7.1
Table Of Contents
- Avid Liquid Installation
- Avid Liquid Reference Manual
- Contents
- Introduction
- Documentation
- Basics
- Signup
- High Definition
- Input
- EZ Capture
- Logging and Digitizing (Capture)
- Basics
- The Logging Tool and Its Functions
- Video Inlay, Timecode Fields and Status Field
- Player Source (D)
- Reels and Racks (E, F)
- Controls (Player and Edit Buttons, G)
- A/V Inputs (Selecting Source Tracks, H)
- Stereo or Mono (I)
- 4:3 or 16:9 (I)
- Selecting a Media Format/Codec Preset (J)
- Destination Volumes for Digitizing / Capture Volumes (K)
- Select Audio Monitor /Mute
- Video Tool / Calibration Control /IPB Settings
- Clip Tab: Naming and Numbering Clips
- Audio Tab
- Master Tab
- Media Tab
- Send Clips To Timeline (Direct Insert)
- Properties
- Methods
- File Ingest
- Importing Objects
- Copying/Pasting Objects from Other Projects
- Media Management and Object Import
- Creating Objects
- Voice-Over
- Importing EDL/AVID MediaLog Files
- Exchange
- Administration
- The Project
- The Object
- Media Management
- Edit
- Video Editing
- Audio in the Timeline
- Special Functions
- Finish
- Effects in Avid Liquid: The Basics
- Detailed Description of Classic Effect Editors
- Realtime FX
- Commotion Clip FX
- Special FX
- Timewarps and Color Correction
- Color Correction Editor
- Linear Timewarp
- Timewarp Editor
- Audio
- Titler
- DVD Authoring
- Export
- Record to Tape
- Export to File
- Burn to Disc (VCD, SVCD, DVD)
- Customize Avid Liquid
- Glossary
- Index
718
Chapter 12 Commotion Clip FX
Real Shadows
Real Shadows adds realistic perspective shadows to any layer with an alpha channel. Real Shadows is spe-
cifically 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. Notice that the apple on the left seems to
be floating, whereas the apple on the right appears to be on the lunar surface:
Apple On The Moon
Color -
specifies the color of the shadow. You can use the eyedropper or the color picker to select a color.
Opacity -
controls the transparency of the shadow. Lower numbers provide more transparency.
Softness -
determines the blurriness of the shadow as it falls away from the shadow-casting object. Note the
wraparound effect of the softness, which makes the shadows look more organic. Higher numbers
create more blur.
Fadeout -
specifies how the shadow fades away as it recedes from the shadow-casting object. Higher num-
bers create a faster fadeout.
Avoid Clipping: Clipping Avoided -
allows the shadow to extend past the boundaries of the target layer.