Glossary 1039 Closed GOP Frequency 991 creating (authoring) see DVD authoring 904 Export 985 GOP (Group of Pictures) 991 GOP size (N value) 991 I-,P-,B-Frames 991 Surround 993 DVD authoring absolute targets 919 Activated (button highlights) 936 adding/deleting menu pages 926 anchored targets 920 animated picons 923 arrow button navigation
Index DVD Editor also see DVD authoring 916 Autoplay 929 DVD Menu Editor 950 backgrounds 953 button highlights 955 button navigation 955 character and text tools 951 character properties 952 highlight styles 955 inserting images 953 looks 953 menu buttons 954 opening 951 Photoshop menus 957 thumbnail buttons 954 DVD menus blank templates 948 creating 947 creating templates 948 designing using Photoshop 957 importing templates 949 DVD preview 944 DVD transition menu 930 DVD-10 Glossary 1040 DVD-18 Glossa
Index Clip Effect Editors 521 Close 545 Color Editor (Clips) 585 Deactivate Modified Settings 545 Effect Viewer 527 Filter Editor (Clips) 600 Full Screen Mode 525 Functions and Elements 526 Key Frames 529 Keying Editor (Clips) 588 Open 523 Parameters and Options 539 Position Bar 528 Preview Image 525 Safe Action Area/Title Marks 532 Shortcut Menu 542 Toolbar 541 Transition Effect Editors 523 Wipe Editor (Clips) 583 Wipe Editor (Transitions) 563 Effect Icon Picon View 520 Timeline Clip 519 Effect on Track
Index Fade-Out (1-click Fade In/Out) 868 Fader Glossary 1042 Audio Editor 831 Search Attributes 265 Search Results 271 Select Media Types 269 FireWire Glossary 1043 Fit to Fill Linear Timewarp 784 Falling Crystals (realtime effect) 638 Timewarp Editor 802 Flash Macromedia 186 FAT32 347 Flip horizontal/vertical Feedback (Echo Audio Effect) 889 Backside image (3D Editor) 581 Fiber Channel Glossary 1042 Image (3D Editor) 575 Field Glossary 1042 Floating Point Audio 809 Field Blend (AFX PlugIns) 731 Floating
Index Gaussian Blur (Filter Editor) 603 GB Glossary 1044 Generation losses Glossary 1044 Gigabit Ethernet Glossary 1044 Gigabyte Glossary 1044 Global Layer (Keyboard) 1015 Global Modification of Audio (Adjust Audio) 869 GOP Glossary 1044 GOP (Group of Pictures) 991 GOP size 991 GOP size (IPB Settings) 997 Goto Marker (Clip Viewer) 286 specific TC Position (Logging Tool) 117 GPI 398, Glossary 1044 Grab Picons 247, 255 Gradient Color Blend/Border Tool 556 Color Clip 170 Gradient Wipe (realtime FX) 644 Grad
Index Host Glossary 1046 HSB Color Code Color Editor 586 Hue Color Correction 765 Color Editor 586 Color Picker 170 Primary Color Correction 765 Hue Match (Primary Color Correction) 773 Huffman Glossary 1046 Hybrid systems Glossary 1046 I i.
Index Jitter Glossary 1047 JKL shuttle playback 394 Jog/Shuttle Glossary 1047 JPEG Glossary 1048 Export 984 K Keying Editors (Types) 590 Blue Screen Key 596 Chroma Key 594 Green Screen Key 590 Luminance Key 591 RGB Difference Key 598 L Karaoke (VST PlugIn) 894 Keep stereo Audio Mode...
Index Classic Routing for Audio Monitor 818 Classic Routing für Audiomonitor 129 Clear TC fields 151 ClipLink 148 Create Subclips 150 Define Stereo/Mono 126 Disc Full 145 Edit Buttons (Mark-In/Out, etc.
Index Sequence List 411 Sequence Menu 417 Mastering (Record to Tape) 963 Match Frame to clip 434 to Project 435 to tape 434 Matchback 328 Material Exchange Format (MXF) 191 Matrix (Audio Routing) 850 Matrix Surround 993 Audio Editor 865 Matte Feather (AFX PlugIns) 700 Matte Feather Sharp (AFX PlugIns) 702 Matte Track add to Timeline 383 Effect composition 478 Max dB (Audio Tool) 820 Maximizer Glossary 1050 Maximizer (Audio Effect) 888 Emphasis 888 Gain Headroom 888 Loudness 888 Normalized Audio 888 Signal
Index MHz Glossary 1050 MicroMV Record to Tape 964 MIDI Glossary 1050 MIDI (External Audio Fader) 874 Min/Max (AFX PlugIns) 708 Miracle Alpha Cleaner (AFX PlugIns) 704 Mirage (AFX PlugIns) 672 Mirror Tool (Effect Editor) 557 Mix Down Container 482 OMFI Export 212 Mixed Resolution Editing Glossary 1050 Mixup (Echo) 889 M-JPEG Glossary 1050 MJPEG (EZ Capture Format) 111 ML Glossary 1050 MO Disk Glossary 1050 Mode Change (Scrub/Edit) 393 Modified clip attributes) 258 Modify Audio 437 Monitor (Audio, Classic R
Index Network 202 and Avid Liquid 202 assign drive or directory 202 AVI index files 204 Block size 204 Peak files 204 save network data locally 203 settings 204 share Projects 206 Network Settings Windows XP settings 205 New functions in Liquid (overview) 20 Noise Glossary 1052 Noise (AFX PlugIns) 709 Non-drop frame Glossary 1053 Non-linear Editing Glossary 1053 Non-Square-Pixel Glossary 1053 Normal (button highlights DVD) 936 Normalized Audio (Maximizer) 888 Notch Filter (Equalizer Audio Effect) 887 NTFS
Index Overscan Clip Viewer (Source Viewer) 283 Overwrite (Edit Style) 391 P P Frame Glossary 1054 Page Curl (realtime effect) 638 Page Peel (realtime effect) 638 Pages adding/deleting (DVD) 926 Pageturn Effect 580 PAL Glossary 1054 Pixel Format 355 PALplus Glossary 1054 Pan/Balance Lines Edit (Rubberbanding) 834 Show 811 Panasonic Edit Glossary 1054 Panorama and Balance Show Pan/Balance (Timeline) 811 Parameters and Options Effect Editors 539 Parametric Equalizer 886 Parent Project (Object Properties) 2
Index Realtime effects (optimization) 612 Trim Editor 441, 447 Progressive Scanning Glossary 1056 Project 220 Preview of Effects 610 Clean Up 52, 222, 363 Primary Color Correction 762, Create Rack 225 765 Create Rack Folder 225 Delete 222 Black 765 Delete Rack 229 Black-Gamma-Gain (Contrast) 766 Delete Rack Folder 229 Color Cast Correction 767 Delete Render Files 52 Contrast 766 Delete Template 221 Contrast Adaptation 766 Detail View (List) 251 Gain 765 Diagnose project 236 Gamma (Midtones) 765 Import Obj
Index R Rack Create 225 current (active) 224 Cut/Copy/Paste 226, 247 Delete 229 Desktop Shortcuts 228 Rack Folder 225 Select/Create (Logging Tool) 120 Several Racks Simultaneously 228 Sort Objects 260 Radial Blur (AFX PlugIns) 660 Radial Wipe (realtime effect) 646 Radius 580 RAID Glossary 1056 RAID Arrays Glossary 1056 RAID Level Glossary 1056 RAM Glossary 1057 Ranks (quality) 90 Rapid Capture 143 Razor cut (= Add Edit function) 423 RCTC Glossary 1057 Reading in Avid Media Log 199 Real Shadow (AFX PlugIns
Index RGB Glossary 1057 RGB (Gamma, Color Editor) 587 RGB channels 529 RGB Color Model Color Correction (basics) 294 Color Correction Editor 743 Color Picker 170 Logging Tool 134 RGB Difference Key 598 Pick Color 599 Similarity 599 Softness 595, 599 RGB Difference Key CPU 640 RGBA (view channels) 529 Right Mouse Click 36 Roll 581 Roll / Crawl (realtime FX) 641 ROM Glossary 1057 Rotation 3D Camera 576 3D Effect 572 Tool (Effect Editor) 555 Rotoscoping Glossary 1057 Rounded or Right-Angled Border Edges (Effe
Index Sharpen (AFX PlugIns) 660 Shift Channels (AFX PlugIns) 662 Shift Timecode 121 Shortcut Glossary 1060 Basics 245 Picon 227 Creating Sequences (Sample Step by Rack 227 Step) 453 Shortcut Menu Fit Sequence to Mark In and Mark Basics 36 Out 412 Desktop Object 303 List 411 Effect Editors 542 Loop Playback 418 Project Clip (Object) 247 Menu 417 Timeline 370 New Sequence 414 Timeline Clip 432 Playback 418 Tracks 372 Save a Copy 417 Transition Effect 400 Set Start Timecode 417 Shortcuts and Modifiers Stripe
Index Source (Player) Select 118 Source Timecode 380 Source Track Mapping 387 Individual Tracks 389 Insert Black 387 Insert Clips Grouped/ Ungrouped 387 Mapping Enabled/disabled 387 Menu 387 Stereo mappings separate 387 Track Labels 388 Source Tracks 813 Assign to Timeline Tracks 387 More than 8/16 Source Tracks 818 Select (Logging Tool) 125 Source Viewer 405 Clip Name List 407 Dragging Clips from 406 Fullscreen 408 Insert Arrow 409 Loading Clips to 406 Make Subclip 289 Multicamera Editing 499 Shuttle Pl
Index the concept 857 Timeline preparation 858 tips for surround mixing 863 Surround 5.
Index Scroll Bars 369 Select Objects 426 Set Start Timecode 417 Slice Numbers 373 Source Track Mapping 387 Source Viewer 405 Sync Break 379 Text Information on Clips 380 Three-Point Editing 420 Timecode Bar 369 Timecode Display 493 Track Headers 376 Track Name Header 378 Track Priority 386 Track Shortcut Menu 372 Undo/Redo 399 Video / Audio Playback 377 Zoom Control 369 timeline for DVD authoring 912 Timeline Markers see Markers 397 Timeline Properties 371 Timeline Tracks see Tracks 372 Timewarp (Audio) 7
Index Outgoing/Incoming Clip 551 Pattern (Wipe Editor) 565 Swap Sources 541 Trailing 557 Wipe Editor 563 Transition Menu (DVD) 930 Transparency 558 Backside image 582 Effect Editor, Border Tool 556 Effect Editor, Shadow Tool 557 Effect Editor, Trailing Tool 557 Key Mask 591 Softness 558 Trash (Desktop) 52 Clean up Project 52 Delete Render Files 52 Empty Trash 52 Open 52 Paste 52 Tree Area (Project) 223 Triangle (Generate Signal Clip) 172 Trim Both (Trim Editor) 445 Trim Editor Digital Audio Scrub 443 Jump
Index View alpha channel 529 View Switcher (Taskbar) 45 Viewing see Logging 112 Virtual outputs (Output Mapping) 842 VITC Glossary 1063 VOB Glossary 1063 VOB problem (DVD) 934 Voice-Over 876 Control Input 877 Requirements 876 Session Procedure 876 using the blue.
Index 1094
