Avid Liquid Installation
Chapter Avid Liquid Installation 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 Avid Liquid Installation 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 Avid Liquid Installation 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 Avid Liquid Installation 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 Avid Liquid Installation Generic Betacam Driver (Controlled via RS 422) This driver is used to control professional tape decks via a serial cable. 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. Position Request This default set value should not be changed.
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 Avid Liquid Installation 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 Minimum Preroll REC [s] Controls the minimum preroll time initially used by the driver before automatic preroll adjustment starts during the first recording. Do not force the driver to use values less than 5 seconds since, unlike with traditional linear editing suites, actual recording occurs rather infrequently and it is not worth performing unnecessary retries (which take several multiples of 5 seconds) by starting with a too low record preroll time.
Chapter Avid Liquid Installation Tape Protection Standby Off After (Active) Controls the time in Still mode (Shuttle 0 or normal STOP) after which the device is switched to Standby Off when the device is being actively used (i.e. it is currently selected as the active device in the Logging or RecordToTape Tool and at least one of these is visible on screen).
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 Avid Liquid Installation 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 Avid Liquid Installation 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 Avid Liquid Installation 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 CVBS, Y/C and Component (with analog outputs only, depending on current video signal and product) - Under Setup, you will find the NTSC and PAL modes; - Loopthru ...
Chapter Avid Liquid Installation 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 Avid Liquid Installation 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 Avid Liquid Installation 26
A D Advanced Settings (FX) 24 AES/EBU Destination Volume Audio Output (Player Settings) 12 Rendering (System Settings) 18 Digital Audio Player Settings 11 Analog Audio Input 16 Audio Output (Player Settings) 12 Audio DV Embedded 15 Audio Reference Level Adjusting 18 Auto (VITC/LTC, Player Settings) 13 C DV Embedded (Audio) 15 DV Output format (System Settings) 20 D-VHS 20 Video Output (Player Settings) 12 Composite see CVBS 16 Control Panel Site Settings 2 CTL (Player Settings) 13 Customize Si
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 12 Properties FX Editors 23 System Settings 17 DV output format 20 Holdoff 18 Restore Initial State 17 Still Display 18 Underscan/Overscan 18 T TC Monitor Accuracy (Player Settings) 13 Timecode Live Source (System Clock) 8 Player Settings 13 VITC/LTC/CTL/Auto 13 R Rec TC Delay 10 Recorders/Players, Settings 5 Rendering Hold Off 18 U Underscan System
Avid Liquid Reference Manual
© 2006 Avid Technology, Inc.. All rights reserved. Version 7.1 / March 2006 / 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 Avid Technology, Inc.. Avid Technology, Inc.
Trademarks © Avid Liquid, Avid Liquid Chrome HD , Avid Liquid , Avid Liquid PRO are logos and trademarks of Avid Technology, Inc. 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.
4
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 Titles ............................................................................... 164 Producing Customized Effects ...................................................... 164 Voice-Over .......................................................................................... 165 Importing EDL/AVID MediaLog Files .................................................. 165 Chapter 7 Exchange ...........................................................................................
Import Projects to Pinnacle Studio...................................................... 191 Chapter 8 Networking with Avid Liquid ............................................................... Assign network drive or directory .................................................. Network settings............................................................................ Shared Projects.............................................................................
Chapter 9 10 Batch Digitize (Batch Capture)...................................................... Consolidate ................................................................................... Condense...................................................................................... ClipSync ........................................................................................ Automatic Scene Detection (Clip Viewer) ..................................... 292 300 304 306 309 Media Management ......
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 ....................................................................................... 599 Always Maximum Performance........................................................... 601 Chapter 12 Rendering and Realtime ..................................................................... When Render, When Realtime?.................................................... Realtime and the Effect Preview ...................................................
Matte ............................................................................................. Noise ............................................................................................. Particles ........................................................................................ Stylize............................................................................................ Video .............................................................................................
Chapter 14 Audio.................................................................................................. 793 Audio Postproduction and Audio Effects ............................................. Basics............................................................................................ Audio Tool ..................................................................................... Audio Editor...................................................................................
Chapter 17 Export................................................................................................. 941 Record to Tape.................................................................................... 943 Record........................................................................................... 945 Stripe Tape .................................................................................... 948 Export to File........................................................................
Chapter 18 Customize Avid Liquid ..................................................................... 983 User Settings ...................................................................................... 985 Basics and Definition of Terms...................................................... 985 Managing Property Sets ............................................................... 987 Customizing Toolbars....................................................................
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 499). 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 (page 599).
List of Chapter Glossary and Index The Appendix contains a comprehensive glossary of video, editing and computer terms, as well as the index (page 1003).
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 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 Calling Shortcut Menus 1 Right-click an object or an area to open the corresponding shortcut menu.
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 242 and “Picon Play” on page 289.
Chapter 3 Basics Show error log Opens the list box with all the lines. Reset error indicator Deletes all lines. Show System Settings Displays general system settings (same as Edit > Control Panel > Site > System Settings). Show current playback speed During Timeline playback, indicates the current number of frames per second (fps; stadard PAL: 25 fps, standard NTSC: 30 fps). Its main purpose is to allow you to check computer performance for realtime software effects.
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 197). 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. The current configuration of windows visible on the desktop is called a “view.
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 354.
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 391.
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. 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 810.
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 428.
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 HD1 camcorder (e.g. JVC JY-HD1U, 1280x720p/29.97fps/18.3 Mbit/s; 720x480p/59.94fps/18.0 Mbit/s) HD2 camcorder (e.g. Sony HDR-FX1E, 1440x1080i/25/29.97fps/25Mbit/s) ProHD camcorder/recorder (e.g. JVC GY-HD100, BR-HD50, 25/50 and 30/60 fps). Device control and timecode HDV/MPEG2 devices can basically be controlled via the DV (aka AV/C) protocol. However: There is no single-frame stepping (frame-by-frame transport) comparable to standard DV.
Basics of High Definition TV MPEG2 levels and profiles In the MPEG2 standard, “levels” and “profiles” are provided as a means of distinguishing the different formats from one another.
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 Workflow: Adapting Settings Before you decide to work with HD, here are a few tips on the workflow in Avid Liquid. There are three basic stages: 1 Capture (EZ Capture, Logging Tool) What do you want to record? What can the player provide (some have different output options)? Avid Liquid automatically adapts to the input format (DV in). Avid Liquid Chrome HD : Go to Player Settings > Connections and select the exact same format that the player provides.
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 PAL < > NTSC conversions Format conversions between PAL and NTSC can be performed by selecting the appropriate Timeline Format and using Timewarp (at 100%). To view the material on a TV/monitor you need PAL or NTSC devices.
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 Audio is automatically assumed to be SDI-embedded. (Edit > Control Panel > Site > Player Settings > Connections > Video Input) At this point, you can also define the video and audio output for the relevant recorder. 4 Capture: Logging Tool Select the previously configured player/live source as a play source. HD video is always recorded in an uncompressed form, media format [Uncompressed 2VUY(HD)].
Chapter 5 High Definition Importing HD Media Files Import HD material (whether HDV or uncompressed) using Avid Liquid’s standard import functions. Not every HD format can be imported directly. Some HDV transport streams must first be converted to standard MPEG files. Converters for this type of output are freely available on the Internet.
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. This is the principle of the Avid Open Timeline. 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 and ready for operation but does not appear in the list, it is not detected or supported by Windows. 3 Select MPEG output format Under MPEG Output Format, select the appropriate format for your recorder, such as HD1 or HD2, ProHD, MicroMV or D-VHS. As a rule of thumb, select HD1 for a JVC device and HD2 for a Sony device. Additional criterion: HDV1 for up to 1280x720 pixels; HDV2 is always 1440x1080.
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. See also “Fuse” on page 959.
Chapter 6 Input
Chapter 6 Input This chapter describes the integration of material (objects) for editing and processing in Avid Liquid. This material will generally originate from external sources (for example, digitizing via the video interfaces); however, some object types can be created using local resources (for example, title and color clips).
EZ Capture 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 114).
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 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. A high data rate/quality generates larger files.
Chapter 6 Input 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).
Logging and Digitizing (Capture) Basics Logging and/or digitizing defines clip properties: Æ “Logging” and “digitizing” page 111 Æ Clip-in/clip-out and mark-in/mark-out page 112 Æ Stereo or mono page 113 “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.
Chapter 6 Input 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.
Logging and Digitizing (Capture) 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 801.
Chapter 6 Input 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 > Logging Tool. To close the Logging Tool click the exit symbol in the upper right corner.
Logging and Digitizing (Capture) 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 124), a loudspeaker icon appears in the inlay.
Chapter 6 Input 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 117.
Logging and Digitizing (Capture) 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).
Chapter 6 Input The LIVE input must have a timecode, which is defined under the LIVE Player options: 1 From the Logging Tool, click the player icon next to the player drop-down list box (see figure above) to display the Player Settings as shown below: Selecting a timecode for the LIVE player 2 Click the plus sign in front of the LIVE entry, then select Options and double-click Timecode source.
Logging and Digitizing (Capture) 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 HDV/DV in/out exclusively. Reels and Racks (E, F) Reel names define where the material originates. Racks define its destination.
Chapter 6 Input Selecting/Creating a Reel (E) The top middle list box allows you to select or create a new Reel. The term Reel refers to the source of the material (video tape, audio CD, DAT, etc.). Live sources are also assigned a Reel name. To create a new Reel, click the icon to the left in the list box. A dialog box is displayed over the inlay where you can enter a name for the Reel.
Logging and Digitizing (Capture) Selecting/Creating a Rack (F) The top right list box allows you to select or create a new Rack. To create a new Rack, click the icon to the left in the list box. A dialog box is displayed over the inlay where you can enter a name for the Rack. The logged clips will be stored in this Rack until you select another one. See“Creating New Folders/Racks” on page 213. If one or more Racks already exist in the Project, double-click a suitable Rack in the list.
Chapter 6 Input Goto End/Forward Forwards the tape/jumps to the end of a clip/Sequence. Step Back 1 Frame Goes back one frame. 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.
Logging and Digitizing (Capture) 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.
Chapter 6 Input 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 238. Set Marker You can set markers at any position and attach comments to them. Also see “Setting Markers and Adding Comments” on page 271.
Logging and Digitizing (Capture) 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 113 or for detailed information on this topic, see “Stereo and Mono, Panorama and Balance” on page 801. 4:3 or 16:9 (I) For analog video input only: Select the appropriate aspect ratio for the source material.
Chapter 6 Input 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.
Logging and Digitizing (Capture) 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 333).
Chapter 6 Input Select Audio Monitor /Mute See also “Source Viewer (Monitor Bus)” on page 827. Video Tool / Calibration Control /IPB Settings Depending on the situation and product, this icon opens three different dialog boxes: In Avid Liquid - analog input only - the Video Tool. In Avid Liquid C hrome HD - Also for analog input only - the “Calibration Control”. For a detailed description of all the Calibration Control parameters, refer to the Avid Liquid Chrome HD Product Manual, chapter 2.
Logging and Digitizing (Capture) 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 134).
Chapter 6 Input 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 494. If your tapes do not have identical TCs, it is not necessary to assign camera numbers.
Logging and Digitizing (Capture) Avid Liquid always gives you the option of adjusting all signals in non-destructive mode using the Playback Level function. Depending on the product hardware and the signal type, however, the audio input can also be adjusted destructively. ASIO Drivers Avid Liquid uses ASIO drivers only for output or playback (Timeline, Clip Viewer, Source Viewer).
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.
Logging and Digitizing (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.
Logging and Digitizing (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 133.) 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).
Logging and Digitizing (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 333). Additional changes are possible if the list of drives is sufficiently long.
Logging and Digitizing (Capture) Methods Various methods are available for logging and digitizing that can be selected on the basis of the particular application and as a matter of personal preference.
Chapter 6 Input Logging Logging is possible only with material played via a source that can be controlled by Avid Liquid. Signals that are played live can only be digitized (and only „open end“). Logging with a Mark-In/Mark-Out The most precise method is as follows: 1 Cue up the player to the mark-in point. See also “Controls (Player and Edit Buttons, G)” on page 121. 2 Set the mark-in. 3 Cue up to the mark-out point and set the mark-out.
Logging and Digitizing (Capture) Logging with the Log Button This variant lets you click one less time when defining clips: 1 Click the Log button once to set the mark-in. 2 Click it again to set the mark-out and transfer the clip to the Rack and, if the Send Clips To Timeline function is activated, to the Timeline as well.
Chapter 6 Input 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”).
Logging and Digitizing (Capture) 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 133). 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 117) and as a function of the Source Tracks selected (page 124).
Chapter 6 Input (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 292).
Logging and Digitizing (Capture) 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). To activate this function, select [Edit > Control Panel > User >] Logging Tool > Properties > General and then Use scene detection if available.
Chapter 6 Input 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.
File Ingest 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.
Chapter 6 Input 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).
File Ingest 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.
Chapter 6 Input 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.
Importing Objects 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.
Chapter 6 Input What Can Be Imported? The Import Media dialog box, which contains the same basic components as a typical Windows dialog box, indicates the file formats that Avid Liquid can use. Click the Files of type list box to display a list of compatible file formats. You may have to convert a file to a compatible format before importing it.
Importing Objects DV-AVI files created with Adobe Premiere or DV Tools may be imported in Avid Liquid as well. Audio integrated in AVI files will be extracted and split on import. AVI files to be used with Premiere are best created with the Fuse Sequence function (page 959). Audio File Formats: *.wav (PCM uncompressed) *.mpa, *.mp3 (MPEG-1 Layer 2 Audio) *.m4a (MPEG-4-Audio) *.wma (Windows Media Audio) *.
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 314.
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 313). 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 330.
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 162. Generate signal clip (reference level tones) Using the internal signal generator page 164 Create title Generate still, roll and crawl titles using the integrated titler page 881 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 861. Importing EDL/AVID MediaLog Files For more information on this topic, see the section on “Exporting/importing EDLs” on page 183.
Chapter 6 166 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 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 189.
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, Windows Media and QuickTime. You can also use XSend To... to connect “plug-in” applications and enhance the functionality.
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... Copy meta data files Enable this option if you want to save corresponding metadata (e.g. XML files) to the selected target location. Convert mono tracks to stereo wraps mono audio clips in stereo files. 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...
Chapter 7 Exchange 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 (page 959). From Mark In to Mark Out – Limits the section to be transferred.
XSend To... 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 (page 959). 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).
Chapter 7 Exchange 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.
XReceive Calling XReceive To open the XReceive module, select Avid Liquid File > 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 176. XReceive Options Media File Action These are the Copy, Move and Link options already familiar from the standard import. Note that Move removes the file(s) from their original storage location.
Chapter 7 Exchange 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.
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 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. Avid Liquid automatically converts the EDL to the specified format and displays it. 4 Specify how you want to output the EDL - as a printout or file. Click Print to print the EDL. Click Save to save the EDL on a floppy disk or other storage medium.
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 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.
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.
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 313 Æ System formats in Avid Liquid page 318 Æ The media tab in the Project window page 327 Æ Media Management Settings page 332 Æ Search and import media files page 342 Æ Deleting clips, objects and Media Files page 344 207
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 233. Opening and Creating Projects In Avid Liquid, at least one Project must be open at any one time. To create a new Project... ...click 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 of the main program window.
Chapter 8 Administration Rack shortcut menu Clicking the shortcut menu button (or right-clicking the content area) opens the Rack shortcut menu. 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. Or click File > New > Rack. 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 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. If you do not find the button on the Timeline tool bar, retrieve it from the corresponding tool box (see “Customizing Toolbars” on page 990).
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 Media files from Version 2.55 or earlier are not compatible with the current Media Management (among other things, because of the incompatible file names) and are stored in a separate directory. 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.
Chapter 8 Administration Options The second tab in the dialog box contains three options: Overwrite without warning If a full or partial backup already exists, select this option to accelerate the process. The system will then refrain from prompting you to confirm. Compress project files This option reduces storage requirements by compressing the project data. When restored, the data is automatically decompressed. Burn to CD/DVD Select this option if your final backup medium is a CD/DVD.
The Project 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.
Chapter 8 Administration 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 File > Manage Projects Moreover, the Project you are currently working on in Avid Liquid is not automatically replaced.
The Project 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.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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.
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 222. 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 Renaming Objects Use Rename to rename an object. 1 To do so, right-click the object. In the shortcut menu that appears, click Rename. The object’s name field can now be edited. 2 Enter a new name and confirm with ENTER. You can also edit an object name by delayed double-clicking the name and then entering a new name, which is the same way as used in MS Windows. Undo/Redo Click Undo to reverse the last action performed. Click Redo to reverse the last Undo action performed.
Chapter 8 Administration Objects in the Project This section provides information on the interplay between Projects and objects: Object views page 238 Selecting objects page 247 Sorting and arranging objects page 247 Verify imported media page 249 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.
The Object 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.
Chapter 8 Administration 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.
The Object 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. They can, however, be made invisible by un-checking the box. For a list of icons, see “Object Icons (Detail View)” on page 244.
Chapter 8 Administration 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.
The Object 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 222).
Chapter 8 Administration Object Icons (Detail View) In default Detail View, each line is preceded by an icon, representing object type and status.
The Object 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.
Chapter 8 Administration 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 222). 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 240.
The Object 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.
Chapter 8 Administration 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.
The Object Verify Imported Media The Verify Imported Media function checks the connection between imported clips or objects in a Rack and matching Media Files, and tries to restore this connection (if missing) through re-import or re-linking. Verify Imported Media is by default performed on clips whose media is not available (exclamation mark on Picon).
Chapter 8 Administration Searching for and Finding Objects Finding specific objects can be difficult, especially in extensive Projects. Avid Liquid provides you with two tools: a Quick Finder and a complex Find Tool. Quick Finder Use this function (located in the upper left-hand corner of the Project window) to quickly find names and terms in your Project. Enter the term you are looking for in the field (you can also type in just part of the term). Click the Binoculars (Quick Finder) button.
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 Tracks box This box appears, for example, when you specify Tracks in the Column box and is used to define which Tracks to search. This is useful, for example, if you are searching for a clip, but only for video clips, not audio clips. To do so, select Tracks under Column, contains under Operator and click V (for video) in this box. You can also enter whether you are looking for mono (M) or stereo (S) audio clips in the select menu.
Chapter 8 Administration A maximum of four strings can be linked 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 Object 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. Doubleclick a folder to open its substructure. If an item in a folder is selected, the check box next to the folder appears grey.
Chapter 8 Administration Options Use the Options tab to set the following two basic search parameters: Case sensitive Activate this option if you want the system to consider capitalization of information in the Text box when searching (if box is checked, system matches capitalization; if box is not checked, system ignores capitalization). No shortcuts Activate this option if you want the system to ignore shortcuts.
The Object 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.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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 222), 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.
The Object Basic Clip Viewer Functions Current position Length of clip from Extend of Playline mark-in to mark-out dialog Mark-in and mark-out symbols Position bar Playline Clip Viewer 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.
Chapter 8 Administration Zoom Scale The zoom scale allows you to change the scale of the position bar. Use the mouse to drag the small mark triangle to the left or right. The mouse pointer then becomes a magnifying glass icon with a plus or minus sign: All the way to the left - greatest resolution (about seven frames along the entire width of the position bar, one frame for each line in the scale). All the way to the right - smallest resolution (each line on the scale represents 120 seconds).
The Object 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.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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.
The Object Using Output Mapping for Audio Monitoring There is a Logical Output Bus named Source Viewer that was specifically designed for audio monitoring with the Source Viewer and the Clip Viewer. See the section on Output Mapping in the Audio chapter, page 827. Setting Markers and Adding Comments You can set as many Markers as you like on the position bar and attach a comment to each one. Setting and Deleting Markers Setting Move the Playline to the Marker position and click the Set Marker function.
Chapter 8 Administration Attach comment 1 2 3 4 Set a Marker. Double-click a Marker to open its comment box. Enter a text. Confirm with OK or press the ENTER key. 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.
The Object 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 990). Marker Comment - contains a Marker comment created by the user.
Chapter 8 Administration 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 mono clip. 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. To change the dimension of the rectangular frame, use CTRL-ARROW-UP or DOWN.
The Object Shuttle Playback (JKL) The Shuttle Playback function is available for fast or slow reverse and forward playback of video and audio.
Chapter 8 Administration 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.
The Object The Active checkbox lets you temporarily deactivate or reactivate Attributes. Also see “Tab: Special” on page 285 and “FX Properties” on page 286. You can also double-click a Timeline clip to open the Clip Viewer with an extended dialog box. Video tab page 277 Audio tab (Playback level) page 281 Scene tab page 309 Video Tab (Primary Real Time Color Correction) This tab contains the functions for primary color correction.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration defined by its blue or yellow component, red or green component and a brightness. In color television technology, the opposite color pairs are replaced by the color difference signals R-Y (Cr,U) and B-Y (Cb, V). The luminance signal Y forms the third coordinate. The basic colors red, green and blue and the mixed colors magenta (violet), cyan and yellow that lie in between are points (color signal locuses) within this wheel.
The Object 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.
Chapter 8 Administration 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 283. The V tab is available for video clips and image objects.
The Object 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.
Chapter 8 Administration Audio Mode Used to switch audio clips to mono or stereo. (See also “Stereo and Mono, Panorama and Balance” on page 801.) 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 222).
The Object 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 330): The original Project in which this clip was created.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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).
The Object 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 222). Avid Liquid starts playing the clip in a window in Picon format (its size depends on the size you specified in Picon View).
Chapter 8 Administration Shortcut Menu for Objects on the Desktop Picon View can be controlled just like in a Rack (page 238) 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.
The Object 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 403). 2 Load one of the clips you selected to the Source Viewer.
Chapter 8 Administration 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 140). 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.
The Object 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.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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.
The Object 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 332.
Chapter 8 Administration 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).
The Object Batch Properties The Batch Digitize Properties dialog box is in part identical to the Logging Tool Properties dialog box: page 134. 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.
Chapter 8 Administration 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 304).
The Object 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.
Chapter 8 Administration 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 333).
The Object Delete Original Media(s) You can also activate the Delete Original Media(s) checkbox so that media files will be automatically deleted following a Consolidate operation. But consider the warning in the dialog box carefully because you will have no more opportunities to intervene or delete files selectively.
Chapter 8 Administration Condense The Condense function generates copies of clips. Associated Media Files are not copied (see also Consolidate on page 300). 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.
The Object 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. 3 A dialog is now displayed containing two options: Handle Length This value (in frames) is added to the clip’s mark-in and mark-out points, thus creating a new clip-in or clip-out.
Chapter 8 Administration 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.
The Object 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.
Chapter 8 Administration 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.
The Object 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 310 or Æ metadata page 312 “Foreign” media data (such as imported clips that were created with a different Codec) is automatically rendered before scene detection.
Chapter 8 Administration 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.
The Object 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 311. 10 Click Create Clips.
Chapter 8 Administration 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.
Media Management 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.
Chapter 8 Administration 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.
Media Management 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 119). An unmistakable and unique Reel name is especially important in a network environment.
Chapter 8 Administration 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 (see page 314) 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.
Media Management - 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.
Chapter 8 Administration 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.
Media Management Render and Fuse 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 321.
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 incl ProHD, MicroMV, D-VHS) 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.
Chapter 8 Administration Project Media Directories: Where Are the Files Stored? The current Avid Liquid Project works with three different types of Media Directories that are created as a function of the Media File type and the system requirements (in the example below, written in italics; also see “Media Types” on page 314). A typical path, i.e. the “road” Avid Liquid follows from the clip to a corresponding Media File, might be as follows: R:/.../Reels/MyTestReel.@c3.P CF450037 / 01231412P 01301702P V0.
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 316). 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 333). The left-hand area of the window contains a hierarchical tree (arranged by All Media Streams and All 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 238.) 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). NDQ states the bitrate of compressed video. Path Directory path for the Media File (see page 324). File Name of the Media File (system name, page 316).
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 281).
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 328). Reset This function resets the values under Tag used media to zero (for example, to restart counting). Verify 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 Settings are not relevant for EZ Capture.
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 127). 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 Important: This does not apply on the operating system level, i.e. it does not prevent accesses by another users. Volumes to which the Read attribute has been assigned are not included in a volume change. Write access includes Read access. Rearrange You can move the entries using the two arrows to the right of the list box. Click an entry and then click one of the arrows until the entry is in the desired position.
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 333 and “Project Media Directories: Where Are the Files Stored?” on page 324). For more information, see “Importing Media Clips” on page 154. 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 283). 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 316).
Chapter 8 Administration Modified indicates date of most recent change to the file. Quality Indicates the quality level assigned when the clip was created (see page 90). 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.
Media Management uid attempts to recognize the existing pixel format automatically. If the import operation results in unwanted distortions/aspect ratios, you can define the correct pixel format here. CCIR PAL/NTSC refer to the 4:3 aspect ratio. PAL format can vary (768x576 or 720x576) depending on pixel shape. Most graphics programs generate square pixels. Positioned side by side, 768 of them make up the full width of the video format.
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 344 Delete Media Files page 346 Delete render files page 347 Restore deleted objects, Media Files and render files page 348 Clean up Project page 349 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 346). 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 346). 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 Render files, i.e. files created when effects or Timewarp Editor clips are rendered, can also be deleted selectively. It may become necessary to delete render files when, for example after a Batch Digitize operation, you want to perform a manual re-rendering of effects on the basis of the newly digitized material (also see “Batch Digitize and Render Effects” on page 299) or when you delete files you no longer need in order to make room on the storage media.
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 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. Earlier Versions You can also protect yourself from loss by periodically saving intermediate stages of your work. This is possible for Projects (page 210) and Sequences (page 406).
Chapter 8 350 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 Timeline Elements This section describes the most important components of the Timeline: “Empty” Timeline An “empty” Timeline or positions on the Timeline at which no object (video clip, audio clip, title, etc.) is located on a Track, indicate the following: @ System’s video output: black (Video Black) @ System’s audio output: mute In other words: You do not have to insert a particular object to generate a result of “black” or “mute” at the particular output.
Chapter 9 Edit Zoom Control The zoom controller below the Track headers lets you zoom in and out on the Timeline. Move the triangular zoom slider to the left to zoom “into the Timeline” and to the right to zoom out. The smallest unit is a frame and the largest is a minute (distance between the scale markings.) Important: This setting does not affect the Zoom Controller in the Master Viewer, nor does that controller affect this setting.
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 403.
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 365). 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 990.) 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 Sync Lock The Sync Lock column is used for linking Tracks to avoid that e.g. sound and image become asynchronous during trimming of objects (page 437). Track Name The Track Name column shows the name of every Track. Here you can modify the Tracks and adjust what appears on them (see page 364). This column is also used for defining Tracks as active or not active for editing. See also “Activate all / Deactivate all” on page 368.
Chapter 9 Edit Right-click the Audio Playback column header to open a shortcut menu for controlling audio playback settings. See also “Special Characteristics of Audio Clips” on page 797. Audio Playback menu If the speaker icon appears as a contour, audio scrubbing mode is activated for the Track: “Audio Scrubbing - Digital or Analog” on page 804. Configuring Tracks You can configure Tracks both individually and for the entire Timeline.
Video Editing 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. Add Track Click Add Track to add an additional Track to the Timeline. New Tracks are added under the existing Tracks. You can always drag a Track to a different position.
Chapter 9 Edit If you are using two different clips with identical timecode in a Sequence, these clips (or parts of them) are registered as already being used (recurrent use), even though they may be of totally different content. Speed - indicates the speed factor (as a percentage) by which the clip was modified. A broken black line appears at the lower edge of the clip. An alternating red and black broken line indicates a timewarp effect. FX - displays the icons of the effects assigned to a clip.
Video Editing Text Click Text to open a submenu with various options for controlling the display of clip information. You can display all clip properties necessary for your work. Click an item to select it (a checkmark appears next to it). Selected information is automatically displayed with the clip. All Text options and some of the View options are included in a clip’s Properties window. Click Properties in a clip’s shortcut menu to modify the information.
Chapter 9 Edit Track Height If you want all the Tracks to have the same height, click Track Height. From the pop-up that appears, specify a height of 14 to 122 pixels. To directly control the height of individual Tracks using the mouse, drag the line between two Track Headers up or down. Control Track height using the mouse Activate all / Deactivate all Select Activate all in the Name Track Header to toggle Track status between active and inactive.
Video Editing You can delete protected Tracks (system prompts you for confirmation).
Chapter 9 Edit Adjusting Individual Tracks To adjust an individual Track, right-click a Track name to open a shortcut menu. Some of the options in this menu are the same as in the Track Name Header shortcut menu. See also “Adjusting All Tracks (Track Name Header)” on page 365. These options operate the same as those in the other menu, except they only apply to one selected Track. The differences are discussed in more detail below.
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 467. 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 Vertical Track Priority Track Priority is defined vertically (higher Tracks have higher priority). In other words, the higher Tracks overlay 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 391), 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 insert 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 379). 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”.
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 375 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 375), 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 Scrubbing Drag the Playline over the Timeline. Video is played back simultaneously. (Audio scrubbing: see page 270). If you reach the end/beginning of the Timeline, the system automatically scrolls the Timeline farther. If you use a mouse with a mouse wheel: turn the wheel to move the Playline frame by frame, press the wheel to move 10 frames at a time. You can also scrub with the mouse pointer in the video inlay of the Master Viewer. The Playline automatically follows.
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 990.) 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 392
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 263), but also offers the Insert Arrow and the two Edit Styles (page 378).
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 483. 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 New Sequence The New Sequence button lets you create a new Sequence on the Timeline (also via File > New > Sequence). The first step in the process is to empty the Timeline. The previous Sequence continues to be stored in the Sequence Rack of the Project. You can also reload a Sequence from the list of Sequence names to the Timeline (page 399). New Sequence When you reboot your computer after a system crash (e.g. due to a power failure), a new Sequence is automatically created.
Chapter 9 Edit Sequence Parameters (You can access the parameters below from Timeline Properties or in the New Sequence dialog.) Preset Here you will find a long list of SD (standard definition, PAL/NTSC), high definition and multimedia formats. For more information on the latter two formats, see the chapter entitled “High Definition” on page 71. When you select a specific format, the associated frame rate, resolution and field sequence are immediately displayed.
Video Editing These two options act as a filter. You can use them to specify exactly which clip media files should be played back. Naturally, this is useful only if you assigned the clips specific quality levels, such as “Highest” or “Lowest”, when they were captured in the Logging Tool. Desired Media Quality defines the top end of the scale and Min Media Quality defines the bottom. Example: You assigned three quality ranks for capture: Medium Low, Normal and Medium High.
Chapter 9 Edit 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.
Video Editing 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 948). Also, when you use a precoded tape to perform an insert edit, Timeline TC and tape TC need to be compatible, and the corresponding clip(s) have to be placed at correct position(s) on the Timeline.
Chapter 9 Edit Sequence as a Clip On the Timeline, a Sequence appears as a more or less complex collection of clips. In a Rack in the Project window, however, a Sequence is represented as a single object. This is why, like a clip, a complete Sequence can also be inserted in another Sequence or viewed, marked and inserted on the Timeline in the Source Viewer. You can also nest Sequences inside one another. See also “Nesting Sequences (Building a Container)” on page 471.
Video Editing 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 411 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 990.) 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 378). 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.
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 after Playline Use this function to select clips of an active Track or of several active Tracks located after (= to the right of) the current Playline position. If you want this selection to be valid for all objects (on all Tracks), activate all Tracks via Activate All in the Track Header of the name column. This selects also those objects over which the Playline is located.
Video Editing If the area of the Timeline where you want to move an object does not currently appear on the screen, drag the object in the direction of this area until the Timeline has scrolled to it. Align Use the Align function to align clips: the default insert point for clips is at the left edge; for Transitions, the middle.
Chapter 9 Edit Copy/Cut and Paste Use the Paste function to reposition clips from the clipboard (after Copy or Cut; see page 416). 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.
Video Editing 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 378) 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).
Chapter 9 Edit If there is insufficient material to work with, Extend is only carried out to the extent allowed by the existing clip data. If mark in and mark out points are set, the last point to be set is taken into account. 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.
Video Editing Delete Timeline Range With mark-in and mark-out points set, click the Trash button to delete everything between the mark-in and mark-out, except elements on Tracks not active or protected. Elements that overlap the mark-in and mark-out points are trimmed and/or split into pieces.
Chapter 9 Edit Objects on the Timeline The objects on the Timeline are video clips, audio clips, Containers and Transitions. Like all other objects, they each have their own shortcut menu. (See also “Object Information: Properties” on page 281.) This section provides you with information on Timeline-specific functions, i.e. functions that are important for working with objects on the Timeline. Right-click a clip to open its shortcut menu.
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 143). 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 357. 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; see page 471. Item Link You can group clips on different Timeline Tracks. See also “Item Link” on page 439. 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 855. XSend to... See “XSend To...” on page 175. 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 771.
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 626).
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 281.
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. Trim operations in the Trim Editor are always in Film Style.
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 453): 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 804). 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 Selecting Multiple Trimming Points You can simultaneously trim several edits on different Timeline Tracks. This is useful, for example, to trim audio on several Tracks at the same time. Select several edits as follows: If the edit points are on different Tracks, but at exactly the same Timeline position, the Trim Editor will automatically select all edits at exactly this position on all active Tracks.
Video Editing 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).
Chapter 9 Edit 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.
Video Editing 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. This means that the positions of the mark-in and markout of the clip are maintained on the Timeline, the positions of the mark-in and mark-out on the clip are shifted without changing the duration.
Chapter 9 Edit Trim Editor Tool Buttons The Trim Editor has the following tool buttons: Trimming Buttons These tools move the currently selected mark-in/mark-out(s) back or forward on the Timeline. You can select the mark-out of the outgoing clip, the mark-in of the incoming clip, or both, for trimming. Trim 1 Frame Back - moves the selected edit one frame back. Trim 1 Frame Forward - moves the selected edit one frame forward. Trim 10 Frames Back - moves the selected edit ten frames back.
Video Editing 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.
Chapter 9 Edit 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) 438
Video Editing 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.
Chapter 9 Edit 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).
Video Editing 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.
Chapter 9 Edit 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 442 Overwrite and film styles illustrated page 443 Timeline trimming page 448 Trimming with the Trim Editor page 453 Creating a Sequence In order to create a Sequence, you should already have a rough idea of the course of the editing job.
Video Editing Overwrite and Film Styles illustrated The two Edit Styles (page 378) 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.
Chapter 9 Edit 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.
Video Editing 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 375 for details.
Chapter 9 Edit 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.
Video Editing 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.
Chapter 9 Edit Timeline Trimming You can perform the following trimming operations via the mouse or keyboard. Trimming clips page 448 Trimming Transitions page 452 Simultaneously trimming several objects page 452 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.
Video Editing 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 C Clip B Clip A Clip C Trim Mark-In 449
Chapter 9 Edit 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 B Clip C Clip B Clip A Clip C Trim Mark-In 450
Video Editing 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.
Chapter 9 Edit 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.
Video Editing Trimming with the Trim Editor Basics page 453 Opening the Trim Editor in different Timeline situations page 454 Going to next/previous edit page 456 Simple trim with the Trim Editor page 457 Adding trims by activating additional Tracks page 459 Manually changing selected trims page 460 Slip clip mode page 461 A trim with Transition page 462 Basics The default trim mode is Trim Both. To select a different mode, click either the outgoing or incoming clip in the Trim Editor.
Chapter 9 Edit 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 The Playline automatically moves to the closest previous/next edit. The Track with the edit is set active. Trim Both is activated.
Video Editing 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.
Chapter 9 Edit 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.
Video Editing 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.
Chapter 9 Edit 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.
Video Editing 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.
Chapter 9 Edit 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.
Video Editing 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.
Chapter 9 Edit 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.
Audio in the Timeline 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 794).
Chapter 9 Edit Other functions in Avid Liquid related to synchronicity: Sync Break - Indicates a loss of synchronicity both visually and numerically (page 365). Item Link - Individual objects on different Tracks can be combined in groups to prevent them from being moved relative to one another (page 439). Sync Lock - All the objects on all or specific Timeline Tracks can be linked together (page 437).
Audio in the Timeline 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 801). Nevertheless, you can also change these parameters later on.
Chapter 9 Edit Special Functions Matte Track and Track Matte Matte effects created on a special Timeline Track page 467 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 304); Consolidate creates copies of required Media Files (page 300) Nesting Sequences (building a Container) Sequences can be nested on up to ten levels page 471 Fullscreen Display video so it fills the computer monitor page 476 Maximize Inlay
Special Functions 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 469 Step 2: Create a track matte (mask) page 470 Step 3: Set up Track Matte effect page 470 A Matte Track is a special Timeline Track that acts like subtrack.
Chapter 9 Edit 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.
Special Functions 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.
Chapter 9 Edit 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.
Special Functions 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.
Chapter 9 Edit 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.
Special Functions 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.
Chapter 9 Edit 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 476. Insert Further Containers Insertion of further Containers leads to an increase in tab pages.
Special Functions 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).
Chapter 9 Edit Dismantle Container Similar to Disband Clip(s), this function in a Container’s shortcut menu breaks down a Container into its components. Unlike Step Into Container, a separate subsequence is not opened on the Timeline and the Layer tabs do not appear on the left side of the Timeline. If they do not already exist, the necessary Tracks are created below the Container. Clips that are located directly below the Container to be dismantled are moved downwards accordingly.
Special Functions 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.
Chapter 9 Edit 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.
Special Functions 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.
Chapter 9 Edit 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.
Special Functions The TV resolution is converted for display on a computer monitor (see table below). The advantage is that playback is laterally correct and undistorted; the disadvantage is that the pixels are no longer identical, which is particularly important in the case of exact, pixel-by-pixel effect editing.
Chapter 9 Edit Snapshot It’s called snapshot and that’s exactly how it works. Point and shoot: place Playline on image, click the button shown here. The image is then placed in the active Rack and carries the temporary name “Snapshot”. The corresponding media file (*.bmp) is saved to the directory ImportedStills.[ProjectID] in the current media directory. If you want to know the exact path, open the snapshot clip’s Properties. Snapshot is ideal to quickly create a freeze.
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 495.
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. 7 The bottom section now contains a list.
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 489 or “Multicamera Editing on the Timeline” on page 492. If You Have Questions about the Length of the Multicam Clip .... ...
Chapter 9 Edit “Camera” and “Camera Count” Columns in the Rack In the Detail (list) view, the Rack has columns listing the number of active Cameras for Multicam clips and the number of Cameras belonging to the Multicam clip. (These columns are not displayed in the standard layout. To display them, open the Rack shortcut menu and select Detail View. In the dialog box displayed, select Edit View.
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 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. Multicam Markers indicate cuts from one camera to another 6 Start playback and click the images or camera icons to cut back and forth between available images.
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 489). 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 366).
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 489.
Chapter 9 Edit 4 Capture the remaining tapes using the TC shift calculated for each and as Camera 2, Camera 3, etc. Enter the shift with a plus or minus sign, as appropriate. Synchronizing by entering a TC shift 5 All your clips should now have a synchronous timecode. You can easily verify this at the sync point.
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 9 498 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. 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.
Effects in Avid Liquid: The Basics 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.
Chapter 10 Finish Where are the Avid Liquid Effects? The Library tab in the Project Window contains the following Avid Liquid effects: Realtime Clip FX Rack in Avid Liquid (sample illustration) DVD Menus - Templates for DVD menus. Smartsound - blank Smartsound clip. Realtime Clip FX - This folder contains realtime clip (filter) effects with separate editors. The Presets Rack contains ready-to-use effects. The audio effects are also located here.
Effects in Avid Liquid: The Basics 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. These Racks show up only after PlugIn FX were installed. To add more plug-in effects, select Control Panel > Site > PlugIn Settings.
Chapter 10 Finish 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.
Effects in Avid Liquid: The Basics “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.
Chapter 10 Finish 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 “Activating/Deactivating Effect Parameters” on page 507.
Effects in Avid Liquid: The Basics 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.
Chapter 10 Finish 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.
Effects in Avid Liquid: The Basics Color Editor Use this editor to adjust the color, contrast, brightness, gamma etc. settings of clips. In this way you can correct color and create color alienation effects. Example: white balance correction, color matching. For details, see “Color Editor” on page 578. 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.
Chapter 10 Finish 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.
Effects in Avid Liquid: The Basics Opening via an Effect Icon or Line Effect Icon - right-click the effect icon to open the shortcut menu, select the Editor and then Edit. Colored line - right-click the colored line to open the shortcut menu, select the Editor and then Edit. Opening an Effect Editor via FX Properties 1 Open the shortcut menu for the clip on which the effect(s) is/are located. 2 Select FX Properties.
Chapter 10 Finish Working with the Preview Image Instead of loading a clip in the Effect Editor, you can work with the preview images (the gray and blue panels that appear in the Editor Inlay when no clip is currently loaded). This can be helpful for preparing and trying out effects because the volume of data to be calculated is much smaller, thus speeding up the preview. (See also “Effect Viewer” on page 516.
Effects in Avid Liquid: The Basics Elements and Functions of the Effect Editors Tabs Acceleration curve Effect parameters Playline position Toolbar 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.
Chapter 10 Finish 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.
Effects in Avid Liquid: The Basics The Canvas is useful for maintaining an overview of moving effects such as 2D and 3D effects. It lets you view clips and parts of an image that are outside the actual screen area, for example, in the case of zoom and other 2D/3D effects. The Canvas View is merely a viewing mode - it has no influence on the effect itself. This is an exclusive feature of the Classic Effect Editors. Position Bar The position bar, located below the video inlay, can be used for scrubbing.
Chapter 10 Finish 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.
Effects in Avid Liquid: The Basics 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.
Chapter 10 Finish Paste Key Frame Use this button to paste a copied Key Frame elsewhere in an effect. CTRL + V to paste Key Frames. The tabs to the left of the Effect Viewer offer drop-down menus with controls grouped by type. To apply settings to a particular Key Frame, drag the diamond in the tab item bars to the Key Frame in the position bar.
Effects in Avid Liquid: The Basics Additional Key Frame Tools You can use the toolbar below the video inlay to control the sequence of an effect. In addition to the default functions, the function library tab in the Effect Viewer contains special functions for editing effects. For more information, see: “Customizing Toolbars” on page 990. Previous Key Frame Moves the Playline back to the previous Key Frame. Next Key Frame Moves the Playline forward to the next Key Frame.
Chapter 10 Finish Acceleration Curve The acceleration curve, located to the left of the Effect Viewer, is used for defining the rate of change between two Key Frames. Clip images are interpolated based on the set curve. The x-axis of the grid represents time; the y-axis, change. For example...
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 990.) 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 Cut Click Cut to delete the Key Frame at the Playline from the effect and copy it to the clipboard. You can then use Paste to insert the cut Key Frame elsewhere in the effect. CTRL + X 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.
Chapter 10 Finish Paste to all Key Frames Click Paste to all Key Frames to apply the contents of the clipboard to all Key Frames in the effect. You can also use the diamond icons on the tab item bars to copy and paste Key Frames. To do so, drag the diamond icon of the particular parameter to a Key Frame on the position bar to copy these settings or drag it to the inlay to copy the settings to all Key Frames. Show Click Show to open a menu for controlling the display of the preview in the Effect Viewer.
Effects in Avid Liquid: The Basics Deactivating Modified Settings activated deactivated A yellow 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. 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 The Render Viewer displays the video image being rendered. Underneath the video inlay is a rendering status display: Click Stop Rendering to stop the rendering process. Click Start Rendering to start or resume rendering. Click the box to activate or deactivate rendering of the yellow slices (this enables/disables the background rendering of realtime effects). For more information, see “Render Management of Realtime Software Effects” on page 605.
Chapter 10 Finish Deleting Render Files Render files, i.e. files created when effects or timewarp clips are rendered, can be deleted selectively. It may become necessary to delete render files; for example, after a Batch Digitize operation you may want to perform a manual re-rendering of effects on the basis of the newly digitized material. Or you may want to delete files you no longer need in order to make room on the storage media.
Effects in Avid Liquid: The Basics Rendering and Preview Quality (relevant only for Classic Effects) Use an effect’s Properties window to control rendering and preview quality. There are two ways to open this window: On the Effect Editor’s toolbar, click the Effect Editor’s Shortcut Menu Button > Properties. Click Edit > Control Panel > Site > FX Editor Properties. Render Quality Use the Render Quality tab to adjust rendering quality settings.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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. Outgoing Clip Incoming Clip Transition Wipe Editor One of the participating signals can also be “black”.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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. Adjusting settings directly in video inlay: Click the Position button.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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. In the Transition effect, the incoming clip starts out as a small picture in the top right-hand corner and, after a few rotations around its own axis, expands to fill the entire video inlay.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 10 Close the editor by clicking the Close Editor button in its top right-hand corner. Background ren- dering 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 536. 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.
Detailed Description of Classic Effect Editors Wipe Editor for Transitions The Wipe Editor creates an alpha channel. This channel operates like a mask placed on top of a clip which causes only parts of the clip to appear. In the case of a transition wipe effect, the image data of the other clip (incoming or outgoing clip) can be adjusted at the same time.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish In this example, the Incoming Clip shows a yellow racecar in the foreground. Hidden underneath it is the Outgoing Clip (a blue racecar). The effect is as follows: The yellow racecar is located in a grid of 16 rotating fields (Wipe areas) that slowly become larger and gradually cover the blue racecar. 3 Make sure the incoming clip is in the foreground and that the Playline is on the first (left) Key Frame. First you have to define the initial state of the incoming clip.
Detailed Description of Classic Effect Editors 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. You can monitor this process in the Render Viewer. To do so click the Render Viewer button (Sigma).
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 512): If you have already created a copy of the Editor in a Rack other than Library : Click Open in the shortcut menu or simply double-click the effect.
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 544). 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 “Vertical Track Priority” on page 374.).
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 Spins and Angle edit boxes If you wish to program several full spins over the effect duration, enter a value in the top box. Use the bottom Angle box to define a starting angle and/or to define an exact end position. For example: To execute three three-quarter rotations from an upside-down starting position: 1 Start of effect (Key Frame 1)- Enter: “0” Spins, Angle “180” (or use the spin control) 2 End of effect (Key Frame 2) - Enter: “3” Spins, Angle “90”.
Chapter 10 Finish Pivot point The Pivot Point is the point at which the rotations begin. In the default configuration, the Pivot Point is located at the geometric center of the image or nodal point of the camera (see below). In other words, the rotational axes intersect at this point.
Detailed Description of Classic Effect Editors 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. When x and y are both changed, the image visibly rotates around a point - the upper left-hand corner. In actual fact, however, the intersection of the x-y-z axes is only diagonal in space.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors Pivot Point The Pivot Point is the point around which the camera rotates. In the default configuration, the Pivot Point is located at the camera’s nodal point. In other words, the rotational axes intersect at this point. If you move the Pivot Point off center, the camera describes a circular movement around the actual center with each rotation, making it possible, for example, to circle the image with the camera.
Chapter 10 Finish Shear Function Shear distorts the image along the x, y and z axes. X and Y - Distorts the image around the x or y axis on the z plane, i.e. in two dimensions. A rectangular image becomes a parallelogram. Zx and Zy - Combines Shear X or Shear Y with rotation around the Z axis. Operation is the same as for the other 3D functions.
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 Select this option to activate a light accent on the outside (back) of the bend and use the slider to adjust the intensity of the accent. Again, you can determine the color of the light (see description under Front Light). 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.
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 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 512): If you have already created a copy of the editor in a Rack other than Library : Click Open in the shortcut menu or simply double-click the effect.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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 512): If you have already created a copy of the editor in a Rack other than Library Click Open in the shortcut menu or simply double-click the effect. Click a clip to load it into the editor. In the Project window, click Library Tab > Folder Classic Clip FX > Editors.
Detailed Description of Classic Effect Editors 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 589).
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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).
Chapter 10 Finish Key Transparency defines how transparent the keyed area should be. Foreground defines the transparency of the “unkeyed” area. 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).
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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. A plus sign appears next to the mouse pointer.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish 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.
Detailed Description of Classic Effect Editors 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.
Chapter 10 Finish RGB Difference Key Use the RGB Difference Key to specify which color you want to make transparent in the clip. The difference between a chroma key and an RGB difference key is that a chroma key lets you adjust the chroma and the gray values independently, while the RGB difference key adjusts these components together. RGB Difference Key Color Click this field to open the color palette. To specify the color you want to use, click a color in this color spectrum.
Detailed Description of Classic Effect Editors 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 512): If you have already created a copy of the editor in a Rack other than Library : Click Open in the shortcut menu or simply double-click the effect.
Chapter 10 Finish 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. Blend with Original - Use this transparency slider to create a transition between the inverse of an original image and the original image itself.
Detailed Description of Classic Effect Editors Mosaic Use the Mosaic function to create a mosaic effect. Move the two sliders to define the number of horizontal and vertical divisions in an image (to create blocks). Click the Sharp colors check box if you want the system to base color on the color in the middle of each block. Leave this check box deactivated if you want the system to base color on the average value of the colors.
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 548. Transparency See also “Transparency” on page 549.
Chapter 10 Finish 598
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 510. Realtime effects: always maximum performance page 601 Rendering and realtime page 602 Realtime and preview page 603 Functions and parameters of the Effect Editors page 609 ...
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 Turn Off Audio Playback Temporarily In certain borderline cases, deactivating timeline audio (Playback Off ) can help prevent “dropped frames”, i.e. frames omitted during playback. This is always the case when your system is operating near or beyond the limits of its performance capability. Deactivating audio takes off a little of the strain. The Render Viewer The Render Viewer is an inlay in which you can monitor the current render process.
Chapter 11 Realtime FX Working with Render Files As a user of realtime effects, you will not normally have to deal with render files, but sometimes they do come up. If this happens, read the appropriate sections in the “Finish” chapter on “Deleting Render Files” on page 538 and “Rendering and Preview Quality (relevant only for Classic Effects)” on page 539.
Functions and Parameters of the Effect Editors (Non-Classic) Functions and Parameters of the Effect Editors (Non-Classic) The Realtime Effect Editors of Avid Liquid 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 Commotion Clip FX use the expanded Effect Editor. This section describes the parameters and functions of these Effect Editors.
Chapter 11 Realtime FX 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.
Functions and Parameters of the Effect Editors (Non-Classic) 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. With Key Frames, all types of change are possible.
Chapter 11 Realtime FX D: Effect Viewer and Its Surroundings The Effect Viewer contains either the image of the clip that is currently being edited or a preview graphic (if you loaded the editor without a clip). The Position Bar, playback buttons and Key Frame buttons are located below the video inlay. The timecode fields above the video inlay indicate the current position of the Playline and the duration of the effect (transition or clip).
Functions and Parameters of the Effect Editors (Non-Classic) 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.
Chapter 11 Realtime FX 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). To Reset: Right-click in the parameter field to reset the value to zero.
Functions and Parameters of the Effect Editors (Non-Classic) 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.
Chapter 11 Realtime FX 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.
Functions and Parameters of the Effect Editors (Non-Classic) 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.
Chapter 11 Realtime FX 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).
Functions and Parameters of the Effect Editors (Non-Classic) 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 621).
Chapter 11 Realtime FX Paste Key Frame(s) Inserts previously cut or copied Key Frame(s) at the Playline position or, in the case of multiple Key Frames, at the Playline position and to the right of it. Delete Key Frame from the curve Right-click Key Frame > Shortcut Menu > Delete key frame(s). 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.
Functions and Parameters of the Effect Editors (Non-Classic) Bezier These are the actual curves. A Bezier curve is initially set for every Key Frame by default and permits dynamic changes, such as soft transitions between states or accelerated and decelerated changes. The same rule applies as above: the Bezier curve starts to the right of the Key Frame. You will find more information in the next section.
Chapter 11 Realtime FX 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.
Functions and Parameters of the Effect Editors (Non-Classic) 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.
Chapter 11 Realtime FX Set Keyframes for all Parameters (Options tab > Key Frames.) If this option is activated, all the parameters of an effect are assigned a Key Frame at the same timeline position. This can be useful if you want processes to start or end synchronously. Additional Options Channel Processing In Effect Editors for which it is relevant, the Options tab contains an area entitled Channels.
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 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. A clip effect (often called a “filter”) is generally applied for the entire length of a clip. The effect can change during the course of the clip but doesn’t have to. In the one case, the effect would be static (e.g. a consistent and uniform saturation) and, in the other, dynamic (e.g. a 2D motion effect).
Effects and Effect Editors 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. Then select the editor (if more than one effect has been applied), followed by Edit. For Transitions, just double-click the Transition. Now change the parameters using the sliders on the left-hand side (e.g. for Size and Position in the 2D Editor).
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 Note: Naturally, when discrete parameters such as the number of sides are used with dynamic effects (with Key Frames), it is only possible to jump from one state to the next - two sides to three sides to four sides, etc. This applies to all editors with discrete parameters. MultiShape PIP This effect is used for overlapping (multilayering) individually shaped images.
Chapter 11 Realtime FX 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. You can modify the pattern, the number and alignment of edges, and the refraction. Cracked Slab This effect produces a jagged crack through the image and divides it into two halves.
Effects and Effect Editors 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. The Colorspace Settings help you avoid unreliable colors or stay within the CCIR standard. For more information, see page 276. Auto Color Correct This effect helps you repair a faulty white balance.
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 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. Gain multiplies the key value by the Gain constant Offset adds or subtracts a constant value of an offset from the key. Invert Key the pixels that were keyed out will become not keyed out, and vice versa.
Chapter 11 Realtime FX Track Matte CPU With Track Matte CPU it is possible to create a tailor-made, even animated alpha plane. An example of a track matte (also known as a travelling matte) is the view seen through the gun barrel in the opening credits of James Bond movies: You‘re looking out through the muzzle and following the movements of the actors in the background - until the shot rings out and blood runs down the screen. You can now do this at home.
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 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. The Transitions have a number of Presets that can be found in the Presets folder. Additional Realtime Capabilities In addition to effects, the realtime capabilities of Avid Liquid come into play in other areas as well.
Chapter 11 Realtime FX 642
Chapter 12 Commotion Clip FX
Chapter 12 Commotion Clip FX Avid Liquid’s Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX Description of all Commotion Clip FX What they are Commotion Clip FX are all Clip Effects (as opposed to Transitions). Although clips with Commotion Clip FX 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 Commotion Clip FX share the standard RT Effect Editor interface.
Chapter 12 Commotion Clip FX Blur and Sharpen The Blur and Sharpen effects contain Commotion Clip FX routines for blurring and sharpening clips. Blur page 650 Channel Blur page 650 Edge Blur page 651 Edge Blur EZ page 652 Motion Blur page 652 Radial Blur page 653 Sharpen page 654 Super Blur page 654 Unsharpen page 655 Blur Blur is a general-purpose blurring effect that softens image detail; sharp edges are lost while large features remain.
Description of all Commotion Clip FX 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 Commotion Clip FX Edge Width controls how wide the blurred area will be based on the edge in the alpha channel. Edge Width Edge Blur EZ Edge Blur EZ is a simplified version of Edge Blur that controls the blurring and edge size with one Blur Amount value. Blur Amount specifies the amount of blur that is applied to the edge in the alpha channel. Higher numbers create more blurring.
Description of all Commotion Clip FX Start Angle determines where the blur begins. By default, the Start Angle value is 180°, causing the blur to radiate from the center. Higher values offset the blur to the left; lower values offset them to the right. Motion blur 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.
Chapter 12 Commotion Clip FX Quality determines the quality of the blur. Higher quality results in smoother blurs; low-quality blurs settings will appear grainy. Spin type of radial blur Sharpen Sharpen increases the contrast of the color edges in an image, making these edges more distinct. The Sharpen effect also enhances noise or graininess. The effect is very local, mixing only adjacent pixels. Channels determines which channel or combination of channels will be sharpened.
Description of all Commotion Clip FX YBlur Amount sets the amount of vertical blur from 0 to 100. As with most other Commotion Clip FX, double-clicking the numeric value opens an edit field where you can type in the value directly. This dialog box also displays the maximum and minimum allowable values, which in most cases are beyond the values displayed on the slider. Alpha Channel: Blur Alpha applies the blur effect to the alpha channel as well as to the RGB channels.
Chapter 12 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX Important: please read also “The Color Map” on page 645. The figure below shows a color map for an image. Color Map Custom controls in Avid Liquid cannot be animated, so Color Map provides two color controls and the Map 1 <-> Map 2 Blend percentage to blend between them. Attribute to Mapspecifies which channel of the layer is to be mapped.
Description of all Commotion Clip FX Color Map 2 is identical in function to Color Map 1. Map 1 <-> Map 2 Blend blends the effects of the two color maps. At 0%, only the top map has an effect. At 100%, only the bottom map is used. Use this percentage to produce the effect of an animated color map, or keyframe it to produce animated blends and transitions. The picture here shows a twenty-dollar bill with remapped colors.
Chapter 12 Commotion Clip FX Source/Key Color specifies the color for the Source/Key Color. Use the eyedropper to sample a color from the Effect window, or click the color tile to open the color picker. Hue Tolerance controls the range of hues that match the color to be replaced. Lightness Tolerance controls the range of lightness values that match the color to be replaced. Saturation Tolerance controls the range of saturation of colors that match the color to be replaced.
Description of all Commotion Clip FX Distort This group contains a variety of distortion effects. Corner Pin page 661 Hall of Mirrors page 662 Mirage page 664 Turbulence page 668 Turbulence EZ page 671 Turbulent Edges page 672 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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). Fade examples Mirage Mirage simulates mirages, heat waves, jet wash, and other thermal currents that may cause distortion patterns within your effect shot.
Description of all Commotion Clip FX View Mode determines what is shown in the Composite window. Normalshows the composite with the mirage effect applied. Distortion Field shows a graphical representation of the area that will be affected by the mirage effect. Gain controls the amount of distortion in the mirage effect.
Chapter 12 Commotion Clip FX Scale specifies the size of the waves within the mirage. Higher numbers make more waves: Scale examples Aspect Ratio values above 50% stretch the mirage horizontally; negative values stretch the mirage vertically: Aspect Ratio examples Blur controls how much blur is added to the distortion.
Description of all Commotion Clip FX Mutation Rate controls the speed at which the distortion field ripples and changes. Higher numbers create faster mutations. Mutation Offset controls where in the fractal space the mirage is positioned. With View Mode set to Distortion Field, use Mutation Offset to view the fractal texture of the distortion effect. After you find a texture you like, mutate it with Mutation Rate. Mutation Offset can also be animated for nonlinear mutation effects.
Chapter 12 Commotion Clip FX 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. For a realistic look, try keyframing gusts in this parameter. Turbulence Turbulence quickly and easily distorts images with turbulent noise. Create water distortion, heat waves, and many other effects in your images.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX Turbulence EZ Turbulence EZ is a simplified version of Turbulence. 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.
Chapter 12 Commotion Clip FX 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. Higher numbers produce more turbulence.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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 674 Invert page 674 Levels page 674 Posterize page 676 Threshold page 676 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX Keying This group contains a number of keying effects. Blue Screen Key page 677 Color Key page 679 Green Screen Key page 680 LumiKey page 680 Smooth Screen page 682 Spill Killer page 684 Spill Killer EZ page 686 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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. Finally, adjust Target and Suppression to create an acceptable color shift. The following image shows a close-up view of the blue spill on the side of the actress. Spill Killer quickly and easily removes the blue tint while leaving the shirt its natural color.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX Matte This section comprises several matte-related effects. Edge Finder page 687 Edge Finder EZ page 689 Matte Feather page 691 Matte Feather EZ page 693 Matte Feather Sharp page 693 Miracle Alpha Cleaner page 696 Edge Finder Edge Finder creates a precise border for a layer’s alpha channel.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX 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.
Chapter 12 Commotion Clip FX 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.
Description of all Commotion Clip FX In the left image, using Edge Blur EZ, a great deal of the sharpness is lost. The right image, using Matte Feather EZ, retains much more detail in the points and corners. However, as the next image shows, if we increase the blur value to 10 and then compare the image to a version using Matte Feather Sharp, the difference becomes clear.
Chapter 12 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX The following illustration shows a matte created with the LumiKey effect.
Description of all Commotion Clip FX Noise The Noise section contains four effects: Channel Noise page 699 Median page 700 Min/Max page 700 Noise page 701 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 Commotion Clip FX 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 Commotion Clip FX Link Vertical links the Vertical Radius to the Horizontal Radius setting. Horizontal Radius and Vertical Radius specify how many pixels to examine for the Minimum or Maximum operation. 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.
Chapter 12 Commotion Clip FX Particles This section covers three particle effects. Fractal Clouds page 702 Fractal Fire page 705 Fractal Tunnel page 709 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 Commotion Clip FX 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 Commotion Clip FX Aspect Ratio stretches the cloud texture horizontally or vertically, depending on whether the setting is positive or negative. 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.
Description of all Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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.
Description of all Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX Stylize This section contains these effects: Alpha Ramp page 712 Drop Shadow page 714 Emboss page 714 Framer page 715 Grunge page 716 Mosaic page 717 Real Shadows page 718 Video Feedback page 719 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX 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 Commotion Clip FX Hide Layer: Shadow Only hides the target image but shows the shadow: Duck and apple, shadows only 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.
Chapter 12 Commotion Clip FX Scale determines the relative scale between iterations. For example, a setting of 0.5 makes each iteration half the size of the previous one: Scale 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.
Description of all Commotion Clip FX Video This section features three effects: Broadcast Safe Colors page 721 Field Blend page 722 Field Swap page 722 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.
Chapter 12 Commotion Clip FX 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.
Chapter 13 Special FX
Chapter 13 Special FX Timewarps and Color Correction Color Correction Editor page 725 Linear Timewarp page 771 Timewarp Editor page 776 724
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 510). Open the Color Correction Editor as follows: Drag the editor icon from the Library tab in the Project window to the relevant clip.
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 744.
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. A B C 728 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 753. 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 752). Six Vector Color Correction (center) - Permits the selective adjustment of six defined color areas (red, magenta, blue, cyan, green, yellow; page 764).
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 752 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 762. 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 751). 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 756).
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 744). 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 2-point gray balance page 759 3-point gray balance page 759 1-Point Gray Balance (Example) The basic functioning of Gray Balance will quickly become clear with an example. The first figure shows a spectrum clearly shifted toward red. The light bulb should actually be CCIR white (Y=235, Cb, Cr = 0). This would be the spot (if this were a camera image) on which you would white-balance. Gray balance: The motif has a reddish cast.
Color Correction Editor The next figure again shows the colors correctly while the narrow green line in the Cube Display is on the Y axis: Gray is again gray and blue is again blue. Clicking the blue background would produce a garish, yellowish-red cast. This and similar effects are easily understood when you look at the Vector Display and consider shifting the color locuses toward or away from the Y axis (achromatic).
Chapter 13 Special FX 2 Click the right mouse button to apply Gray Balance. 3 If necessary, repeat steps 1 and 2 to optimize results. The control squares check luminance values at the spots where you have moved them and change roles accordingly. For example: If you move the gray square representing Gamma to a spot which is even darker (in terms of luminance) than the current black square’s location, the squares adapt: The gray square changes to black, the black to gray.
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 761 3-point Color Balance page 761 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 749. 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 753) 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 728). - 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 746). 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 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. Finally, click the H icon once again. 5 If the Vector is sufficiently isolated, you can edit the color as desired.
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 766). 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 776).
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 774). For basic information on video effects, see “Effect Editors (Basics)” on page 510 and “Key Frames” on page 518.
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 510). 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 286).
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 518). 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 center Key Frame is defined in the speed diagram as -100% (-1.0), i.e. at this point, the destination clip should play at a normal speed but in reverse. 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.
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: rd For war d kwa Start Bac End Key Frame 0.
Timewarp Editor kwa rd Start 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 A shallow curve/straight line: In the upper diagram: Low speed In the lower diagram: Gradual acceleration/deceleration 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 771). When you exit the Timewarp Editor, the rendering of effects begins.
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.
Audio Postproduction and Audio Effects Basics This section provides a basic description of audio editing in Avid Liquid: ASIO and DirectSound page 796 32-bit floating point audio page 797 Special characteristics of audio clips page 797 Inserting audio clips on the Timeline page 801 Assigning Tracks page 801 Stereo and mono, panorama and balance page 801 Muting Timeline Tracks page 804 Audio scrubbing and monitoring page 804 795
Chapter 14 Audio ASIO Driver and DirectSound 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 Show Volume Column Audio-Playback Activate this option to graphically display the level of an entire clip (appears as a blue line). This line shows audio fade-ins and fade-outs and, if the Audio Editor is open, can be moved to any position to edit audio (procedure referred to as “rubberbanding”).Volume lines do not necessarily need to be displayed to adjust volume, but it makes mixing easier.
Audio Postproduction and Audio Effects Overview of All Audio Indicators Clip Volume: Light blue Clip Panning/Balance: Yellow Track Panning: Green Surround Position (Track): Green and dark red Surround LFE (Track): Dark blue You can activate or deactivate the lines in the shortcut menu for the Audio playback column, or by rightclicking in the appropriate segments of the Audio Mixer. Waveform Choose this option to graphically display a clip’s audio signal.
Chapter 14 Audio Disband Clip An audio clip can contain up to four audio Source Tracks. Four individual clips can be generated from this type of grouped clip. Open the shortcut menu for the clip. Use this function to distribute the Source Tracks of a grouped clip among the Timeline Tracks below the original clip (if free). If there is no free Track directly below, an additional Track (or more, if necessary) is automatically added. Clip Shortcut Menu Stereo clips are separated into two mono clips.
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 412). Send To... - Inserts clips at the Playline position in accordance with the Source Track Mapping (page 375).
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 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.
Audio Postproduction and Audio Effects Opening the Audio Tool/Functions The Audio Tool is used for controlling output levels. To open the Audio Tool window, click its icon in the taskbar. You can also access the module via Tools > Audio Tool. 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.
Chapter 14 Audio 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.
Audio Postproduction and Audio Effects 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). The clip’s Audio Source Tracks are deactivated (check clip Properties).
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 813
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 Name and assigned timeline track Mute and solo function Pan/balance slider (track) Routing to a logical output bus (bus type) Audio signal path Output level (track) Effect insert and send bus insert Input level (track) Clip level Activate Mix Automation Fader lock Clip panning Track type One fader unit Track Type Click this field to select the track type appropriate for the audio clips on the associated Timeline Track.
Chapter 14 Audio 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 827.) Clip Panning This section is visible only if you activated Classic Routing (Settings tab) and permits panning for individual clips. You should also enable the Pan/Balance Lines.
Audio Postproduction and Audio Effects The waveform display reflects the Playback Level setting. For example, a very low volume clip shows a “flattened” waveform. Input Volume (Track) This fader affects the level at which the signal is fed to the Insert/Send Effect section and applies to all the audio clips on the assigned Track. This setting is static for the entire Track (no Key Frames).
Chapter 14 Audio 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. Click the name of the bus to open a menu. These “logical” outputs are assigned to the actual, physical outputs on the Output Mapping tab. Three busses are available: Stereo, Classic and Surround 5.1. It is possible to configure several busses of the same type (for example, Stereo (2), Stereo (3), etc.).
Audio Postproduction and Audio Effects Additional Functions Lock Function for Synchronizing Faders To lock Faders so that they move in unison when you drag up or down, click their Lock buttons. A selection box including eight different color fields opens. You can now form subgroups of locked Faders: Faders having the same color (indicated by a padlock) move in unison. This applies to all faders, regardless of whether they use a slider or knob. To unlock Faders, click the gray box in the selection box.
Chapter 14 Audio 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. For a full description, see the section on “Working with Insert Effects, Send Effects and Busses” on page 838. Faders for Logical Output Busses A fader is inserted for every Logical Output Bus you define.
Audio Postproduction and Audio Effects Clips whose Playback Level was modified during logging/digitizing or in the Clip Viewer are shown with the volume line set to the 0 dB position. Nevertheless, audio is played at the modified level. The waveform display reflects the Playback Level setting. For example, a very low volume clip shows a “flattened” waveform. Fader assigned to Track A 1 Fader set to -36.
Chapter 14 Audio Audio Key Frame Tooltip When moving Key Frames, a small box appears next to the mouse pointer. It indicates: the horizontal displacement of the Key Frame position (in +/- mm:ss:ff) the quantitative change (in the case of volume lines +/- dB, in the case of pan +/- 50%, i.e. left/ right). You can move horizontally (only to the neighboring Key Frame) and vertically (within the maximum values).
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 In order to delete all Audio Key Frames and reset the volume line to its original state, you can also select FX Properties in the clip’s shortcut menu. Click Audio Fader and the Trash button. 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.
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 or virtual 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 Classic (A1 - A4) Up to four Audio Source Tracks (channels) can be grouped in a single audio clip: Four mono channels or two sets of two stereo channels. The Classic output bus is intended for this type of audio clip. When used with mono Source Tracks, this setting is also suitable for the 1:1 output of a four-track recording. Set the Track Type to Classic. The peak meter is displayed with room for four vertical bars.
Audio Postproduction and Audio Effects The System’s Physical and Virtual Outputs In Output Mapping, the computer system’s available and active physical and virtual outputs are arranged on the right-hand side above the logical output busses. “Physical” means that real ports exist for these outputs where cables can be connected. A virtual output is, for example, the Fuse/Export Routing described below, where only audio files are generated.
Chapter 14 Audio Fuse/Export Routing Output Mapping plays a role in the Fuse process and in the export of Sequences. The individual audio files created by the Fuse process can also be regarded as an “output”: The Fuse/ Export output of a logical output bus has up to eight channels, resulting in up to eight individual mono audio files when the dots are set in the mapping matrix. Make sure to select a preset with separate audio in the File > Export to File > Fuse dialog box.
Audio Postproduction and Audio Effects Level Increase in Stereo Fuse Files Because the L/R and FrontL/FrontR channels are mapped in the preset, fused stereo files with an increased level can be produced through addition. Deactivate the FrontL/R options if they aren’t needed. You can also deactivate Audio Source Tracks 3 and 4 in the Fuse clip (clip Properties); no audio information is lost because these channels are only duplicates of 1 and 2.
Chapter 14 Audio # Clip Property 7 Stereo (A1/2) 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 825; see previous section). Use the Audio Editor’s Audio Routing when assigning Source Tracks on Timeline Tracks to the available Logical Audio Outputs by means of submixes (subsums).
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 Set Stereo-Mono Set Stereo-Mono results in both stereo Tracks being assigned to both outputs, thus sounding like mono. 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.
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 838 Insert effects page 839 Send effects page 840 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). One effect slot is 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 In the send bus: 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 Additional Options Multiple send busses per channel The mixer channels are not limited to one send bus. Combination of send effects and insert effects It is not necessary to observe any particular order here. Surround 5.
Audio Postproduction and Audio Effects And, of course, you need adequate sound material. If you’re already toying with the idea of creating a surround mix while filming, you need to make sure you record lots of additional sound. It is also helpful to have a library of background noises, like those available from many commercial suppliers. The Surround 5.1 Concept Of the existing surround systems, 5.1 is the most widespread.
Chapter 14 Audio The surround effect is created by cleverly distributing sound events to the five surround channels. Example: Your video image is from the point of view of a person driving a convertible down the highway. Suddenly the driver is overtaken by a Hell’s Angel-type biker on a Harley Davidson without a muffler. The thundering engine must first be heard completely from the rear channels and then gradually shift to the left and right front channels in unison with the events pictured.
Audio Postproduction and Audio Effects Preparing the Timeline For the best possible surround mix, reserve Tracks on the Timeline for your audio clips: Reserve one each for L, R, RS, LS and Center, i.e. a total of five Tracks. LFE You do not necessarily have to configure a separate Track for LFE. Generally, the bass portion of the other signals is routed to the LFE channel, which does not have to be assigned an actual position in space.
Chapter 14 Audio Configuring the Mixer for a Surround Mix Open the Audio Editor. If you already configured the Timeline Tracks as described above and activated Audio Playback for each, you should see at least five Fader Units. Open the Bus Type section. For each fader, select Surround 5.1on the top line as the bus type and select Mono on the bottom line as the track type.
Audio Postproduction and Audio Effects 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. In the default configuration, this is the center position located exactly in front of the listener - obviously, because that’s where the center speaker is positioned. You can position this dot within the surround space using the mouse.
Chapter 14 Audio The principle so far: For each channel, you determine which speakers the signal will be output to, either totally or at a certain percentage. The surround impression is produced by the mix of all the channels in the listener’s ear. LFE Fader The LFE channel operates the subwoofer, which is the surround system’s bass speaker. In the default configuration, this fader is centered at 50 percent. The far left position represents 0 percent and the far right represents 100 percent.
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 853 1-click Fade In/Out page 854 Global modification of volume and panning page 855 Add Dissolve page 856 Audio Mix Automation (live audio mix) page 857 External (hardware) audio fader page 860 Voice-Over page 861 Audio Settings page 862 Reference Level (Create Signal Clip) page 164 852
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 411). 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. The fade-in stretches from the beginning of the clip to where you click.
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 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. This may cause volume curves to become flatter (steeper) as a result of global increase/decrease.
Audio Postproduction and Audio Effects Add to all active Tracks in marked range This helps to distribute Dissolves and Crossfades over a wide area, even the whole Sequence. You only need to set a mark-in and a mark-out to define the horizontal range, and to activate or deactivate the Tracks for the vertical selection. Note: Dissolves and Crossfades can only be placed on active Tracks.
Chapter 14 Audio Starting Audio Mix Automation Set a mark-in on the Timeline at the point where the live mix is to start. You can limit the area with a mark-out, otherwise you can stop Audio Mix Automation at any time. Audio Mix Automation active Now, if you start playback (with a short preroll) by clicking the Audio Mix Automation button, you will see a blue line appear in the selected Tracks. Move the Fader of a Track to raise and lower the volume level. The blue line changes shape accordingly.
Audio Postproduction and Audio Effects Use the Audio Key Frame Resolution drop-down menu to specify the resolution of the Volume or Panorama Line, i.e. how many Key Frames will be set.
Chapter 14 Audio External Audio Fader If an external audio fader is connected via a MIDI interface, the Audio Mixer Faders (for Audio Mix Automation, for example) can also be controlled by hardware. The operation remains essentially the same; the only step you need to carry out before mixing is to balance the hardware faders with the software faders in the Audio Editor to ensure smooth fades in and out.
Audio Postproduction and Audio Effects Balancing Faders Position the Playline at the position where you would like to start mixing. If you open the Audio Editor when an external fader is connected and turned on, two arrows, one pointing up and one pointing down, appear to the left of the activation button for Audio Mix Automation. These arrows indicate the direction in which the hardware fader must be moved to ensure coverage with the software fader.
Chapter 14 Audio 2 To start recording, click the Voice-Over button. Record the narration or whatever audio input you choose. 3 To stop recording, click the Voice-Over button once again or click the Play/Stop button. 4 The Voice-Over dialog box is then displayed. Option: - Clip Name lets you define the name under which the clip will be saved in the Rack.
Audio Postproduction and Audio Effects Parameters for Voice-Over Here you can set the parameters that will guarantee a successful Voice-Over recording. Important: These parameters depend in part on the sound card installed. See also “Voice-Over” on page 861. Audio Settings 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).
Chapter 14 Audio Parameters for Digital Audio Scrub Digital audio scrub (also see “Audio Scrubbing - Digital or Analog” on page 804) operates as a very short playback loop centered around the Playline position: Each time you move the Playline, the playback loop is also shifted. You can modify the playback characteristics of this loop by means of three parameters: Range Specifies the number of frames that should be played back before and after the Playline.
Audio Postproduction and Audio Effects 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.
Chapter 14 Audio 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 Preview button to hear a sample.
Audio Postproduction and Audio Effects 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.
Chapter 14 Audio Audio Effects This section provides you with information on working with audio effects: Basics Æ Where can I find audio effects? page 869 Æ Applying effects and opening Effect Editors page 869 Æ Audio effects are real-time effects page 869 Æ Changing effect parameters in real time page 870 Æ FX Properties page 286 Æ Saving effect settings page 870 Æ Effects and output level page 871 Avid Liquid audio effects (standard) Æ Equalizer page 871 Æ Maximizer page 873 Æ Echo page 874 Æ Cross fad
Audio Postproduction and Audio Effects 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.
Chapter 14 Audio 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.
Audio Postproduction and Audio Effects 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 808).
Chapter 14 Audio 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.
Audio Postproduction and Audio Effects 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 809) 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.
Chapter 14 Audio 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.
Audio Postproduction and Audio Effects Cross Fade The cross fade blends out the outgoing clip, while simultaneously fading in the incoming clip (see page 853). Add Dissolve With its Add Dissolve function, Avid Liquid provides a convenient means of inserting cross fades. See also “Add Dissolve” on page 856. 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.
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 Karaoke This effect filters out the lead vocal from a musical number so that it can be used, for example, for karaoke performances. Depending on how effective the filtering is, a vocal piece can also be used as instrumental background music for videos. The principle behind this effect is the fact that in vocal numbers, the lead vocal is usually is present on the right and left channels equally. This plugin compares the two channels and removes identical components.
Audio Postproduction and Audio Effects Mix This parameter defines the ratio of the effect signal to the original unedited audio signal. When the slider is set to the center position (default), the ratio is balanced. When moved all the way to the left, only the original signal is audible. Equalizer This is a ten-band equalizer for determining the sound characteristic. It allows you to emphasize or suppress specific frequency ranges. Values range from -24 to +24 dB.
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 884
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.
Step by Step 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.
Chapter 16 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.
Step by Step 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. 16 If contents and navigation are correct, you’re ready to export. Call the File > Burn to Disc > DVD module.
Chapter 16 DVD Authoring 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.
How Does DVD Authoring Work? 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 File > Burn to Disc > 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.
Chapter 16 DVD Authoring 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).
How Does DVD Authoring Work? 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.
Chapter 16 DVD Authoring 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.
How Does DVD Authoring Work? 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 File > Burn to Disc > 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).
Chapter 16 DVD Authoring 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...
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring 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.
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring The Jump to and Track columns are updated, as is the Picon associated with the Link in the DVD menu it now shows the frame at the Playline/target position. If this frame is not informative enough, refer to Set Picons (page 903) to define an individual frame. Move the Target Click the Target to select it and use one of the buttons shown to reposition it (step forward or back 1 or 10 frames).
DVD Authoring: Reference Move the Target Click the Target to select it and use one of the buttons shown to reposition it (step forward or back 1 or 10 frames). Anchored target with anchor symbol and tooltip Don’t position the targets too closely together. Keep at least ten frames between them to avoid having a VOB problem (page 913).
Chapter 16 DVD Authoring Note: The Undo function does not affect Return Markers. Return Marker at the end of a chapter 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 Set/Reset Picon Unless otherwise specified, the Picon for a menu button contains the frame from the target point (obviously, this applies only to buttons that can display a Picon, also called “thumbnails”). But this frame may not be the best choice. To define another frame as a Picon for a menu option: 1 Scrub the Playline at the desired position (monitor the Timeline frame in the Master View). 2 Click Set Picon. The target timecode remains the same.
Chapter 16 DVD Authoring Animated picons: Video clips of the same length as the menu and below it 3 Repeat this procedure until you have assigned all the menu buttons you want. 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.
DVD Authoring: Reference In the same way (i.e. using drag and drop), you can insert a menu background. However, the menu background must contain an alpha plane (at least in some parts), or else you can discard the actual menu background and replace it with a moving image on which the buttons are then arranged (page 926). 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.
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 930).
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 3 Click a Project Rack to select it. The Snapshot graphics will be stored here. 4 Click the menu button to which the planned effect will be applied. 5 Click the Snapshot button. If this button is not in the toolbar, right-click the toolbar to display the shortcut menu, select Customize and drag the button from the Special tab in the Library to the desired location. When taking a snapshot of a menu with background video, the current Playline position determines the picture.
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring 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 907). 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.
DVD Authoring: Reference 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 Master View Playline jumps to the associated position on the Timeline (see the Jump to column).
Chapter 16 DVD Authoring 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.
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring 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.
DVD Authoring: Reference 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 930). 3 Click OK to exit the DVD Menu Editor. 4 Click the button shown on the left.
Chapter 16 DVD Authoring 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.
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring 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.
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring 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 926). 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.
DVD Authoring: Reference 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.
Chapter 16 DVD Authoring 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.
DVD Authoring: Reference 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 906.).
Chapter 16 DVD Authoring 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).
Creating and Designing DVD menus 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.
Chapter 16 DVD Authoring Editing a Menu Template 1 In either the Project window or Project Browser, open the Library tab. 2 Go to the Rack called DVD Menus. 3 Select one of the prepared menus. 4 Drag the selected 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.
Creating and Designing DVD menus DVD Menus on the Timeline Like other clips, DVD menus can be trimmed, moved, deleted, inserted, grouped with other clips (helpful with animated picons), integrated in a Container. However, be sure to note the Edit Style: With Film Style, you change the position of other menus on the DVD Track when you move or trim a menu. Also keep in mind that the first menu on the Timeline is the main menu.
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 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 920.). Button Highlights Highlights provide visual emphasis that makes it easier to navigate a DVD menu. For example, you can see which menu button you just actuated with your DVD remote (Selected status).
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 Previous Page/Next Page In order to be able to page through multi-page menus, you must create buttons that refer to the next and previous pages. These buttons have the following structure: (#<) background of previous page button / (^<) previous page highlight layer (#>) background of next page button / (^>) next page highlight layer Important: Previous/next page buttons must be created in pairs; otherwise the Photoshop file will not be recognized as a DVD menu.
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 940
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 943 Æ Transferring the audio/video signal to a controllable recorder via the digital/analog interfaces page 945 Æ Striping tapes and recording leaders page 948 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 945 Æ Stripe Tape page 948 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/ProHD 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.
Export to File 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. Bit Rate Bit rates differ depending on the audio codec selected (specified in bits per second; 224,000 = 224 kbit/s).
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 RealMedia RealMedia is a video/audio format from RealNetworks that is widely used on the Internet, especially for streaming content. Avid Liquid generates files in the *.rm format. This codec is not included in Avid Liquid’s standard scope of supply. However, you can download it from the Internet and install it to make it available in Avid Liquid. For information on the latest codec versions, contact the manufacturer.
Chapter 17 Export Frame Aspect 4:3, 16:9 Frame Rate (fps) Specified in frames per second (fps). Average bitrate (bps) The average value around which the bit rate fluctuates. Audio Samplerate 8 or 16 kHz (better quality). Channels Mono or Stereo. Sample Size 8 or 16 bit (better quality). Encoding AMR (Adaptive Multirate Codec). Audio Bitrate Higher values mean higher quality, but they also mean larger files. These codecs are not produced by Avid Technology, Inc.
Export to File Export Flash Video Avid Liquid can convert clips and Sequences to Macromedia Flash Video. A *.flv file is created. You need to have Macromedia Flash Player on your system. Video Frames per second 12/24/25 (PAL), 15/24/30 (NTSC) Bitrate between 200 and 2400 kbit/sec. Audio 44.1 kHz Mono @ 16 bit (not changeable). This codec is not produced by Avid Technology, Inc. For information on the latest codec versions, contact the manufacturers.
Chapter 17 Export Audio Samplerate 32 kHz, 44.1 kHz or 48 kHz. Avid Liquid operates internally at 48 kHz. Channels Stereo, Mono and Matrix. For information on Matrix, see page 973. Encoding PCM (Pulse Code Modulation; uncompressed audio). File This area determines the composition of the export files. Video and Audio Default setting normally used. Video Only Ignores any audio data. Audio Only Ignores any video data.
Export to File Export PSP and iPod These export formats create MPEG-4 files (*. mp4 extension) that can be played on the popular Apple iPod and Sony PSP audio/video devices. Basic codecs are part of your Avid Liquid installation. To stay up to date with codecs, visit the Manufacturers’ websites. Video Width by Height (iPod only) Pixels; to create custom formats. Interlacing (iPod only) Progressive, or interlaced field order (top/bottom field first). FPS (iPod only) Frames per second.
Chapter 17 Export 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.
Burn to Disc (VCD, SVCD, DVD) 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 952. List of formats List of presets CD/DVD burner settings and capacity information Burn to Disc Burner The DVD or CD burner appears here.
Chapter 17 Export 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.
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 page 970 Audio parameters page 971 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 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 972. Bit Rate Discrete values available from 64 to 448 kbit/second; in the case of PCM-WAV, permanently set to 1536 kbit/second. Channels Stereo Default option for PCM and MP2 Encoding.
Burn to Disc (VCD, SVCD, DVD) Matrix Surround This option generates audio files that encode the five surround channels in one stereo signal. Through all kinds of technical maneuvers, this method simulates the presence of five separate channels downmixed to two stereo channels. It also allows you to burn surround sound mixes to DVD and to enjoy full surround sound playback.
Chapter 17 Export Single Stream „Single Stream“ means a DVD without any DVD authoring structure (no menus). It consists of one continuuous MPEG stream. Loop playback The DVD created is played back in a continuous loop (at end of stream, automatically returns to the beginning). Clean-up Delete temporary files The temporary files created for some export formats can be automatically deleted after the export process is completed.
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 Bit rate page 976 GOP page 977 Minimum Base Quantization page 980 Additional options page 980 Quality and speed page 981 Tips on setting it right page 982 Bit Rate According to specifications, a DVD or rather a DVD player can handle a data stream of maximum 10.08 megabits per second (Mbps) all inclusive, i.e. video plus audio plus subtitles plus reserve. You must raise or lower the maximum video bit rate depending on what you intend to do with the files generated.
Burn to Disc (VCD, SVCD, DVD) Variable Modes (VBR) A 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 particularly fast (high motion) or complex (high detail) scenes at a higher bit rate and thereby increase the quality of the visual impression. The Average can be no higher than the maximum value currently set.
Chapter 17 Export GOP sizes: Software Encoding (export): - NTSC 16 (4..16); closed GOP - PAL 13 (4..13); closed GOP (A closed GOP ends on a P frame; an open on a B frame.) - NTSC 18 (4..18); open GOP - PAL 15 (3..15) open GOP Recommended for DVD: open GOP (standard), PAL 12, NTSC 15. IPB-Capture (Logging Tool): NTSC 15 (4..16); closed GOP; recommended for DVD: 15 PAL 12 (3..15); closed GOP; recommended for DVD: 12 Closed GOP Frequency A closed GOP ends on a P frame, an open GOP on a B frame.
Burn to Disc (VCD, SVCD, DVD) Valid M values: Chroma 4:2:0 1, 2, 3 Chroma 4:2:2 1, 2 (4:2:2 only on ES/PS export) 2 and 3 only with open GOP. More info on Chroma format on page 980. The values deviate for IPB capture (Logging Tool): 1 or 3 (CBR and StorVBR); 3 (StatVBR). 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 Chrome 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 209.
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. Customizing toolbars You can define which functions will be included in the toolbars and the order in which they will appear on an individual basis (page 990). Calling tools once You can call functions that are not often used from the Customize menu to execute them once (page 992).
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 993.
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 998 Action Key or Key Combination Drag clip from Source Viewer CTRL Scrub audio (toggle
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 996) to obtain an overview of current key assignments. 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.
User Settings 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”. 4 The two lowest keys function as SHIFT (right) or CTRL key (left).
Chapter 18 Customize Avid Liquid 1002
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 Sony aims at applications in the 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 Blackburst Broadcast Quality Black signal, burst blanking. Although the expression broadcast quality is frequently used, a fixed definition does not exist. Generally accepted measurable variables do not exist.
Glossary bus is usually microprocessor-controlled. The individual components of a computer communicate via a bus system. Common bus systems in the PC field are: ISA, EISA and PCI. B-Y 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.
Glossary to be used in the case of original recordings. Disciplined and careful recording is a prerequisite for efficient use. Clipping Amplitude limiting. 1) Digital audio distortion. Digital audio systems exhibit less tolerance to overloading than analog audio systems. If you exceed a certain level, 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).
Glossary In analog video technology, the analog component signals ÆYUV produce the best signal quality. The term YUV is commonly known and used although the correct term for analog component signals is: Y, R-Y, B-Y. Video formats working with component signals are: ÆBETACAM and MII. Digital component signals are defined by ÆITU-R 601 standard. They are created from the analog component signals Y,R-Y and BY at a sampling ratio of Æ4:2:2 and are called Y, Cr, Cb. Compare: ÆCOMPOSITE.
Glossary In the case of ÆMPEG, one no longer talks of compression rates (e.g. 5:1) based on a different way of data reduction, but of ÆDATA RATES (such as 25Mbits/s, for example). In general, the relation between image quality and storage capacity is more favorable in the case of ÆMPEG than in the case of ÆM-JPEG. Consolidate Consolidate is a function included in some editing systems to delete superfluous data that were not used in the current Project.
Glossary Cross color effects are particularly visible in ÆCOMPOSITE SYSTEMS and sometimes also linked to the signal mode (ÆCVBS) and the TV system (ÆPAL). 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. CSDI Cut D1 Transition from one scene to another. Linear editing by means of magnetic tape is subdivided into ÆASSEMBLE and ÆINSERT EDIT.
Glossary D3 D7 A format for digital tape recording in the case of which one digital ÆCOMPOSITE SIGNAL with four sound channels is recorded on a 1/2" (12.7 mm) wide technical pure iron tape. Quantization is at 8 bits, the maximum recording time of tapes is 245 minutes. D3 was developed by Panasonic and is the rival product of D2. Official name under which the ÆDVCPRO recording format developed by Panasonic is standardized.
Glossary Data compression DCT compression ÆCOMPRESSION, ÆDV, ÆMPEG, Discrete Cosine Transformation ÆM-JPEG. Data rate (data stream) Amount of data transmitted in a certain period of time, usually indicated in Mbits/s. In comparison with ÆM-JPEG which indicates the ÆCOMPRESSION RATE, ÆMPEG indicates the data rate value. This value determines the dimension of the applied data reduction. Data recorder Recorders that enable recording and playing of digital data by means of a magnetic tape.
Glossary Individual recorder models in the Digital Betacam format can also play SP. Digital Betacam was developed by Sony. Digital recorders Video recorders that record digital signals on magnetic tapes. Digital S ÆD9 Digitizer Video board that offers connections for analog video signals and converts them into a digital format for further processing by PC.
Glossary Drive DST General term for component groups or complete devices including movable elements. The part of a video recorder threading up the tape or playing it is for example referred to as tape drive. Also devices by means of which CDs, disks or other removable storage media are played as well as ÆHARD DISKS and ÆRAIDS are referred to as drives. Digital Storage Technology. Drop Frame Timecode A type of ÆSMPTE TIMECODE designed to mach clock time for NTSC exactly.
Glossary the bigger standard tapes (up to 270 minutes at max.). DV was originally intended for the consumer market, but proved to be absolutely suitable for DV professionals for acquisition purposes. D-VHS Digital tape format with which for example coded digital TV signals (ÆDVB, DTV) can be recorded directly. The idea of a D-VHS recorder can be summarized in simple terms: the recorder simply writes all incoming data to the tape. The respective decoder then decodes the data during playback.
Glossary Disc to emphasize the variety of possibilities of this disc. The outer dimensions of the DVD correspond to those of an audio CD: diameter: 12 cm; 1.2 millimeters thick. DVD is characterized by its high storage capacity. It can be manufactured in various ways. The maximum version includes two layers on each side on which the data is stored. In this version the DVD can store 25 times as much information as the corresponding audio CD.
Glossary DVD-RAM DVD-Random Access Memory. A DVD-RAM basically differs from a DVD-ROM in that both formats are not compatible with each other. This fact can be seen with the naked eye: the DVD-RAM is delivered in a housing referred to as "Caddy" and looks more like a large diskette. A DVD-RAM can be written and later deleted. It offers a maximum storage capacity of 2.6 GB on both sides. It can be read and played-back exclusively with DVD-RAM PC drives.
Glossary DVTR Digital Video Tape Recorder ÆDIGITAL RECORDER EBU European Broadcasting Union. Organization of European broadcasting stations located in Geneva. The EBU submits standardization proposals to the ÆITU-R. Edit Decision List (EDL) The EDL (Edit Decision List) is a list, in table format, of the cutting data of the film in the form of timecode values. The EDL is generated automatically during editing by many editing systems and can be saved to a disk.
Glossary Point-to-Point, Arbitrated Loop (AL) and Switched Fabric. Point-to-point is specifically suitable for direct high speed connections, for example between a workstation and a disk array. By means of Arbitrated Loop (AL), up to 126 devices can be loop-connected, thus enabling data rates up to 200 MB/s. The third possibility is a distributor known as Fabric by means of which large quantities of data can be transmitted in the GB area via Fiber Channel.
Glossary Frame Buffer Digital storage for individual video frames, generally offered as a component of ÆTBCS or ÆSTANDARD CONVERTERS only. Framestore such as wipes and keying effects, 3D image manipulation, color variations etc. GB ÆGIGABYTE ÆFRAME STORAGE Generation losses Freeze Generation losses are any kind of quality impairment caused by duplicating material. Every recording or re-recording causes a degradation in terms of signal quality.
Glossary Hard disk Magnetic storage medium for recording bigger quantities of digital data. The hard disk is subdivided into sectors in which data are stored. An address book makes sure that the stored data can be found later on. The magnetic disk rotates, and an axially movable write/read head is positioned in such a way that the individual sectors can be read or newly written. The most important factor apart from the storage capacity indicated in ÆGIGABYTE is the velocity of the disk.
Glossary Horizontal resolution Vertical resolution is determined in today's TV systems by the number of lines (PAL: 625, NTSC: 525). The horizontal resolution may vary between different devices and formats. Horizontal resolution is determined by means of test signals or test charts. They show vertically arranged, parallel ÆLINES. The number of lines (or the frequency corresponding to it) that the respective device can display as a pattern consisting of individual lines is used as a measure.
Glossary Inlay Window within a software interface in which a video signal is displayed. Insert Cut which is inserted into an existing video Sequence. In the case of magnetic tape recordings, insert editing exchanges image and/or sound signals without damaging the control Track. The other editing method used in video editing is ÆASSEMBLE EDITING. Interframe Compression ÆMPEG Interlace For interlaced scanning the video frame is divided into two fields. These are transmitted and built up in succession.
Glossary Jitter is caused by many factors, mainly during tape-recording, as a result of phase fluctuations. Jog/Shuttle Operating wheel for controlling video (tape) drives. The jog/shuttle wheel enables easy change between playing and winding as well as detailed cross connecting frame per frame. Jog/Shuttle wheels are very common in conventional technology, but are nowadays often available in many non-linear editing systems in the form of certain, separate operating consoles as an optional feature.
Glossary that can be graphically displayed to enable a better overview of the layering. Later changes of a layer are possible with non-linear systems without having to newly carry out all other work steps. recorded on the original tape in linear Sequences. Linear editing in the case of video tapes prolongs the effective editing time due to the required ÆPREROLL, cue review and winding times of the recorders. Level Lines This term was originally used to describe a value to be set, such as loudness.
Glossary using the following formula: Y=0.3R + 0.59G + 0.12 B. This evaluation was developed empirically and is based on the brightness perception of the eye and the characteristics of tube cameras and monitors. Luminance Key An effect making use of luminance information of an image to create a "keying template" (ÆALPHA CHANNEL).
Glossary ML ÆMPEG MO Disk Magneto-optical disk. MO disks combine the technical benefits of an optical medium (CD) with the advantages of magnetic recording. The ÆSTORAGE CAPACITIES per disk are in the ÆGIGABYTE range. Because they are secure and robust, MO disks are particularly well suited to archiving. Motion vectors Direction and distance information used in ÆMPEG encoding. This defines the movement of an image portion from one ÆFRAME to the next.
Glossary used for audio compression (MP3), whereas video compression was later integrated into the MPEG-2 standard. In professional video systems, the MPEG-2 standard plays the most important role. MPEG-2 is divided into various profiles and levels for which different parameters were stipulated: data rates, GOP structures, resolution, i.e. the number of of lines and pixels as well as the ÆSAMPLING and ÆFRAME frequency.
Glossary Hence, no unnecessary, avoidable conversions or decompression and recompression steps are implemented with the material played in. Therefore, the best possible picture quality is maintained. Conversions are only implemented when absolutely unavoidable, e.g. in the event that analog material is played in or if dissolves or effects are supposed to be performed with the picture material. Noise Irregular level variations of a low order of magnitude. All analog video signals contain noise contents.
Glossary disk of transparent polycarbonate is vaporized on one side with reflective coating and coated with wafer-thin varnish. In the polycarbonate disk a helical, narrow-wound Track extends from the inside to the outside through the plastic. On this Track, digital information in the form of lands and pits are lined up one behind the other. Each transition, irrespective of its direction, stands for a digital 1; the absence of a transition represents a digital 0. The windings of the data spiral are 1.
Glossary The reasons for this are as follows: In contrast to computer monitors, video monitors operate with rectangular instead of square pixels, as they are also defined in ÆITU-R 601 (non square pixel). A PAL picture on a video monitor has 720 x 576 pixels. In the computer field, however, square pixels are the norm. A 4:3 PAL picture must be represented on a computer monitor with 768 x 576 pixels, due to the square pixel form, in order to maintain the same aspect ratios.
Glossary Preroll 1) The period required by a video recorder for the run-up from the pause function and switching into the play or recording mode is referred to as preroll. 2) For linear cuts with video recorders, preroll is also understood to mean the rewinding of the tape to a defined point before the actual cutting point. The tape is parked at that point and also runs up from there during editing, such that playback is allowed to stabilize until the cutting point.
Glossary RAID 0: Several hard disks are operated in striping mode. During this process the data is distributed to the various disks. While this process does not offer an increased level of data security, the write/read rate is very high. RAID 1: The data is mirrored, i.e. written to two disks. While this process requires double storage space, it offers a high level of data security.
Glossary are not generally transmitted between the different devices; instead, other signals which are derived from RGB (ÆLUMINANCE SIGNAL, ÆCOLOR DIFFERENCE SIGNALS) are used. ROM Read Only Memory Non-writable memory with permanently stored data. (ÆRAM). Rotoscoping Animation technology for which live footage is used as a reference for animated cartoon Sequences which were drawn in individual frames. Rotoscoping was already in use back when animated films were still drawn manually.
Glossary SHUTTLe. This permits the exact localization of cutting points in the audio range. SCSI Small Computer Systems Interface. Widely used parallel computer interface for the transmission of high data rates. The SCSI interface has also been established in non-linear editing systems in terms of hard disk connection. With SCSI, up to 8 devices can be connected to one another. The standard SCSI achieves a data transfer rate of close to 5 MB/ s.
Glossary operations may lead to rounding errors which manifest themselves as image distortions (ÆGENERATION LOSSES). Shuttle SMPTE/EBU Timecode ÆJOG/SHUTTLE Server Used as a parameter for the quality of a signal or even of a recording system: it specifies in decibels the ratio between the actual useful signal and the junk content superimposed on it. The useful signal is the actual signal content which is to be recorded or transmitted. Junk signals are almost unavoidable.
Glossary Square Pixel ÆPIXEL SSA SSA stands for Serial Storage Architecture, authoritative network architecture forged by Siemens and IBM. SSA makes it possible to network printers, scanners and magnetic storage media or even workstations, servers and PCs with a high-speed and efficient connection. SSA is based on loop architecture (circular networking) and can work with up to eight controllers (e.g. workstations) per loop.
Glossary Symmetrical TCP/IP Symmetrical cables are twin-core shielded leads in which noise fields are mutually eliminated. Symmetrical audio connections are customary on the professional market; ÆXLR sockets and plug connectors are used as connections. Transfer Control Protocol/Internet Protocol 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.
Glossary U-matic Ventriculation Video Server Old-fashioned videotape format which records video signals and two sound Tracks to a 3/4" tape (19 mm) in the color-under procedure. In Europe, the procedures used included related formats U-matic High Band, U-matic Low Band and U-matic SP. U-matic devices are no longer produced. Actually the generation of ventricles, i.e. hollows or chambers.
Glossary to use other storage media than the DVD and to use them similar to a DVD in a computer. WAV Designation used for the waveform (.wav) audio file format, the standard file format for audio files on the Windows operating system. 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.
I Numerics 0 dB (Audio Editor) 816 1080/24p Glossary 1004 16:9 Glossary 1004 16:9 Aspect Ratio Import Images 154 1-Click Fade In/Out 854 2D Editor Clips 560 Realtime FX 630 Transitions 544 2D-Editor Realtime FX 630 3:2 Pull-Down Glossary 1004 32-bit Floating Point (Fuse/Render files) 830 32-bit Floating Point Audio 797 32-bit Floating Point Audio and Clipping 808 3D Editor Clip FX 561 Realtime FX 630 Transitions 561 3D Transition Effects 573 3D-Editor Realtime FX 630 3GPP (Export to File) 961 4:1:1 Glossar
Index Apply & Close (Dialog Boxes) 40 Arrow symbol on clip (=timewarp) 246 Artefact Glossary 1006 ASCII Glossary 1007 ASIO deactivated in the Logging Tool 131 Drivers for audio 796 Multiple drivers 796 Multiple sound cards 796 Aspect Ratio Glossary 1007 Lock Width/Height (Effect Editors) 546 Monitor and Classic Routing 271 Mute Tracks 804 Pan/Balance Lines (Show) 798 Panorama 803 Playback Level 132 Playback On/Off 804 problems 808 Rubberbanding 820 Scrubbing (Clip Viewer) 270 Scrubbing (Timeline) 804 Sele
Index Output Volume (Track) 817 Pan, Balance, Surround Panner 818 Send Bus fader 819 Solo 818 Track Type 815 Output Levels 807 Overload Thresholds 807 Response Time 809 Signal Peaks 807 Authoring Audio Mode 856 see DVD authoring 886 Audio Peak Meter (Audio Tool) 807 Auto 3pt (Logging Tool, options) 136 Audio problems 808 Auto ColorCorrect CPU 633 Audio Routing Auto increment reel numbers 120 Custom Sets 836 Interpreting 834 Auto update project Picons 222 Multi Channel Set (blue) 836 AutoLink (DVD) 911 Ou
Index Batchlist 172 Bell Equalizer 872 Betacam Glossary 1008 Betacam SX Glossary 1008 Bevel Crystal (realtime effect) 632 B-frame Glossary 1009 Bin = Rack 212 BIOS Glossary 1009 Bit Glossary 1009 Bit rate Glossary 1009 Bit rate (DVD, IPB Settings) 970 Bit stream Glossary 1009 Bitmap Export 964 Black (Insert on Timeline) 375 Black (Primary Color Correction) 755 Black Stretch (Gamma, Color Editor) 580 Black, Gamma, Gain Color Correction Clip Viewer 278 Contrast 756 Black-and-White (realtime FX) 635 Blackburs
Index Chroma Keying Glossary 1010 ChromaKeyer YUV (realtime FX) 633 Chrominance Glossary 1010 Cinch Glossary 1010 Circle (Shape, Wipe Editor) 556 Classic bus (Output Mapping) 828 Classic interface (start option) 35 Classic Routing for audio monitoring 271 Clear Mark-In/out on Timeline after insert 357 Clear TC fields 116, 144 Clip 420, Glossary 1010 see also Object Cut/Copy/Paste 235 Digitize/Re-Digitize 144 Disband 424 Disband (Audio) 800 Disband (Several) 424 Display Speed 366 Edit properties (multiple)
Index Color Correction also see Color Correction Editor 725 Color Editor 578 Tips 734 Color Correction (Clip Viewer) 75% Color 279 Black, gamma, gain 278 Save Settings 279 Work only in CCIR-601 279 Color Correction Editor 725 75% Color 751 Channel Display 751 Colors (Theory) 731 Compact Display and Magnifying Glass 728 Correction Area 729 Cube Display 746 Diagnostic Area 727 Diagnostic Displays 744 Histo Match 762 Histogram 749 Hue Match 763 Introduction 737 Legalizer 751 Lightning Display 747 Models 731
Index Shift Channels 656 Smooth Screen 682 Spill Killer 684 Spill Killer EZ 686 Super Blur 654 Threshold 676 Tint 660 Turbulence 668 Turbulence EZ 671 Turbulent Edges 672 Unsharpen Mask 655 Video Feedback 719 YIQ 648 Complete systems Glossary 1011 Component signals Glossary 1011 Composite Glossary 1012 Compositing Glossary 1012 Composition OMFI 202 XSend to...
Index Data rate (data stream) Glossary 1016 Data recorder Glossary 1016 dB Glossary 1016 dB Display Audio Tool 807 DCT compression Glossary 1016 DCT format Glossary 1016 DDR Glossary 1016 Default magnet for scrubbing and editing 358 Delay, Echo Audio Effect 874 Delete Audio Key Frames 823 Delete clips before/after playline position 419 Folder/Racks 217 Media files and Project data 210 Media Files, Render Files, Clips, etc.
Index DV Glossary 1018 DV Tools (AVI-Import) 153 DVB Glossary 1019 DVCAM Glossary 1019 DVCPRO Glossary 1019 DVCPro 25 Record to Tape 944 DVCPRO50 Glossary 1019 DVD Glossary 1019 Closed GOP Frequency 971 creating (authoring) see DVD authoring 886 Export 966 GOP (Group of Pictures) 971 GOP size (N value) 971 I-,P-,B-Frames 971 Surround 973 DVD authoring absolute targets 899 Activated (button highlights) 915 adding/deleting menu pages 906 anchored targets 900 animated picons 903 arrow button navigation 924 A
Index DVD Editor also see DVD authoring 897 Autoplay 909 DVD Menu Editor 930 backgrounds 933 button highlights 935 button navigation 935 character and text tools 931 character properties 932 highlight styles 935 inserting images 933 looks 933 menu buttons 934 opening 931 Photoshop menus 937 thumbnail buttons 934 DVD menus blank templates 927 creating 926 creating templates 928 designing using Photoshop 937 importing templates 928 DVD preview 923 DVD transition menu 909 DVD-10 Glossary 1020 DVD-18 Glossa
Index 3D Transition 561 see also Effect Parameters Acceleration Curve 522 Clip Effect Editors 510 Close 535 Color Editor (Clips) 578 Deactivate Modified Settings 535 Effect Viewer 516 Filter Editor (Clips) 593 Full Screen Mode 514 Functions and Elements 515 Key Frames 518 Keying Editor (Clips) 581 Open 512 Parameters and Options 529 Position Bar 517 Preview Image 514 Safe Action Area/Title Marks 521 Shortcut Menu 532 Toolbar 531 Transition Effect Editors 512 Wipe Editor (Clips) 577 Wipe Editor (Transitions
Index Export TIFF 964 Export to DVD 966 IPB Settings 975 Video bit rate 976 Export to File (AVI, WAV, BMP ...) 951 Export.
Index FX 505, Glossary 1024 Gradient Color Blend/Border Tool 547 Color Clip 162 see Effect and Effect Editors FX Properties (Object Shortcut Menu) 286 G Gain Color Correction 755 Color Editor 579 Headroom (Maximizer) 873 Gamma Color Correction 755 Color Editor 580 Gap Delete on Timeline 447 Insert on Timeline 375 On Toolbar 991 Garbage (Selective Color Correction) 769 Gaussian Blur (Filter Editor) 597 GB Glossary 1024 Generation losses Glossary 1024 Gigabit Ethernet Glossary 1024 Gigabyte Glossary
Index High quality (inlay) 479 Highlight Backside image 576 Direction 576 Falloff 576 Highlight buttons (DVD) 915 Highlight collision (DVD) 920 Highlights (Primary Color Correction) 755 Histo Match (Primary Color Correction) 762 Histogram (Color Correction Editor) 749 History of Undos 387 HLS Color Model Color Picker 162 Horizontal resolution Glossary 1026 Host Glossary 1026 HSB Color Code Color Editor 579 Hue Color Correction 755 Color Editor 579 Color Picker 162 Primary Color Correction 755 Hue Match (Pr
Index Item Link 439 Add Item 440 Autoselect (Activate/Deactivate) 439 Edit of Linked Items 440 Link Item 439 Link Vertically 439 Unlink Item 439 Key Transparency (Luminance Key) 585 Keyboard Assignment Layers 993 Customize 993 Global Layer 995 Key Caps 996 Jack connectors Glossary 1027 Jam-Sync Glossary 1027 Java Glossary 1027 Jitter Glossary 1027 JKL shuttle playback 382 Jog/Shuttle Glossary 1028 JPEG Glossary 1028 Export 964 Shortcuts and Modifiers 997 Keycode Glossary 1028 Keying Glossary 1028 Keying
Index Logging 140, Glossary 1029 Definition 111 Offline 141 With Log Button 141 With Mark-In/Out 140 Logging and Digitizing 110 Basics 111 Checklist 139 Digitizing Methods 142 Logging Methods 140 Logging list 172 Logging Tool 114 (Re-)Digitize Individual Clip 144 Aspect ratio Analog In 125 Cancel Button 144 Clear TC fields 144 ClipLink 141 Create Subclips 143 Define Stereo/Mono 125 Disc Full 137 Edit Buttons (Mark-In/Out, etc.
Index Master Timecode 406 Master timecode 943 Master View (DVD) 923 Master Viewer 398 Fullscreen 401, 476 Load Sequences 399 New Sequence 403 Save a Copy of Sequence 406 Save Timeline as Template 406 Sequence 402 Sequence List 399 Sequence Menu 406 Mastering (Record to Tape) 943 Match Frame to clip 422 to Project 423 to tape 422 Matchback 315 Material Exchange Format (MXF) 182 Matrix (Audio Routing) 836 Matrix Surround 973 Audio Editor 851 Matte Feather (Commotion Clip FX) 691 Matte Feather Sharp (Commoti
Index Metadata 155, 314, Glossary 1030 Metadata-based Scene Detection (Clip Viewer) 312 MHz Glossary 1030 MicroMV Record to Tape 944 MIDI Glossary 1030 MIDI (External Audio Fader) 860 Min/Max (Commotion Clip FX) 700 Miracle Alpha Cleaner (Commotion Clip FX) 696 Mirage (Commotion Clip FX) 664 Mirror Tool (Effect Editor) 548 Mix Down Container 471 OMFI Export 202 Mixed Resolution Editing Glossary 1030 Mixup (Echo) 874 M-JPEG Glossary 1030 MJPEG (EZ Capture Format) 109 ML Glossary 1031 MO Disk Glossary 1031 M
Index Nesting Sequences 471 Network 192 and Pinnacle Liquid 192 assign drive or directory 192 AVI index files 194 Block size 194 Peak files 194 save network data locally 193 settings 194 share Projects 196 Network Settings Windows XP settings 195 New functions in Liquid (overview) 20 Noise Glossary 1033 Noise (Commotion Clip FX) 701 Non-drop frame Glossary 1033 Non-linear Editing Glossary 1033 Non-Square-Pixel Glossary 1033 Normal (button highlights DVD) 915 Normalized Audio (Maximizer) 873 Notch Filter (E
Index Output Volume (Audio Mixer) 817 Overlap (see also leeway) 389 Overlapping (Objects on Desktop) 290 Overload Thresholds (Audio Tool) 807 Overscan Clip Viewer (Source Viewer) 270 Overwrite (Edit Style) 379 P P Frame Glossary 1034 Page Curl (realtime effect) 631 Page Peel (realtime effect) 632 Pages adding/deleting (DVD) 906 Pageturn Effect 574 PAL Glossary 1034 Pixel Format 341 PALplus Glossary 1034 Pan/Balance Lines Edit (Rubberbanding) 820 Show 798 Panasonic Edit Glossary 1034 Panorama and Balance S
Index Preview Clips in Rack 237 DVD 923 Effect 516 Preview Image (Effect Editors) 514 Quality (Rendering) 539 Realtime effects 603 Realtime effects (optimization) 606 Trim Editor 429, 436 Editing) 408 Multilayering 503 of Timeline Tracks 374 Order of Effects (FX Properties) 507 Render Effects 286 Profile Glossary 1036 Program Stream Glossary 1036 Progressive Scanning Glossary 1036 Project 208 Preview of Effects 604 Clean Up 52, 210, 349 Primary Color Correction 752, Create Rack 213 755 Create Rack Folder
Index Quality Ranks 90 Quality Specifications Glossary 1036 Quantisation Glossary 1036 Quick Finder (Project) 250 Quicktime Glossary 1036 QuickTime (Export) 958 R Rack Realtime Effects Audio 869 Realtime effects all editors 625 background info 602 optimize preview 606 Preview 603 Render management 605 Render Viewer 607 when to render 602 Record tape (EZ Capture) 105 Record to Tape 943 Assemble Edit 946 Dump To Tape 946 DVCPro 25 944 Encode tape 948 HDV/MicroMV/DVHS 944 Insert Edit 946 Recorder controls
Index Response Time (Peak Level Audio Tool) 809 Restore Default State (Function) 40 Initial State (Function) 40 Restrict dragged Transitions to available handles 357 Return Marker (DVD) 901 Reverb (VST PlugIn) 878 Reverberation (Echo Audio Effect) 874 Reverse Playback Timeline (Shuttle Playback) 275 Timewarp Editor 789 RGB Glossary 1037 RGB (Gamma, Color Editor) 580 RGB channels 518 RGB Color Model Color Correction (basics) 281 Color Correction Editor 733 Color Picker 162 RGB Difference Key 592 Pick Color
Index Sequence events (DVD) 912 Sequencing Glossary 1039 Server Glossary 1040 Set Audio Mode (Stereo/Mono) 856 Set Start Timecode 406 Shadow (Real Shadow Commotion how to use them in Audio Mixer 840 Clip FX) 718 Send FX (Audio Mixer) 817 Shadow Tool (Effect Editor) 548 Send To Shapes of Mouse Pointer 361 Timeline 291 Shared projects 196 see also XSend to...
Index SoftClipping (Color Correction Editor) 751 Softness Chroma, RGB Difference Key 588 Effect Editor, Border Tool 547 Effect Editor, Shadow Tool 548 Effect Editors (General) 549 RGB Difference Key 592 Solarize (Filter Editor) 596 Solo (Audio Editor) 818 Sony BVE 9100 (EDL Format) 185 Sony ClipLink 141 Sort Objects (Project) 247 Source (Player) Select 117 Source Timecode 366 Source Track Mapping 375 Individual Tracks 377 Insert Black 375 Insert Clips Grouped/ Ungrouped 375 Mapping Enabled/disabled 375 Me
Index Subpixel Glossary 1041 Super Blur (Commotion Clip FX) 654 Surround Glossary 1041 Surround (Matrix Surround) 851 Surround (Option DVD Export) 973 Surround 5.1 bus (Output Mapping) 827 Surround 5.1 Sound 842 configuring the Mixer 846 output 851 Requirements 842 Surround lines on Timeline 848 the concept 843 Timeline preparation 845 tips for surround mixing 849 Surround 5.
Index Layout (Basics) 354 Markers 385 Master Viewer 398 Match Frame to tape and clip 422 Move/Copy Range 416 Moving Objects with Keyboard 415 Multicam 492 Navigating the Timeline 381 Objects (Overview) 420 Playline 355 Positioning Objects 414 Properties 357 Protected Tracks 368 Recurrent Use (of Clips) 365 Replace Object 413 Save a Copy of Sequence 406 Save Timeline as Default Template 406 Save Timeline as Template 406 Scroll Bars 355 Select Objects 413 Set Start Timecode 406 Slice Numbers 359 Source Track
Index Source Track Mapping 375 Track Priority 374 Video / Audio Playback 363 Trailing Linear Timewarp 774 Timewarp Editor 791 Transfer Mode Background/Foreground (FX Editors) 544 Transition Glossary 1042 Preview 604 Transition Effects 503, 542 2D Editor 544 3D Editor 561 Background / Foreground 543 Creating a Transition Motion FX 550 Creating a Transition Wipe FX 557 Editors 512 Leeway 389 Outgoing/Incoming Clip 542 Pattern (Wipe Editor) 556 Swap Sources 531 Trailing 548 Wipe Editor 555 Transition Menu
Index Ventriculation Glossary 1043 Verify Imported Media (Project) 249 Verify Media (imported) 249 VHS Glossary 1043 Video bit rate IPB Settings 976 Video Content (Scene Detection) 310 Video Effects 502 Video Feedback (Commotion Clip FX) 719 Video Mix Down (OMFI) 202 Video Server Glossary 1043 Video Tool 128 Video-8 Glossary 1043 View Detail View 238 Picon View 242 View alpha channel 518 View Switcher (Taskbar) 45 Viewing see Logging 111 Virtual outputs (Output Mapping) 829 VITC Glossary 1043 VOB Glossary
Index 1074
