Avid® Media Composer® and Film Composer® Effects Guide
Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software.
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Contents Chapter 1 Preparing to Work with Effects Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Overview of Horizontal, Vertical, and Nested Effects . . . . . . . . . . . . . 45 Effects Creation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Real-Time and Downstream Key Effects . . . . . . . . . . . . . . . . . . . . . . . . 47 Downstream Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . .
Installing Photoshop-Compatible Plug-in Effects (Macintosh Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Installing AVX Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Locating the AVX_Plug-Ins Folder (Windows Only). . . . . . . . . . 65 Upgrading AVX Plug-ins and Effects. . . . . . . . . . . . . . . . . . . . . . . 67 Assigning Multiple Tracks in Plug-in Effects . . . . . . . . . . . . . . . . 68 Using AVX Plug-in Controls . . . . .
Using the Effect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Using the Transition Parameters. . . . . . . . . . . . . . . . . . . . . . . . 88 Using the Quick Transition Button . . . . . . . . . . . . . . . . . . . . . . 89 Using the Quick Transition Button to Apply Effects to Multiple Transitions. . . . . . . . . . . . . . . . . . . . . . . . 93 Understanding the Graphical Display in the Quick Transition Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Moving an Enlarged Image in Effect Mode . . . . . . . . . . . . . . . . . 125 Selecting a Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Changing a Parameter with a Slider . . . . . . . . . . . . . . . . . . . . . . . 127 Accessing an Effect’s Additional Parameters . . .
Parameter Changes at Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . 158 Options for Controlling Parameter Changes at Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Adjusting a Parameter Value with the Bézier Interpolation Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Changing the Adjustment Method for the Bézier Interpolation Option . . . . . . . . . . . . . . . . . . . . . . . . . 164 Align Keyframes and Slip Keyframes . .
Rendering a Single Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Rendering Effects at Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Rendering Effects Between IN and OUT Points . . . . . . . . . . . . . 197 Saving a Partially Completed Render . . . . . . . . . . . . . . . . . . . . . . . . . 198 Partially Completed Render Example . . . . . . . . . . . . . . . . . . . . . 198 Interrupting a Render . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Traditional Variable Speed Effect . . . . . . . . . . . . . . . . 238 Using the Fit to Fill Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Creating a Traditional Strobe Motion Effect. . . . . . . . . . . . . . . . . 242 Working with the Timewarp Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Speed and Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Interpolation Options. . . . . . . . . . . . . . . . . . . .
Chapter 6 Creating Layered and Nested Effects Creating Key Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Using the Chroma Key Effect and the RGB Keyer . . . . . . . . . . . 290 Creating a Chroma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . 292 Using Post-Key Color Correction. . . . . . . . . . . . . . . . . . . . . . 294 Creating a Luma Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Creating a Matte Key Effect . . .
Creating a Simple Nested Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Changing the Order of Nested Effects. . . . . . . . . . . . . . . . . . . . . . 328 Nesting a Matte Key Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Submaster Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Applying the Submaster Effect to a Multilayered Sequence . . . 332 Using the Submaster Effect with a Series of Short Clips . . . . . .
Creating a Page Curl Transition . . . . . . . . . . . . . . . . . . . . . . . . . . 357 A Simple Variation on the Page Turn Transition . . . . . . . . 359 Creating a Splash Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Turning a Splash into a Flat Image . . . . . . . . . . . . . . . . . . . . . . . . 362 Creating a Cropped Foreground Effect . . . . . . . . . . . . . . . . . . . . 365 Using the Spline Parameters with 3D Effects . . . . . . . . . . . . . . .
Working with Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Creating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Copying and Pasting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 Resizing Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Repositioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Pages to a Rolling or Crawling Title. . . . . . . . . . . . . . . . 416 Copying or Moving Objects to Pages in a Rolling or Crawling Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Inserting Blank Pages in a Rolling or Crawling Title . . . . . . . . . 417 Deleting Pages in a Rolling or Crawling Title . . . . . . . . . . . . . . . 417 Formatting Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . 418 Selecting Colors and Setting Transparency. . . . . . . . . . .
Viewing Fast-Saved Titles in a Bin . . . . . . . . . . . . . . . . . . . . . 440 Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Creating and Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Creating Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dragging an Unmarked Title into a Sequence . . . . . . . . . . . . . . 467 Trimming the Duration of Rolling and Crawling Titles . . . . . . 468 Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Replacing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Adjusting Title Effect Parameters. . .
Using the Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Choosing a Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 Shortcut for Selecting a Color with the Brush Tool . . . . . . . 496 Painting with the Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 Creating a Custom Brush Head from a Template . . . . . . . . 497 Saving a Brush Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Manipulating Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Moving Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530 Reshaping Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530 Reshaping Objects Created with the Curve Tool. . . . . . . . . 531 Rotating Intraframe Objects Along the Z Axis . . . . . . . . . . . . . . 532 Scaling Intraframe Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Scratch Removal Using IN and OUT Points. . . . . . . . . . . . . . . . . 556 Using the Scratch Removal Positioning Parameters . . . . . . . . . . 558 Examples of Scratch Removal Parameter Settings . . . . . . . . . . . 559 Example 1: Replacement Material in the Same Frame. . . . . 560 Example 2: Replacement Material from a Two-Frame Relative Offset. . . . . . . . . . . . . . . . . . . . . . . . . . 560 Example 3: Replacement Material from a Single Clean Frame . . . . . . . . . . . . . . . . . . . . . .
Luma Range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608 Luma Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610 Chroma Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611 Color Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 Color Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614 Crop . . . . . . . . . . . . .
Progressive Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641 Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642 Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643 Transition Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646 Transition Effect Alignment . . . . . . . . . . . . . . . . . . . . . . . . . .
Edge Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674 Edge Wipe: Horizontal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675 Edge Wipe: Horizontal Open . . . . . . . . . . . . . . . . . . . . . . . . . 676 Edge Wipe: Lower Left Diagonal . . . . . . . . . . . . . . . . . . . . . . 677 Edge Wipe: Lower Right Diagonal . . . . . . . . . . . . . . . . . . . . 678 Edge Wipe: Upper Left Diagonal . . . . . . . . . . . . . . . . . . . . . .
Key: Matte Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704 Key: RGB Keyer (AVX Plug-in Effect) . . . . . . . . . . . . . . . . . . 705 L-Conceal Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706 L-Conceal: Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707 L-Conceal: Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708 L-Conceal: Top Left. . . . . . . . . . . . . . . . . . . . . . .
Push Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736 Push: Bottom Left to Top Right . . . . . . . . . . . . . . . . . . . . . . . 737 Push: Bottom Right to Top Left . . . . . . . . . . . . . . . . . . . . . . . 738 Push: Bottom to Top. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Push: Left to Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740 Push: Right to Left . . . . . . . . . . . . . . . . . . . . .
Squeeze Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 Squeeze: Bottom Centered . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768 Squeeze: Bottom Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769 Squeeze: Bottom Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770 Squeeze: Bottom to Top . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771 Squeeze: Centered Zoom . . . . . . . . . . . . . . . . .
Erode/Expand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803 Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804 Full Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805 Luma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806 Chroma Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 Ball Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 Limitations to Ball Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843 Offset Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844 Offset Shape Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844 Slats . . . . . . . . . . . .
Tables Table 3-1 Effect Preview Monitor Toolbar Buttons . . . . . . . . . . .106 Table 3-2 Grid Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Table 3-3 Effect Editor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . .123 Table 3-4 Promotion Paths for Advanced Keyframes . . . . . . . . .139 Table 3-5 Effect Editor Toolbar for Advanced Keyframes . . . . .142 Table 3-6 Advanced Keyframe Shortcut Menu Options . . . . . . .
Table 11-4 Paint Effect Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589 Table 11-5 Feathering Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 597 Table 11-6 Magic Mask Parameters . . . . . . . . . . . . . . . . . . . . . . . . 599 Table 11-7 Brush Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601 Table 11-8 Aspect Ratio Parameters . . . . . . . . . . . . . . . . . . . . . . . . 602 Table 11-9 Background Parameters. . . . . . . . . .
Table 11-30 Region of Interest Parameter Controls . . . . . . . . . . . . .640 Table 11-31 Scaling Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .642 Table 11-32 Scratch Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .643 Table 12-1 Axis Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .795 Table 12-2 Background Color Parameters. . . . . . . . . . . . . . . . . . . .796 Table 12-3 Border Parameters . . . . . . . . . . . . . . .
Table 12-24 Page Turn Shapes from the Shape Parameter Fast Menu . . . . . . . . . . . . . . . . . . . 833 Table 12-25 Page Turn Splitting Options . . . . . . . . . . . . . . . . . . . . . 835 Table 12-26 Page Turn Tuck and Flap Options . . . . . . . . . . . . . . . . 838 Table 12-27 Page Turn Highlight Options . . . . . . . . . . . . . . . . . . . . 839 Table 12-28 Splash Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . 840 Table 12-29 Ball Effect Parameters . . . . . . . . .
Using This Guide This guide is your introduction to the wealth of effects and design options available for use in your projects. Along with the standard editing features included with this latest release of Avid® Media Composer® and Film Composer®, you have at your fingertips all the sophisticated effects capabilities of a high-end postproduction suite, combined with the versatility of a digital nonlinear system.
About This Guide The information provided in this guide builds on editing procedures described in the Avid Media Composer and Film Composer Getting Started Guide and the Avid Media Composer and Film Composer Editing Guide, while adding a complete explanation of all the tools and techniques required to create, apply, and adjust various effects and graphics, including useful tips, shortcuts, and custom options. The Contents lists all topics included in the book.
Symbols and Conventions Unless noted otherwise, the material in this document applies to the Windows® 2000 and Macintosh® operating systems. When the text applies to a specific operating system, it is marked as follows: • (Windows) or (Windows only) means the information applies to the Windows 2000 operating system. • (Macintosh) or (Macintosh only) means the information applies to the Macintosh operating system.
Courier Bold font identifies text that you type. Look here in the margin for tips. In the margin, you will find tips that help you perform tasks more easily and efficiently. n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
If You Need Help If you are having trouble using your Avid editing system, you should: 1. Retry the action, carefully following the instructions given for that task in this guide. 2. Check the documentation that came with your hardware for maintenance or hardware-related issues. 3. Check the release notes supplied with your Avid application for information on accessing the Avid Web site and the Avid Knowledge Center. 4.
• Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System • Avid Composer Products Setup Guide for the Macintosh Operating System • Avid Media Composer and Film Composer Getting Started Guide for Video Editing • Avid Film Composer and Universal Offline Editing Getting Started Guide • Avid Media Composer and Film Composer Quick Reference for the Windows 2000 Operating System • Avid Media Composer and Film Composer Quick Reference for the Macintosh Ope
• Avid Media Composer and Film Composer Help The Help system provides all the information included in the Avid Media Composer and Film Composer Editing Guide, the Avid Media Composer and Film Composer Input and Output Guide, and the Avid Media Composer and Film Composer Effects Guide supplied with your system. The Help operates in a Web browser. To open the Help, choose Media Composer Help or Film Composer Help from the Help menu in the Media Composer or Film Composer application.
Using This Guide
CHAPTER 1 Preparing to Work with Effects Your Avid editing system offers many effects that you can apply to your sequences. This chapter describes some of the concepts with which you must become familiar before you begin creating and editing effects into sequences.
Types of Effects Much overlapping occurs between the various types of effects you can create, as well as the methods used to create them. Roughly speaking, there are four basic types of effects: • Transition effects (dissolves, wipes, and so forth) are applied at the cut point between two video clips that are on the same video track (that is, the same video layer). Chapter 2 and Chapter 3 describe techniques for creating transition effects.
A number of effects have both 2D (two-dimensional) and 3D (three-dimensional) versions on systems equipped with the 3D Effects option. Chapter 7 describes techniques for creating 3D effects. n For a complete list of effects, with information on the capabilities of each effect, see the Knowledge Center section of the Avid Web site at www.avid.com. Overview of Horizontal, Vertical, and Nested Effects You can break down effect designs into two different types: horizontal and vertical.
Effects Creation Tools The following chart presents the basic tools used to create effects. Sources of effects: Motion Effect dialog box Title tool Effect Palette Apply transition and segment effects directly to tracks. Effects editing: Edit effect clips into the Timeline. Title and motion effects appear first as clips in the bin. Effects adjustment in Effect mode: Effect Editor: Allows you to adjust effect parameters.
Real-Time and Downstream Key Effects Many effects are real time, which means you do not have to render them before you play them. You can preview effects that are not real time before rendering. In addition, titles and graphic elements imported with an alpha channel display as downstream key (DSK) effects. Downstream Key Effects By default, all titles are created using your Avid editing system’s DSK capabilities. Graphic elements imported with an alpha channel are also created as DSK clips.
n Your Avid editing system has a mix of real-time and non-real-time effects. For a complete list of effects and their real-time status, see the Knowledge Center section of the Avid Web site at www.avid.com. Playing Real-Time Effects You can create a sequence that has any number of real-time and non-real-time effects.
DSK title or graphic (rolling title) Segment effect (nested mask) Segment effects (Color Effects) • You can add a Dissolve effect between adjacent segments containing real-time segment effects, and the track will continue to play in real time. However, if another segment effect is on another track, your Avid editing system can no longer play the sequence in real time, since it cannot process three video streams simultaneously.
Playback Capabilities for Single-Stream Uncompressed Video If your system includes the single-stream uncompressed (1:1) video option and you are working with uncompressed video, your system can play only one video stream in real time. The following are the maximum real-time playback capabilities for single-stream uncompressed video. • You can play effects that use only one video stream, for example color effects or resizes. These effects will appear with an orange dot in the Timeline.
• Use the Submaster effect to reduce the amount of rendering. For more information, see “Submaster Editing” on page 331. • Perform a mixdown of video tracks. For more information, see “Performing a Video Mixdown” on page 337. Hardware Limitations for Real-Time Effects If you have multiple short clips with multiple real-time effects or images with a high level of complexity, you might exceed the capacity of the hardware to play these in real time, resulting in Video Underrun error messages.
Interrupting Render On-the-Fly Using Render On-the-Fly can slow down your editing of a sequence. If you are compositing and then change the frame you are monitoring, you must wait for the Avid system to render the single frame. Instead of waiting for the Avid system to finish rendering, you can interrupt Render On-the-Fly. Interrupting Render On-the-Fly interrupts the rendering of only non-real-time effects.
Effects that involve movement across the screen — for example, wipes, 3D shapes, or moving titles — might look different from their equivalents in interlaced projects for the following reasons: n • Since the effect is created using 24 or 25 progressive frames per second (24p or 25p), motion across the screen is interpolated in 24 or 25 increments per second. (Contrast the 50 increments per second for a PAL interlaced project or the 60 increments per second for an NTSC interlaced project.
If an effect in a 24p or 25p project does not look completely smooth, do one or more of the following: • Slow down the effect. For example, a 2-second Horizontal Edge Wipe effect, while it is still performing at the same rate (24 increments per second), moves across the screen in 48 steps. These smaller movements make the wipe appear smoother to the viewer. • Soften the edges of the effect.
n n • Image • Key • L-Conceal • Matrix Wipe • Motion Effects • Peel • Push • Reformat • Sawtooth Wipe • Shape Wipe • Spin • Squeeze • Xpress 3D Effect If you have effect templates saved in an open bin, or if you have third-party plug-in effects installed on your system, additional effect categories appear in the Effect Palette. The IllusionFX™ category appears in the Effect Palette and contains the IllusionFX Pack plug-ins that are standard with your Avid system.
Displaying the Effect Palette To display the Effect Palette: 1. Do one of the following: t Choose Effect Palette from the Tools menu. t Click the Effects tab in the Project window. t Press Ctrl+8 (Windows) or k+8 (Macintosh) on your keyboard. The Effect Palette opens. Image effect choices Scrollable list of effect categories The left side of the Effect Palette displays a scrollable list of effect categories.
Resizing the Effect Palette You can resize the Effect Palette to display more effects when a particular category includes a long list of icons. To resize the Effect Palette: t Click the lower right corner of the palette, drag the palette to the size you want, and release the mouse button. Understanding Effect Icon Color Coding Effect icons in the Effect Palette and in the Timeline display color-coded dots to help you determine whether an effect is real-time or non-real-time.
Orange dot indicates a real-time effect. Green dot indicates a real-time effect that might not be playable in real time. No dot (as in Paint Effect above) indicates a non-real-time effect; in the Timeline, the effect icon contains a blue dot until you render the effect. A real-time effect might not be playable in real time for a variety of reasons involving the complexity of the sequence and the real-time effects capabilities of the Avid editing system.
To view the effect template: 1. Open the bin containing the effect templates. Effect templates 2. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. The Effect Palette opens. 3. Click the bin name below the effect category list to view the effect templates in the bin.
For example, in the illustration in step 1, the bin named Effects contains a series of effect templates using the Paint Effect, Picture-in-Picture, and Timewarp effects. n In the previous illustration, notice that the Effect Palette also displays other effect files, such as titles and matte key clips. Whenever you open or close a bin or drop an effect into a bin, your Avid system automatically updates both lists.
For a complete, up-to-date list of AVX plug-in vendors and other information on AVX, visit the AVX Web site: www.avid.com/avx After you install third-party plug-ins, the effects appear in the Effect Palette in their own category (usually the name of the plug-in vendor). Individual effects all have a plug-in icon. The plug-in icon also appears in the Timeline when you have applied a third-party plug-in effect.
AVX Plug-ins and Memory Usage Each time you apply an AVX plug-in to a sequence, your Avid system keeps the effect resident in memory. When you close the bin containing the sequence, the system also closes the AVX plug-ins, freeing the memory. If you have applied many plug-ins and you find your Avid system running out of memory, use the following procedure to free the memory being used by the plug-ins. To close all the AVX plug-ins: 1. Choose Console from the Tools menu. 2.
3. Restart the Avid application, and open the Effect Palette. The plug-in effects will appear in the Effect Palette, usually in their own effect category. c You must place the plug-ins directly in the 3rd Party Plug-Ins folder. They cannot be inside another folder within this folder or elsewhere on the Avid system. If they are, the system will not recognize them. Installing AVX Plug-ins AVX plug-ins usually come complete with any necessary documentation.
c If an AVX plug-in has an installation program, always use the program to install the plug-ins. For more information, see the documentation for the plug-in. Some AVX plug-ins do not have an installation program and must be installed manually. To install AVX plug-ins manually: 1. Exit the Avid application. c Do not add or remove plug-ins while the Avid application is running. 2. Copy the plug-in files from the software vendor’s folder to the AVX_Plug-Ins folder located on your Avid system.
3. Restart the Avid application, and open the Effect Palette. The AVX plug-in effects appear in the Effect Palette, usually in their own category under the name of the vendor. n (Windows only) If the plug-in effects do not appear in the Effect Palette after installation, see “Troubleshooting AVX Plug-Ins” on page 70. Locating the AVX_Plug-Ins Folder (Windows Only) When the Avid application is first installed, the system asks the administrator to choose a location for the AVX_Plug-Ins folder.
If the administrator accepts the default location for the AVX_Plug-Ins folder, you can install AVX plug-ins here. If the AVX_Plug-Ins folder is not in the default location, or if the effects are not appearing in the Effect Palette after you install them, you can use the Regedit application that comes with your Windows system to locate the AVX_Plug-Ins folder. c Use the following procedure only to obtain information on the location of the AVX_Plug-Ins folder.
HKEY_LOCAL_MACHINE\SOFTWARE\ Avid Technology\AVX Plug-Ins n Directory entry. The path listed here is the path that contains the AVX_Plug-Ins folder. Remember that AVX plug-ins must be installed in the AVX_Plug-Ins folder itself, not elsewhere in the path that contains that folder. If AVX plug-ins are not in the folder, the system will not recognize them.
If the new version of the plug-in has new or redesigned parameter controls, your Avid system sets these controls to their default settings for existing effects. Controls that are unchanged from the older version of the plug-in retain the values previously set by the user when the system upgrades existing effects. c Once a plug-in effect or transition has been upgraded, you should not reinstall the older version of the plug-in.
Using AVX Plug-in Controls This section provides general guidance for controlling and adjusting AVX plug-in effects. For more information on the adjustments available for a specific effect, see the documentation for the plug-in. AVX plug-ins use a variety of interfaces that give you control over the effects.
Custom AVX Controls in the Effect Editor This section introduces some of the custom controls that might appear in the Effect Editor for an AVX plug-in effect. For more information on using these controls, and other controls specific to individual effects, see the documentation for the plug-in. Some plug-in effects allow you to adjust an image by using controls that appear as overlays, such as handles and wire frames, in the Effect Preview monitor.
If a plug-in does not work as expected and these suggestions do not solve the problem, contact the plug-in vendor. Plug-In Does Not Appear in the Effect Palette AVX plug-ins have a plug-in icon in the Effect Palette and in the Timeline. If the plug-in icon does not appear in the Effect Palette after installation, the plug-in might be in the wrong folder. See “Locating the AVX_Plug-Ins Folder (Windows Only)” on page 65.
Blank Effect Icons in the Timeline AVX plug-ins have a plug-in icon in the Effect Palette and in the Timeline. If the effect icon in the Timeline is blank, the Avid system could not find the plug-in. To identify the plug-in that is missing or misplaced: t Open the Console window (choose Console from the Tools menu), and look for the message “Can’t find effect.” The message identifies the plug-in that cannot be located.
Changing Timeline View Settings for Effects All effect icons are displayed in the Timeline by default. You can change the Timeline settings to display all effect icons, all effect icons except Dissolve Effect icons, or no effect icons. If you have changed the setting to display no effect icons, you have to reset it before you begin applying effects. The fewer effect icons you display, the faster your Avid system refreshes the screen.
Adjusting Trim Settings for Effects When you are in Trim mode, you can control whether or not the effects you apply are computed immediately on the screen (that is, on-the-fly) or appear later when you render them. For example, viewing transitions as cuts (without rendering on-the-fly) can facilitate the trimming process. This setting is defined in the Trim Settings dialog box. To change the Trim settings for render on-the-fly: 1. Click the Settings tab in the Project window.
CHAPTER 2 Basics of Effects Editing This chapter explains how to create basic transition and single-layer segment effects.
Deconstructing Effects One good way to understand how effects are built in your Avid editing system is to break down existing effects into their basic elements. By learning how the various pieces fit together, and how the system allows you to manipulate them, you can begin to construct new effects from these building blocks.
The Timeline for this sequence, shown below, includes both transition and segment effects applied horizontally, vertically, and nested within video tracks. The callouts summarize deconstructed elements and list the sections of this guide that describe them in more detail. Deconstructing an effects sequence Imported graphic promoted to a 3D Slat Wipe: See “Using Matte Keys with 3D Effects” on page 345.
Applying Effects to a Sequence This section explains how to apply an effect to a sequence in the Timeline. You can apply an effect to: • One transition or segment on a single video layer • Multiple transitions or segments on a single video layer • Multiple transitions or segments on multiple video layers The effect type (transition or segment) determines where you can place the effect in the sequence. For an explanation of the effect types, see “Types of Effects” on page 44.
3. To apply an effect, do one of the following: t Click the effect icon in the Effect Palette, drag it to the segment or transition in the Timeline, and release the mouse button. t In Effect mode, click the transition or segment in the Timeline where you want to apply the effect, and double-click the effect’s icon in the Effect Palette. The effect icon appears in the Timeline, as shown in the following example.
Applying an Effect to Multiple Transitions To apply an effect to multiple transitions: 1. Click the Effect Mode button to enter Effect mode. 2. Click the first or last transition to which you would like to apply the effect. 3. Click above the Timeline and begin dragging to activate a selection box. Continue to drag down and either to the left or right to include additional transitions in the selection. Selection box 4. Release the mouse button when you have lassoed all the transitions you want.
6. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 7. Double-click the effect’s icon that you want to apply to the transitions. The Avid system applies the effect to the highlighted transitions in the Timeline. If there is not enough incoming or outgoing media to apply the transition effect, a dialog box appears. For more information, see “Sizing the Effect to Fit the Media” on page 100.
To apply an effect to multiple segments on the same video layer: 1. In Source/Record mode or Effect mode, click above the Timeline and to the left of the leftmost segment that you want to select and begin dragging to the right and down to activate a selection box. 2. Continue to drag the selection box to the right until you lasso the rightmost segment that you want to select. Selection box 3. Release the mouse button. The segments that you selected are highlighted. 4.
6. Double-click the effect’s icon that you want to apply to the segments. The effect is applied to the highlighted segments in the Timeline. Deleting Effects in a Sequence Transition effects can be deleted from a sequence in Source/Record mode, Trim mode, or Effect mode. Segment effects can be deleted in Source/Record mode or Effect mode. Use the following procedures to either delete a single effect from a sequence or delete effects in multiple segments.
In this example, only track V3 is selected. Record Track button c If you are deleting a segment effect and the segment contains a transition effect, the transition effect will be deleted also, because the transition effect resides “on top of” the segment effect. If necessary, you will have to reapply the transition effect. 3. Use one of the following methods to delete the effect: n Basics of Effects Editing t If the Effect Editor is not active, click the Remove Effect button.
The effect is removed. Deleting Multiple Transition Effects To delete multiple transition effects: 1. Shift+click each transition effect you want to delete. 2. Click the Remove Effect button, or press the Delete key. Deleting Multiple Segment Effects To delete multiple segment effects: 1. Click one of the Segment Mode buttons (the Extract/Splice-in button or the Lift/Overwrite button) below the Timeline. 2. Shift+click each segment that contains a segment effect to be deleted. 3.
Using the Fade Effect Button You can use the Fade Effect button to fade segment effects quickly and easily. A dialog box appears that allows you to enter the number of frames to fade up and fade down. The Fade Effect feature automatically creates keyframes for the effect. You can access the keyframes in the Effect Editor. To fade one or more segment effects in a sequence: 1. Select the segment effects in the Timeline: t To fade a single segment effect, move the position indicator to the segment.
Working with Transition Effects You apply a transition effect to the cut point between two clips on the same video track. You can adjust the alignment and duration of a transition effect. Depending on the specific effect, other effect parameters might also be available. Types of Transition Effects Transition effects are included in all effect categories on the Effect Palette, except the Image effect category.
Using the Effect Palette To apply a Dissolve effect by using the Effect Palette: 1. Create a sequence in the Record monitor by using the standard Avid editing procedures. For information about editing a sequence, see the editing guide. 2. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 3. Click the Blend category. 4.
Transition effect duration box Transition Effect Alignment button Transition Effect Alignment pop-up menu The system adds the Dissolve effect at the transition, and a Dissolve Effect icon appears in the Timeline. 3. Click the Transition Effect Alignment button, and select the effect’s position relative to the cut point from the pop-up menu. For an explanation of the Transition Effect Alignment menu selections, see “Transition Parameters” on page 646.
To create an effect by using the Quick Transition button: 1. Move the position indicator to the transition in the Timeline. 2. Click the Quick Transition button in the Tool palette. The Quick Transition dialog box appears.
- Fade from Color - Dip to Color For an explanation of individual effects shown in the menu, see “Blend Effects” on page 649. n n When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add pop-up menu. See “Using an Effect Template” on page 183. When you choose a color transition with Quick Transition, the default color is black. You must enter Effect mode to choose another color.
t Click the Dissolve Effect icon and drag it to position the effect with respect to the cut point. For more information, see “Understanding the Graphical Display in the Quick Transition Dialog Box” on page 96. The system positions the effect. If you select an alignment for which there is not enough media, the system comes as close as it can to the alignment you requested. 6. If you click the Dissolve Effect icon and drag it, the Position pop-up menu changes to Custom.
10. Do one of the following: t To add the effect without rendering it, click Add. t To add the effect and render it, click Add and Render. Your Avid system adds the effect to the selected transition in the sequence, or, if you selected Apply to All Transitions (IN -> OUT), the system adds the effect to all transitions between the IN and OUT points. Using the Quick Transition Button to Apply Effects to Multiple Transitions You can select multiple transitions by marking IN and OUT points.
4. Click the Quick Transition button. The Quick Transition dialog box appears. 5. Choose a transition effect from the Add pop-up menu: - Dissolve - Film Dissolve - Film Fade - Fade to Color - Fade from Color - Dip to Color For an explanation of individual effects shown in the menu, see “Blend Effects” on page 649. n n When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add pop-up menu. See “Using an Effect Template” on page 183.
7. Adjust the effect’s position relative to the cut point in one of the following ways: t Choose an option from the Position pop-up menu to have the effect end at the cut point, center on the cut point, or start at the cut point. t Choose Custom from the Position pop-up menu, and then type a number in the Start text box to specify how many frames before the cut point you want the effect to begin. t Click one of the alignment buttons below the graphical display.
11. Do one of the following: t To add the effect without rendering it, click Add. t To add the effect and render it, click Add and Render. The system adds the selected effect to all the transitions between the marked IN and OUT points on the selected tracks in the sequence. n If there is not enough incoming or outgoing media material to apply the effect to a transition, a dialog box appears. For more information, see “Sizing the Effect to Fit the Media” on page 100.
The graphical display shows the following: • The outgoing (A) and incoming (B) media for the transition to which you are applying the effect. The amount of handle available for each piece of media is indicated both as a darker area on the graphic itself and as a number of frames. • The transition effect that you are applying. The display shows the effect icon and indicates the length and position of the effect in relation to the media. • Three alignment buttons.
Resizing arrow 2. Do one of the following: t Drag away from the effect icon in the center to lengthen the effect. t Drag toward the effect icon in the center to shorten the effect. The graphical display and the Duration text box update to reflect your adjustment. If you are dragging the left edge of the effect, the Start text box also updates to reflect the changed start point. To adjust the position of the effect: 1. Move the pointer inside the effect. The pointer changes to a hand. 2.
Repositioning the Effect with the Alignment Buttons You can use the alignment buttons to quickly reposition the effect so that it either ends at the cut, is centered on the cut, or starts at the cut. The buttons have the same effect as the Ending at Cut, Centered on Cut, and Starting at Cut commands in the Position pop-up menu.
4. Click the FX tab, and then click Active Palette. 5. Click the Head Fade button or the Tail Fade button. The fade (dissolve) appears in the Timeline. n If two clips are edited together, the fade (dissolve) crosses between the two.
Adjusting Transitions in the Timeline You can change the duration of Dissolve effects just by dragging them in the Timeline. You bring up the Transition Corner Display in Trim mode to use this feature. To adjust a transition using the Transition Corner Display: 1. Click the transition in the Timeline. 2. Click the Trim Mode button to enter Trim mode. 3. Click the Transition Corner Display button. The button changes to bright green, and the display is enabled.
Basics of Effects Editing
CHAPTER 3 Customizing Effects After you have created an effect and applied it to a transition or segment in your sequence, you can adjust its appearance and operation by changing its effect parameters in Effect mode. This chapter explains how to use the Effect Preview monitor and the Effect Editor to adjust effect parameters.
Entering Effect Mode After you add an effect to a sequence, you must enter Effect mode to change the parameters of the effect. Entering Effect mode transforms the Record monitor into the Effect Preview monitor and opens the Effect Editor. To enter Effect mode: 1. Move the position indicator to the effect’s icon in the Timeline. 2. Click the Effect Mode button on the Timeline toolbar. Your Avid system opens the Effect Editor and displays the values for the current effect in the window.
Customizing the Effect Display You can adjust the appearance and function of various aspects of Effect mode by resizing windows, mapping buttons, displaying tracking information, or displaying a variety of grids to provide guidelines, as described in this section. Understanding the Effect Preview Monitor The Effect Preview monitor displays the selected effect in the sequence where the position indicator is located in the Timeline.
n If the effect you expect does not appear in the Effect Preview monitor, make sure that you have selected the Record Track Monitor button in the Track Selector panel. If a black frame appears in the Effect Preview monitor, the position indicator might be at a location in the Timeline where an effect has not been applied to the sequence. Effect Preview Monitor Toolbar Buttons The Effect Preview Monitor toolbar has buttons for controlling effect position and adjustment.
Table 3-1 Effect Preview Monitor Toolbar Buttons (Continued) Button Description Dual Split Click to divide the Effect Preview monitor in half, showing the image with and without the effect applied. Click again to remove. Add Keyframe Creates a keyframe at the current position of the position indicator in the effect’s position bar. Alt+click (Windows) or Option+click (Macintosh) to delete the selected keyframe. Reduce Reduces the size of the image in the Effect Preview monitor.
To enter or leave Big Effect mode: 1. If the system is not in Effect mode, click the Effect Mode button in the Timeline toolbar. 2. Alt+click (Windows) or Option+click (Macintosh) the Effect Mode button. If the system was in the default Effect mode, it enters Big Effect mode. You can click the Effect Editor and drag it to the left of the enlarged Effect Preview monitor. If the system was in Big Effect mode, it returns to the default Effect mode.
Understanding the Tracking Information The two boxes above the Effect Preview monitor display the length of the effect in seconds and frames and the current position in the effect’s position bar. If you are working with two-field media, the current position display indicates the field that appears in the monitor. The current position display ends with .1 for the first field of a frame and with .2 for the second field.
n You can customize the type of grid displayed by the Grid button. For more information, see “Working with the Effect Grid” on page 110. Two outlined boxes appear in the Effect Preview monitor. The inner box is the safe title area. All text and objects should remain within the inner box.
Axis with tick marks Safe title area Grid points You can use the Effect Grid to: • Display the aspect ratios for film categories such as standard film, Academy, Super 35 mm, and Anamorphic, as well as the 4:3 safety area for the 16:9 aspect ratio. • Show coordinate information to track the exact location of an effect in the frame. • Use the snap-to-grid feature to easily position effects.
Setting the Effect Grid Options The Grid Settings dialog box allows you to define the grid to use when you create effects. To set the default grid values for your system, do one of the following: t In the Settings scroll list of the Project window, double-click Grid. t In the Grid parameter group in the Effect Editor, click the Other Options button. The Grid Settings dialog box appears. Table 3-2 describes the Grid settings.
Table 3-2 Tab Coordinates Grid Settings Options (Continued) Option Suboption Sub Fields Sets the number of divisions between visible grid points for the snap-to-grid feature. Setting Sub Fields to 1 snaps objects to visible points only. A value of 2 provides 1/2 field jumps. A value of 4 (the default value) provides 1/4 field jumps, and so on. Setting Sub Fields to 0 turns off the snap-to-grid feature.
Table 3-2 Tab Option Suboption Grid Settings Options (Continued) Description Display Show 14x9 Zone Show 1.66 Aspect Show 1.85 Aspect Show 1.77 Aspect Select one or more of these options to display the grid you want. Display Show Axes Displays the grid axes. Display Show Tick Marks Shows tick marks along the axes. Use the Fields parameter to set the number of tick marks. Display Show Thirds Divides the screen into three sections.
Displaying the Effect Grid in Effect Mode As with the Safe Title/Safe Action guidelines, you use the Grid button in the Effect Editor to display the Effect Grid. To display the Effect Grid rather than the Safe Title/Safe Action guidelines: t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button.
The X, Y coordinates describe position in terms of the Source Scan Size parameters you choose in the Grid Settings dialog box or the Grid parameter group. To display position coordinates: t Move the pointer to the Record monitor, press and hold the mouse button, and move the mouse. To display position coordinates in Effect mode: 1. Deselect all tools in the Effect Editor (including the Outline/Path button and the Selection tool for Intraframe effects). 2.
n You can also generate effect information in a cut list by using the Previsualization Marker Tool in the Paint Effect. For more information, see “Previsualization Marker Tool for Film Projects” on page 527. Position Information for the Paint and AniMatte Effects Your system can include both compass coordinate and X, Y coordinate information in a cut list for each corner of a Paint or AniMatte effect.
Position Information for the Blowup Effect The event section of the cut list displays the compass coordinates of the effect at the first keyframe in the segment and the Fields parameter you have chosen for the effect. You must enable the Effect Grid before you generate the cut list to display this information in the list. The following illustration shows the presentation of Blowup effect information in a cut list.
Changing Position You can change your position in an effect either by dragging the position indicator in the effect’s position bar or by typing and entering the timecode in the numeric keypad for a location, just as you do in Source/Record mode. The type of timecode you enter (master timecode or absolute timecode) depends on the top row of tracking information you are displaying. The position information boxes above the Effect Preview monitor update as you change position.
Using the Effect Editor Use the Effect Editor to adjust the parameters for an effect. To display an effect’s parameters in the Effect Editor: 1. Move the position indicator to the effect’s icon in the Timeline. 2. Click the Effect Mode button in the Timeline toolbar. The Effect Editor opens. Effect name Effect icon Triangular opener Parameter group (parameter category) Slider used to adjust parameter This example shows the Picture-in-Picture effect parameters.
n If the Effect Editor is already open and active, select the segment or transition effect to display the effect’s parameters in the Effect Editor. Not all effect parameters apply to all effects. Parameters that do not apply to an effect do not appear in the Effect Editor for that effect. To determine which parameters pertain to an effect, refer to the effect’s description in Chapter 11 and Chapter 12.
Effect Editor Controls and Parameters Other Options button Effect icon Effect name Triangular opener Parameter category Slider used to adjust parameter These buttons always appear on the right side of the Effect Editor. Additional buttons appear depending on the effect you are using.
Table 3-3 Effect Editor Controls Button Location Description Triangular opener Left side of Effect Editor and left side of keyframe tracks For a parameter group, click to display or hide the information. A downward-pointing triangle displays the parameter group; a right-pointing triangle displays the parameter name.
Table 3-3 Button Transition Effect Alignment Effect Editor Controls (Continued) Location Bottom of Effect Editor No effect at cut point Effect ends at cut point Effect is centered on cut point Effect starts at cut point Description Click to open a pop-up menu with options for selecting the alignment of a transition effect relative to the cut point.
Moving an Enlarged Image in Effect Mode When you use the Enlarge button to increase the size of the image in the Effect Preview monitor, you cannot view the entire frame all at once. When you are creating an effect that requires great detail, you can reposition the enlarged frame in the monitor to view the sections that need your attention. n This feature applies only to an enlarged image in the Effect Preview monitor, not to a standard-size or reduced image.
3. Drag the hand in any direction to reposition the image within the Effect Preview monitor. n Similarly, you can enlarge the frame in the Source monitor when you are working in Source/Record mode and move the frame around by pressing and holding Ctrl+Alt (Windows) or k+Option (Macintosh). To access the Enlarge and Reduce buttons in Source/Record mode, you must map the buttons to your keyboard or to the user-selectable palettes.
Changing a Parameter with a Slider To change a parameter that has a slider, you click its slider. When a slider is activated, it changes to pink. Use the Tab key to move from one slider to the next slider. The thumbwheel is a specialized slider that provides a window on a wide range of values and allows precise control over increments. The parameter’s numeric value changes as you move the slider.
Accessing an Effect’s Additional Parameters Some effects have additional parameters that control their operation. For example, the Grid effect has additional parameters in which you set the number of columns and rows in the wipe. When an effect has additional parameters, the Other Options button appears next to the effect name in the Effect Editor. The Other Options button also appears in a parameter group in the Effect Editor if the category can access additional parameters.
Using the Eyedropper To select a color by using the eyedropper: 1. Position the pointer over the Color Preview window to activate the eyedropper. 2. Click the eyedropper, drag it to the Effect Preview monitor, and release the mouse button on the color you want to select from the video image. The parameter’s numeric values are updated, and the selected color appears in the Color Preview window.
To use the Windows Color dialog box: 1. To choose a color from the Basic colors palette, click the color you want. 2. To specify a custom color, do one of the following: t Click in the color matrix to choose a color, and then drag the color slider to adjust the amount of white and black in the color. t Type numerical values for each color component in the color selection text boxes. The new color is displayed on the left side of the Color|Solid box.
The Macintosh Color Picker displays the HSV (hue, saturation, value) color wheel by default for Macintosh operating system Version 8.5, as shown in the illustration above. You can also select an RGB (red, green, blue) slider interface or an HLS (hue, luminance, saturation) interface by selecting the appropriate icon on the left side of the Color Picker window. For a complete description of how to use the other Macintosh Color Picker interfaces, see the documentation that ships with your Macintosh.
Replacing an Effect with the Effect Editor While in Effect mode, you can replace an existing effect. To add a replacement effect: 1. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 2. Choose an effect category. 3. Use one of the following methods to replace the effect: t Drag the new effect’s icon to the Timeline.
Understanding Keyframes A keyframe is a point in the effect at which you can set parameters. Modifying an effect’s parameters at various points causes the effect’s appearance to vary as it plays. For example, you can add keyframes to a Title effect and change the position parameters for each keyframe to add movement to the effect. Standard keyframe indicators appear as triangles in the position bar of the Effect Preview monitor when an effect is selected and the Effect Editor is active.
Using Standard Keyframes With standard keyframes, your Avid editing system always provides the starting and ending keyframes of an effect. These keyframes are selected by default, and thus any parameter changes are constant throughout the effect. By using techniques for adding, deleting, moving, selecting, and deselecting keyframes, you can begin to change the appearance and operation of the effect over time by applying parameter changes to specific keyframes.
Selecting a Standard Keyframe You can select a keyframe or multiple keyframes by using the following procedures. A keyframe changes to pink when selected. To select one keyframe: t Click the keyframe indicator in the effect’s position bar. To select multiple keyframes: t Press and hold the Shift key, and click the keyframe indicators that you want in the effect’s position bar.
n Alternatively, you can select a keyframe and click the Trim Left 1 Frame and Trim Right 1 Frame buttons or the Trim Left 10 Frames and Trim Right 10 Frames buttons. Changing a Standard Keyframe’s Parameters When you work with standard keyframes, with certain parameter categories, such as Foreground and Acceleration, you adjust parameters globally (over all keyframes in the effect). You can also change many parameters for individual keyframes. To change a standard keyframe’s parameters: 1.
t To copy the parameters to all keyframes, choose Select All from the Edit menu. 4. Choose Paste from the Edit menu. The parameters that you copied from one keyframe are pasted to the keyframe, or frames, you selected. Deleting a Standard Keyframe You can delete any standard keyframe you create. You cannot delete the starting and ending keyframes the system creates. To delete a standard keyframe: 1. Click the keyframe indicator in the effect’s position bar.
Advanced keyframes are available for PIP, 3D PIP, and 3D Warp. The Motion Effect Editor also uses advanced keyframes in the Speed graph and Position graph. In the Effect Editor, you do not have to use advanced keyframes. You can work using standard keyframes, in which each keyframe affects all parameters. In addition, advanced keyframe functions are available even when a keyframe graph is closed to show only the keyframe track.
To promote a PIP effect to advanced keyframes: t Click the Promote to Advanced Keyframes button on the Effect Editor toolbar. The Effect Editor displays the PIP effect with keyframe tracks as a Picture-in-Picture v2 effect. To promote other effects to advanced keyframes: 1. Promote the effect to 3D Warp. The Effect Editor displays a 3D Warp effect. The Promote to Advanced Keyframes button appears on the Effect Editor toolbar. 2.
Opening Keyframe Tracks Effects using advanced keyframes appear with keyframe tracks at the right side of the Effect Editor. Next to each keyframe track is a triangular opener. The parameter group name appears in a title track at the top of the keyframe tracks. Triangular opener for keyframe graph n Keyframe track Parameter group title track You do not have to open a keyframe track to set and manipulate advanced keyframes.
Keyframe graph open Start of effect End of effect Maximum parameter value Minimum parameter value Depending on how you have the keyframe graph zoomed and scaled, the lines representing the keyframe graph boundaries — start and end of effect, maximum and minimum parameter values — might not be visible. See “Adjusting the View in a Keyframe Graph” on page 172.
Table 3-5 describes the components of the Effect Editor toolbar for advanced keyframes. Table 3-5 Effect Editor Toolbar for Advanced Keyframes Button Description Rewind Moves the position indicator one keyframe to the left and activates the keyframe. If there is no keyframe to the left, nothing happens. That is, the position indicator does not move to the beginning of the effect unless you have a keyframe there.
Shortcut Menus for the Motion Effect Editor and Keyframe Graphs Because the Motion Effect Editor uses advanced keyframes, the shortcut menu for the Motion Effect Editor and the shortcut menu for keyframe graphs are almost the same. The differences stem from the multiple tracks available in the Effect Editor. The Location column in Table 3-6 identifies where each option is found.
Table 3-6 Advanced Keyframe Shortcut Menu Options (Continued) Option Location Description Shelf Linear Spline Bézier Both The keyframe interpolation options set the way parameter changes occur at keyframes. See “Parameter Changes at Keyframes” on page 158. Fixed Keyframes Elastic Keyframes Both Sets how the system moves keyframes when an effect is trimmed in or trimmed out. Elastic keyframes change the time at which they occur when you trim an effect, in proportion to the new effect length.
To add a keyframe using the Add Keyframe button: 1. Move the position indicator to the point where you want to add a keyframe. 2. Click the Add Keyframe button on the Effect Editor toolbar. The Add Keyframe Mode menu appears. n If the Add Keyframe Mode menu does not appear, it is deselected on the Effect Editor shortcut menu, or on the Effect Editor entry in the Settings scroll list. See “Options for Using Advanced Keyframes” on page 176.
To delete a keyframe: 1. Click a keyframe indicator to activate the keyframe. 2. Do one of the following: t Press the Delete key. t Choose Delete Keyframe from the keyframe graph shortcut menu. t Alt+click (Windows) or Option+click (Macintosh) the Add Keyframe button on the Effect Editor toolbar. The Delete Keyframe Mode menu appears. For more information on the command selections, see “Using the Add Keyframe Mode Menu and the Delete Keyframe Mode Menu” on page 146.
n n You can set a default command using the Effect Editor shortcut menu or the Effect Editor entry of the Settings scroll list. See “Options for Using Advanced Keyframes” on page 176. The selection you make for the Add Keyframe mode is mirrored in the Delete Keyframe Mode menu, and vice versa. That is, when you change one, you change both. In the following descriptions, group refers to the parameter category.
• Active Parameter — The parameter that is currently active. For example, a slider that you clicked is pink. Add To Active Parameter — The keyframe appears in the keyframe track or keyframe graph for the activate parameter only. Delete From Active Parameter — The system removes selected keyframes in the keyframe track or keyframe graph for the activate parameter only.
• Active Group — The group to which the active parameter belongs. Add To Active Group — Keyframes appear in the keyframe tracks or keyframe graphs of all parameters that are in the same group as the active parameter. The parameter group does not have to be enabled. Delete From Active Group — The system deletes selected keyframes from the keyframe tracks or keyframe graphs of all parameters that are in the same group as the active parameter. The parameter group does not have to be enabled.
• Open Groups — Groups that you opened by clicking the triangular opener next to the group name. Add To Open Groups — Keyframes appear in the keyframe tracks or keyframe graphs of all parameters in groups that are currently open, whether the group is enabled or disabled. Delete From Open Groups — The system deletes selected keyframes from keyframe tracks or keyframe graphs of all parameters in groups that are currently open, whether the group is enabled or disabled.
• Enabled Groups — Groups that you enabled by clicking the Enable button next to the group name. Add To Enabled Groups — Keyframes appear in the keyframe tracks or keyframe graphs of all parameters in groups that are currently enabled, whether the group is open or not. Delete From Enabled Groups — The system deletes selected keyframes from the keyframe tracks or keyframe graphs of all parameters in groups that are currently enabled, whether the group is open or not.
• Open Graphs — Keyframe tracks that you opened by clicking the triangular opener next to the keyframe track. Add To Open Graphs — Keyframes appear in the keyframe graphs of all parameters with open graphs. Delete From Open Graphs — The system deletes selected keyframes from the keyframe graphs of all parameters with open graphs. Open graph Open graph • All Parameters — Every parameter represented in the Effect Editor that has a keyframe track and is therefore keyframeable.
Delete From All Parameters — The system deletes selected keyframes from all keyframe tracks. Moving a Keyframe in a Keyframe Graph Once you create a keyframe, you can move it to another location in the keyframe graph. The methods described here use the mouse to move a keyframe. You can also use commands on the keyframe graph shortcut menu. For more information, see “Align Keyframes and Slip Keyframes” on page 165.
To move a keyframe in any direction: t With the keyframe graph open, Alt+click (Windows) or Option+click (Macintosh) and drag the keyframe to its new position. You can change both the keyframe’s value and the time at which the keyframe occurs. n You cannot move a keyframe past another keyframe. That is, keyframe movement is bounded by neighboring keyframes. You can use these methods to move a keyframe outside the time boundaries of the keyframe graph.
Selecting and Deselecting Advanced Keyframes A keyframe graph does not have to be open when you select a keyframe. You can select keyframes in closed keyframe graphs. To select a keyframe: t Click the keyframe indicator. The keyframe changes to pink (activated). When you select more than one keyframe in a single keyframe track, the system uses the most recently selected one as the reference keyframe for aligning and slipping keyframes.
To select all keyframes in a parameter group: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the parameter group title track, and choose Select All Keyframes from the shortcut menu. To select all keyframes in the effect: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the effect title track, and choose Select All Keyframes from the shortcut menu. To deselect a keyframe: t Shift+click the keyframe. Occasionally, you might want to deselect all but one keyframe in a keyframe graph.
2-second clip with four elastic keyframes New material Same clip trimmed out to 3 seconds: time between keyframes stretches. With fixed keyframes, when you trim out a clip, your Avid system extends the first or last keyframe value by duplicating parameters in the trimmed-out area.
To choose elastic keyframes or fixed keyframes for a parameter: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph or keyframe track for the parameter with which you are working, and choose Fixed or Elastic from the shortcut menu. The keyframe symbols for the parameter change to the selected keyframe type. All subsequent keyframes you add to this parameter appear as the selected keyframe type.
To select an interpolation option: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the keyframe graph or keyframe track for the parameter with which you are working, and choose one of the following from the shortcut menu: - Shelf - Linear - Spline - Bézier Each option is described fully in the following section.
• Linear — The parameter value ramps smoothly between keyframes but then changes abruptly at each keyframe. The change in parameter value at a keyframe happens with no ease in or ease out. • Spline — The parameter value changes smoothly at each keyframe, creating a simple ease in or ease out effect. Spline is sometimes called Natural Spline or Cardinal Spline because the line representing the parameter value always goes precisely through each keyframe.
Active keyframe Active keyframe detail Direction bar Direction handles When you click a direction handle and drag it, you change the height and angle of the curve. The curve responds as if you were gently tugging it like a piece of string. The curve remains anchored to the keyframes on either side of the active keyframe. You can adjust Bézier curves in the following ways: • Symmetrically • Asymmetrically • Independently The adjustment methods are described in the following section.
Adjusting a Parameter Value with the Bézier Interpolation Option • Symmetrically — Dragging a direction handle changes the length and rotation of both direction handles symmetrically. Adjusting Bézier curves symmetrically Before After Dragging the left handle up and to the left causes both sides to rotate and increase in length. • Asymmetrically — Dragging a direction handle changes the length of the selected handle, but not the opposite handle.
Adjusting Bézier curves independently Before After dragging (no rotation) Dragging the left handle to the left causes only the left side to increase in length. The right side does not change. After dragging and rotating Dragging the left handle up and to the left causes only the left side to rotate and increase in length. The right side does not change. The default adjustment method is symmetrical. You change the adjustment method using the Alt key (Windows) or Option key (Macintosh).
4. (Option) Select an adjustment method. See “Changing the Adjustment Method for the Bézier Interpolation Option” on page 164. 5. Drag the mouse to move the direction handle. The direction bar and the curve change to show the new interpolation motion. 6. Continue adjusting the direction handles to achieve the effect you want.
Align Keyframes and Slip Keyframes Align Keyframes and Slip Keyframes give you another way to adjust the position of advanced keyframes. • Align Keyframes moves the selected keyframe to the position indicator. The other keyframes in the keyframe track do not move. • Slip Keyframes moves all the keyframes of the parameter so the active keyframe aligns with the position indicator, and the rest of the keyframes maintain their relative location.
Aligning Keyframes In each of the procedures below, the reference keyframe is the last keyframe you activated in each keyframe graph. To align the reference keyframe to the position indicator, in one keyframe track: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) a keyframe track, and choose Align Keyframes from the shortcut menu.
Align Keyframes No intervening keyframe Before Active keyframe After One intervening keyframe Before Active keyframe After Align Keyframes exhibits more complex behavior when you have multiple keyframes selected in one keyframe graph. If you select all keyframes in one keyframe graph, Align Keyframes is equivalent to Slip Keyframes. The reference keyframe moves to the position indicator, and all other keyframes maintain their position relative to the reference keyframe.
Align Keyframes — multiple keyframe examples All keyframes selected Reference keyframe Before After One keyframe deselected Reference keyframe Two keyframes deselected Before After Slipping Keyframes In each of the procedures below, the reference keyframe is the last keyframe you activated in each keyframe graph.
Slip Keyframes Active keyframe Before After To slip keyframes to the position indicator, in one parameter group: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the parameter group title track, and choose Slip Keyframes from the shortcut menu. In the parameter group, in each keyframe track with an active keyframe, all the keyframes move so that the reference keyframe aligns with the position indicator, and the other keyframes maintain their position relative to the active keyframe.
Extrapolate and Hold Extrapolate and Hold are the two methods your Avid system uses to determine parameter values before the first keyframe and after the last keyframe in a keyframe graph. The first keyframe and the last keyframe are the bracketing keyframes for the parameter. n Extrapolate and Hold are only available for keyframe graphs. The Motion Effect Editor does not use Extrapolate and Hold.
With Hold enabled, your Avid system uses only the parameter values at the bracketing keyframes to set values at the start and end of the effect. The parameter values hold steady — that is, are the same — from the start of the effect to the first keyframe, and again from the last keyframe to the end of the effect. Start of effect Parameter values hold steady before and after the bracketing keyframes.
Adjusting the View in a Keyframe Graph You adjust the view in a keyframe graph in the following ways: • Zoom and scroll the view in a keyframe graph using the zoom slider and the scroll thumbwheel at the bottom of the Effect Editor. • Resize a keyframe graph by manipulating the size of the Effect Editor and by expanding or contracting the vertical size of the keyframe graph. • Scroll the view vertically in a keyframe graph by dragging the view.
The zoom slider in the Scale bar stretches and contracts the view in a keyframe graph centered around the position indicator. This allows you to either zoom in to focus on a specific area of your keyframe graph or zoom out to display the entire keyframe graph. To zoom in on a section of a keyframe graph at the position indicator and then zoom out: 1. Click the zoom slider and drag it to the right. The view in the keyframe graph expands horizontally and shows more detail. 2.
2. Click the scroll thumbwheel and drag it to the right. The view in the keyframe graph scrolls to the left; that is, as part of the view disappears on the left, more comes into view on the right. Resizing the Keyframe Graph Resize the keyframe graph by manipulating the size of the Effect Editor and by expanding or contracting the vertical size of the keyframe graph. To change the width of a keyframe graph: t Customizing Effects Click a corner of the Effect Editor and drag it to resize the window.
To change the height of a keyframe graph: 1. Position the pointer over the lower edge of the keyframe graph that you want to change. The pointer changes to a vertical resizing pointer. 2. Click the edge of the graph and drag it up or down. The height of the keyframe graph gets smaller or larger. Moving the Keyframe Graph View Up or Down Scroll the view in a keyframe graph up or down by dragging the view. n Use the scroll thumbwheel to move the view left or right.
n Depending on how you have scaled and zoomed your keyframe graph, you might not see any keyframes even after resetting the graph view. Try scrolling the keyframe graph left or right, or zoom out until keyframes appear. Options for Using Advanced Keyframes The Effect Editor shortcut menu gives you options for adjusting the Effect Editor display, for controlling the playback of effects with advanced keyframes, and for setting a default command for the Add Keyframe button.
Table 3-7 Effect Editor Options Option Location Description Indent Rows Both When selected, parameter rows are indented from the parameter group row, and any parameter subgroups are indented again. When deselected, the left edges of parameter rows line up with the parameter group row. Indented parameter rows Large Text Both Non-indented parameter rows When selected, text in the Effect Editor appears in 12-point size.
Table 3-7 Effect Editor Options (Continued) Option Location Description Thumbwheels Both When deselected, variable controls in the Effect Editor appear as the default slider control. When selected, variable controls appear as thumbwheels. For information on using thumbwheels, see “Changing a Parameter with a Slider” on page 127. Sliders Thumbwheels Real-Time Update Both When selected, your Avid system updates the rendered effect image in real time.
Table 3-7 Option Location Show Add Both Keyframe Mode Menu Effect Editor Options (Continued) Description When selected, the Add Keyframe Mode menu (or the Delete Keyframe Mode menu) appears when you use the Add Keyframe button to add (or delete) keyframes. See “Using the Add Keyframe Mode Menu and the Delete Keyframe Mode Menu” on page 146.
Defining a Motion Path You can define how the foreground image of a multilayer effect will move across the background video by building a motion path, or string of keyframes. You can define a motion path on multilayer video effects such as Picture-in-Picture effects. Use the wire-frame preview feature when you want to see the path an image takes on the screen.
To add a motion path to the foreground image by using the wire frame and keyframes: 1. Create a sequence with two video layers (foreground video on track V2, background video on track V1). For information about creating a sequence, see the editing guide. 2. Apply a multilayer effect to the foreground segment on track V2. 3. Select the foreground effect segment on track V2. 4. Enter Effect mode by clicking the Effect Mode button on the Timeline toolbar. By default, the wire frame is active.
5. Drag the wire frame to the start point of the motion path you are creating. The starting keyframe indicator represents the start point. 6. Click the ending keyframe indicator to select it. Make sure the ending keyframe indicator is the only indicator selected (pink). 7. Drag the wire frame to the end point of the motion path. A path line from the center of the starting position to the center of the ending position appears. 8.
Using an Effect Template The parameters for an effect are called the effect template. You can reuse an effect template in multiple places in a sequence by saving the template in a bin and later applying the template to other effects or video clips in the sequence. Saving an Effect Template You can save the parameters from an effect in the Effect Editor and reuse them for another effect. To save an effect template: 1. Drag the effect icon from the Effect Editor to a bin.
2. To rename the template, click the template name below the icon and type a new name. n Title effects are saved with source by default. If you press and hold the Alt key (Windows) or Option key (Macintosh) while dragging the icon, you will get a keyframe only template. This template will retain the movement of the title without the source.
Effect template example: In this example, a 3D PIP Effect template was saved and then applied repeatedly to a series of segments to achieve the same cropping and positioning of foreground footage. To apply a specific parameter from an effect template: 1. Select an effect transition or segment in the Timeline. 2. Choose Effect Editor from the Tools menu. 3. Open the parameter group you want to change. For example, the following illustration shows the Position parameter group. 4.
Customizing Effects
CHAPTER 4 Playing and Rendering Effects This chapter explains how to play and render effects and how your Avid system behaves under various rendering conditions.
Playing an Effect You can play back an effect in a variety of ways, described in this section. Depending on the capabilities of your system, various effects might require rendering before you can play them back in real time. For more information, see “Real-Time and Downstream Key Effects” on page 47. Basic Playback To play an effect: 1. Drag the position indicator to the effect you want to play in the Timeline. 2. Click the Play button.
Playing a Preview of an Effect You might want to play an effect or its outline to check its appearance and operation. An effect’s outline is a wire-frame representation of the effect’s position, scale, and path of motion. To play an effect’s outline: t Click the Play Preview button. The effect’s outline plays from the current position. To stop playing the effect preview, do one of the following: t Click the mouse button. t Press the space bar. t Click the Play Preview button a second time.
If IN and OUT points are not marked in the Timeline, the Render at Position command is available for rendering a single effect or for rendering multiple effects at the same position in the Timeline. If IN and OUT points are marked in the Timeline, the Render IN to OUT command is available for rendering all effects on selected tracks between the marked IN and OUT points. You can also click the Render Effect button in the Effect Editor or Tool palette to render effects at position.
Creating and Using Render Settings You can create one or more sets of render parameters and save them as a custom Render setting. For example, you can create one setting especially for rendering single-field motion effects and another for rendering two-field or uncompressed motion effects. You can then activate the setting that you need at each stage of your project. Creating a New Render Setting To create a new Render setting: 1. Click the Settings tab in the Project window.
Table 4-1 Option Suboption Render Completion Sound Render Setting Options Description Sets a sound for the system to activate once the rendering process is complete. This is useful when you are rendering multiple effects. None Disables the rendering completion sound. This is the default. System Beep Sets the rendering completion sound to match the sound set for your operating system. Avid Sound Sets the rendering completion sound to a customized Avid sound.
Table 4-1 Option Render Setting Options (Continued) Suboption Description Both Fields Both fields are displayed in the effect. For example, the first two frames of a half-speed (50%) slow motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion, NTSC or PAL film-to-tape transfers, and still shots.
Activating a Render Setting To activate a Render setting: t Click in the column to the left of the setting name in the Settings scroll list of the Project window. A check mark appears beside the setting that is currently active. Rendering a Single Effect After you have adjusted an effect’s parameters, you can render the effect. To render a single effect: 1. Move the position indicator to the effect in the Timeline. Make sure the track containing the effect is selected. 2.
4. Click OK. If there is not enough room on the drive, the system displays a message box that gives you the following choices: - Stop — Stop the rendering process and return to the Render Effects dialog box, and then choose another target drive before continuing. - Continue — Attempt to render the effect anyway, in case there might be enough room on the drive. Your Avid system renders the effect, and stores a precompute master clip on the drive you selected.
4. Select a drive for the rendered media from the pop-up menu. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 5. (Option) If you do not want to render the real-time effects in the selected group of effects, select Skip Real-Time Effects. 6. Click OK.
Rendering Effects Between IN and OUT Points When you have multiple effects to render for a whole sequence or a portion of a sequence, you can render them as a group by marking IN and OUT points. n Save your sequence before you use this feature. Depending on the number, type, and complexity of the effects, the batch process can take a long time. To render multiple effects by using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2.
n n To display the estimated render time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered. Another way to speed up rendering is to use the Submaster effect. See “Submaster Editing” on page 331. Saving a Partially Completed Render If you interrupt a render that is not complete, the system allows you to save the part of the render that has been completed when you interrupt.
Precomputes saved when initial render is interrupted. The precompute for the Flop represents the part of that effect that had been rendered when the operation was interrupted.
Interrupting a Render To interrupt a render: 1. Press Ctrl+period (Windows) or k+period (Macintosh) to interrupt the render. A message box appears. 2. Do one of the following: t Click Keep to save the material already rendered. t Click Discard to end the render without saving the material already rendered. Customizing Render Range Display To customize the display of render ranges in the Timeline: 1. In the Timeline Fast menu, choose Render Ranges. 2.
Timeline with Render Ranges set to Partial Only Timeline with Render Ranges set to All Unrendered portion of effect on track V2 is marked with a red line. Unrendered portion of effect on track V2 is marked with a red line. All unrendered effects on track V1 are marked with a red line. n n n Render Ranges indicator lines do not display if Show Effect Contents is selected in the Timeline Settings dialog box.
ExpertRender When you render effects by using Render at Position or Render In/Out, the system renders all effects in the selected material — all effects on the enabled tracks at the position or all effects on the enabled tracks between the marked IN and OUT points. In most cases, some effects are rendered that do not require rendering for successful playback, resulting in a longer render time than necessary and the creation of more precomputes than necessary.
Rendering Effects by Using ExpertRender To render effects by using ExpertRender: 1. Select all tracks in the Timeline that contain effects you want ExpertRender to analyze. 2. Do one of the following: t To render at position, move the position indicator to the effects in the Timeline. t To render between IN and OUT points, mark IN and OUT points around the effects. 3. Choose ExpertRender at Position or ExpertRender In/Out from the Clip menu.
4. Do one of the following: t Click Cancel. The system removes all ExpertRender highlighting and cancels the ExpertRender process without rendering any effects. t Click Modify Selection. The effects identified for rendering remain highlighted, and you can modify the set of effects to render. For more information, see “Modifying ExpertRender Results” on page 205. t Click OK.
Modifying ExpertRender Results To modify the results of an ExpertRender analysis: 1. Perform an ExpertRender by following steps 1 to 3 in “Rendering Effects by Using ExpertRender” on page 203. 2. In the Render Effects dialog box, click Modify Selection. 3. Shift+click effects in the Timeline to add them or remove them from the set of effects to render. Effects currently selected are highlighted. 4.
n To display the estimated render time during rendering, press the T key on the keyboard. Press the T key again to clear the display. Press the P key to view percent rendered. To cancel ExpertRender during the modification process, do one of the following: t Click in the timecode (TC) track to move the position indicator. t Double-click one of the Segment Mode buttons (the Extract/Splice-in button or the Lift/Overwrite button) below the timeline.
• If the material you submit to ExpertRender includes an effect in a segment that also contains nested effects, ExpertRender always renders the effect on the top (outside) track rather than the effect inside the nest. In certain circumstances, this might limit your workflow flexibility. For example, you might anticipate the need to readjust the parameters of the effect outside the nest and the effect would then require rerendering.
Example 1: Timeline Mask effect on segment appears with an orange dot. Color Effect on segment appears inside nest with an orange dot. Dissolve effects appear with green dots. Although the Dissolve effects have green dots to indicate that they might need to be rendered under some circumstances, this example will play successfully in real time without rendering. When the sequence is submitted to ExpertRender, the system correctly indicates that no effects require rendering.
Example 2: Multilayer Sequence with a 3D Effect In this example, a Mask effect is applied to the segment on track V1, and a 3D Picture-in-Picture effect is created by applying the 3D Warp effect to the segment on track V2. Dissolves are applied to the beginning and end of the segments on both tracks. The final effect has masked video in the background and a 3D Picture-in-Picture effect using the same footage in the foreground.
Example 2: ExpertRender Results Highlighted in Timeline The 3D segment effect and two Dissolve effects are recommended for rendering. Example 2: ExpertRender Results in the Render Effects Dialog Box In this case, ExpertRender saves time for the editor who might assume that the sequence cannot play in real time without rendering all five green dot effects or even all the effects in the sequence.
Example 3: Titles with a Dissolve Effect In this example of a situation that is common when working with titles, a Dissolve effect is applied between two Title Effect clips. In the Timeline, the Dissolve effect appears with a green dot. Example 3: Timeline Before Rendering Dissolve effect appears with a green dot. Title Effect clips appear with an orange dot. When this sequence is submitted to ExpertRender, the system recommends the two Title Effect clips for rendering.
Example 3: ExpertRender Results in the Render Effects Dialog Box In this case, ExpertRender makes a recommendation for rendering that is not ideal. This sequence will play back successfully if the Dissolve effect alone is rendered. If you render the two Title Effect clips, they will no longer be DSK and the rendering process will take longer than the process for rendering the Dissolve effect alone.
Rendering Effects for the Media Station XL When your workflow includes a Media Station XL system for off-loading the rendering process, you can use the Render to Media Station XL command. Because Media Station XL cannot render all types of effects, this command determines which effects in the selected area require rendering on the Avid editing system before you send the sequence to the Media Station XL system.
3. Choose Render to Media Station XL from the Clip menu. The Render to Media Station XL dialog box appears. 4. Select one of the following options: - Entire Sequence — Selects any effects in the sequence that require rendering on the Avid editing system. - In/Out — Selects any effects between the IN and OUT points that require rendering on the Avid editing system. This option is only available when IN and OUT points are marked.
The Render Effects for Media Station XL dialog box appears and indicates how many of the effects submitted require rendering. 7. Choose a drive for the rendered media from the Drive pop-up menu. The Effect Source Drive is the location of the media for the outgoing shot of a transition. 8. Do one of the following: t Click OK to render the selected effects that Media Station XL cannot render. t Click Modify Selection if you want to modify the set of effects selected to render.
Modifying the Render to Media Station XL Results To modify the results of a Render to Media Station XL procedure: 1. Perform the Render to Media Station XL procedure by following steps 1 through 6 in “Rendering Effects for the Media Station XL” on page 213. 2. In the Render Effects for Media Station XL dialog box, click Modify Selection. 3. Shift+click effects in the Timeline to add them or remove them from the set of effects to render. Selected effects are highlighted. 4.
To cancel a Render to Media Station XL command during the modification process, do one of the following: t Click in the timecode (TC) track to move the position indicator. t Double-click one of the Segment Mode buttons below the Timeline. t Choose Render to Media Station XL from the Clip menu, and then click Cancel in the Render to Media Station XL dialog box.
Understanding Effect Media Files When you render an effect, your Avid system creates two elements: a rendered effect clip (also known as a precompute clip) and an associated media file. When you create a title or an imported matte key clip, your system creates several elements: an effect clip, a precompute clip, and associated media files.
To reveal effect clip, rendered effect clip, or motion effect media (Windows): 1. (Option) If you want to reveal effect media for rendered effect clips (precompute clips), display those clips in the bin by doing the following: a. Choose Set Bin Display from the Bin menu. The Set Bin Display dialog box appears. b. Select Rendered Effects and “Show reference clips,” and then click OK. Any rendered effect clips appear in the bin. Rendered effect (precompute) clips 2. Select an effect item in the bin.
In this example, a Title Effect clip is selected. n You can reveal media files for only one item in a bin at a time. 3. Choose Reveal File from the File menu. The system searches all available drives, opens the folder in Windows Explorer, and highlights a related media file.
4. (Option) If more than one media file is associated with the clip, the system displays a message box prompting you to reveal the next file. Do one of the following: t Click OK to reveal the next file. If the Explorer window disappears from view, bring it forward by pressing and holding the Alt key and pressing the Tab key until you select the Explorer window containing the OMFI MediaFiles folder information. t Click Cancel to end the Reveal File operation.
n You can reveal media files for only one item in a bin at a time. 3. Choose Reveal File from the File menu. The system searches all available drives, opens the folder, and highlights related media files. Deleting Effect Media Files from a Bin You can delete effect media files (for titles, matte key clips, and rendered effects) and motion effect media from a bin by using the Delete dialog box.
To delete effect media files and motion effect media: 1. (Option) If you want to delete effect media for rendered effect clips (precompute clips), display those clips in the bin by doing the following: a. Choose Set Bin Display from the Bin menu. The Set Bin Display dialog box appears. b. Select Rendered Effects and “Show reference clips,” and then click OK. Any rendered effect clips appear in the bin. 2. In the bin, select the clip or clips whose media you want to delete.
3. Press the Delete key. The Delete dialog box appears. 4. Select the appropriate check boxes for the material you want to delete, and then click OK. For example, to delete only effect media files, select “delete n associated media file(s)” beneath each of the appropriate effect clip types and deselect all other check boxes. Make sure that you select only those file types you want to delete.
CHAPTER 5 Creating and Customizing Motion Effects This chapter describes how to create and customize effects that alter motion in a clip either by changing a clip’s speed or by creating a Strobe Motion effect. It also describes how to stabilize a clip that exhibits unwanted motion such as motion caused by an unstable camera.
Understanding Motion Effects Motion effects for your Avid system can be divided into two main categories: • Traditional motion effects. You create a traditional Freeze Frame, Variable Speed, or Strobe Motion effect by generating a new clip with specific motion characteristics from an original clip that you open in the Source monitor. You then edit the motion effect clip into your sequence.
In a Timewarp effect, the variations in speed are independent of the length of the clip in the sequence, so you can trim the clip without affecting your speed adjustments. For more detailed information on Timewarp effects and how they differ from traditional motion effects, see “Working with the Timewarp Effect” on page 245. Creating Traditional Motion Effects A motion effect, applied to a clip in the Source monitor, allows you to alter the playback characteristics of the clip.
Playing and Rendering Motion Effects Some motion effect clips play in real time when edited into a sequence; others must be rendered before they can be played. Playback capabilities for motion effects depend on the type of effect, the options you select when creating the effect, and how you work with the effect after you first create it.
Table 5-1 Playback Capabilities of Motion Effects Effect Playback Capability Preview Capability Freeze Frame (all types) Real-time Real-time Variable Speed effects — forward slow motion — Real-time created by using the Duplicate Field or Both Fields type. (Use a value between 0 and 100 in the % Speed text box of the Motion Effects dialog box.) Real-time Variable Speed effects — forward slow motion — Non-real-time created by using the Interpolated Field or VTR-Style type.
Rendering and Rerendering Existing Motion Effects In certain situations, you might need to render or rerender existing motion effects. To do this, follow one of the procedures described in “Rendering Effects” on page 189. Information about the type and render status of motion effects appears in the Timeline in the same form as that used for other effects. Each motion effect type has a distinct effect icon, as shown in the following illustration.
When you render existing motion effects, the Avid system checks the Motion Effects Render Using option or the Timewarp Effects Render Using option in the active Render setting. If the option is set to Original Preference (the default setting), the system makes no change to the type of motion effects when it renders them. If the option is set to a specific motion effect type, the system changes all motion effects to that type when it renders them.
• You might need to render or rerender motion effects when you edit them into a sequence and perform trims or apply transition effects. If an effect that was previously rendered (no colored dot in the Timeline) or that previously played in real time (orange dot in the Timeline) changes in such a way that it requires rendering, it will appear with a blue dot in the Timeline.
n Changes to motion effect types are permanent changes to both the Motion Effect clip and its associated media. You can return to the old motion effect type only by rerendering. To avoid unnecessary rerendering, make sure that the Motion Effects Render Using option and the Timewarp Effects Render Using option in the active Render setting are set to the motion effect type you need. The system writes a message in the Console whenever it changes the type of motion effect during rendering.
3. (Option) If the new motion effect type is not the one you want, change the Motion Effects Render Using option in the active Render settings, and then rerender the motion effects. About Motion Effects in 24p or 25p Projects Motion effects created in 24p or 25p projects behave somewhat differently from the same effects created in interlaced projects. You should be aware of the following issues when you are working with motion effects in 24p or 25p projects.
You can create a traditional Freeze Frame effect in the Source monitor using the Freeze Frame command on the Clip menu, or you can use the Timewarp effect to freeze a single frame or create a rolling clip that freezes. See “Speed Graph Example: Creating a Rolling Clip That Freezes” on page 272. To create a traditional Freeze Frame effect: 1. Load a clip into the Source monitor. 2. Cue the clip to the frame that you want to freeze. 3. Choose Freeze Frame from the Clip menu. A submenu appears.
4. If you are using two-field or uncompressed media, select an option from the Two Field Freeze Frames submenu: n - Using Duplicated Field — The Avid system creates the effect using a single field. While this reduces the vertical resolution of the image by one-half, it is often the best option if the source footage contains rapid motion. - Using Both Fields — The Avid system uses both fields to create the effect.
6. Choose a drive from the pop-up menu, and click OK. A new clip appears in the Source monitor and in the current bin preceded by a Motion Effect icon. The new clip has the original clip name followed by the letters FF. New clip with Freeze Frame effect Creating a Rolling Clip That Freezes One common use for freeze frames is to create a segment that plays normally and then freezes, either to superimpose text information or to add emphasis to the end of a sequence before fading.
5. Click the Extract/Splice-in button or the Lift/Overwrite button to edit the freeze frame into the sequence at the previously marked IN point. When you play the sequence, the footage plays full-motion and then freezes at the chosen frame. Creating a Traditional Variable Speed Effect Variable Speed effects involve changing the rate of playback to achieve fast-motion or slow-motion effects. The Avid system creates slow-motion effects by duplicating frames in the original media.
4. Click the Motion Effect button on the Command palette. n If you map the Motion Effect button from the Command palette to the button palettes on the interface or to the keyboard, it opens the Motion Effect Editor for Timewarp effects. You must use the Motion Effect button on the Command palette (with Active Palette selected) to create traditional Variable Speed or Strobe Motion effects. See the editing guide for information on using the Command palette. The Motion Effect dialog box appears.
n - Interpolated Field — A second field is created for the effect by combining scan line pairs from the first field in the original media. The interpolation causes a slight softening of the final image. - VTR-Style — The Avid system creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed.
A new clip appears in the Source monitor and in the current bin. The clip has the original clip name followed by the frame rate in parentheses. You can then edit this clip into your sequence as you would any other clip. New clip with Variable Speed effect Using the Fit to Fill Button The Fit to Fill button, on the Edit tab of the Command palette, performs an overwrite edit and uses a Variable Speed motion effect to fill the marked record duration.
For more information, see the following: • Command palette: The chapter “Using Basic Tools“ in the editing guide • Overwrite edit: The chapter “Editing in Source/Record Mode“ in the editing guide • Render settings: “Creating and Using Render Settings” on page 191 • Media Creation dialog box: The chapter “Preparing to Digitize” in the input and output guide Creating a Traditional Strobe Motion Effect Strobe motion results in a stuttering effect during playback of a clip.
Motion Effect button on the Command palette to create traditional Variable Speed or Strobe Motion effects. See the editing guide for information on using the Command palette. The Motion Effect dialog box appears. n The selections for Render 2-Field Motion Effect Using are available for two-field media in interlaced projects only. See step 5 and step 6. 3. Select the Strobe Motion option. 4. Specify the update rate in frames for the Strobe Motion effect.
6. (Option) If you are using two-field media, and a specific motion effect type is set as the Motion Effects Render Using option in the active Render setting, the system automatically selects that type in the Motion Effect dialog box, makes all other types unavailable, and displays the Ignore Render Setting check box. If you want to override the Render setting, select the Ignore Render Setting check box, and then select one of the four options described in step 5. 7.
Working with the Timewarp Effect This section introduces the Timewarp effect. The Timewarp effect not only gives you the ability to create traditional Variable Speed and Freeze Frame effects but also delivers unprecedented control over these and other motion effects. The Timewarp effect is a powerful tool for creating and customizing motion effects. When you use keyframes with the Timewarp effect, you can control the speed and the position of any image in the effect.
You create a Timewarp effect by clicking the Timewarp Effect icon in the Effect Palette and dragging it to a sequence. You modify a Timewarp effect from the Motion Effect Editor. To open the Motion Effect Editor, click the Motion Effect button in the Tool palette. n n The Motion Effect button does not appear on the interface by default. You can map the Motion Effect button from the Command palette to the button palettes on the interface or to the keyboard.
Position maps input (source) time to output (effect) time. The Motion Effect Editor displays input time (vertical axis) over output time (horizontal axis) in the Position graph. You use the Position graph if you need a specific frame in the source to be at a specific frame in the effect. For example, in a sports clip, you might want the clip to begin with the striker kicking the ball and end with the goalie catching the ball.
Interpolation Options The way the Timewarp effect changes speed or position in a clip is governed by which keyframe interpolation option you select. Keyframe interpolation refers to the method by which your Avid system determines the rate of change and the relative smoothness of change at keyframes. For example, you can create an effect in which all changes occur abruptly, or you can choose to smooth out all changes.
Creating a Timewarp Effect You create a Timewarp effect using the Effect Palette or by promoting a traditional motion effect using the Motion Effect Editor. For the procedure for promoting traditional motion effects, see “Promoting Traditional Motion Effects” on page 249. To apply a Timewarp effect from the Effect Palette: 1. Create a sequence in the Record monitor using the standard Avid editing procedures. For information about editing a sequence, see the editing guide. 2.
Click to promote a traditional motion effect to a Timewarp effect. Duration, speed, and strobe information from the traditional motion effect To promote a traditional motion effect to a Timewarp effect: 1. Click the Motion Effect button in the Tool palette. The Motion Effect Editor opens. 2. Click the motion effect in the Timeline. The Promote button appears in the Motion Effect Editor. The Duration, Speed, and Strobe fields for the motion effect appear above the Motion Effect Editor toolbar. 3.
The name of the clip in the Timeline does not change. Your Avid system creates traditional motion effect clips with speed and strobe information in parentheses following the name. For example, a traditional motion effect clip named Turbocharge (15FPS) (Strobe: 5) is a half-speed effect with a strobe every 5 frames. After you promote the effect to a Timewarp effect, the name remains the same.
n You cannot create a traditional motion effect with the Motion Effect Editor open. To create a traditional motion effect, close the Motion Effect Editor and follow the procedure for creating motion effects found in “Creating Traditional Motion Effects” on page 227.
Table 5-2 describes the components of the Motion Effect Editor display. Table 5-2 Motion Effect Editor Options Option Description Timewarp Effect icon Click the icon, and drag it to a bin to create a Timewarp Effect template from the current settings in the Speed graph and Position graph. Speed Graph display button Graph closed Graph open Position Graph display button Graph closed Graph open Click to open the Speed graph. Click again to close the Speed graph.
Table 5-2 Motion Effect Editor Options (Continued) Option Description Edit Graph Click to choose a control graph with which to customize the Timewarp effect. You can work with either the Speed graph or the Position graph but not both at once. Speed Position n The Motion Effect Editor applies information only from the active control graph. For more information, see “Using the Timewarp Speed Graph” on page 265 and “Using the Timewarp Position Graph” on page 268.
Table 5-3 describes the buttons on the Motion Effect Editor toolbar. Table 5-3 Motion Effect Editor Toolbar Button Description Render Effect Renders the Timewarp effect with the selected rendering option. Remove Effect Removes the Timewarp effect. Match Frame Finds and displays the frame in the source material that matches the frame in the Timewarp effect. In the case of an intermediate (interpolated) frame, the system displays the frame closest to the intermediate frame.
Setting Input Format and Output Format Options Your Avid system gives you the ability to select the format of the rendered Timewarp effect. Your possible output formats depend on your input format. Table 5-4 describes the output format options for all input formats.
3. Choose your input format: - Interlaced - Film With 2:3 Pulldown - Progressive 4. Click the Output button. The Output pop-up menu appears. 5. Using the information in Table 5-4, choose your output format. 6. Click OK. Selecting a Rendering Option For information on the rendering of Timewarp effects, see “Rendering Timewarp Effects” on page 248. To select a rendering option: 1. Click the Render Using button in the Motion Effect Editor. The Render Using pop-up menu appears.
Table 5-5 Timewarp Effect Rendering Options Option Description Duplicated Field The system displays a single field in the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed. (The other options do not improve effect quality for single-field media.
Table 5-5 Timewarp Effect Rendering Options (Continued) Option Description VTR-Style The system creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This option also creates the motion effect at the field level rather than the frame level, but because pixels are not filtered, the final image is sharper than that created by the Interpolated Field option. The image might display some slight jitter at certain speeds.
Speed Graph Display and Position Graph Display When you click the Speed Graph display button or the Position Graph display button, the Motion Effect Editor expands and opens the graph you selected. The fully expanded Motion Effect Editor is shown below. Speed graph Position graph Click to select the active control graph. The Motion Effect Editor works with one control graph at a time. You can work with either the Speed graph or the Position graph but not both at once.
The Edit Graph button changes to show the active graph. The Fast Menu, Rewind, Add Keyframe, and Fast Forward buttons appear under the active graph. The graph you chose becomes the active graph. Changing a Graph Display with the Scale Bars Directly below each graph are two scale bars. The left bar of each graph is the Value scale bar. The right bar of each graph is the Position scale bar. Use the scale bars below a graph to scale the graph view up or down to see more or less detail.
To show more detail in the Percent Speed axis (Speed graph) or the Input Position axis (Position graph): t Click the Value Scale bar for either the Speed graph or the Position graph, and drag it to the right. The graph’s vertical view expands to show more detail. To show less detail in the Percent Speed axis (Speed graph) or the Input Position axis (Position graph): t Click the Value Scale bar for either the Speed graph or the Position graph, and drag it to the left.
To move the view in the graph display: 1. Click within the boundaries of the graph display you want to move. 2. Press and hold Ctrl+Alt (Windows) or k+Option (Macintosh). The pointer changes to a hand. 3. Drag the hand in any direction to reposition the view within the graph display. Motion Effect Editor Fast Menu Options The Motion Effect Editor Fast Menu button appears on the Motion Effect toolbar of the active graph. It provides keyframe options and operations.
Because the Motion Effect Editor uses advanced keyframes, its Fast menu is similar to the Effect Editor shortcut menu for keyframe graphs. The components of these menus are described in “Shortcut Menus for the Motion Effect Editor and Keyframe Graphs” on page 143. Toolbar Buttons for the Active Control Graph Table 5-6 describes the buttons that appear on the toolbar below the active control graph. Table 5-6 Active Control Graph Toolbar Buttons Button Description Fast menu Displays the Fast menu.
Using the Timewarp Speed Graph The following illustration shows the activated Speed graph. Active keyframe Percent Speed axis Position indicator (blue) Green line indicates output speed as a percentage of input speed.
Table 5-7 Speed Graph Components Option Description Percent Speed axis Output Position axis The Percent Speed axis represents the speed of the resulting effect as a percentage of the speed of the source material. The Output Position axis represents the timecode for the resulting effect. For example, if Percent Speed is 200 at an Output Position of 00:00:02:15, then at 2:15 after the start of the effect, the speed of the effect will be twice the speed (200%) of the source material.
Table 5-7 Speed Graph Components (Continued) Option Description Source Anchor Frame indicator Indicates the point (timecode) in the effect where you have anchored the source. The default Source Anchor Frame is the first frame or field of the source, and the default point for anchoring the Source Anchor Frame is timecode 0; that is, the first frame or field of the effect. For more information, see “Using the Source Anchor Frame” on page 267.
To anchor the Source Anchor Frame at the active keyframe: t Click the Source Anchor Frame button. The Source Anchor Frame indicator moves to the active keyframe. The output timecode shows above the Record monitor. To anchor the Source Anchor Frame manually: t Click the Source Anchor Frame indicator and drag it in the Output Position axis of the Speed graph. The output timecode shows above the Record monitor.
Table 5-8 describes the components of the Position graph. The Fast menu that appears when you click the Fast Menu button in the Position graph toolbar is the same as the shortcut menu that appears when you right-click (Windows) or Ctrl+Shift+click (Macintosh) the Position graph. The menu is described in “Shortcut Menus for the Motion Effect Editor and Keyframe Graphs” on page 143.
Table 5-8 Position Graph Components (Continued) Option Description Active control graph toolbar The active control graph toolbar appears under the active control graph. See Table 5-6 on page 264. Value scale box Position scale box Use the scale boxes to scale the Position graph view up or down to see more or less detail. The Value scale box controls the Input Position axis. The Position scale box controls the Output Position axis.
The Speed graph opens and the Speed Graph Display button changes. - Click the Position Graph Display button to open the Position graph. The Position graph opens and the Position Graph Display button changes. 4. Choose the active control graph from the Edit Graph pop-up menu. See “Selecting the Active Control Graph” on page 255. The Active Control Graph toolbar appears below the active control graph. 5. Make input and output format selections required by your project from the Formats dialog box.
Timewarp Effect Examples The examples in this section demonstrate several basic effects you can achieve with the Timewarp effect. You can also use the Timewarp templates that appear in the Motion Effect category as a starting place for familiarizing yourself with the capabilities of the Timewarp effect. See “Motion Effects” on page 717.
- Select Shelf as the interpolation option from the Motion Effect Editor Fast menu. See “Parameter Changes at Keyframes” on page 158. 2. (Option) Click the Position Graph Display button to open the Position graph. Changes you make to the Speed graph are reflected in the Position graph. Having the Position graph open lets you see how your changes could have been achieved using the Position graph. The Position graph opens, and the Position Graph Display button changes. 3.
6. Click the Add Keyframe button in the toolbar below the Speed graph. A keyframe indicator appears at the position indicator in the Speed graph. 7. Click the middle keyframe indicator to activate it, and set the speed at 0% for this keyframe by doing one of the following: t Type 0 in the Percent Speed text box, and press Enter. t Click the keyframe indicator, and drag it down until it reaches the zero marking on the Percent Speed axis.
n You move Timewarp keyframes directly in the same way you move keyframes in keyframe graphs. See “Moving a Keyframe in a Keyframe Graph” on page 153. Notice the line in the Position graph. At the beginning of the effect, the line shows that input position (timecode in the source) and output position (timecode in the effect) are changing at the same rate. The effect plays at 100% speed until the freeze frame, and at that point the line becomes flat.
Speed Graph Variations: Moving Keyframes By moving the keyframes controlling the starting and ending times of the freeze frame, you can change the time in the clip at which the freeze frame starts or ends, and you can change the length of the freeze. n You move Timewarp keyframes directly in the same way you move keyframes in keyframe graphs. See “Moving a Keyframe in a Keyframe Graph” on page 153. To change the time at which the freeze frame starts: 1.
The freeze frame will now start and end at the new keyframe positions. To change the length of the freeze frame, without changing the starting time, do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the second keyframe indicator, and drag it to its new position. Dragging to the left shortens the freeze frame; dragging to the right lengthens it. t Type a new ending timecode into the Output Position text box.
Strobe Motion Using the Timewarp Effect Strobe motion is essentially the same for the Timewarp effect as for a traditional motion effect. To create a Strobe Motion effect using the Timewarp effect: 1. Apply a Timewarp effect and set up the Motion Effect Editor using the procedure in “Setting Up the Motion Effect Editor” on page 270. 2. Select Shelf as the interpolation option from the Motion Effect Editor Fast menu. See “Parameter Changes at Keyframes” on page 158. 3.
Setting Effect Position with the Position Graph When you use the Position graph to customize a Timewarp effect, you map source material position to output position. That is, any timecode of the source material is mapped to any timecode of the result, within the constraints of the Position graph. The results of the Position graph are reflected in the Speed graph. To set effect speed with the Position graph: 1.
4. Map the source timecode to the output by doing one of the following: t n Move the keyframe indicator to the point where the input timecode (shown in the Input Position text box) maps to the output timecode (shown in the Record monitor) to achieve the effect you want. You move Timewarp keyframes directly in the same way you move keyframes in keyframe graphs. See “Moving a Keyframe in a Keyframe Graph” on page 153.
To create reverse motion, you map the end of the source to the beginning of the effect, and the beginning of the source to the end of the effect. You do this by setting new input positions for the first keyframe and the last keyframe, either by dragging the keyframe indicators to their new locations or by typing in the input position timecodes for each keyframe. n You move Timewarp keyframes directly in the same way you move keyframes in keyframe graphs.
In the Speed graph, a straight line crosses the graph at 100% speed. 2. Click the first keyframe indicator, and note the starting timecode displayed in the Input Position text box. 3. Click the last keyframe indicator, and note the ending timecode displayed in the Input Position text box. 4. Do one of the following: t Reverse the starting and ending timecodes by dragging the keyframe indicators: a.
As you drag, the Input Position text box changes until it reaches the timecode for the first frame of the source. t Reverse the starting timecode and ending timecode by entering new Input Position timecodes: a. Click the first keyframe indicator, and type the original ending timecode in the Input Position text box. b. Click the last keyframe indicator, and type the original starting timecode in the Input Position text box. The effect plays back in reverse motion. 5.
Using the Region Stabilize Effect The Region Stabilize effect, in the Image category, defines and tracks an area of an image to eliminate unwanted motion in a clip, such as motion from an unstable camera. Stabilizing an Image Region Stabilize allows you to select an area of the image that you want to remain stationary and then uses the information to reposition each frame in the clip to keep the region steady. n Stabilization exposes black around the edges of the repositioned frames.
A wire frame appears in the Effect Preview monitor to indicate the region of interest. This is the area you want to use in stabilizing the image. 5. Reposition and resize the wire frame by doing one of the following: t Use the sliders in the Region of Interest parameter category. t Click the wire frame, and drag it in the Effect Preview monitor. Select a region that contains one or more features that do not change much from frame to frame, for example, objects such as buildings or rocks.
- Horizontal constrains horizontal motion in the region of interest. Features in the region of interest can move vertically but not horizontally. - Vertical constrains vertical motion in the region of interest. Features in the region of interest can move horizontally but not vertically. 7. (Option) Turn on Auto Zoom: a. Open the Options parameter category. b. Select Auto Zoom. Stabilization exposes black around the edges of the repositioned frames.
Making Adjustments to the Region of Interest If the Region Stabilize effect does not perform as expected, it might be due to one of the following: • Large motion. If an object in your region of interest moves too far away from the region from one frame to the next, the rendered clip might display unexpected results. • Extraneous motion. An object in your region of interest might move over the course of the clip in a way that unpredictably affects the stabilization. • Insufficient texture.
Creating and Customizing Motion Effects
CHAPTER 6 Creating Layered and Nested Effects This chapter describes how to apply multilayer effects to your sequence. Layered effects consist of two or more layers of video built up vertically in the Timeline that play back simultaneously with effects such as Picture-in-Picture, Superimpose, or Submaster applied to the tracks. Nested effects consist of one or more effect layers that are contained within another effect on the same video layer.
Creating Key Effects Your Avid editing system supports the following key effects: • Chroma Key — Replaces one part of the video image with another video image based on color • Luma Key — Replaces one part of the video image with another video image based on luminance (brightness) • Matte Key — Replaces one part of the video image with another video image or graphic based on the location of a high-contrast image known as a matte Using the Chroma Key Effect and the RGB Keyer The Chroma Key effect a
Chroma Key effect example This shows a Chroma Key effect that has been promoted to 3D and then repositioned with defocus applied to enhance the effect of perspective between foreground and background. Before After RGB Keyer The RGB Keyer is a non-real-time plug-in effect that includes additional parameters for fine-tuning the edges of the key and applying post-key color correction (correction applied to the foreground image without affecting the key itself) to the foreground elements.
RBG Keyer example: using post-key color correction This example shows use of the post-key color correction capabilities of the RGB Keyer to blend the foreground and background elements more effectively. Before After Creating a Chroma Key Effect To create a Chroma Key effect: 1. Create a sequence with two video layers. 2. Edit the background image onto track V1. 3. Edit the foreground image onto track V2. 4.
Chroma key footage on V2 Chroma Key effect applied to V2 Background footage on V1 The Avid system adds the Chroma Key effect. Ultimatte blue is the default key color. 7. Move the position indicator to the segment containing the effect in the Timeline, and click the Effect Mode button. The Effect Editor opens and displays parameters for adjusting the effect you applied. 8. Open the Key Color parameter category (RGB Keyer) or the Key parameter category (Chroma Key effect).
Select a key color from the chroma background with the eyedropper. The chroma key takes effect. 10. Fine-tune the key by enabling additional parameter categories and adjusting sliders as necessary: - For more information on specific parameters, see “Key Control Parameters” on page 621. - For more information on using post-key color correction with the RGB Keyer, see “Using Post-Key Color Correction” on page 294.
To perform post-key color correction: 1. Apply and adjust the RGB Keyer effect as described in “Creating a Chroma Key Effect” on page 292. 2. While in Effect mode, adjust the hue, saturation, and value of the foreground elements using the Color Correction parameters in the Effect Editor. For more information on the specific parameters, see “Color Correction” on page 626.
Creating a Matte Key Effect The Matte Key effect uses three layers of video to create the effect. The bottom layer is the background image, the middle layer is the foreground image, and the top layer contains the matte or alpha channel. To create a Matte Key effect: 1. Create a sequence with three video layers. 2. Edit the background image onto track V1. 3. Edit the foreground image onto track V2. 4. Load a high-contrast image into the Source monitor, and edit it onto track V3.
8. Click the Record Track Monitor button for track V3 in the Track Selector panel. You should see tracks V2 and V1 through the high-contrast image on track V3. 9. Move the position indicator to the Matte Key effect, and render the effect. n For an example of a Matte Key effect, see “Key: Matte Key” on page 704 and “Using Matte Keys with 3D Effects” on page 345.
These guidelines apply to editing with real-time moving mattes: • You can promote a real-time Matte Key effect to a 3D Warp effect, and use the 3D manipulation parameters. • If the Matte Key effect is not on the top video track of a multilayered composite, it must be rendered before it will play in real time. • If you add a motion effect to the matte and foreground, the effect will not play in real time until you render the motion effect.
Black portions of the high-contrast image will be transparent and white portions will be opaque. To switch the order, use the Reverse option in the Foreground parameter category of the Matte Key effect. n You can also import a graphic image with an alpha channel and use it as a Matte Key effect. See “Editing with Imported Matte Key Clips” on page 300.
Editing with Imported Matte Key Clips When an imported clip includes an alpha channel for keying the graphic over video, it appears in the bin with a Key Effect icon. Both single-frame graphic images (such as a single JPEG file) and multiple-frame animation sequences (such as a JPEG file sequence) appear in the bin in the same form after import, and you use the same editing techniques for both. You can edit this type of clip into a sequence as a standard matte key overlay.
Track Selector panel Source Track button Record Track button Before Source Track button Record Track button After 6. Click the Lift/Overwrite button to edit the matte key into the sequence. The Avid system keys the graphic over the video on the lower tracks. In the following example, the graphic appears on track V3 above the main video sequence edited onto tracks V1 and V2. Matte key graphic keyed over video Key Effect icon 7.
8. Use standard effect editing procedures to preview, render, or play the Matte Key clip. n Make sure the Record Track Monitor button for the topmost track is selected in the Track Selector panel to see the complete effect. Editing with Imported Master Clips When an imported clip does not include an alpha channel for keying the graphic over video, its icon is the standard master clip icon. This is true for both single-image graphics and animation sequences.
Using the Reformat Effects and the Pan and Scan Effect The Reformat category contains effects for conforming media of different aspect ratios. One of these effects, Pan and Scan, available on some Avid systems, usually works as a vertical effect that you apply to a layer above the rest of your video material and that affects all the video material beneath it.
Pan and Scan allows you to select a portion of the media to reformat and provides other parameters. See “Understanding the Pan and Scan Effect” on page 304. Pan and Scan also supports conversion of 15:9 Anamorphic source media to 16:9 Anamorphic. See “Selecting the Source and Target Aspect Ratios” on page 308. n If you use a Reformat effect and the Pan and Scan effect on the same sequence, you must render one of the effects before the sequence will play in real time.
Original media with the Pan and Scan wire frame (in 16:9 mode) n Results of the Pan and Scan effect (in 4:3 mode) You can use Pan and Scan on any type of project (24p or 25p NTSC, 30i NTSC, 24p or 25p PAL, or 25i PAL). Working with the Reformat Effects The Reformat category contains three effects, other than Pan and Scan, that reformat media to new aspect ratios: • 16:9 Letterbox — Scales the image vertically to the 16:9 aspect ratio within a 4:3 frame; works on 16:9 Anamorphic media.
You would use one of these effects when you need to reformat a film aspect ratio for television programming. These effects also make it easier to combine 4:3 legacy media into a 16:9 master. For more information, see “Reformat Effects” on page 745. Outputting the Media with the Pan and Scan Effect Media with the Pan and Scan effect can be output in two video formats: 4:3 or 16:9 Anamorphic.
tool, select the 16:9 aspect ratio and the titles will be sized correctly during the digital cut. For more information, see the chapter “Generating Output” in the input and output guide. When not using multiformat titles, you can place the Pan and Scan track over a title to properly scale the title along with the video tracks beneath it. If you need to pan, however, the pan will apply to the title as well as the other video tracks.
2. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. The Effect Palette opens. 3. Click the Reformat category. 4. Drag the Pan and Scan Effect icon from the Effect Palette to the new track. n If you apply the Pan and Scan effect and then add a segment to or remove a segment from your sequence, the Pan and Scan effect does not automatically adjust to cover the entire segment.
Pan and Scan wire frame Correctly setting the Pan and Scan aspect ratios is the most important part of using Pan and Scan. Whenever you change aspect ratios, you must decide which part of an image you will retain for the final output and which part you will discard. The Pan and Scan aspect ratios specify the size of the incoming image and determine how much of that image you can retain for your final output.
To set the Source and Target aspect ratios for a Pan and Scan effect: 1. Apply the Pan and Scan effect to the new video track, following the procedure described in “Applying the Pan and Scan Effect” on page 307. 2. Enter Effect mode by clicking the Effect Mode button on the Timeline toolbar. The Effect Editor opens. 3. Select the Pan and Scan effect if it is not already selected. 4. In the Effect Editor, click the triangular opener for the Aspect Ratios parameter category.
5. Set the Source aspect ratio to the ratio of your source material. 6. Set the Target aspect ratio to the ratio of the final output. Setting Up Your Monitors for the Pan and Scan Effect To accurately view the effects of Pan and Scan while you edit, you need to set your monitors to display the correct aspect ratios. Your Record or Effect Preview monitor can display in 4:3 aspect ratio (the default) or 16:9 aspect ratio. Your Client monitor should also be able to display these two aspect ratios.
n If you are working with 16:9 Anamorphic and do not have the monitors set up correctly, the media and the wire frame will appear distorted. They will appear either elongated or squeezed. To set the Record or Effect Preview monitor aspect ratio: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) in the monitor. A shortcut menu appears. 2. Choose 16:9 Video to select or deselect 16:9 display.
Viewing Pan and Scan Media In Source/Record mode, the Client monitor displays the media inside the Pan and Scan wire frame. The portion of the image inside the wire frame expands to fill the entire monitor. The Record monitor also shows the media inside the wire frame; however, the media will be distorted if either the Source or Target aspect ratio is 16:9 Anamorphic. In Effect mode, the Effect Preview monitor displays your original media and the Pan and Scan wire frame.
Using the Effect Grid with the Pan and Scan Effect The Effect Grid displays a variety of positioning guides to help you move and position the Pan and Scan wire frame. Displaying the Safe Action grid and Thirds can be particularly useful when adjusting Pan and Scan compositions. The following illustration shows the Effect Grid with Show Safe Action, Show Thirds, and Show Axes selected.
Other Options button Grid parameter category Grid button In addition to using the options in the Grid Settings dialog box, you can use the controls in the Grid parameter category of the Effect Editor to change some Grid settings. For more information on these parameters, see “Grid” on page 619.
Setting an Origin in the Pan and Scan Effect Each Target aspect ratio has default position and scaling settings. You can return to these default settings at any time by selecting the aspect ratio again. In addition to using the system’s default values, you can create customized default values for each instance of the Pan and Scan effect by using Establish Origin. n Establish an origin before subdividing or adjusting individual keyframes in your Pan and Scan effect.
Subdividing the Pan and Scan Effect Because your sequence probably contains a variety of segments with different panning requirements, you might need to adjust the position of the Pan and Scan effect on a segment-by-segment basis. To make it easier to adjust Pan and Scan for individual segments, Pan and Scan includes the Subdivide Effect option. Subdivide Effect breaks up the Pan and Scan effect based on the segment boundaries of the selected video tracks underneath the Pan and Scan track.
To subdivide a Pan and Scan effect: 1. In Effect mode, move the position indicator to the Pan and Scan effect. 2. Click the Record Track buttons in the Track Selector panel for the video tracks to use as the subdivision guide. Subdivide Effect divides Pan and Scan based on the segment boundaries of the selected tracks underneath the Pan and Scan track. 3. In the Actions parameter category, click Subdivide Effect. The Avid system divides the Pan and Scan effect into multiple effects.
To scale the wire frame, do one of the following: t Click one of the wire frame’s handles, and drag it to the position you want. t Click the triangular opener for the Scaling parameter category in the Effect Editor, and use the slider controls to adjust the wire frame’s height and width. Scaling lets you zoom in on your media. When you make the wire frame smaller, the image inside the wire frame is enlarged to fit the output monitor.
n Pressing and holding the Shift key while dragging the wire frame lets you move in all directions. You cannot drag the wire frame off the screen because in most circumstances you will not need to select empty space outside the boundaries of the source image. If you do need to position the edges of the wire frame beyond the screen’s limits, use the Position sliders in the Effect Editor.
If your sequence needs many adjustments: 1. Click the Effect Mode button on the Timeline toolbar to enter Effect mode. You will do all your adjustments in Effect mode. 2. Use the Go To Next Edit and Go To Previous Edit buttons to step from one Pan and Scan effect to the next. 3. Adjust the Pan and Scan effect. Combining the Pan and Scan Effect with Transition Effects When you subdivide the Pan and Scan effect, the subdivisions are based on the segment boundaries of the selected track.
You can set Pan and Scan parameters for the starting and ending keyframes of the entire segment string and insert additional keyframes wherever you need to fine-tune the panning. However, this approach works only if the panning does not vary among the segments in the string. If panning needs to vary greatly from segment to segment, you might need to handle Pan and Scan on a segment-by-segment basis.
4. Click the Image category. 5. Drag the Pan and Scan Effect icon from the Effect Palette to the first segment in the segment string in the Timeline. 6. Repeat step 5 for each segment in the segment string. 7. Adjust each Pan and Scan effect as needed. Nesting Effects You can use your Avid system to place effect tracks inside one another to better combine multiple images and digital video effects (DVEs).
You can edit up to 24 video track layers (8 for offline systems). Into each layer of video, you can additionally nest (stack inside) up to 24 more video tracks (8 for offline systems). You can step into each video track indefinitely, constrained only by your Avid system’s memory. n Nested effects must be rendered in order to play back correctly. You can use nesting when you want to create layered effects. In this case, the nested layers are treated as one element during the transition.
Stepping Into and Out of Nested Effects You can step into an existing nested effect for editing. When you step into the effect, the full sequence in the Timeline is replaced with just the tracks that make up the nested effect. You can then add new tracks, monitor individual tracks, edit source material into the tracks, apply effects, and adjust effects on the nested tracks. You can step into any segment effect in this way.
To expand a nested effect, do one of the following: t In Effect mode, double-click a nested effect to expand the effect within the Timeline. t In Source/Record mode, click either the Extract/Splice-in button or the Lift/Overwrite button, and then double-click the nested effect. The nested tracks appear in the Timeline above the track you double-clicked. Editing and patching features are available for changing the content of the track’s effect.
The segment opens to reveal the nested tracks. 3. Edit new footage into the nested tracks, and apply additional effects as necessary. In this example, a series of clips is edited onto nested track 1.2, with dissolves applied between the shots. The 3D Picture-inPicture effect applies to the entire nested dissolve sequence. 4. Double-click the main track for the nested effect (V2 in this example) to close the nested tracks again.
Changing the Order of Nested Effects When you use advanced keyframes with nested effects, you can change the order of nested effects by manipulating the Nesting Priority icons that appear in the Effect Editor. If the effect you are editing has nested tracks, the effect icon and the name of nested effects appear at the bottom of the Effect Editor. A Nesting Priority icon appears in line with each effect name. Click this icon and drag it to a new position to reorder the effects.
3. Release the mouse. The effects move to their new locations, and the Effect Editor display changes to reflect the new nesting. Note the following considerations about the display and manipulation of nested effects: • You can change the nesting order only when the nested effects have the same number of internal tracks. • The Effect Editor does not display layered components of a nested effect. • If there is no effect on the foreground track (for example, V1.
3. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 4. Click the Key category. 5. Drag the Matte Key Effect icon from the Effect Palette to the segment on track V2. 6. Click one of the Segment Mode buttons (the Extract/Splice-in button or the Lift/Overwrite button) below the Timeline. 7. Double-click the Matte Key Effect icon in the segment. The Timeline expands to display three nested tracks (1.1, 1.
8. Deselect the Segment Mode button so you can edit the tracks. 9. Edit the foreground image onto nested track 1.1. 10. Click one of the Segment Mode buttons, and double-click track V2 to collapse the nested tracks. 11. Click the Record Track Monitor button for track V2 in the Track Selector panel. You should see tracks V1 and nested track 1.1 through the high-contrast image on track 1.3. For an example of a Matte Key effect, see “Key: Matte Key” on page 704.
The Submaster effect is useful when you want to play back bandwidth-limited sequences, such as sequences composed of several seconds of single-frame clips. It is much faster to use the Submaster effect than to use methods such as applying a graphic, or using a Picture-in-Picture, Mask, or Resize effect. Normally, Submaster effects render at about the same rate as motion effects. n n You can nest up to 24 tracks inside a Submaster effect depending on the model of your Avid system.
Add edit marks on new track V5; bracket clips on track V4 3. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 4. Click the Image category. 5. Drag the Submaster Effect icon to the space between the add edits you added on the new track (V5 in this example). The Avid system applies the effect above the layers. Submaster effect on track V5 6.
Using the Submaster Effect with a Series of Short Clips The Submaster effect is useful when you want to play back bandwidth-limited sequences, such as a sequence composed of a series of short clips (a few frames each). You can apply and render the Submaster effect above the clips to improve playback. To apply the Submaster effect to multiple clips: 1. Choose New Video Track from the Clip menu. 2. On the new video track, create one add edit before and another after the group of clips. 3.
Collapsing Layers into One Submaster Effect You can use the Collapse feature to build a multilayer effect and then nest the effect within a single Submaster effect in one step. To use this feature, map the Collapse button from the Command palette to your keyboard or a user-selectable palette. The Collapse feature allows you to build your effect at the topmost level and when you are finished, collapse the layers automatically into one Submaster effect.
3. Click the Collapse button. The Avid system collapses the tracks into a Submaster effect on a single track. To open the nested tracks again: 1. Click either the Extract/Splice-in button or the Lift/Overwrite button below the Timeline. 2. Double-click the Submaster effect. The following procedure explains an alternate way to use the Collapse feature: 1. Click either the Extract/Splice-in button or the Lift/Overwrite button below the Timeline. 2. Select the segments you want to collapse. 3.
Performing a Video Mixdown Video mixdown allows you to combine several tracks into a new master clip. You can use video mixdown after you have finished building your sequence and want to make it into one piece (for example, a standard opening to a program). It can be useful for a complex sequence you need to use repeatedly or if you want to add a motion effect to an entire sequence. Video mixdown is similar to the Collapse feature; the difference is the end result.
2. Mark an IN point and an OUT point around the area to mix down. 3. Choose Video Mixdown from the Special menu. The Video Mixdown dialog box appears. 4. Choose a target bin and target drive for storing the new master clip, and then click OK. A progress indicator appears. When the video mixdown finishes, a new clip appears in the bin along with the sequence, and the system creates a new media file on the target drive.
CHAPTER 7 Working with 3D Effects This chapter describes procedures for creating and manipulating 3D effects on systems with 3D effects capability. For reference information on the parameters that apply to 3D effects and all the available 3D shapes, see Chapter 12.
Understanding 3D Effects The 3D Effects feature delivers a wide range of digital video effects, including the following: n • Image effects such as blur (defocus), corner pin, and resize with rotation and perspective • Two-channel segment effects including smooth-motion picture-in-picture • Shapes, including 3D spheres and four-way page curls • Positioning, scaling, skewing, and rotation, with perspective • Source cropping • Internal borders including beveled and rounded edges • Soft bord
The methods for disabling the 3D Effects option are: c • You can disable the 3D Effects option during startup by using a key sequence. In this case, the 3D Effects option will be reenabled automatically the next time you start the system. • You can disable the 3D Effects option with a Console command. In this case, the 3D Effects option will remain disabled until you enter another Console command.
Turning the 3D Effects Option On and Off in the Console To turn off the 3D Effects option in the Console: 1. Choose Console from the Tools menu. The Console window opens. 2. Type the following command in the command line at the bottom of the Console window, and press Enter (Windows) or Return (Macintosh): Disable3D A message appears stating that the 3D Effects option is disabled. 3. Quit the Avid application, and restart it. During startup, a message indicates that the 3D Effects option is disabled.
Applying the 3D Warp Effect All the 3D effects features are accessible through the 3D Warp effect in the Blend category. n This procedure assumes that you are familiar with adding effects to a sequence. For more information, see “Applying Effects to a Sequence” on page 78. To apply the 3D Warp effect: 1. Create a sequence by using standard Avid system editing procedures. 2.
5. In the Timeline, move the position indicator to the 3D Warp effect, and click the Effect Mode button on the Timeline toolbar. The Effect Editor and the Effect Preview monitor appear. The two default keyframe indicators appear under the Effect Preview monitor. Now you can begin adjusting the 3D Warp parameters to customize your effects. Promoting 2D Effects to 3D Effects You can use 2D effects as building blocks for 3D effects.
The following rules and restrictions apply to promoting effects to 3D: • Some software-based effects cannot be promoted to 3D. • You cannot demote a 3D effect to a 2D effect. If you play a 3D effect on a system that does not have 3D hardware, the effect plays as a cut (unless the effect was rendered on the 3D system). However, you can reapply the 2D effect. • All effects that were real-time in 2D are still real-time when you upgrade to 3D. To promote a 2D effect or title to a 3D effect: 1.
n You cannot promote matte keys created using the Matte Key effect from the 2D Effect Palette to a 3D matte key. To create a matte key for use with 3D effects: 1. Import a graphic file containing an alpha channel. The system creates a Matte Key clip when you import the file. In this example, the imported graphic is a title created in Adobe Photoshop. Graphic master clip with no alpha channel Matte Key Effect clip with alpha channel 2. Edit the Matte Key clip into your sequence as an overlay.
3. Promote the Matte Key clip to a 3D Warp effect as explained in “Promoting 2D Effects to 3D Effects” on page 344. 4. Click the Effect Mode button on the Timeline toolbar to enter Effect mode, and apply changes to additional parameters to achieve the effect you want. Understanding the 3D Effects Interface This section provides basic information for using the 3D effects parameters and the Effect Preview monitor and controls.
Y Axis X0, Y0, Z0 X Axis X Axis — values increase from left to right Z Axis Y Axis — values increase from bottom to top Z Axis — values increase from back to front Rotation Axes The Shape and Rotation parameters allow you to rotate the image around the X, Y, and Z axes. Note that you can rotate more than 360 degrees (from –720 to 720 degrees) between keyframes. The following illustration shows how angles of rotation are distributed around a circle.
The following illustration shows several rotation examples. 0 degrees +45 degrees A A A –45 degrees A +180 degrees –180 degrees 3D Effects Parameters The following sections provide a basic introduction to 3D effects parameters. For specific information on each of the parameters available in the Effect Editor, as well as important information on the hierarchy of 3D effects parameters, see Chapter 12.
Accessing 3D Effects Parameters To access the 3D effects parameters: 1. Move the position indicator to the icon for the 3D Warp effect in the Timeline. 2. Click the Effect Mode button on the Timeline toolbar. The Effect Editor opens and displays the parameters for the 3D Warp effect. n If the Effect Editor is already open and active, select the segment or transition effect to display the effect’s parameters in the Effect Editor.
3D Warp parameter categories Effect Editor buttons Basic manipulation of the parameter categories, sliders, and buttons is identical to that of 2D effects parameters. For more information, see “Using the Effect Editor” on page 120.
Resetting Default Values To reset the parameters for a category to their default values: t Alt+click (Windows) or Option+click (Macintosh) the Enable button. This operation affects only selected keyframes. n This method works only for 3D effects and AVX plug-in effects. Using Effect Templates Once you create a 3D effect and adjust parameters, you can save the adjustments as a template for later use.
Manipulating 3D Effects Directly You can perform a number of operations on an image by clicking buttons in the Effect Editor and dragging handles attached to the image in the Effect Preview monitor. This is similar to the procedures you use to directly manipulate 2D effects; some additional manipulations are possible, however, when working with 3D effects. For more information on direct manipulation of 2D effects, see “Moving the Image Directly” on page 180.
Scale Y Scale X and Y at same time Scale X Position Scale Rotate around X Axis Rotate around Y Axis Rotation Axis Rotate around Z Axis Using the Motion Path Editor Use the Outline/Path button when you want to see the path an image takes on the screen (for example, moving a Picture-in-Picture effect as described in “Defining a Motion Path” on page 180). The motion path editor displays the path between keyframes as either a straight line or a smooth curve.
If you need more information while you are trying to complete the examples shown here, see the following sources: • Chapter 2, for basic information on effects editing • “Understanding the 3D Effects Interface” on page 347 for information on the 3D interface and moving in 3D space • Chapter 12, for reference information on all 3D effects parameters and controls • The editing guide, for basic information on editing In addition to re-creating the examples in this chapter, you can experiment with
If you get an Insufficient Source message when you apply an effect to the transition, you did not leave enough source material behind for the system to create the transition. • Using the Swap Sources button: When you use the 3D Warp effect as a transition and click the effect for the first time, the system applies the effect to the incoming video. To apply the effect to the outgoing video, click the Swap Sources button in the Foregnd (foreground) parameter category.
Creating a Page Curl Transition This example uses the Page Curl effect. This effect treats the foreground video channel as though it were a sheet of paper being rolled up to reveal another page beneath. Page Curl supports two highlights on the curl. The following illustrations show the effect created in this example. Outgoing video Page Curl Incoming video To create the Page Curl effect: 1. Create a sequence, and apply the 3D Warp effect as described in “Applying the 3D Warp Effect” on page 343. 2.
Category name Shape Fast menu Enable button Triangular opener Split Fast menu The default Page Curl effect appears on the incoming video. To apply the effect to the outgoing video, swap the video sources as follows: a. Scroll down to display the Foregnd (foreground) parameter category, and click the triangular opener. b. Click the Swap Sources button. c. Click anywhere in the Effect Preview monitor’s position bar, and the system displays the effect on the outgoing video. 3.
6. Click the last keyframe indicator. 7. Set the Curl slider to 80. This takes the curl completely off the underlying video. 8. Click the Play or Play Loop button to preview the effect. n You might want to use the Transition parameters to lengthen the effect. See “Using the Transition Parameters” on page 88 for more information. A Simple Variation on the Page Turn Transition This example describes how to make some simple changes to the Page Turn transition to create a dramatically different effect.
Now step through or play the effect. The following illustrations show the effect. Page Curl effect Quad Split 135 degree angle Creating a Splash Dissolve This example creates a Splash effect and uses it as a dissolve. Use the Opac. (opacity) slider in the Foregnd (foreground) parameter category to create the dissolve. Changing the opacity value from solid to transparent creates the same effect as a dissolve. The following illustrations show the effect and the outgoing and incoming video.
• Add a new keyframe (shown as the second keyframe below) to provide a starting point for the dissolve. The complete dissolve occurs between the second and last keyframes. First keyframe Second keyframe Last keyframe For information on working with keyframes, see “Using Standard Keyframes” on page 134. To create the Splash effect: 1. Create a sequence with two video clips as you did in the Page Curl examples, and drag the 3D Warp effect onto the transition point in the Timeline. 2.
This keyframe will have a predetermined radius value (calculated by the system to create a smooth splash between radius values 0 and 55). You do not need to change this value. 11. For the keyframe you just added, set the Opac. slider to 100 in the Foregnd parameter category. 12. Click the Play or Play Loop button to preview the effect. The following table shows the nondefault keyframe values for this example.
t Bring Amplitude and Automatic Highlight intensity down to 0. Lowering the amplitude reduces the distortion. Reducing the highlight intensity to 0 eliminates highlights and shading. This allows you to: - Bring up a full-sized splash from beneath the center of the picture by keeping the Radius constant and increasing the Amplitude and Highlight intensity settings. - Create a splash that starts small, becomes a full-sized splash, and then changes to a flat picture.
2. Click the Effect Mode button on the Timeline toolbar to enter Effect mode. 3. Choose Multi Wave from the Shape Fast menu. 4. Set Highlight parameter values for the first and last keyframes by using values from the following table. Effect Parameter Shape Multi Wave First Keyframe Second Keyframe Last Keyframe Radius = 0 Let the system set the Radius. Freq = 70 Ampl = 36 Freq = 70 Radius = 50 Freq = 0 Ampl = 0 Ampl = 36 Highlight Inty = 20 Inty = 20 Inty = 0 5.
6. Set the Shape and Highlight values for the second keyframe as shown in the previous table. 7. Step through or play the effect. Experiment with the X Pos and Y Pos Shape parameter values to reposition the splash on the screen. Also experiment with the Aspect and Angle parameters to stretch and rotate the splash.
Settings for the 3D Warp effect are saved as a template and then applied to all segments on the top video track for consistency throughout the dissolve sequence. Top video track (V2) Bottom video track (V1) To create a foreground band of footage: 1. Build the sequence with the background footage on the bottom track and the foreground footage on the top track. In this example, dissolves are added between a series of foreground segments. 2.
Parameter Category Parameter Settings Crop T (top): 600 L (left): –999 B (bottom): –600 R (right): 999 Scaling Wid: 110 Hgt: 100 Position Enable the category (leave parameter defaults). Border Select a dark color for the border. For more information on color selection, see “Adjusting a Color Parameter” on page 128. Width: 40 Soft: 100 H (hue): 0 S (saturation): 0 L (luminance): 255 Leave all other categories deselected. 5.
Using the Spline Parameters with 3D Effects This example shows how to use the Spline parameters to create a smooth path for moving a 3D Warp effect. The following illustrations show the motion path editor with the Spline parameter turned on and off. (The background image is black to make the motion paths more visible in this illustration.) Motion path editor with Spline turned off Motion path editor with Spline turned on To use the Spline parameters: 1.
3. Click anywhere in the foreground video, and move the image to the bottom left corner of the Effect Preview monitor. n Clicking and dragging moves a wire frame around the monitor. Press the Alt key (Windows) or Option key (Macintosh), and drag to move the actual effect object. 4. Click the last keyframe indicator, and move the image for that keyframe to the top right corner of the monitor. Notice that the two dots are connected by a straight line. 5.
Corner Pinning an Image Corner pinning is a way of precisely positioning a foreground image over an image in the background video track, with matching perspective. This example shows the background and foreground videos used to create a segment transition using corner pinning. The segment starts with the foreground image “pinned” onto the video monitor in the scene; the image then moves off the TV and eventually fills the screen.
To corner pin an image: 1. Create a segment with two video tracks, placing the foreground video on the top track. 2. Apply the 3D Warp effect to the top track. 3. Click the Effect Mode button on the Timeline toolbar to enter Effect mode. 4. Position, scale, and rotate your image if necessary. n For best results, make adjustments to the Position, Scale, and Rotate parameters before you use Corner Pin.
To use the Quick Pin feature: 1. Click the Corner Pin button in the Effect Editor to activate the handles. 2. Press and hold the Ctrl and Alt keys (Windows), or the Ctrl and Option keys (Macintosh). Position the pointer where you want the highlighted corner to be corner pinned, and click. The next corner is highlighted. 3. Continue using the Ctrl and Alt keys (Windows), or the Ctrl and Option keys (Macintosh), while clicking until the image is positioned where you want it.
has Stamp enabled on the last keyframe. Enabling Stamp lets each element remain in place as the next element appears on the screen. Both elements remain in place, and you could add additional stamps until you enable Clear to clear the Stamp buffer. TLRH TLRH The first element zooms into position from full screen. The first element is then “stamped” in place on the last keyframe. TLRH The second element appears and is also stamped in place. To create a stamp: 1.
5. Click the 3D Promote button to turn on 3D effects. 6. Select the keyframe where you want the stamp to occur. If you do not want to use the first or last keyframe, add a keyframe where you want the stamp to occur. 7. Click the Enable button in the Stamp parameter category. You can enable Stamp on more than one keyframe by repeating steps 6 and 7. 8. To review your edit, click the Play or Play Loop button. To clear a stamp: 1. Select the keyframe where you want the stamp to be cleared. 2.
5. Select the second keyframe and set Y to –180 in the Rotation parameter category. 6. Play the effect to see the simple YZ barrel roll. 7. Go back 3 seconds from the end of the effect and add a new keyframe. 8. Copy the last keyframe values to the new keyframe. 9. Duplicate this new keyframe 1 second later by copying and pasting so that the last three keyframes are identical. The frame stays at the half barrel roll position for 3 seconds. 10.
15. Step into the second part of the effect until all you see in the Timeline is the original video. 16. Mark the clip and replace it with the new shot. 17. Step out and play the effect. Notice that the new incoming shot is reversed. 18. Step back in and apply a Flop to the incoming image. 19. Render the Flop. 20. Step out again and play the effect. The incoming shot correctly transitions to full screen at the end of the effect.
To apply a Chroma Key effect: 1. Edit the foreground image onto track V2 and the background image onto track V1 in the Timeline. 2. Apply the 3D Warp effect to track V2. 3. Choose Chroma Key from the Fast menu in the Foregnd (foreground) parameter category. 4. Click the Color Preview window, and press and hold the mouse. 5. When the eyedropper appears, drag it to the most representative area of color to be keyed and release the mouse.
Using Avid Xpress 3D Effects The Effect Palette — on systems with 3D effects capability— contains an Xpress 3D Effect category. The Xpress 3D effects are completely compatible with Avid Xpress® systems that are also equipped with the 3D Effects option. As a result, you can move sequences containing Xpress 3D effects between Avid Media Composer or Film Composer systems, and Avid Xpress systems.
CHAPTER 8 Creating Titles and Graphic Objects The Title tool enables you to create titles that incorporate text, graphic objects, imported graphics, and video. This chapter explains how to create titles, including graphic objects. Throughout this chapter, the term “title” refers to both text and graphics.
• Creating and Using Title Templates • Working with Titles on Systems with 24p or 25p Support • Saving and Recalling Title Styles • Exporting a Title as a Graphics File Workflow for Creating and Editing Titles The following is an overview of the tasks you perform to create a title: • Set up the drawing environment. After you open the Title tool, you can choose whether to display a color background or a frame of video from your sequence.
Downstream Keying of Titles and Graphics By default, the Avid system creates all rolling titles using its downstream key (DSK) capabilities. Graphic elements imported with an alpha channel are also created as DSK clips. n Crawling titles are software effects and are not created with downstream keying. Crawling titles must be rendered.
Understanding the Title Tool The following illustration shows a title over a video background. Safe action area Safe title area Video background Title object Toolbar The Title tool has several major components: • A video background based on a sequence or a color background that you create. • The title or graphic in the foreground that you create. • The safe title and safe action area guidelines. For more information, see “Using Title and Action Guidelines” on page 388.
• In addition, there are title-related menu items on the File, Edit, Object, and Alignment menus. These menu items are described throughout this chapter. Understanding the Toolbar At the bottom of the Title tool are tools and menus you can use for creating and editing text and objects. They work much like similar tools in other draw and paint programs.
Table 8-1 Toolbar Elements (Continued) Tool Description Video Placement tool Changes the pointer to a hand and allows you to pan around the entire video clip within the Title tool. Drawing tools Allow you to draw boxes, circles, ovals, and lines. See “Creating Graphic Objects” on page 405. Styles button Displays examples of the styles you defined and allows you to select one. See “Recalling a Title Style” on page 450.
Table 8-1 Toolbar Elements (Continued) Tool Description Color and Transparency Blend tools Allow you to create a blend between two colors or two transparency values. See “Blending Two Colors in an Object” on page 421. Shadow tools Allow you to create drop shadows and depth shadows for text and objects and to preview the degree of softness set for shadows. See “Working with Shadows” on page 424. Crawling Title button Allows you to create crawling titles.
n You can press the Alt key (Windows) or Option key (Macintosh), and click anywhere in the Title tool to switch between the Selection tool and the Text tool. You can also press and hold the Ctrl and Alt keys (Windows), or the Ctrl and Option keys (Macintosh), to display the Selection tool temporarily at any time. To select multiple objects, do one of the following: n t Shift+click with the Selection tool. t Click outside the objects, and drag to surround the objects with a lasso.
n • If you are bringing a project from another system, check to make sure you have installed any fonts used in titles contained in the project. These fonts must match exactly (you cannot use variations of the font in the same font family). If your system does not recognize a font contained in a title, the Font Replacement dialog box appears to enable you to substitute an alternative font. For more information on font replacement, see the Avid Products Collaboration Guide.
n Titles are always saved in anti-aliased format. The display behavior for title objects in Preview mode is as follows: • You can alter the graphics characteristics of title objects (including colors, shadows, borders, and transparency) without losing the anti-aliased preview. • You can select text objects and apply text styles from the Styles pop-up menu without losing the anti-aliased preview.
Using Safe Colors If you plan to use your title for television broadcast, you can choose the Safe Colors command from the Object menu. This command displays only low saturation colors for use in text, objects, and background. Colors with low saturation look best when combined with video. By default, Safe Colors is turned on. To display only safe colors: t Choose Safe Colors from the Object menu.
The Video Background button is green when you are creating a title for display over a video background. Use the background video frame as a reference. It does not become part of the title you create. You can edit the title anywhere else in the current sequence or in another sequence. Updating the Video Background You can update the video background at any time while creating titles within the Title tool. To update the video background: 1.
3. Use the Title Tool Color Picker dialog box, eyedropper, Windows Color dialog box, or Macintosh Color Picker to select a color. For a description of how to use these tools, see “Selecting Colors and Setting Transparency” on page 418. The default background color is black. n n When you create a title with a color background, it is opaque and it cannot be used to key over video. You cannot create rolling or crawling titles with a color background.
Bringing the Title Tool to the Foreground If the Title tool becomes obscured by another window, you can instruct the Avid system to redisplay the tool. Choose Title Tool from the Windows menu or from the Tools menu. Using the 16:9 Display Format for Titles The Title tool supports the 16:9 aspect ratio for display of NTSC and PAL footage. The 16:9 option allows you to display the full-aspect ratio of wide-screen video used in the high-definition television (HDTV) format.
Working with Text Text tool By default, the Text tool is active when you open the Title tool, and you can begin entering text as soon as you click in the Title tool. To use the Text tool at any other time: t Click the Text tool, click anywhere within the text object, and begin typing. An I-beam pointer indicates your position within the text. The Text tool remains selected until you select another tool.
n Text is word-wrapped automatically as you type. You can adjust the wrapping by changing the width of the text object. For more information, see “Resizing Text Objects” on page 395. 4. When you have finished typing, click the Selection tool on the toolbar to deselect the text object.
2. Click the position in the frame where you want to add text. An insertion point appears. 3. Open the text file in a word processor or text editor. 4. Select the text in the word processor or text editor, and then choose Copy from the Edit menu or press Ctrl+C (Windows) or k+C (Macintosh). 5. Click the Title tool again to activate it. 6. Press Ctrl+V (Windows) or k+V (Macintosh) to paste the text into place at the insertion point.
Repositioning Text Objects To reposition a text object: 1. Click the Selection tool, and click the text object. 2. Move the text by doing one of the following: t Click in the middle of the object, and drag it to a new position. t Use the arrow keys to move the object one pixel at a time. t Use commands on the Alignment menu to position the text. For more information, see “Aligning Objects” on page 433. Editing a Text String To edit an existing text string; 1.
Formatting the Text The text formatting tools control the appearance of text. You can click a text object with the Selection tool to format all the text within it, or you can use the Text tool to select a string of text within a text object to format individual characters or words.
n If you want to create text elements in the title with different appearances, create a separate text object for each set of attributes. Setting the Default Text Attributes When you start the application and open the Title tool, the system uses default text attributes. You can change the defaults at any time. Changes you make to the default text attributes apply until you quit the application. To change the default text attributes: 1. Click the Selection tool. 2.
If you select a text object, the Font Selection menu displays the font of the text object. Changing the Point Size The point size controls the size of the selected text. A point is a typographical unit of measure. There are 12 points to the pica and 72 points to the inch. You can enter a point size either before or after you type text.
Bold button Italic button In addition, the Object menu contains commands for bold and italic. To make text bold or italic: 1. Select the text you want to change. 2. Do one of the following: t Click the Bold button or Italic button. t Choose Bold or Italic from the Object menu. To remove bold or italic formatting, repeat the procedure. Justifying the Text Below the Font Selection menu are the buttons for text justification.
Kerning the Text Kerning improves the appearance of titles by controlling the amount of space between characters. You can expand or condense the character spacing to make text more readable or to create special effects, such as dramatically expanded spacing in a title. The text kerning controls are located beneath the text justification buttons.
n You can adjust kerning for individual characters or selected groups of characters using the arrow keys only. n You can choose the kerning value before you type text. Adjusting Kerning Manually To adjust kerning manually with the arrow keys: 1. Click the Text tool on the toolbar. 2. Click between a character pair, or select a group of characters to be kerned. 3. Press the Alt key (Windows) or Option key (Macintosh), and use the Left Arrow or Right Arrow key to increase or decrease the kerning.
Using the Kerning Text Box To adjust kerning with the text box: t Click in the Kerning text box, and type a positive or negative numerical value. Values are a percentage of the point size. t Click in the Kerning text box, and use the Up Arrow and Down Arrow keys to change the value incrementally. The system applies the kerning to the entire text object. Adjusting Leading Use leading to adjust the line spacing between lines in a title.
Working with the Drawing Tools The drawing tools enable you to draw graphic objects such as squares, rectangles, circles, ovals, and lines. To use the drawing tools, select one of these shapes. Drawing tools After creating graphic objects, you can change the following attributes: n • To round the corners of a box, adjust the width of lines and text borders, or add arrowheads to lines, see “Selecting Line Attributes” on page 406.
Creating Graphic Objects This section covers procedures for creating graphic objects using the Title tool. Drawing a Square or Rectangle To draw a square or a rectangle: 1. Click the Square and Rectangle tool on the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. n Pressing the Shift key while you drag constrains the Square or Rectangle tool to create a square.
Drawing a Line To draw a line: 1. Click the Line tool (slanted line) on the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create a line. n Pressing the Shift key while you drag constrains the Line tool to create a horizontal or vertical line. Selecting Line Attributes Use the line attribute tools to round the corners of a box, select the width of lines and borders, and add arrowheads to line endpoints.
Rounding Corners To round box corners: 1. Select a box. 2. Click the Box Corner tool. The Corner Selection pop-up menu appears. 3. Choose a rounding option from the pop-up menu, or choose the custom radius option to open a dialog box and enter a custom radius. Custom radius option 4. If you choose the Custom Radius option, in the dialog box type a whole number (in pixels) to specify a custom corner radius and click OK. The maximum radius is 200.
If you selected a line for modification, the width of the line changes. If you selected an object for modification, the width of the outline changes. Text with borders Adding Arrowheads To add arrowheads to a line: 1. Select a line. 2. Click the Arrowhead tool. Remove arrowhead The Arrowhead Selection pop-up menu appears. 3. Choose an arrowhead style from the pop-up menu, or choose the Edit Arrowhead option as described in the following section.
Changing Arrowhead Size To change the arrowhead size: 1. Select a line. 2. Click the Arrowhead tool. 3. Choose the Edit Arrowhead option from the pop-up menu. The Arrowhead Size dialog box appears. Handle 4. Click the handle on the arrowhead, and drag it vertically or horizontally to resize and reshape it. n The shape of the arrowhead is in scale with the line width. 5. Click OK. The line changes to show the new arrowhead shape.
Creating Rolling and Crawling Titles You can create title text and graphics that roll up the screen or crawl across the screen. You create the title in the Title tool and refine the motion during editing. n Crawling titles are non-real-time effects. You can step through the effect in a Source monitor, the Composer monitor, or the Effect Preview monitor, but you must render the effect to play it.
color background, you must export the background as a PICT file, reimport it (with Ignore Existing Alpha selected in the Import dialog box), edit it into your sequence, and then edit the rolling or crawling title onto a new layer above the background graphic. Page Count Limits for Rolling and Crawling Titles Rolling and crawling titles form pages in the Title tool that are similar to the pages you create with a word processor.
To switch Auto Size mode off or on: t Choose Auto Size Mode from the Object menu. A check mark indicates that Auto Size mode is on. Deselect Auto Size Mode to turn it off. Setting Up Text Formatting for Rolling and Crawling Titles Before creating a rolling or crawling title, set the text formatting defaults for attributes such as font, point size, leading, and kerning. n To set the defaults, see “Setting the Default Text Attributes” on page 398.
n To set the defaults, see “Setting the Default Text Attributes” on page 398. • Several options give you control over text and other objects in the Title tool. You can create objects and move or copy them to specific pages, insert pages, and delete pages. See “Copying or Moving Objects to Pages in a Rolling or Crawling Title” on page 416, “Inserting Blank Pages in a Rolling or Crawling Title” on page 417, and “Deleting Pages in a Rolling or Crawling Title” on page 417.
n You cannot create rolling and crawling titles over a color background, although you can preview them with a color background. For rolling and crawling titles, the Background Selection tools are set to Video Background and the Video Background button changes to green. 4. Type the title text. The text wraps automatically as you type. 5. When you are finished, click the Selection tool in the toolbar to select the new text object.
To scroll through a rolling or crawling title, do one of the following: t Use standard techniques for scrolling, such as clicking the arrow icons, dragging the scroll box, or clicking in the scroll bar. t Press the Home or the End key to go to the beginning or end of the title. t (Rolling titles only) Press the Page Up or the Page Down key on the keyboard to move through a rolling title one page at a time.
Adding Pages to a Rolling or Crawling Title You can add pages to a rolling or crawling title to create space for new elements. To add pages: 1. If Auto Size mode is on (a check mark appears next to Auto Size Mode on the Object menu), turn it off by choosing it from the Object menu. n The Add Page command is not available when Auto Size mode is on. 2. Choose Add Page from the Object menu to add a page. Pages are added to the end of the title.
3. Type a page number, and then click OK. The object is copied or moved, and the Title tool automatically adds pages if necessary. Inserting Blank Pages in a Rolling or Crawling Title To insert a blank page into a rolling or crawling title: 1. Choose Insert Page from the Object menu. The Insert Page dialog box appears. 2. Type a page number, and then click OK. The Title tool inserts a blank page and moves all objects after that by one page.
n If you choose Auto Size Mode from the Object menu, the Avid system removes excess pages at the end of the title. Formatting Rolling and Crawling Titles You can modify the text attributes of a rolling or crawling title with the same methods used to format still text elements: • To adjust font, point size, style, justification, kerning, and leading, see “Formatting the Text” on page 397. • To create outlines surrounding the text, see “Selecting a Line or Border Width” on page 407.
• The Color Selection boxes control fill (Fill), shadow (Shad), and border (Bord) color, respectively. • The Transparency Level boxes control fill, shadow, and border transparency, respectively. • The Color and Transparency Blend tools appear when you select a Fill or Border Color Selection box or Transparency Level box. If you select a Color Selection box, the top boxes show the two colors that are used to create the blend.
The Title Tool Color Picker opens. Color selection bar Grayscale selection bar New Color window Eyedropper Original Color window Click to open the Windows Color dialog box or the Macintosh Color Picker. n Shade selection palette You can drag the Color Picker from the toolbar to create a floating palette. 3.
Blending Two Colors in an Object The Avid system lets you blend two colors in a text or graphic object or in a border. You can also specify the direction of the blend. n You can blend the fill and border, but you cannot blend a shadow. To blend two colors: 1. Select text or another object. 2. Click the Color Selection box for either fill or border. The Color Blend tools appear. Color Blend Selection boxes Color Selection boxes Blend Direction box 3.
Color blend tools apply a gradient blend to the selected object. The Blend Direction box appears below the two Color Blend Selection boxes. This box displays the blend and allows you to specify the direction of the blend (for example, left to right). 5. Click the Blend Direction box, and drag clockwise or counterclockwise to achieve the effect you want. As you rotate the pointer, the position of the two colors rotates. The change takes effect as soon as you release the mouse button.
Transparency Level boxes Blend Direction box Transparency Blend Selection boxes In the pop-up control that appears, drag the slider until you attain the transparency you want, and then release the mouse button. The system immediately applies the transparency to your selection. n You might find it useful to turn off the shadow and shadow softness for an object while experimenting with transparency.
Transparency blend controls apply a gradient transparency to the selected object. n For more information on creating a blend, see “Blending Two Colors in an Object” on page 421. Working with Shadows You can add a drop shadow or depth shadow to text and objects. A drop shadow is offset from the title itself, as though cast by a light source. A depth shadow extends from the edges of the title, as though the title were three-dimensional.
without restriction. The following illustration shows the tools used to create and modify shadows. Shadow Transparency boxes Shadow Color boxes Shadow Depth and Direction button Shadow Depth text box Drop and Depth Shadow button Applying Shadows To apply shadows to text or objects: 1. Select text or an object. 2. Click the Drop and Depth Shadow button to switch between a drop or depth shadow. 3.
Adjusting Shadow Color and Transparency To apply color and transparency to shadows, use the procedures in “Selecting Colors and Setting Transparency” on page 418. Adjusting Shadow Softness You can set a value for the degree of softening or blurring that applies to the shadows you create in the Title tool. The value that you set applies immediately to any selected title.
Shadow softness values must fall between 4 and 40. The higher the value, the more blurred the shadows will be. If you set the value to zero, shadows on title objects will have no softening (hard edges). 3. Click OK to close the Soft Shadow dialog box. Adjusting Shadow Softness On-the-Fly You can adjust the shadow softness value of a title object on-the-fly either by entering different values in the Shadow Softness text box or by using the Up Arrow and Down Arrow keys.
Viewing Shadow Softness The current degree of softness is always represented visually on the shadow display of the Shadow Depth and Direction button. The following illustration shows this representation for a Shadow Softness setting of 10. To confirm the current numerical value for shadow softness: t Choose Soften Shadow from the Object menu, and check the number in the Shadow Softness text box.
Manipulating Objects This section describes how to manipulate objects after you have created them. For a description of how to select objects, see “Using the Selection Tool” on page 385. Basic Object Manipulation You can use commands from the Edit menu to manipulate objects. To manipulate objects: 1. Click an object — such as text, a square, a rectangle, a circle, or an oval — with the Selection tool. 2.
Layering Text and Objects You can use commands on the upper portion of the Object menu to layer text and objects to create complex graphics. The last object created occupies the top layer, but you can move objects forward or backward within the screen area. To adjust the layering of objects in a title: 1. Click the Selection tool, and click an object. 2. Choose one of the following commands from the Object menu: - Bring To Front, to bring an object to the top layer.
Grouping and Ungrouping Objects After creating a number of text and graphic objects, you can use commands on the Object menu to group the objects and treat them as a single object. Grouping commands Combining the objects into a group means that actions, such as moving or applying color, affect all objects in the group. To group objects: 1. Click the Selection tool, and shift+click multiple objects. 2. Choose Group from the Object menu.
Locking and Unlocking Objects You can lock objects using commands on the Object menu so that changes to default settings, such as the font setting or object position, do not affect the locked objects. Locking commands You might also want to lock objects so that you do not inadvertently change them while working on other objects. You can lock an individual object or multiple objects. To lock objects: 1. Click the Selection tool, and click an object. 2. Choose Lock from the Object menu.
To unlock objects: 1. Click the Selection tool, and click a locked object. 2. Choose Unlock from the Object menu. The Avid system unlocks the object. You can now change it. Aligning Objects You can use the Alignment menu commands to align text and objects to each other and to the frame. Aligning to the frame refers to the safe title area. For information about the safe title area, see “Saving Titles and Title Styles” on page 435. To align objects to the frame: 1.
n - Align Objects Top - Align Objects Bottom For information on aligning objects to a grid, see “Displaying a Grid” on page 391. Distributing Objects You can use Alignment menu commands to distribute text and graphic objects evenly across the safe title area. For information about the safe title area, see “Saving Titles and Title Styles” on page 435. To distribute objects: 1. Click the Selection tool, and shift+click at least three objects. 2.
Saving Titles and Title Styles After creating a new title, there are three basic ways to save your work: t Save the title and exit the Title tool. t Save the title and continue creating additional titles. t Save a title style that you can apply to additional titles you create. You can also reopen in the Title tool a previously saved title and make further changes, as described in this section.
• Even though DSK titles are uncompressed, if you decide during editing that you need to render the title or disable the DSK capabilities to create a layered effect, the title renders with the resolution you select when you first save the title. Saving a Title and Exiting the Title Tool To save the title and exit the Title tool: 1. Choose Close from the File menu.
4. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 439. 5. (Option) If you are working on a system that supports 24p or 25p projects, select the title formats you want to save. For more information, see “Working with Titles on Systems with 24p or 25p Support” on page 443. 6. Click Save. The Title tool closes, and the Avid system loads the new title into the Source monitor.
3. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 439. 4. (Option) If you are working on a system that supports 24p or 25p projects, select the title formats you want to save. For more information, see “Working with Titles on Systems with 24p or 25p Support” on page 443. 5. Click Save. The new Title Effect clip appears in the bin. 6. Create another title. 7.
Using the Fast Save Option You can use the Fast Save option to work more quickly when creating and saving multiple titles in a Title tool session. Fast Save skips the steps that create anti-aliased images from title objects. Instead, just the raw title objects (text and graphics) are saved in the bin, with the prefix “unrendered.” You can edit with the titles and then batch-render them at a more convenient time.
Viewing Fast-Saved Titles in a Bin To quickly locate the unrendered fast-saved titles: 1. Open the bin containing the unrendered fast-saved titles. 2. Choose Select Unrendered Titles from the Bin menu. The fast-saved titles are highlighted in the bin. Revising a Title in a Bin If you want to revise a title that has not been edited into a sequence, you can reopen the title in the Title tool directly from the bin.
4. Save the title with a new name or change any of the media parameters (bin, drive, and resolution) by doing the following: a. Choose Save Title as from the File menu. The Save title dialog box appears. b. Rename the title, or choose other options from the Bin, Drive, and Resolution pop-up menus.
Creating Title Templates To create a title template: 1. Open the Title tool by doing one of the following: t Choose New Title from the Clip menu. t Choose Title Tool from the Tools menu. 2. In the Title tool, create the text and graphic elements to include in the template. 3. Click the Templates button. 4. Choose Save Template from the pop-up menu. The Save Template dialog box appears. 5. Type a name for the template. 6. Click Save.
4. Select the template you want to use, and click Open. The Title template opens. 5. Make any edits you want to the text. 6. Close the Title tool, and click Save in the dialog box. The Save Title dialog box appears. 7. Type a name for your title, and click Save. The named title appears in the bin you specify. Now you can edit the title into the sequence. See Chapter 9.
The following sections explain how these multiformat options affect the creation and handling of titles. n The Title tool uses your system’s DSK capabilities to apply the correct title to each output format for your project. Other imported titles and graphics cannot be saved in multiple formats and will be resized along with the video signal when you generate output in a format different from the native project format. This might affect the finished look of the title or graphic.
Saving Titles on Systems with 24p or 25p Support When you save a title in a 24p or 25p project, the Save Title dialog box displays a check box for each of the four possible formats. Multiformat check boxes (appear only on systems that support 24p or 25p projects) You can choose to save a title in any combination of the four formats, with the following restrictions: • The format in which you created the title is selected by default and is always saved (even if you deselect the check box).
• n n If you choose to save the alternate video format and the alternate aspect ratio from that in which you created the title, the corresponding aspect ratio in the original video format is also saved. For example, if you create a title as NTSC 4:3 and choose to save it as PAL 16:9, the system will save three formats in total: NTSC 4:3, PAL 16:9, and NTSC 16:9. When you first save a title after starting the application, the system selects only the native format in the Save Title dialog box.
You can also assign a title style to one of the function keys on your keyboard. You can then recall that style simply by pressing the appropriate function key. Table 8-2 shows the Title Style sheet options. The following illustration shows the location of the two buttons that allow you to choose and define title styles. Styles button Save Style Parameter button Saving a Title Style To save title parameters to a Style sheet: 1.
Name text box 4. Select the parameters that you want to include in the style. The Avid system uses the values from the currently selected object or from the current defaults if no object is selected. 5. (Option) Type a function key number in the Function Key text box to assign the style to a function key. For example, typing 5 assigns the style to the F5 function key. 6. Type a name in the Name text box, and click Done when you are ready to exit the dialog box and save the values.
Title Style Sheet Options The Title Style Sheet dialog box allows you to create templates for the Title tool. Style sheets allow you to define and select basic text and drawing parameters that you can use with the Title tool. Table 8-2 Title Style Sheet Options Option Description Check boxes Choose the current attributes of the object that you want to include in the style. You can modify the attributes that are associated with a saved title. Use the check boxes to specify the attributes to save.
Recalling a Title Style After you have saved your title style, you can recall the style and use the attributes as the defaults in subsequent Title tool sessions. You can recall a title style by using the Title Styles tear-off menu or, if you have assigned the style to a function key, by pressing the appropriate key. To recall title style attributes by using the Title Styles tear-off menu: 1. Click the Styles button to display the Title Styles tear-off menu.
t In the Title tool, click the Styles button to display the Title Styles tear-off menu, and then position the mouse pointer over the style. The ToolTip that appears indicates the function key assignment along with the name of the style. Applying Title Styles to Text Objects To apply a title style directly to text objects: 1. Select one or more text objects. 2. Do one of the following: t Click the Styles button to display the Title Styles tear-off menu, and then choose a title style.
To delete a style: t Select the style in the Project window, and press the Delete key or choose Delete from the Edit menu. To copy a style: t Select the style in the Project window, and choose Duplicate from the Edit menu. To rename a style, do one of the following: t Change the name in the Project window. t Perform a Save As operation as described in “Working with Titles on Systems with 24p or 25p Support” on page 443 and change the name in the Style Sheet text box.
CHAPTER 9 Editing with Titles Editing with titles involves placing Title Effect clips in a sequence and then adjusting parameters or revising the title in the Title tool. The following sections provide guidelines for editing with title media.
Workflow for Editing with Titles The following is an overview of the tasks you perform to edit a title into a sequence: • Editing a Title into a Sequence. You can load a title into the Source monitor or drag the Title Effect icon from the bin to a segment in the Timeline. Title effects play in real time, using the Avid system’s downstream key (DSK) capabilities. See “Editing a Title into a Sequence” on page 462. • Adjusting Title Effect Parameters.
Downstream keying allows you to add uncompressed titles or graphics over multiple streams of compressed or uncompressed media and continue to play the sequence in real time. The benefits of downstream keying include: • High-quality images: Because the DSK title or graphic is uncompressed, the image retains its full quality. • Real-time adjustment of keyframes and title parameters: When you adjust keyframes or effect parameters for the DSK Title effect, the title continues to play back in real time.
• Rolling titles might jitter slightly at certain speeds. You can adjust the duration by a few frames to fix the problem. • Rolling titles cannot play back at a rate greater than one page per second. This situation occurs when you edit a lengthy title roll into a short segment in the sequence. If you experience a playback problem with a DSK title, do one or more of the following: t Render the DSK or underlying effects. See “Rendering Titles” on page 476.
c • If you want to resize a 2D Title effect. Scale, Position, and Crop parameters are available only for non-DSK titles. • If you want to play a title that causes a “DSK_image_too_large” error message. For more information, see “Troubleshooting Titles” on page 481. You cannot convert rolling titles to non-DSK. You can render them, as described in “Rendering Titles” on page 476. To convert a DSK title to a non-DSK title: 1. Move the position indicator to the DSK title or graphic in the Timeline. 2.
Restrictions of Non-Downstream Key Titles n DSK titles and non-DSK titles have different real-time playback capabilities during editing and adjustment of keyframe parameters. For more information, see “Playback Capabilities of Title Effects” on page 459. Depending on the complexity of the title and the video it is keyed over, not all non-DSK titles can be played in real time.
Playback Capabilities of Title Effects Title effects behave differently in terms of DSK capabilities and real-time playback during editing and adjustment of effect parameters. Title playback capability also depends on the number of video streams available. If your system includes the single-stream uncompressed video option, playback capability with titles will be more limited when you are working with uncompressed video.
Table 9-1 Title Effect Playback Capabilities (Continued) Operation DSK Titles on All Avid systems Non-DSK Titles on Avid systems with the 3D Effects Option Non-DSK Titles on Avid systems Without the 3D Effects Option Adjust cropping Not available Real-time Non-real-time Replace the filler track with video Not available Real-time Real-time Apply to a layer above a non-DSK title Real-time Real-time Non-real-time Apply to a layer below a DSK title Non-real-time Real-time Real-time Ke
Title Effect Clips in the Bin When the Avid editing system saves a title, it creates a Title Effect clip and saves it in the selected bin. One media object, referred to as a precompute, has references to the RGB and alpha channel information. Every time you make a change, your Avid system creates two additional media files. The original media files are left unchanged. Bin – Frame view Rendered effect (precompute) Title Effect clip n By default, the bin display does not show rendered effects.
Displaying Title Frames in the Bin With your bin in Frame view, you can display a frame from the title itself rather than the Title Effect icon for the clip. This is especially useful if you have many titles in the bin and want a quick visual reference. To display a frame from the title: 1. Select one or more Title Effect clips. 2. Press the Home key on the keyboard.
• Drag an unmarked title clip directly into the sequence from a bin: Drag the title clip directly from the bin to the location of the position indicator. See “Dragging an Unmarked Title into a Sequence” on page 467. Setting Marks in a Rolling or Crawling Title By default, a rolling or crawling title clip begins with the visible title just off screen. The clip ends after the last element disappears off screen.
n Titles must be placed a track above the video that forms the background. If an upper track already exists with an open region for the title, you can skip step 2. 3. Double-click the Title Effect clip icon in the bin to load the title in the Source monitor. Title Effect clip icon 4. Patch the title source to the video track in the sequence by clicking the Source Track button for track V1 in the Track Selector panel and dragging it to the Record Track button for track V2.
n You can use any three-point editing method to edit a title into a sequence. The steps below are just one editing method. For other methods, see the chapter “Editing in Source/Record Mode” in the editing guide. 5. In the Source monitor, mark an IN point. You should mark the IN point toward the middle of a still title clip so you can trim the title, if necessary. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll.
Dragging a Marked Title into a Sequence To mark a portion of a title clip and then drag the marked clip directly into the Timeline: 1. Load the sequence into the Record monitor. 2. (Option) Choose New Video Track from the Clip menu. The system adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, the system adds V2. n Titles must be placed a track above the video that forms the background.
8. When you find the right position for the title on the correct track, release the mouse button. The Title effect appears in place in the sequence. Dragging an Unmarked Title into a Sequence If you are not concerned about the OUT point for your title, or if you plan on trimming the Title effect later, you can quickly drag the unmarked Title effect directly into the Timeline. To apply a Title effect to a sequence without adding marks: 1. Load the sequence into the Record monitor. 2.
3. Move the position indicator to the location where you want the Title effect to begin. 4. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. 5. Click the Title Effect clip in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence. 6. When you find the right position for the title on the correct track, release the mouse button.
n Rolling titles might jitter slightly at certain speeds. You can trim the duration slightly to fix the problem. To trim the duration of a rolling or crawling title: 1. Select the track containing the title, and deselect all other tracks by using the Track Selector panel. 2. Click the Trim Mode button to enter Trim mode. 3. Select either the head or the tail of the title segment for trimming. 4. Trim the title segment to the duration you want by using standard trim procedures.
Replacing a Title To replace a title in a sequence: 1. Click the Lift/Overwrite button. 2. Click the title segment currently in the sequence to select it. 3. Click the Mark Clip button to mark an IN point at the beginning of the title segment and an OUT point at the end of the segment. 4. Drag the new Title Effect clip from the bin to the marked segment. The new title replaces the old title. Fading a Title You can use the Fade Effect button to fade a title.
To access the effect parameters for a Title effect: 1. Click the Effect Mode button in the Timeline toolbar. The Effect Editor opens. 2. Click the Title Effect segment in the sequence to select it. The Effect Editor displays the parameter controls. Other Options button Title icon Use the following to work with the Title effect parameters: • n Adjust Title effect parameters by using basic techniques described in “Using the Effect Editor” on page 120.
n • Use multiple keyframes to gradually change keyframeable parameters over time. For more information, see “Using Standard Keyframes” on page 134. • Save effect templates of Title effect parameter adjustments to a bin for use in other sequences or projects as described in “Using an Effect Template” on page 183. For DSK Title effects, you must convert the title to non-DSK in order to adjust the Scaling, Position, and Crop parameters.
Use this procedure to save the title with the same name (numbered incrementally) and media parameters (bin, drive, resolution, and formats). To save the title with the same name and media parameters: 1. Choose Save Title from the File menu. A message box appears, asking if you want to save the title and exit the Title tool. 2. Click Save. The Title tool closes. The revised Title Effect clip replaces the previous clip in the sequence, the bin, and the Source monitor.
5. Click OK to save the title and exit the Title tool. The Title tool closes, and the revised Title Effect clip replaces the previous clip in the sequence. The new clip also appears in the Source monitor and in the bin with its new name. The previous Title Effect clip is preserved in the bin. Working with Existing Multiformat Titles If your system includes support for 24p or 25p projects, the following restrictions apply when you move multiformat titles between projects or edit them into a sequence.
Replacing Fill Tracks You can replace the fill track of Title effects with video or graphics. The moving video or graphic effect then appears inside the title itself, keyed over the background. All newly created titles and graphics imported with alpha channel are DSK clips by default. When you replace the fill track with a graphic or video, the title is converted automatically to a non-DSK title. c After replacing the fill track, you cannot restore the DSK capabilities of a title.
Rendering Titles The following are a few situations in which you might want to render titles: • If you want to layer DSK rolling titles in a sequence • If you want to layer multiple effects, particularly more than one layer of DSK titles • If you want to place other effects over a DSK title • If you encounter a message box with a message about audio or video underrun when playing a complex layered effect For more information on rendering Title effects, see “Rendering Effects” on page 189.
You can re-create title media that is edited into a sequence in the Timeline, or you can create media for unrendered (Fast Saved) titles in a bin. For more information on Fast Save for titles, see “Using the Fast Save Option” on page 439. c The Re-create Title Media command removes any nested edits made inside a title, replacing the edits with the new title’s graphic and alpha tracks. Re-creating Title Media from the Timeline To re-create title media from the Timeline: 1.
7. (Option) If you are working on a system that supports 24p or 25p projects, select the title formats you want to create. For more information, see “Re-creating Title Media on Systems with 24p or 25p Support” on page 479. 8. Click OK. The Avid system recreates the title media file. Creating Media for Unrendered Titles in a Bin To create media for unrendered titles in a bin: 1. In the bin, select the titles for which you want to generate media.
5. (Option) If you are working on a system that supports 24p or 25p projects, select the title formats you want to create. For more information, see “Re-creating Title Media on Systems with 24p or 25p Support” on page 479. 6. Click OK. The title media file is generated, and the title clip appears in the bin without the (unrendered) label in the name field.
n n When you first use the Re-create Title Media command to generate media for unrendered titles in a bin, the system selects the native format as the default. Once you choose a combination of formats in the Create Unrendered Title Media dialog box, that combination becomes the default when you reopen the Create Unrendered Title Media dialog box while the application is running.
Troubleshooting Titles This section describes errors that might occur when working with Title effects and includes recommendations for resolving the problems. Downstream Key Error Messages When you edit with DSK titles or graphics, you might experience an underrun error message because the graphic key could not be loaded in time.
Wrong Title Format If you see an image in a monitor that says Wrong Format, the resolution of the Title effect is not compatible with the resolution of video clips used in the sequence. You will have to determine the resolution of the video clip. Then, you must regenerate the title at the same resolution as the video clip. To determine the resolution of the current video clip: 1. Open the bin containing the sequence. 2. Choose Set Bin Display from the Bin menu. 3. Select “Show reference clips.
CHAPTER 10 Intraframe Editing Intraframe editing refers to the ability available on some Avid systems to perform various paint or animated matte effect operations within an individual frame or series of frames in a clip. Intraframe editing frees you from having to export images from the Avid system, edit them in third-party applications, and import them back into the system. Intraframe editing also allows you to quickly remove scratches and flaws in your video material.
• Scratch Removal • Common Intraframe Editing Techniques Understanding the Intraframe Effects While many of the tools and parameters are the same for all the Intraframe effects, the result of applying each effect is different. The Paint Effect allows you to draw or paint and apply special effects within individual frames or across all the frames in a segment.
• Freehand painting ability to create organic matte wipes • Magic Mask, brush shapes, Z-rotation, feathering, and more • Export of mattes to create keys in third-party applications • No additional hardware required The Scratch Removal effect allows you to remove scratches or other flaws by replacing them with clean material from elsewhere in the same frame or from another nearby frame.
Rendering Intraframe Effects Intraframe effects are not real-time effects. While working in Effect mode, you can see the object as you step through each frame in the segment. To view the painted object in the Effect Preview monitor, choose Render-On-the-Fly from the Special menu. You also can use the Play Preview function to see an off-speed preview of a Paint Effect while you are working in Effect mode. For more information, see “Effect Editor Controls” on page 121.
However, if you draw multiple mattes in the same segment, these mattes are all objects that appear in the same foreground space; they interact with each other much like multiple painted objects do in the same segment. For more information, see “Layering with the Paint Effect” on page 536. Keep these concepts in mind as you use different key modes in combination and layer them to generate new effects in a sequence. You also can combine the AniMatte effect with the Paint Effect to create custom effects.
Applying the Paint or AniMatte Effect to a Sequence For information on creating keys and wipes, see Chapter 6. You can apply an AniMatte effect to segments for multilayered effects or to transitions to create matte key wipes with your own custom shapes. A Paint Effect is a segment effect only; you cannot apply a Paint Effect to a transition in a sequence. The Paint Effect is located in the Image category in the Effect Palette. The AniMatte effect is in the Key category.
Using the Effect Editor with the Paint Effect For basic information on working with the Effect Editor, see “Using the Effect Editor” on page 120. The following illustration identifies the different components of the Effect Editor that appear when you apply a Paint Effect to a segment and enter Effect mode.
Table 10-1 briefly describes the components of the Effect Editor for the Paint Effect. Table 10-1 Effect Editor Components for the Paint Effect Component Description Effect parameter categories Enable you to change the parameters of an effect. Brush Preview window Displays the brush head with the parameters you have selected, such as color and shape. You also can use the window to reshape the brush head by dragging its control points. Brush Shape buttons Change the shape of the brush.
Table 10-1 Effect Editor Components for the Paint Effect (Continued) Component Description Grid button Displays the Effect Grid. See “Working with the Effect Grid” on page 110. Render Effect button Renders effects on selected tracks at the location of the position indicator in the effect’s Timeline. Outline/Path button Displays wire-frame representations of the painted object. Illustrates the movement of an object from the first keyframe through the last keyframe.
Using the Effect Editor with the AniMatte Effect The following illustration shows the Effect Editor as it appears when you apply an AniMatte effect to a segment in a video project and enter Effect mode.
When you are working with the AniMatte effect, the categories that are available in the Effect Editor are the same as those for the Paint Effect with the following exceptions: • The Swap Src (swap sources) button in the Foreground parameter category enables you to swap the foreground and background video images for matte keys composed of multiple video tracks. When you are building a single-track wipe, the Swap Src button enables you to swap the incoming and outgoing segments in the sequence.
Using the Intraframe Drawing Tools The Intraframe effects include the following five drawing tools: • Brush tool • Rectangle tool • Oval tool • Polygon tool • Curve tool You can use these tools for creating preset shapes or for creating freehand, vector-based objects and mattes with editable lines and Bézier curves. Additionally, the Selection tool enables you to select painted objects and mattes to move them, rescale them, and change their parameters.
The AniMatte effect provides two modes, Key In and Key Out. These modes enable you to key in or key out an image in a sequence. n For a complete listing of the characteristics of each Paint Effect mode as well as the Key In and Key Out modes in the AniMatte effect, see “Mode” on page 585. Using an Optional Pen Tool The Avid system supports the addition of a pen tool and graphics tablet for use with the Intraframe Editing option.
Choosing a Color You can choose the color you want to paint with by using the eyedropper, the parameter sliders, the Windows Color dialog box or the Macintosh Color Picker. You can select the color before you begin painting or after you have painted an object. Shortcut for Selecting a Color with the Brush Tool When you use the Brush tool to paint an object, you can select a color quickly from a video segment as follows: 1. Click the Brush tool in the Effect Editor to make it the active paint tool. 2.
Brush Shape buttons Brush Shape buttons The default shape of the brush head changes to your selection. 5. Position the pointer over the image in the Effect Preview monitor. Notice that the pointer becomes a crosshair. 6. Press and hold the mouse button, and drag to paint freehand style on the video background. 7. Release the mouse button when you have finished painting the object.
4. Click a control point, and drag it to change the shape of the brush head. 5. Repeat step 4 with other anchor points as needed. n For brush shapes with rounded edges and curves, such as the oval, the ellipse, and the circle, clicking an anchor point creates direction bars and handles that enable you to edit the Bézier curve. For information on working with Bézier curves, see “Working with Vector-Based Objects” on page 513.
Saving a Brush Template You can save a template of a custom brush to a bin so that you can reuse the parameters of the brush with an Intraframe effect. To save the brush template: 1. Click the Brush Template icon in the Brush category, and drag it to a bin. Brush Template A brush template appears in the bin, and the name of the template defaults to Brush. 2. Click the name of the template in the bin, type a unique name for the template, and press Enter. 3.
Using Path to Create a Signature Effect The Path parameter slider is useful for creating a “signature” effect with the Paint Effect, in which a signature gradually appears on the screen as if written with an invisible pen. To create the signature effect: 1. Apply the Paint Effect to a segment. 2. Click the Brush tool in the Effect Editor. 3. Choose Solid from the Fast menu in the Mode category. 4.
Using the Selection Tool The Selection tool is one of the most frequently used tools. You use this tool to select a painted object or matte on the screen when you want to make changes to it. After you select an object, you can move it in the frame, rescale it, and change its parameters. To select an object: t Click the Selection tool, and click an object. Selection handles appear around the object.
When a segment contains multiple objects, you can change your selection from one object to another by clicking one of the following buttons: Fast Forward, Rewind, Go to Next, or Go to Previous. The Fast Forward button and the Rewind button are on the Effect Preview Monitor toolbar. To use the Go To Next button and the Go To Previous button in Effect mode, you must map them to your keyboard. For more information on mapping buttons, see your Avid system’s quick reference card.
n If you press the Alt key (Windows) or Option key (Macintosh) and drag, the rectangle is centered on the point at which you start to drag. Rectangle scales around the center. 5. Release the mouse button to complete the rectangle. 6. Adjust the object’s parameters if needed. Creating Oval Shapes With the Oval tool, you can paint oval shapes or mattes on images in a sequence.
Anchor n Anchor If you press the Alt key (Windows) or Option key (Macintosh) and drag, the oval is centered on the point at which you start to drag. Oval scales around the center 5. Release the mouse button to complete the oval. 6. Adjust the object’s parameters if needed. Drawing Polygons With the Polygon tool, you can paint a variety of geometric objects and trace images in a frame.
It is helpful to visualize the shape and the position of the polygon within the frame before you begin painting. By visualizing the object first, you will gain more control over the objects’s attributes when you edit it later. The general workflow for working with the Polygon tool is: 1. Visualize the object you want to create. 2. Determine a location in the frame to begin painting, and click that location to create the initial control point. 3.
4. Click in the frame where you want to place the next control point. Initial segment Second control point Initial control point A straight-line segment is drawn between the initial control point and the control point you just created. n Segments appear as wire frames until you finish painting the object. 5. Click in the frame to create additional control points that further define the shape of the object. A straight-line segment appears between each pair of adjacent control points.
6. When you are satisfied with the shape of the object, double-click in the frame to create the final control point or click the initial control point. The object becomes a closed polygon. 7. Adjust the parameters of the polygon if needed. Creating Polygons with Curved Segments To create a polygon with curved segments: 1. Click the Polygon tool in the Effect Editor. 2. Select a paint mode or key mode and parameters in the Effect Editor. 3.
5. Click and hold the mouse button to begin creating the first curved segment. Direction bars with handles appear as a tangent to the curved segment. The pointer “leads” the direction handle that you will use to determine the direction and height of the curve. 6. Drag the pointer, which is attached to the direction handle, to adjust the direction and height of the curved segment. 7. Release the mouse button when you are satisfied with the height and angle of the curved segment. 8.
10. When you are satisfied with the shape of the object, double-click in the frame to create the final control point or click the initial control point. The object becomes a closed polygon. 11. Adjust the parameters of the polygon if needed. Creating a Straight Line Following a Curve To create a straight line following a curved segment: 1. Create one or more curved segments as described in “Creating Polygons with Curved Segments” on page 507. 2.
5. Click and then release the mouse button to create the control point. 6. Continue to create additional lines and curves. 7. When you are satisfied with the shape of the object, double-click in the frame to create the final control point or click the initial control point. The object becomes a closed polygon. 8. Adjust the parameters of the polygon if needed.
Creating Curved Objects With the Curve tool, you can trace curved objects with freehand capability. Using the Curve tool, you can access all the paint modes and parameters in the Effect Editor, with the exception of the Brush parameter category. To paint with the Curve tool: 1. Click the Curve tool in the Effect Editor. 2. Select a paint mode or key mode and parameters in the Effect Editor. 3. Position the pointer where you want to begin painting in the frame. 4.
Selection handles Intraframe Editing t To change the color, click the triangular opener for the Color parameter category and adjust the Hue, Sat (saturation), and Lum (luminance) sliders. t To add feathering to the object’s edges, click the triangular opener for the Feathering parameter category and adjust the sliders. t To delete the object, press the Delete key. t To undelete the object, choose Undo from the Edit menu.
Working with Vector-Based Objects Before you begin working with the paint and editing tools included in the Intraframe effects, you must understand the basics of working with vector-based objects and Bézier curves. The vector-based graphics technology of the Intraframe Editing option enables you to create and edit objects and mattes with a precision that you cannot achieve when you work with bitmapped objects. Vector-based objects are not subject to problems such as artifacting when you rescale them.
A painted object can include three types of joins that describe its shape: • Straight-edge join • Smooth join • Corner join Straight-edge join Smooth join Corner join A control point associated with a smooth join or a corner join describes a Bézier curve. Clicking a control point makes it the active join. Tangents called direction bars appear on each side of the control point associated with a Bézier curve. At the end of each direction bar is a direction handle.
To reshape an object composed of one or more straight edges: t Click the Selection tool, click the object to select it, click the Reshape tool, and then drag one or more control points. For information on control points, see “Moving Control Points Manually” on page 525. t Convert straight-edge joins to Bézier curves, and manipulate the curves as described in the following sections.
Notice that each corner of the rectangle displays a control point. Control points 8. Alt+click (Windows) or Option+click (Macintosh) the control point at the top left corner of the rectangle. Notice that the straight-edge join becomes a smooth join with direction bars and handles. 9. Working in a counterclockwise direction, Alt+click (Windows) or Option+click (Macintosh) each control point until they have all been transformed into smooth joins. The resulting shape is a circle.
Experimenting with Direction Handles To experiment with the direction handles: 1. Click the bottom direction handle, and drag away from the control point to increase the length of the direction bar. Notice how the curve changes. Also, the direction bar and segment on the opposite side of the control point move in unison with the direction bar you are dragging. The control points adjacent to the active join serve as anchor points for the segments that compose the curve.
2. Drag the direction handle toward the control point to shorten the direction bar. Notice how the curve changes as you shorten the direction bar. 3. Shift+click the direction handle, and drag it away from the control point. Notice that the length of the direction bar on the opposite side of the control point does not change; this prevents the height of its associated segment from changing.
6. When you have finished experimenting, adjust the direction bar so that the object again resembles a circle. Creating a Corner Join The painting tools do not create corner joins by default; you can change an existing smooth join into a corner join as described in this section. n If you want to transform a straight-edge join into a corner join, you must transform the straight-edge join into a smooth join first. To transform a smooth join into a corner join: 1.
3. Drag the direction handle in a counterclockwise direction. Notice how the segment changes as you drag the direction bar. 4. When you are finished experimenting, Alt+click (Windows) or Option+click (Macintosh) the direction handle. The control point reverts to a smooth join.
Modifying Lines and Curves Summarized Table 10-2 summarizes how you can modify lines and Bézier curves (smooth joins or corner joins) by using the mouse and the modifier keys on the keyboard. Table 10-2 Illustration Direction handle Methods of Modifying Lines and Curves Description Action Smooth join: Drag one direction You do not have to press any of the handle so that the direction bar on the modifier keys. Click one of the direction handles, and drag it.
Table 10-2 Illustration Methods of Modifying Lines and Curves (Continued) Description Action Transform a smooth join into a corner Alt+click (Windows) or Option+click join. (Macintosh) one of the direction handles. To change it back to a smooth join, Alt+click (Windows) or Option+click (Macintosh) the direction handle. Smooth join Corner join Active direction handle Corner join: Drag one direction handle You do not have to press any of the modifier keys.
For information on how to use these tools to paint new objects with Bézier curves, see the description for each tool in “Layering with the Paint Effect” on page 536. Keep in mind that you are not limited to using these tools to create curved objects because you can transform the straight-edge joins in any painted object into Bézier curves as described in “Modifying Lines and Curves Summarized” on page 521.
Removing a Control Point Avid recommends that you remove a control point if the object does not need the control point to adequately define its shape. It is better to have fewer control points and to manipulate the direction bars to gain the same effect because fewer control points mean less work if you need to modify an object later.
To move to an adjacent control point: 1. Click a control point. 2. Move to an adjacent control point: t Click the Fast Forward button to move in a clockwise fashion to the next control point. t Click the Rewind button to move in a counterclockwise fashion to the next control point. Moving Control Points Manually You can move control points manually by simply clicking them and then dragging. You can move one control point at a time or several control points at once.
Moving Control Points and Objects in Small Increments You can “nudge” selected control points or an entire object in one-pixel increments by using keys on the keyboard. To move or “nudge” control points in one-pixel increments: 1. Click a control point to select it, or Shift+click additional control points to move them as a group. 2.
Previsualization Marker Tool for Film Projects The Previsualization Marker tool enables you to place a marker in a segment to represent an effect that will be processed at an optical facility. This tool is applicable to 24-fps projects only and appears in the Effect Editor only when you are working in a film project with the Paint Effect. When you create an optical list, each marker, along with its position in the segment on a keyframe-by-keyframe basis, appears as an optical event.
Applying a Previsualization Marker Effect To add a Previsualization Marker effect to a sequence: 1. Enable the Effect Grid and set the appropriate parameters for image scan size, aspect ratio, and film format. See “Displaying the Effect Grid in Effect Mode” on page 115 and “Setting the Effect Grid Options” on page 112. 2. Click the Previsualization Marker tool in the Effect Editor. 3. Adjust the sliders in the Color parameter category to determine the color of the marker. 4.
The following illustration shows the presentation of Previsualization Marker information in a cut list.
Moving Intraframe Objects The Selection tool also enables you to drag objects or mattes around the screen and in relation to the screen when you zoom out from a frame. To move a painted object or matte: 1. Click the Selection tool in the Effect Editor. 2. Click the object you want to move. The object outline becomes highlighted, and four selection points appear around the object. 3. Click the center of the object, and drag it to a new location. 4.
n If you want to drag the control points only, Alt+click (Windows) or Option+click (Macintosh) the Reshape tool to hide the direction handles. 3. Edit the shape of the object or matte: t Click one or more of the object’s control points and drag. For information on moving control points, see “Moving Control Points Manually” on page 525. t Edit the object by manipulating the direction bars at one or more control points.
You can transform the direction bars at a control point so that their lengths change in unison when you drag one of the direction handles. To do so, Shift+click one of the direction handles. For more information, see “Modifying Lines and Curves Summarized” on page 521. Rotating Intraframe Objects Along the Z Axis With the Z-Rotation tool, you can select an object or matte and rotate it around the Z axis (clockwise or counterclockwise direction).
The X on the rotation handle marks the default center of the Z axis for the object. You can click the X and drag it anywhere on the screen to change the center of the object’s rotation. 3. Click the rotation handle and drag the mouse to rotate the object in either a clockwise or a counterclockwise direction. Scaling Intraframe Objects You can rescale any object or matte that you create. Rescaling increases or decreases all dimensions of the object proportionately.
t Intraframe Editing Alt+click (Windows) or Option+click (Macintosh) any selection point, and drag to rescale the object using the center of the object as the anchor.
Changing Intraframe Object Parameters over Time You can animate an intraframe object by changing parameters on an individual keyframe basis.
Layering with the Paint Effect When you paint on a frame, the paint appears as an object in the foreground, seeming closer to you in three-dimensional space than the video frame. You can change the parameters of each painted object independently, including the object’s orientation in relation to another object. For example, if you have three painted objects, you can stack or cascade them over each other to create three separate layers of objects in the foreground.
To locate objects or mattes with the Path function: 1. Click the Outline/Path button in the Effect Editor. Each object painted on the frame appears as a wire frame. 2. Select an object, and change its location or parameters. 3. Click the Outline/Path button to return to default viewing mode. Bringing Objects and Mattes Forward by One Layer You can use the Bring Forward function to bring a single object or matte forward by one layer (appearing closer to you in three-dimensional space).
2. Click the Send Backward button, or choose Send Backward from the Object menu. The object moves one layer backward into the layers of objects that appear in the foreground. Bringing Objects and Mattes to the Front You can use the Bring To Front function to bring a single object or matte to the front of the foreground layers (appearing closest to you in three-dimensional space). To bring a painted object or matte to the front: 1. Click the Selection tool, and click an object on the screen.
2. Alt+click (Windows) or Option+click (Macintosh) the Send Backward button, or choose Send to Back from the Object menu. The object becomes the bottom layer in the layers of painted objects that make up the foreground. Grouping and Ungrouping Intraframe Objects The Avid system enables you to group objects or mattes so that they behave as a single object. You then can move the new group and change its parameters as if it were a single object.
Locking and Unlocking Intraframe Objects By using the lock feature, you can lock an object or a group in place on the screen. When you lock an object, the Avid system prevents you from moving the object accidentally while you add more effects and make additional edits to your sequence. To lock and unlock a painted object or matte: 1. Click the Selection tool, and click an object or group on the screen.
When you import the PICT file back into the Avid system, the system creates a Matte Key clip in the bin that you select. You can load the Matte Key clip into the Source monitor and edit it into a sequence as you can with any other imported matte key. The Matte Key clip appears as a high-contrast matte with transparent (black) and opaque (white) components. n For more information on creating matte keys, see “Creating Key Effects” on page 290.
6. Select the bin into which you will import the PICT file, and choose Import from the File menu. The Select files to Import dialog box appears. 7. Click Options. 8. Click one of the following to select an alpha channel option in the Alpha area: - Use Existing - Invert Existing - Ignore Depending on your needs, you might have to select Invert Existing Alpha; in a high-contrast matte key with an alpha channel on an Avid system, the white regions are opaque, and the black regions are transparent.
Scratch Removal Some Avid editing systems include tools for fixing flaws such as dropout in video frames or defects in film-originated footage. You can replace a flaw with clean material from the same frame or field or from other nearby frames or fields. When you use Scratch Removal with two-field media, your Avid system can use either frame or field processing to determine the source of the replacement material that covers the flaw.
Processing by Frame or Field When Using Scratch Removal When you use Scratch Removal with two-field media, your Avid system can use either frame or field processing to determine the source of the replacement material that covers the flaw. Frame processing copies replacement material from both fields of a chosen frame to one or more flawed frames. Field processing copies replacement material from one field to a series of subsequent fields.
Frame/Field parameter slider Frame Processing button n When you are working with single-field material, the Frame Processing button does not appear in the Effect Editor. Understanding Frame Processing When the Avid system is using frame processing, replacement material is copied from both fields of the clean frame to the corresponding fields in the flawed frame.
Frame processing is the default processing method. It preserves full video resolution and provides the smoothest correction in most circumstances, particularly when the flaw you are correcting extends over both fields of a frame. Most flaws that originate in film source material (for example, a scratch on a single frame of the film) extend across both fields of the video frame.
always results in at least one instance where material from an odd field is copied to an even field, or vice versa. Depending on the nature of your video material, this might result in a slight jitter on playback. Removing a Flaw Within a Frame You can often remove a flaw by replacing it with a clean area from the same frame or field. For example, a flaw on a uniformly colored background such as sky can be replaced by copying another portion of the sky over the flaw.
When you replace a flaw by using material from a nearby frame, you cannot see the whole of the nearby frame as you work. Instead, you see the replacement area in the shape you draw to cover the flaw, and you adjust which portion of the nearby frame appears by using parameter sliders in the Effect Editor. Selecting Material to Use When Correcting Flaws When you isolate a flaw as a new segment to correct it, you must also include enough clean material to make the correction.
If a flaw persists over several frames, do one of the following: n t Use the Scratch Removal button to create a two-frame segment, and then trim the segment to extend it by using standard Trim mode methods. t Insert add edits, and apply a Scratch Removal effect manually. You cannot access frames outside the segment you have marked when you are working with the Scratch Removal tools.
3. Make sure that the Record Track button for the track containing the flaw is the highest selected track button in the Track Selector panel. 4. Click the Scratch Removal button. The system creates a two-frame segment ending at the frame marked by the position indicator and applies the Scratch Removal effect to that segment. If an effect is already present at that point in the sequence, the system auto-nests the Scratch Removal effect on top of the existing effect.
To isolate a flaw by using add edits: 1. Find the series of frames or fields containing the flaw: t Use the Step Forward or the Step Backward button to carefully cue the frames containing the flaws. t (Option) If you are working with two-field media, press and hold the Alt key while clicking the Step Forward or the Step Backward button to step through one field at a time if necessary. 2.
For more information on how your system displays 24p or 25p material, see the chapter “Film-to-Tape Transfer Methods” in the input and output guide. c When you turn off Fast Frame Display, you slow down the system’s display capabilities. If you turn off Fast Frame Display to check for flaws, you should turn it on again before you proceed with other editing operations.
4. (Option) If you are working with the Paint Effect, choose Scratch Removal from the Fast menu in the Mode category. 5. Click the triangular opener next to the Mode parameter category (Paint Effect) or the Scratch parameter category (Scratch Removal effect). 6. Select a shape tool or a brush in the Effect Editor. 7. Click the image, and drag to create an object that covers the flaw. n In most circumstances, you should make the object as small as possible while still covering the flaw completely. 8.
Original flaw: Flaw seen with a shape drawn around it. Final effect: Clean material from a nearby frame appears within the shape. 12. Render the effect to play it back in real time. If necessary, you can animate the shape that contains the replacement material by using keyframes to follow movement and changes in the frames of footage. For example, you can resize, reshape, and reposition the shape over time, or you can use the Object Visible button to control when the shape is visible.
Dragging Replacement Material over a Flaw To remove a flaw by selecting replacement material and then dragging it over the flaw: 1. Isolate the flaw and apply the Paint Effect or Scratch Removal effect by using the procedures described in “Isolating a Flaw” on page 548. 2. Click the Effect Mode button on the Timeline toolbar to enter Effect mode. 3. Select the segment if it is not already selected. 4.
Original flaw and selection Selection dragged over flaw Final effect 11. Render the effect to play it back in real time. If necessary, you can animate the selection by using keyframes to follow movement and changes in the frames of footage. For example, you can resize, reshape, and reposition the shape over time, or use the Object Visible button to control when the shape is visible. For more information, see “Animating the AniMatte Effect” on page 575 and “AniMatte and Paint Effects” on page 584.
To remove a scratch covering more than one frame or field: 1. Mark an IN point at the first scratched frame or field. 2. Mark an OUT point at the last scratched frame or field. 3. Move the position indicator to one of the following locations: - Between the marked IN and OUT points - On the frame or field immediately before the marked IN point 4. Click the Scratch Removal button.
In some unusual circumstances, you might need to animate the shape that contains the replacement material by using keyframes together with positioning adjustments to follow movement and changes. For example, if the image is changing rapidly from frame to frame and the scratch covers several frames, the clean material might not match the later scratched frames without repositioning.
These settings correctly reference the clean frame or field whenever you apply the Scratch Removal effect using the Scratch Removal button. The settings reference the clean frame when you use the Scratch Removal button without marking IN and OUT points to remove a scratch on a single frame or field. They also reference the clean frame when you use the Scratch Removal button with IN and OUT points to remove a scratch or other flaw that repeats across more than one frame or field.
Example 1: Replacement Material in the Same Frame Parameter Settings Vertical: –250 Horizontal: +250 Frame/Field: 0 Offset: Relative Source of replacement material (in same frame) 250 pixels Rectangle covering scratch 250 pixels In this example, the effect replaces the area of the rectangle covering the scratch with material from the area of the dotted rectangle in the same frame or field.
Rectangle covering scratch in frame n Source of replacement material in frame n+2 — two frames (four fields) ahead In this example, the area of the rectangle covering the scratch is replaced by the same coordinate area of the frame two frames (four fields) ahead. Each frame or field in the segment will use replacement material from two frames (four fields) ahead.
You can choose From Start or From End from the Offset Fast menu in this way to cover a flaw in several frames with clean material from a single frame. In this example, the flaw first appears in frame 2, and it is replaced in every frame in which it appears by clean material from frame 1. Common Intraframe Editing Techniques The following sequence contains examples of basic Intraframe editing techniques — from simple Paint Effects to animated matte keys.
The Timeline for this sequence is shown in the following illustration. The callouts present several Intraframe editing examples and the sections that describe them. Intraframe Editing Examples Magic Mask used to colorize a chosen region of the image: See “Colorizing with Magic Mask” on page 563. Blur effect applied to a traced area of the clip: See “Applying the Paint Effect to Regions of a Clip” on page 568. Two-layer animated matte effects: See “Creating Animated Matte Key Effects” on page 571.
To colorize the image: 1. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 2. Apply the Paint Effect from the Image category to the segment of footage in the sequence. 3. Click the Effect Mode button on the Timeline toolbar to enter Effect mode. 4. Select the segment if it is not already selected. The Paint Effect parameters appear in the Effect Editor. 5.
7. Open the Color category, and, by using standard methods, choose a color to apply to the window region. For more information on choosing a color, see “Adjusting a Color Parameter” on page 128. Select a color from the image with the eyedropper, click the Other Options button to use the Windows Color dialog box or the Macintosh Color Picker, or adjust the sliders to choose a color. 8. (Option) Click the Outline/Path button so you have an unobscured view of the object you want to colorize.
The default key color for Magic Mask might not match the color in your selection, so the color is not yet applied to the white area of the window. Effect applied before choosing Magic Mask key color: the color effect does not appear. 10. Click in the Color Preview window of the Magic Mask category, drag the pointer to the off-white area of the window in the image, and release the mouse button. The Avid system sets the Magic Mask key color to the color you selected, and applies the effect. 11.
Effect applied with key color chosen from the image 12. Adjust the Magic Mask parameters, such as Gain and Soft (softness), to fine-tune the effect. The Avid system applies the colorization effect to areas where the rectangle shape extends beyond the window area in the image. You can quickly convert the rectangle to a polygon and adjust its shape around the window. To reshape the rectangle: 1. Click the rectangle to select it. 2. Double-click the rectangle to display its control points. 3.
New shape restricts the Magic Mask effect to the window area. Applying the Paint Effect to Regions of a Clip The Paint Effect includes a number of modes for applying special effects to traced regions of an image. This example describes the gradual application of the Blur mode to a region of the clip using keyframes. The effect gives the impression that the background is losing focus while the rest of the image is unaffected.
To apply the blur: 1. Choose Effect Palette from the Tools menu, or open the Effect Palette using one of the other methods from “Displaying the Effect Palette” on page 56. 2. Drag the Paint Effect icon from the Image category to the segment of footage in the sequence. 3. Click the Effect Mode button on the Timeline toolbar to enter Effect mode. 4. Select the segment if it is not already selected. The Paint Effect parameters appear in the Effect Editor.
Complex polygon shape traced around woman and background 10. Click the last keyframe in the Effect Preview monitor to select it. Check the shape of the traced area around the woman, and adjust control points as necessary to make an accurate outline. 11. Before creating new keyframes to further animate the traced outline, apply the blur to the first and last keyframes to ensure a smooth effect across all keyframes: a. Click the first keyframe in the Effect Preview monitor to select it. b.
12. Click elsewhere in the Effect Preview monitor’s position bar to check the traced outline. Make adjustments as necessary. n As you adjust control points, the system automatically creates new keyframes. 13. (Option) To soften the edges of the blurred outline around the woman, adjust the Feathering parameters. For more information, see “Feathering” on page 596. 14. Render the effect to play it back in real time.
In this example, the matte shape is animated to follow the movement of the men in the foreground footage. Foreground image on upper layer Composite image Background image on lower layer Applying the Matte Key Effect To apply a two-layer matte key: 1. For this two-layer effect, edit the image you want to use as the background onto one track and the image you want to use as the foreground onto the track above. 2.
In this example, the background is on track V1 and the foreground is on track V2. 5. Press the Home key to go to the beginning of the clip. Make sure both the first and last keyframes are selected. 6. Click the Reduce button in the Effect Editor to view the image in the Effect Preview monitor at 75 percent. (This makes it easier to include the outer edges of the footage in the traced area.) 7. Click the Curve tool. 8. Choose Key In from the Fast menu in the Mode parameter category. 9.
In this example, a series of shapes are drawn to key out all areas of the foreground image. 11. To check the traced outline, click the Swap Src (swap sources) button in the Foreground parameter category. The foreground and background footage are reversed in the key. This allows you to easily spot areas where the outline encroaches on the foreground image. In this example, swapping sources on one of the shapes reveals edges from the foreground image.
12. Click the Swap Src button to restore your effect to a matte that keys in your selection. Animating the AniMatte Effect To animate a Matte Key effect: 1. Click the Step Forward button or the Step Backward button as many times as necessary to park on a frame in which the matte no longer provides a clean key due to the motion of the foreground or background image. 2. Adjust the matte outline as follows: n t Click the Reshape tool, and drag control points to change the shape.
Creating a Single-Layer Organic Matte Wipe You can use the AniMatte effect to create a custom matte wipe. Additionally, you can create soft edges and other useful variations by adjusting the parameters of the AniMatte wipe. Multiple video tracks are not necessary. You apply the AniMatte effect to a transition on a single track of video and then draw the matte wipe as described in this section. To create an organic matte wipe: 1.
6. Click the first keyframe in the Effect Preview monitor’s position bar. The first keyframe is highlighted, and the last keyframe is deselected. 7. Click the Curve tool. 8. Press and hold the mouse button, and drag to draw a custom shape to the right of the image displayed in the Effect Preview monitor. n Draw a matte that is at least as wide as the frame in the Effect Preview monitor. 9. When you are satisfied with the shape of the object, release the mouse button to complete the matte wipe. 10.
11. Click the matte wipe within its borders and drag it so that it covers the frame in the Record monitor. Make sure to position the leading edge of the wipe so that it is beyond the left border of the frame. 12. Click the Enlarge button on the Effect Preview Monitor toolbar three times to restore the video image to 100 percent. 13. Click in the middle of the Effect Preview monitor’s position bar to view the edge of the wipe. 14.
CHAPTER 11 2D Effects Reference This chapter describes all 2D effects parameters and then summarizes all 2D effects in alphabetical order within each effect category. For information on effects editing, see Chapter 2.
2D Effects Parameters This section provides a general description of all 2D parameters, in alphabetical order. Some parameters have corresponding 3D versions. The 3D versions are described in Chapter 12.
• Motion Effect Parameters • Position (see 3D version on page 12-814) • Profile • Region Stabilize Parameters • Scaling (see 3D version on page 12-817) • Scratch • Transition Parameters For an explanation of how to change a parameter, see “Using the Effect Editor” on page 120. Global and Keyframeable Parameters The effects parameters are divided into two logical groups: • Global Changes apply to all keyframes.
Acceleration Parameter type: Global Acceleration adjusts the effect’s speed over time by having the effect ease in and ease out of every keyframe. This gives the effect a more natural appearance. c Acceleration is not recommended for rolls or other DSK titles with vertical motion, due to anti-aliasing effects, which cause flicker. The overall speed of an effect is determined by the duration of the effect, which is determined by the length of the clip in the sequence.
Actions Parameter type: Global The Actions parameter allows you to control certain aspects of the Pan and Scan effect. Table 11-1 Actions Parameters Parameter Description Establish Origin Saves the current Scaling and Position values as a customized default setting. For more information, see “Setting an Origin in the Pan and Scan Effect” on page 316.
AniMatte and Paint Effects Most of the effect parameters used for Intraframe editing are available for both the AniMatte effect and the Paint Effect. The following sections describe the parameters that they have in common, while indicating those that function differently, depending upon whether you are using the AniMatte or Paint Effect. n 2D Effects Reference The Acceleration and Foreground parameters function similarly for Intraframe editing effects as they do for other effects.
Color Parameter type: Global The Color parameter is available only for the Paint Effect. Use the sliders in the Color parameter category in conjunction with one of the Paint Effect modes to colorize your selection. Mode Parameter type: Global Central to the Intraframe editing process, Mode parameters and options affect the overall nature of the Intraframe editing you perform using either the Paint Effect or the AniMatte effect.
Table 11-2 Mode Parameters (Continued) Parameter Description Opac. (opacity) Opacity, which appears in the Mode category for the Paint Effect, refers to the transparency level of: - A painted object created with the Paint Effect - The image within the border of a matte or wipe created with the AniMatte effect For the Paint Effect, a level of 0 makes a painted object completely transparent; a level of 50 makes an object 50 percent transparent; and a level of 100 makes an object opaque.
Table 11-2 Mode Parameters (Continued) Parameter Description Frame/Field Controls which frame or field is used as the source for clean replacement material when you are working in Scratch Removal mode. For more information, see “Scratch” on page 643. Offset Fast menu Defines the position from which the Frame or Field parameter is measured when you are working in Scratch Removal mode. For more information, see “Scratch” on page 643.
AniMatte Modes Parameter type: Global There are two basic modes for Intraframe editing with the AniMatte effect. Table 11-3 AniMatte Modes Mode Description Key In Displays the image on the higher track (foreground) within the matte selection while revealing the image on the lower track (background) outside the matte selection for two-track video effects; displays the incoming segment within the matte selection for single-track matte wipes.
Paint Effect Modes Parameter type: Global The Paint Effect provides modes that you can use to paint with a variety of styles. When you click a painting tool for the first time, the default setting is Solid mode, which enables you to paint an opaque object on the video background with a brush stroke. Table 11-4 describes the Paint Effect modes and includes illustrations to help you understand how the modes alter the image. n The illustrations show the same image in every case.
Table 11-4 Paint Effect Modes (Continued) Mode Description Erase Removes paint from a frame. Can also be used to invert the key in an AniMatte effect. The illustration shows a rectangular object in Erase mode that removes paint from the oval object beneath it. Outline Creates an outline that is useful for tracing images in a frame. Clone Duplicates an area from a frame and applies it to another area of the frame. The illustration shows an oval object in Clone mode.
Table 11-4 Paint Effect Modes (Continued) Mode Description Hue Changes the hue in a selected area to the hue currently set with the Hue slider in the Color parameter category without affecting the saturation and luminance levels. Saturation Changes the saturation in a selected area to the saturation level currently set with the Sat slider in the Color parameter category without affecting the luminance levels and the hue.
Table 11-4 Paint Effect Modes (Continued) Mode Description Darken Only Reduces the luminance levels in a selected area only if the result would be darker than the background color. In the illustration, the light areas have been darkened in the selected oval while darker areas of the trees remain unaltered. Lighten Only Increases the luminance levels in a selected area only if the result would be lighter than the background color.
Table 11-4 Paint Effect Modes (Continued) Mode Description Lighten Increases the luminance levels in a selected area by the amount specified by using the Amount slider. Illustration In the illustration, luminance in the selected oval is increased by 50. Add Adds more of the color value currently selected in the Color parameter category to the colors in a selected area. Subtract Removes the color value currently selected in the Color parameter category from the color in a selected area.
Table 11-4 Paint Effect Modes (Continued) Mode Description Invert Inverts the RGB values of the colors in a selected area. Mosaic Applies a tile effect to a selected area with horizontal and vertical controls. This is useful for distorting or disguising part of an image. Blur Blurs a selected area with horizontal and vertical controls. This is useful for distorting or disguising part of an image.
Table 11-4 Paint Effect Modes (Continued) Mode Description Median Takes the nine values surrounding each pixel, ranks them, and replaces the pixel with the value in the middle. This results in a slight softening effect. Median filters are often used to remove noise from an image. Unsharp Mask Sharpens a selected area of an image to create more defined edges with horizontal and vertical controls.
Table 11-4 Paint Effect Modes (Continued) Mode Description Emboss Creates a three-dimensional extrusion effect in a selected area. You can adjust the direction of the extrusion with the Angle slider. Illustration Scratch Removal Replaces scratched or otherwise flawed areas of a frame with clean material from a nearby source. For more information, see “Scratch Removal” on page 543. Feathering Parameter type: Keyframeable Feathering adds soft edges to a painted object or a matte key.
Table 11-5 Feathering Parameters Parameter Description Bias Increases control over the dissipation of pixels around the edges of a painted object or matte. Adjusting bias is especially effective when you trace an element on the screen with the Paint Effect. A Bias setting of 0 feathers pixels starting at the outside edge; a setting of 50 starts feathering at the center portion of the edge; and a setting of 100 starts feathering at the inner portion of the edge. The default setting for Bias is 50.
Magic Mask Parameter type: Keyframeable Magic Mask is used for applying effects across a series of frames by using the chroma and luma values as the criteria for edge detection. After you use Magic Mask to pick a color with the eyedropper for either an AniMatte or Paint Effect, you can adjust the Hue, Sat, and Lum sliders to fine-tune the color selection.
Table 11-6 Magic Mask Parameters Parameter Description Hue Affects the tint of the color selection. The tint refers to the name commonly associated with a color, such as red, green, or blue. The slider values range from 0 to 255. Sat (saturation) Affects the purity or intensity of the color selection. The color gray has no saturation at all; a fully saturated color produces the most intense representation of that color. The slider values range from 0 to 255.
Brush Parameter type: Global The Brush parameters enable you to define the shape, size, and softness of the brush for creating brush strokes on an image. Additionally, you can customize the shape and rotate the head of the Brush tool to create a variety of new effects. n 2D Effects Reference The parameters in the Brush category apply only to the Brush tool.
Table 11-7 Brush Parameters Parameter Description Path Controls the percentage of paint or the matte that is visible from the initial point of pressure to the completion of the brush stroke. Path values range from 0 (no paint visible) to 100 (entire stroke visible). n Unlike other Paint Effect parameters, you can adjust Path only after you finish painting. Soft (softness) Adjusts the softness of the brush head. Softness ranges from a value of 0 (hard center) to 100 (softest overall head).
Aspect Ratios Parameter type: Global The Aspect Ratios parameter sets the Source and Target aspect ratios for a Pan and Scan or Reformat effect. For more information, see “Selecting the Source and Target Aspect Ratios” on page 308. Table 11-8 Aspect Ratio Parameters Parameter Description Source Specifies the aspect ratio of the source media. Supported source aspect ratios are 1.33 (4:3), 1.66, 1.78 (16:9), 1.85, 2.35, 15:9 anamorphic, and 16:9 anamorphic.
Background Parameter type: Global The Background parameter sets the color for the background in effects that display a background. For example, the background parameters determine the color to be used in a Fade to Color, Fade from Color, or Dip to Color effect. n If your system has the 3D Effects option, see the 3D version on page 12-796.
Blowup Parameter type: Keyframeable The Blowup effect uses the following parameters to set the effect’s position and size. Table 11-10 Blowup Parameters Parameter Description Field Controls the size of the image. A field of 0 leaves the image size unchanged, and a field of 10 increases the image to the maximum size. X Pos (X position) Allows you to position the image horizontally on the screen. The X Position varies on a scale of West 20 to East 20, where 0 is unchanged.
Border Parameter type: Keyframeable Border without the Blend Color parameters Border with the Blend Other Options button Color parameters Many effects allow you to place a border on the inner or incoming picture in the effect. The Border parameters allow you to specify the color, softness, and width of the border. Some effects also include Blend Color parameters for blending border color. n If your system has the 3D Effects option, see the 3D version on page 12-797.
Table 11-11 Border Parameters Parameter Description Other Options button Opens the Windows Color dialog box or the Macintosh Color Picker for precise border or blend color selection. For more information, see “Using the Windows Color Dialog Box” on page 129 or “Using the Macintosh Color Picker” on page 130. Hue Identifies the border or blend color. The Hue parameter is measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red.
Color Effect Parameters The Color Effect parameters allow you to perform color correction or create certain colorization effects such as posterization or solarization. Luma Adjust Parameter type: Keyframeable Table 11-12 Luma Adjust Parameters Parameter Description Bright (brightness) Changes the brightness of the picture. The parameter ranges from –100 to +100, where a value of 0 indicates no change. A value of –100 darkens the image; a value of +100 brightens the image.
Brightness Example Original – Brightness 0 Brightness –50 Brightness +50 Contrast Example Original – Contrast 0 Contrast –50 Contrast +50 Luma Range Parameter type: Keyframeable Luma Range parameters allow you to adjust the range of brightness from black to white.
Table 11-13 Luma Range Parameters Parameter Description Fast menu: 16 to 235 The default for video images. Fast menu: 0 to 255 Allows you to map normal video to alpha ranges. This is useful if you have a high-contrast image that you want to expand to the full dynamic range. For example, use this value when you want to convert video to alpha for Matte Key effects.
Table 11-13 Luma Range Parameters (Continued) Parameter Description Gamma Allows you to adjust the midtones in an image without affecting the extreme white or black values. Lowering the value darkens midtones and brings the image closer to black. Raising the value lightens the midtones and brings the image closer to white. For example, a person shot in front of a window in daylight may be very dark, almost in silhouette.
Table 11-14 Luma Clip Parameters (Continued) Parameter Description Low Provides a simple clip function for darkness values. When you specify a value for Low, no pixel in the image can be darker than that value. The default is 16 (the broadcast value for black). When preparing video for broadcast, normally you do not adjust these values. They allow you to adjust the brightness and contrast (using other controls in the Color Effect) while still maintaining legal broadcast values for black and white.
Color Style Parameter type: Keyframeable Table 11-16 Color Style Parameters Parameter Description Post (posterization) Posterization allows you to limit the number of colors in the image by controlling the number of luminance steps that are displayed. This gives the image a graphic appearance. The range of values is 0 to 25, where 0 displays all colors and 25 displays the least number of colors.
Posterization Example Original image Posterization 10 Posterization 20 Solarization Example Original image Solarization 100 Solarization 200 2D Effects Parameters
Color Gain Parameter type: Keyframeable The Color Gain parameters allow individual control of the Color Gain for each of the three color components: red, green, and blue. Table 11-17 Color Gain Parameters Parameter Description Red Changes the amount of red in the whole image. The parameter value is a percentage of the range from 0 to 200, where a value of 100 indicates that the color is unchanged. Green Changes the amount of green in the whole image.
Crop Parameter type: Keyframeable The Crop parameters remove video from the top, bottom, left, and right edges of the video. n Cropping is not available for DSK titles. To crop a Title effect, deselect the Downstream Key button in the Effect Editor. Table 11-18 Crop Parameters Parameter Description T (top) Removes video from the top of the inner or incoming video. Values range from 0 to 999; 0 is the top of the screen, 500 is the middle of the screen, and 999 is the bottom of the screen.
Downstream Key Parameter type: Global Downstream keying allows you to add uncompressed titles or graphics over multiple streams of compressed or uncompressed media and continue to play the sequence in real time. By default, all titles are created using the Avid system’s downstream key (DSK) capabilities. Graphic elements imported with an alpha channel are also created as DSK clips.
Foreground Parameter type: Keyframeable Additional options vary, depending upon the type of effect. The Foreground parameters are used, together with keyframes, to set the relative amount of the effect to be displayed over time. The additional options included with the Level slider vary, depending on the type of effect. Table 11-19 Foreground Parameters Parameter Description Level Controls the opacity of the foreground image.
Table 11-19 Foreground Parameters (Continued) Parameter Description Invert Key This option applies to key effects only (such as Chroma Key or Luma Key). Click Invert Key to reverse the key. With a Chroma Key effect (2D or 3D), inverting the key displays the key color regions while showing the background image source through the foreground image area.
Grid Parameter type: Global The Grid parameters are used to define the Effect Grid associated with an effect. Grid parameters set in the Effect Editor override settings in the Grid Settings dialog box for that effect only. Table 11-20 describes the Grid parameters. Table 11-20 Grid Parameters Parameter Description Other Options button Opens the Grid Settings dialog box. Grid Type Fast menu Use this menu to select a grid type. For video projects, use the Square grid type.
Table 11-20 Grid Parameters (Continued) Parameter Description Sub (sub fields) This option determines the snap-to-grid feature between visible grid points. The value determines how many jumps are in between each visible point. Values range from 0 to 10. Set Sub to 1 to snap only to visible points. A value of 2 provides 1/2 field jumps. A value of 4 (the default value) provides 1/4 field jumps, and so on. Set Sub to 0 to turn off the snap-to-grid feature.
Key Control Parameters Key control parameters appear only in the Chroma Key, Luma Key, and RGB Keyer effects. These parameters control the key color and allow you to fine-tune the edges of key effects and the appearance of the foreground elements. n If your system has the 3D Effects option, see the 3D version on page 12-805. n For information on the workflow for applying key effects, see “Creating Key Effects” on page 290.
Table 11-21 Key Parameters (Continued) Parameter Description Hue Identifies the key color. The Hue parameter is measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red. Sat (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color. Lum (luminance) Specifies the brightness of the color.
background. You can choose the floor color as your secondary color and key it out. If the Chroma Key effect is normally a real-time effect on your system, enabling the Secondary Key parameter will make the effect non-real-time. See Table 11-21 on page 621 for a description of each parameter. Spill Suppression Chroma Key Effect Only Parameter type: Global The Spill Suppression key neutralizes the selected color for the Chroma Key effect without affecting the luminance.
Key Color RGB Keyer Only Parameter type: Global Use the Key Color parameters in the RGB Keyer effect to select a color for the chroma key. Table 11-22 Key Color Parameters Parameter Description H (hue) Specifies the hue or tint measured as values on a color wheel ranging from 0 to 255. The start (0) and ending (255) values are both red. S (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color.
Use the Chroma Key parameters in the RGB Keyer effect to fine-tune the key effect. Table 11-23 Chroma Key Parameters Parameter Description Gain Adjusts the threshold of the key, with a range from 0 to 100. Soft (softness) Softens the edge of the key, with a range from 0 to 100. Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and background sources.
Table 11-24 Matte Controls Parameter Description Blur Blurs the matte for the key using a box filter. The range is 0 to 100; 0 indicates a blurring of 0 pixels, and 100 indicates a blurring of 10 pixels. Erode Used with blur, decreases or “erodes” the outer edges of the blurred matte key. Color Correction RGB Keyer Only Parameter type: Global Use the Color Correction parameters in the RGB Keyer effect for post-key color correction of the foreground elements in the Chroma Key effect.
Table 11-25 Color Correction Parameters (Continued) Parameter Description Sat (saturation) Specifies the amount or intensity of the color. Values range from 0 to 255, where 0 is no chrominance and 255 is a fully saturated color. Bright (brightness) Specifies the brightness level. Values range from 0 to 255, where 0 is black and 255 is full brightness or white. Cont (contrast) Controls the contrast of light and dark areas in the picture.
Graphical representation of the grid Columns Rows You can select a standard grid or enter a custom number of rows and columns. The minimum number of rows and columns is 2 x 2. Columns Number of columns in the effect. Rows Number of rows in the effect. Motion Effect Parameters Motion effect parameters apply to Freeze Frame, Variable Speed, and Strobe Motion effects. For information about applying and editing various motion effects, see Chapter 5.
Freeze Frame Parameters Parameter type: Global You access Freeze Frame parameters by choosing Freeze Frame from the Clip menu. Duration Custom duration Table 11-26 Freeze Frame Menu Commands Command Description Duration (in seconds) Specifies the length of the Freeze Frame clip that will be created in the Source monitor. You can either select a duration from the Freeze Frame submenu or select Other to enter a custom duration.
Table 11-26 Freeze Frame Menu Commands (Continued) Command Description Two Field Freeze Frames Options below determine how the effect media is created and displayed submenu when working in two-field resolutions (for example, 20:1, 3:1, 2:1, or uncompressed). Using Duplicated Field A single field is displayed in the effect. This option reduces the vertical resolution of the image by one-half, resulting in a lower-quality image. Using Both Fields Both fields are used to create the effect.
Variable Speed effect Strobe Motion effect n Clicking the Motion Effect button in the Tool palette opens the Motion Effect Editor for Timewarp effects. See “Working with the Timewarp Effect” on page 245.
Table 11-27 Option Variable Speed and Strobe Motion Options Description Variable Speed Duration The duration of the effect in frames. Doubling the number of frames causes the frame rate to be half the current rate. Rate The rate of speed in frames per second (fps) at which the video will be played. Normal speed is 30 fps for NTSC video, 25 fps for PAL video. % Speed The percent of speed at which the video will be played. Normal speed is 100%.
Table 11-27 Option Both Fields Variable Speed and Strobe Motion Options (Continued) Description Both fields are displayed in the effect. For example, the first two frames of a half-speed (50%) slow motion effect repeat the original Frame 1 (both fields) twice. This option is good for shots without inter-field motion and still shots.
n If a Strobe Motion effect becomes unrendered because it has been trimmed to a longer duration, the effect will not play and must be rendered again. n To indicate reverse motion at full play rate, slow or fast, enter a negative play rate or a percent. Paint Effect Parameters See “AniMatte and Paint Effects” on page 584.
Position Parameter type: Keyframeable Position parameters set horizontal and vertical position. n Position is not available for DSK titles. To reposition a Title effect, deselect the Downstream Key button in the Effect Editor. n If your system has the 3D Effects option, see the 3D version on page 12-814. Table 11-28 Position Parameters Parameter Description H Pos (horizontal position) Moves the video from side to side. Values range from –999 to 999. Negative values move the image to the left.
Position V Parameter type: Keyframeable Position V (vertical) is available only for crawling titles. Use this parameter to move a crawling title up or down in the frame. The number range refers to the position of the title relative to the middle of the screen. At 0, the middle of the title is aligned with the middle of the screen. At –999 (the slider at its leftmost position), the bottom of the title aligns with the top of the screen; that is, the title is completely off screen above the image.
Scroll Position H Parameter type: Keyframeable Scroll Position H (horizontal) is available only for crawling titles. Use this parameter to move the crawling title left or right in the frame. The number range refers to the position of the crawling title relative to its overall length, where 0 represents the point at which the left edge of the crawling title is aligned with the left edge of the screen.
length, where 0 represents the point at which the top of the roll is aligned with the top of the screen. The highest negative number (the slider at its leftmost position) places the top of the roll off the bottom of the screen. The highest positive number (the slider at its rightmost position) places the bottom of the roll off the top of the screen. Click Reverse to reverse the direction of the roll.
Adjusting Foreground Level in the Profile Window Foreground level controls the opacity of a 3D effect layer. You can adjust levels for various keyframes directly in the Profile window. This is the same as using the Level slider in the Foreground parameter category, as described in “Foreground” on page 617. Adjustments you make with the Level slider are also represented in the Profile graph. To adjust foreground level within the Profile window: 1.
Table 11-29 Model Parameter Options Option Description Translational Keeps the region of interest steady along both the horizontal and the vertical axes. Horizontal Constrains horizontal motion in the region of interest. Objects in the region of interest can move vertically but not horizontally. Vertical Constrains vertical motion in the region of interest. Objects in the region of interest can move horizontally but not vertically.
n You can also change the size and position of the region of interest by dragging the wire frame in the Effect Preview monitor. See “Using the Region Stabilize Effect” on page 284. Auto Zoom Parameter type: Global Stabilization using the Region Stabilize effect exposes black around the edges of the repositioned frames. Auto Zoom compensates by resizing and, if necessary, repositioning the clip to remove the exposed edges. For more information, see “Using the Region Stabilize Effect” on page 284.
Scaling Parameter type: Keyframeable Scale button Scaling involves resizing the effect by adjusting height and width. Table 11-31 Scaling Parameters Parameter Description Wid (width) Controls the width of the image when the Fixed Aspect parameter is disabled. Stretches or compresses the width of the effect. Values range from 0 to 400, where 100 indicates 100 percent scaling (normal size). Hgt (height) Controls the height of the image when the Fixed Aspect parameter is disabled.
Scratch Parameter type: Keyframeable Frame/Field parameter slider Frame Processing button The Scratch parameters control the position and appearance of replacement material that you use to cover scratches and other flaws. Table 11-32 Scratch Parameters Parameter Description Opac. (opacity) The Opac. slider controls the opacity of the replacement material used in a Scratch Removal effect. A value of 0 represents complete transparency. A value of 100 represents complete opacity.
Table 11-32 Scratch Parameters (Continued) Parameter Description Frame/Field parameter slider Defines which nearby frame or field is being used as the source of the replacement material. To select frame or field processing, use the Frame Processing button. If the Frame Processing button is selected (pink), the Frame/Field parameter slider is labeled Frame and is calibrated in one-frame increments from –5 to +5.
Table 11-32 Scratch Parameters (Continued) Parameter Description Offset Fast menu The Offset Fast menu defines the reference or zero point for the Frame or Field slider. The following three choices are available on the Offset Fast menu. Relative — The Frame or Field slider is set relative to the frame containing the shape that covers the flaw. From Start — The Frame or Field slider is set relative to the first frame of the segment. This is the default.
Transition Parameters Parameter type: Global Transition effect duration box Click the Transition Effect Alignment button to select a position from the pop-up menu. Transition effect alignment pop-up menu The Transition parameters appear at the bottom of the Effect Editor. n The Transition Effect Alignment button shows the alignment of the transition effect applied at the cut point. If the cut point does not have a transition effect, the Transition Effect Alignment button appears as a vertical bar.
- Starting at Cut — The transition effect will start immediately after the last frame of the outgoing video is displayed. - Custom Start — Allows you to specify the number of frames before and after the cut to be included in the effect. Transition Effect Duration The Transition Effect Duration box specifies the length of time that the effect will span the transition. The duration of a segment effect is determined by the length of the segment.
2D Effects This section summarizes each 2D effect in alphabetical order within each effect category listed below. Parameters for each effect are listed here and described in “2D Effects Parameters” on page 580.
Blend Effects Blend effects are general two-channel effects.
Blend: Dip to Color Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions Parameters Profile – foreground level Foreground – level, reverse animation Background – hue, saturation, luminance Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Fades from the outgoing video to black, white, or any color and then fades up to the incoming video. Color is specified using the Lum, Chroma, and Sat sliders.
Blend: Dissolve Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Blends images from the outgoing video with the incoming video over time.
Blend: Fade from Color Beginning color Middle of effect Incoming footage Effect Icon Apply to Transitions Parameters Profile – foreground level Foreground – level, reverse animation Background – hue, saturation, luminance Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Fades from any color to incoming video.
Blend: Fade to Color Outgoing footage Middle of effect Final color Effect Icon Apply to Transitions Parameters Profile – foreground level Foreground – level, reverse animation Background – hue, saturation, luminance Acceleration Grid Transition Parameters – transition effect alignment and duration Description Fades from the outgoing video to any color.
Blend: Picture-in-Picture Bottom track PIP as a segment effect Top track Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Crea
Blend: Superimpose Bottom track Superimpose effect Top track Effect Icon Apply to Multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Grid Description Blends the image from the upper video track (where the effect is applied) with the image from the lower video track over time. Level set at 100 percent shows only the video image from the upper track where the effect is applied.
Box Wipes Box Wipes reveal one video channel on top of another video channel, using predefined growing rectangular shapes. They include: n 2D Effects Reference • Box Wipe: Bottom Box • Box Wipe: Bottom Left to Top Right • Box Wipe: Bottom Right to Top Left • Box Wipe: Left Box • Box Wipe: Right Box • Box Wipe: Top Box • Box Wipe: Top Left to Bottom Right • Box Wipe: Top Right to Bottom Left For examples of similar effects, see “Comparison of Similar Effects” on page 787.
Box Wipe: Bottom Box Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a box in the center of the bottom edge of the screen and wipes out the outgoing video as the box expands to fill screen.
Box Wipe: Bottom Left to Top Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a box in the bottom left corner of the screen and wipes out the outgoing video as the
Box Wipe: Bottom Right to Top Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a box in the bottom right corner of the screen and wipes out the outgoing video as the box expands to fill t
Box Wipe: Left Box Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a box in the center of the left edge of the screen and wipes out the outgoing video as the box expands
Box Wipe: Right Box Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a box in the center of the right edge of the screen and wipes out the outgoing video as the box expands to fill the screen.
Box Wipe: Top Box Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a box in the center of the top edge of the screen and wipes out the outgoing video as the box expands t
Box Wipe: Top Left to Bottom Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a box in the top left corner of the screen and wipes out the outgoing video as the box expands to fill the s
Box Wipe: Top Right to Bottom Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a box in the top right corner of the screen and wipes out the outgoing video as the bo
Conceal Effects Conceal effects overlap one video channel over another video channel using a predefined path. They include: n • Conceal: Bottom Left to Top Right • Conceal: Bottom Right to Top Left • Conceal: Bottom to Top • Conceal: Left to Right • Conceal: Right to Left • Conceal: Top Left to Bottom Right • Conceal: Top Right to Bottom Left • Conceal: Top to Bottom For examples of similar effects, see “Comparison of Similar Effects” on page 787.
Conceal: Bottom Left to Top Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video slides on top of the outgoing video from the bottom left to the top right of the
Conceal: Bottom Right to Top Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video slides on top of the outgoing video from the bottom right to the top left of the screen.
Conceal: Bottom to Top Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video slides on top of the outgoing video from the bottom to the top of the screen.
Conceal: Left to Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video slides on top of the outgoing video from the left edge to the right edge of the screen.
Conceal: Right to Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video slides on top of the outgoing video from the right edge to the left edge of the screen.
Conceal: Top Left to Bottom Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video slides on top of the outgoing video from the top left to the bottom right of the screen.
Conceal: Top Right to Bottom Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video slides on top of the outgoing video from the top right to the bottom left of the
Conceal: Top to Bottom Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, single-layer and multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video slides on top of the outgoing video from the top to the bottom of the screen.
Edge Wipes Edge Wipes reveal one video channel on top of another video channel by wiping an edge across the screen.
Edge Wipe: Horizontal Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins at the left edge of the screen and moves to the right edge, wiping out the outgoing video.
Edge Wipe: Horizontal Open Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a vertical band in the center of the screen.
Edge Wipe: Lower Left Diagonal Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins in the bottom left corner of the screen and wipes out the outgoing video as a diagonal line moves from the bottom left corner to t
Edge Wipe: Lower Right Diagonal Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins in the bottom right corner of the screen and wipes out the outgoing video as a diagonal line moves from the
Edge Wipe: Upper Left Diagonal Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins in the top left corner of the screen and wipes out the outgoing video as a diagonal line moves from the top left corner to the bot
Edge Wipe: Upper Right Diagonal Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins in the top right corner of the screen and wipes out the outgoing video as a diagonal line moves from the to
Edge Wipe: Vertical Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins at the top edge of the screen and expands downward to fill the screen.
Edge Wipe: Vertical Open Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a horizontal band in the center of the screen. This band expands up and down to fill the screen.
Film Effects Film effects, an option on some systems, emulate many of the effects an optical house can produce. They include: • Film: 1.66 Mask • Film: 1.
Film: 1.66 Mask Original image Mask effect example (1:1.66 Mask) Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Description 2D Effects Reference Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 1.66 times wider than it is tall. The area surrounding the rectangle is masked by a black background.
Film: 1.85 Mask Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Description Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 1.85 times wider than it is tall. The area surrounding the rectangle is masked by a black background.
Film: 16:9 Mask Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Description Masks out any area of the image that is not inside a centered rectangle. The centered rectangle is 16 units wide by 9 units high. The area surrounding the rectangle is masked by a black background.
Film: Blowup Original image Blowup effect Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Blowup – field, X position, Y position Crop Grid Description Blowup modifies the size and portion of the picture that is displayed.
Film: Film Dissolve Outgoing video Middle of effect Incoming video Effect Icon Apply to Transitions Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Blends the outgoing frame to the incoming frame over time. The Level parameter has been preset according to Kodak™ specifications. Avid does not recommend adjusting the Level parameter on this effect.
Film: Film Fade Effect Icon Apply to Transitions Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Blends the outgoing pictures to the incoming pictures over time. The Level parameter has been preset according to Kodak specifications. Avid does not recommend adjusting the Level parameter on this effect. The Level set at 0% shows all of the outgoing frame.
Film: Mask Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Description Masks out any area of the image that is not inside a rectangle defined by the Scaling, Fixed Aspect, and Position parameters of the effect. The area surrounding this rectangle is masked by the effect’s background color.
Image Effects Image effects are general effects that apply to a single stream of video or (in the case of Scratch Removal and Submaster) that modify all the layers of video beneath them.
Image: Color Effect Effect Icon Apply to Single-layer segments Parameters Luma Adjust – brightness, contrast, invert Luma Range – white point, black point, and gamma Luma Clip – high and low Chroma Adjust – hue, saturation, invert Color Style – posterization and solarization Color Gain – red, green, blue Grid Description 2D Effects Reference The Color Effect modifies the luminance, chroma, style (posterized or solarized), and color gain of the segment.
Image: Flip Original image Flip effect applied Effect Icon Apply to Single-layer segments Parameters Grid Description Video image is flipped vertically.
Image: Flip-Flop Original image Flip-flop effect applied Effect Icon Apply to Single-layer segments Parameters Grid Description Video image is flipped both horizontally and vertically.
Image: Flop Original image Flop effect applied Effect Icon Apply to Single-layer segments Parameters Grid Description Video image is flipped horizontally, which reverses the camera angle.
Image: Mask Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Description 2D Effects Reference Masks out any area of the image that is not inside a rectangle defined by the Scaling, Fixed Aspect, and Position parameters of the effect. The area surrounding the rectangle is masked by the effect’s background color.
Image: Paint Effect Effect Icon Apply to Single-layer or multilayer segments Parameters Acceleration Mode Feathering Magic Mask Color Brush Grid Description Enhances the creative and corrective powers of the Avid system by allowing you to create vector-based objects that you can animate and edit with customizable paint brushes on one frame or a series of frames. For examples of the Paint Effect, see “Common Intraframe Editing Techniques” on page 562.
Image: Region Stabilize Effect Icon Apply to Single-layer segments Parameters Model - translational, horizontal, vertical Region of Interest Auto Zoom Progressive Source Description 2D Effects Reference Used to eliminate unwanted motion in a clip. See “Using the Region Stabilize Effect” on page 284.
Image: Resize Original image Resize effect – reduced image Resize effect – enlarged image Effect Icon Apply to Single-layer segments Parameters Background – hue, saturation, luminance Scaling – width, height, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Description Resize modifies the size and position of the video. The background color displays where no video is present.
Image: Scratch Removal Effect Icon Apply to Single-layer segments Parameters Acceleration Scratch Feathering Brush Grid Allows you to remove scratches and other flaws by drawing an object to cover the scratch and filling the object with clean replacement material. For examples of the Scratch Removal effect, see “Scratch Removal” on page 543. Description Image: Submaster Effect Icon Apply to The top video track under which are the video tracks that will be included in the Submaster effect.
Key Effects Key effects combine two streams of video using components from one of the streams.
Key: Chroma Key Background – video layer 1 Key image – video layer 2 Chroma Key effect Effect Icon Apply to Transitions, multilayer segments Parameters Key – hue, saturation, luminance, gain, softness Secondary Key – hue, saturation, luminance, gain, softness Spill Suppression – hue, saturation, luminance, gain, softness Profile – foreground level Foreground – level, swap sources, reverse animation, invert key, show alpha Acceleration Scaling – width, height, fixed aspect Position – horizontal
Key: Luma Key Key image Background image Luma Key effect Effect Icon Apply to Transitions, multilayer segments Parameters Key – hue, saturation, luminance, gain, softness Profile – foreground level Foreground – level, swap sources, reverse animation, invert key, show alpha Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Transition Parameters – transition effect alignment and duration Description Replaces
Key: Matte Key Video layer 3 – high-contrast matte image Matte Key effect Video layer 2 – foreground Video layer 1 – background Effect Icon Apply to Multilayer segments Parameters Profile – foreground level Foreground – level, swap sources, reverse animation, invert key, show alpha Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Grid Transition Parameters – transition effect alignment and duration Downstream K
Key: RGB Keyer (AVX Plug-in Effect) Background – video layer 1 Key image – video layer 2 Chroma Key effect Effect Icon Apply to Multilayer segments Parameters Key Color – hue, saturation, value Chroma Key – gain, softness, show alpha, spill suppression, level, reverse Matte Control – blur, erode Color Correction – hue, saturation, brightness, contrast Grid Description Replaces one part of the video image with another video image based on color.
L-Conceal Effects L-Conceal effects overlap one video channel over another using a predefined L-shaped path.
L-Conceal: Bottom Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video slides up the left half of the screen from bottom to top and then fills the screen from left to right.
L-Conceal: Bottom Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video slides up the right half of the screen from bottom to top and then fills the screen from right to left.
L-Conceal: Top Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video slides down the left half of the screen from top to bottom and then fills the screen from left to right.
L-Conceal: Top Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video slides down the right half of the screen from top to bottom and then fills the screen from right to left.
Matrix Wipes Matrix wipes reveal one video channel on top of another video channel, using blocks or bands that appear in a predefined position or path.
Matrix Wipe: Grid Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as blocks in a grid patte
Matrix Wipe: One-Way Row Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a block in the top left corner of the
Matrix Wipe: Speckle Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video appears in a random series of
Matrix Wipe: Spiral Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video spirals over and wipes out the outgoing video using
Matrix Wipe: Zig-Zag Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a single block in t
Motion Effects Motion effects control the rate at which the video channel is played. You apply a traditional motion effect to a clip in the Source monitor. Traditional motion effects include: n • Freeze Frame • Variable Speed • Strobe Motion When you use traditional motion effects to slow down a clip, the effect is real-time. When you use motion effects to speed up a clip, the effect is non-real-time and must be rendered before it can be played.
Motion Effect: 0% To 100% Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect that ramps motion in a sequence from 0% (freeze frame) to 100% (full speed). Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Working with the Timewarp Effect” on page 245.
Motion Effect: 100% To 0% Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect that ramps motion in a sequence from 100% (full speed) down to 0% (freeze frame). Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Working with the Timewarp Effect” on page 245.
Motion Effect: Freeze Frame Effect Icon Apply to Current frame in the Source monitor Parameters Motion Effect Parameters – duration and two-field media Description This effect repeats the current frame in the Source monitor for the specified duration.
Motion Effect: Pulldown Insertion Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect that inserts 2:3 Pulldown into a sequence. Source material without 2:3 pulldown has the cadence AA BB CC DD, where each letter represents a field. Pulldown Insertion uses the cadence AA BB BC CD DD.
Motion Effect: Pulldown Removal Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect that removes 2:3 Pulldown from a sequence. Source material with 2:3 pulldown has the cadence AA BB BC CD DD, where each letter represents a field. Pulldown Removal uses the cadence AA BB CC DD. Using Pulldown Removal speeds up the source material to 5/4 (125%), as shown in the following illustration.
Motion Effect: Reverse Motion Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect that creates a reverse motion effect at 100% speed. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Working with the Timewarp Effect” on page 245.
Motion Effect: Speed Boost Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect. The effect starts out at half speed, reaches approximately double speed at the midpoint, and returns to half speed at the end, as shown in the following illustration. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor.
Motion Effect: Speed Bump Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description A template for the Timewarp effect. The effect starts out at full speed, slows to approximately half speed at the midpoint, and returns to full speed at the end, as shown in the following illustration. Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor.
Motion Effect: Timewarp Effect Icon Apply to Single-layer segments Parameters All parameters and controls appear in the Motion Effect Editor. Description Apply the Timewarp effect to a sequence in the Record monitor, and customize the effect using the Motion Effect Editor. For more information, see “Working with the Timewarp Effect” on page 245.
Peel Effects Peel effects treat one video channel as though it were a sheet of paper being peeled from the other video channel.
Peel: Bottom Left Corner Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Outgoing video is peeled from incoming video from the bottom left corner to the top right corner of the screen.
Peel: Bottom Right Corner Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Outgoing video is peeled from incoming video from the bottom right corner to the top left corner of the screen.
Peel: Bottom to Top Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Outgoing video is peeled from incoming video from the bottom edge to the top edge of the screen.
Peel: Left to Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Outgoing video is peeled from incoming video from the left edge to the right edge of the screen.
Peel: Right to Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Outgoing video is peeled from incoming video from the right edge to the left edge of the screen.
Peel: Top Left Corner Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Outgoing video is peeled from incoming video from the top left corner to the bottom right corner of the screen.
Peel: Top Right Corner Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Outgoing video is peeled from incoming video from the top right corner to the bottom left corner of the screen.
Peel: Top to Bottom Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video is peeled from outgoing video from the top to the bottom of the screen.
Push Effects Push effects move one video channel to fill the screen while the other video channel is pushed out of the screen. They include: n 2D Effects Reference • Push: Bottom Left to Top Right • Push: Bottom Right to Top Left • Push: Bottom to Top • Push: Left to Right • Push: Right to Left • Push: Top Left to Bottom Right • Push: Top Right to Bottom Left • Push: Top to Bottom For examples of similar effects, see “Comparison of Similar Effects” on page 787.
Push: Bottom Left to Top Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video pushes out outgoing video from the bottom left corner to the top right corner of
Push: Bottom Right to Top Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video pushes out outgoing video from the bottom right corner to t
Push: Bottom to Top Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video pushes out outgoing video from the bottom to the top of the screen.
Push: Left to Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video pushes out outgoing video from the left edge to the right edge of the
Push: Right to Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video pushes out outgoing video from the right edge to the left edge of the screen.
Push: Top Left to Bottom Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video pushes out outgoing video from the top left corner to the b
Push: Top Right to Bottom Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video pushes out outgoing video from the top right corner to the bottom left corner of
Push: Top to Bottom Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video pushes out outgoing video from the top to the bottom of the screen.
Reformat Effects Reformat effects allow you to reformat media to different aspect ratios, for example, when you need to reformat a film aspect ratio for television programming. 14:9 Letterbox, 16:9 Letterbox, and 4:3 Sidebar resize the media to conform to the aspect ratio you select. Pan and Scan allows you to select a portion of the media to reformat.
Reformat: 16:9 Letterbox Original footage After 16:9 Letterbox effect applied Effect Icon Apply to Multilayer or single-layer segments Parameters Background Grid Description Reformats media to 16:9 Letterbox aspect ratio by distorting the media. See “Understanding the Pan and Scan Effect” on page 304.
Reformat: Pan and Scan Effect Icon Apply to Multilayer segments, or single-layer segments in certain circumstances. For more information, see “Combining the Pan and Scan Effect with Transition Effects” on page 321.
Sawtooth Wipes Sawtooth wipes create a transition between shots using a jagged edge like the teeth of a saw.
Sawtooth Wipe: Horizontal Sawtooth Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video appears with a sawtooth on the left edge of the screen.
Sawtooth Wipe: Horizontal Open Sawtooth Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a vertical sawtooth in the center of the screen.
Sawtooth Wipe: Vertical Open Sawtooth Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a horizontal sawtooth in the center of the screen. The sawtooth expands up and down, revealing the incoming video.
Sawtooth Wipe: Vertical Sawtooth Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix columns and rows Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference The sawtooth edge moves from the top of the screen down, covering the outgoing video and displaying the incoming video above t
Shape Wipes Shape Wipes reveal one video channel on top of another video channel, using a growing or moving geometric shape.
Shape Wipe: 4 Corners Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as blocks in four corners of the screen and wipes out the out
Shape Wipe: Center Box Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a small box in the center of the
Shape Wipe: Circle Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a small circle
Shape Wipe: Clock Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and durations Description Incoming video appears as a vertical line from the center of the screen to the top edge. The incoming video replaces the outgoing video in a clockwise motion as if it were the hand on a clock.
Shape Wipe: Diamond Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as a small diamond in the center of the screen and wipes out the outg
Shape Wipe: Ellipse Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, and softness Profile – foreground level Foreground – level, reverse animation Acceleration Scaling – width, height, fixed aspect Position – horizontal position, vertical position Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as a small ellipse in the center o
Shape Wipe: Horizontal Bands Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix rows and columns Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Reversible Yes Description Horizontal bands expand toward the center
Shape Wipe: Horizontal Blinds Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix rows and columns Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video begins as horizontal bands on the screen t
Shape Wipe: Vertical Blinds Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Other Options – matrix rows and columns Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video begins as vertical ban
Spin Effects Spin effects rotate one or more video channels.
Spin: X Spin Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Outgoing video is squeezed until it appears as a vertical line.
Spin: Y Spin Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Blend Color – hue, saturation, luminance Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Outgoing video is squeezed until it appears as a horizontal line.
Spin: Z Spin Outgoing footage Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference The incoming video begins as a dot in the center of the screen and then enlarges to full screen while rotating counterclockwise one full revolution, co
Squeeze Effects Squeeze effects expand a video channel from a single point or line until it fills the screen, obscuring the second video channel.
Squeeze: Bottom Centered Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video squeezes over the outgoing video, beginning as a rectangle in the center bottom of the screen and expandin
Squeeze: Bottom Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Reversible Yes Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the bottom left corner of the screen and expanding to
Squeeze: Bottom Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video squeezes over the outgoing video, beginning as a rectangle in the bottom right corner of the screen and expan
Squeeze: Bottom to Top Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video squeezes over the outgoing video, beginning at the bottom of the screen and filling to the top of the screen.
Squeeze: Centered Zoom Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video starts as a rectangle in the center of the screen and zooms to fill the screen.
Squeeze: Horizontal Centered Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video starts as a vertical band squeezed in the center of the screen and expands horizontally to fill the screen.
Squeeze: Left Centered Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video squeezes over the outgoing video, beginning as a rectangle in the center left edge of the screen and expandi
Squeeze: Left to Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video squeezes over the outgoing video, beginning at the left edge of the screen and filling to the right edge of the screen.
Squeeze: Right Centered Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video squeezes over the outgoing video, beginning as a rectangle in the center right edge of the screen and expan
Squeeze: Right to Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video squeezes over the outgoing video, beginning at right edge of the screen and filling to the left edge of screen.
Squeeze: Top Centered Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video squeezes over the outgoing video, beginning as a rectangle in the center top edge of the screen and expanding
Squeeze: Top Left Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video squeezes over the outgoing video, beginning as a rectangle in the top left corner of the screen and expanding to fill the screen.
Squeeze: Top Right Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video squeezes over the outgoing video, beginning as a rectangle in the top right corner of the screen and expanding t
Squeeze: Top to Bottom Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description Incoming video squeezes over the outgoing video, beginning at the top edge of the screen and filling to the bottom edge of the screen.
Squeeze: Vertical Centered Outgoing footage Middle of effect Incoming footage Effect Icon Apply to Transitions, multilayer segments Parameters Border – hue, saturation, luminance, width, softness Profile – foreground level Foreground – level, reverse animation Acceleration Grid Transition Parameters – transition effect alignment and duration Description 2D Effects Reference Incoming video starts as a horizontal band squeezed in the center of the screen and expands vertically to fill the scre
Title Effects Title effects, created with the Title tool, can incorporate text, graphic objects, imported graphics, and video. Similar to Matte Key effects, Title effects are placed on segments in one video layer and then keyed over background video on the underlying video layers.
Title Effects: Crawling Title The Long Start of crawl The The Long Road Road Home Home Middle of crawl Road Road Home Home End of crawl Effect Icon Apply to Multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Position V Scroll Position H - reverse Crop – top, bottom, left, right Grid Description 2D Effects Reference Crawling titles can incorporate text, graphic objects, imported graphics, and video.
Title Effects: Rolling Title The The Long Road Home The The Long Road Road Home Home The Long Road Road Home Home Start of roll Middle of roll End of roll Effect Icon Apply to Multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Scroll Position V - reverse Grid Description Rolling titles can incorporate text, graphic objects, imported graphics, and video. By default, rolling titles scroll from the bottom to the top of the screen.
The Long Road Home Title Effects: Title Effect Icon Apply to Multilayer segments Parameters Profile – foreground level Foreground – level, reverse animation Acceleration Grid Downstream Key Disabling Downstream Key enables the following additional parameters: Scaling – width, height, fixed aspect Position – horizontal position, vertical position Crop – top, bottom, left, right Description 2D Effects Reference Title effects, created with the Title tool, can incorporate text, graphic objects, imp
Comparison of Similar Effects There are four effect categories that have a similar result: Box Wipe, Conceal, Push, and Squeeze. Examples of these effects are shown here to assist you in using these effects.
2D Effects Reference
CHAPTER 12 3D Effects Reference This chapter provides reference information on parameters and effect shape options that appear in the Effect Editor when you apply the 3D Warp effect to a transition or segment. For information on applying and editing 3D effects, see Chapter 7.
3D Effects Parameters This section provides a general description of all 3D parameters, in alphabetical order. Each effect includes a subset of these parameters. Some parameters have corresponding 2D versions, described in Chapter 11. This section also covers the following topics: n • Global Versus Keyframeable Parameters • The Hierarchy of Parameters Some parameters are not available on all systems.
n • Shadow • Shape • Skew • Spill Suppression • Spline • Stamp • Target • Trail For an explanation of how to change a parameter, see “Using the Effect Editor” on page 120. Global Versus Keyframeable Parameters Parameters for 3D effects are divided into two logical groups: • Global Changes apply to all keyframes. When you change a global parameter, the Avid system automatically sets the value for all keyframes in the effect.
The Hierarchy of Parameters Your Avid system processes 3D effects parameters in a specific order. Knowing the order will help you understand why something looks a particular way or why an object behaves the way it does on a motion path.
• You always end up with the same effect no matter the order in which you change parameters. However, building an effect from the bottom of the hierarchy up will be easier to control. If you rotate an object, for example, and then move the axis (a lower parameter), your object may jump off the screen. It would be better to move the axis first, and then rotate the object. • Parameters operate as 2D, 3D, and post-transformation. All these choices affect the 3D path of the object differently.
Acceleration Parameter type: Global Acceleration changes the speed of movement into and out of keyframes. This is also known as ease in and ease out. Zero on the slider is no acceleration; 100 is full acceleration. n Acceleration applies to every keyframe in the same way. The last time you change this parameter determines the acceleration for all keyframes in the effect. You can apply acceleration to a number of 3D effects parameters.
Axis Parameter type: Keyframeable Axis button Use Axis to move the center of rotation relative to the image. There is no fixed rotation axis with an image. The axis is independent of the image and is movable. For example, the rotation axis can be placed in the center of the image, on the edge, or off the picture. To move the center of rotation off the image, you might find it useful to zoom out and activate the wire-frame handles. For more information, see “Effect Editor Controls” on page 121.
Background Color Parameter type: Keyframeable Move the mouse to the Color Preview window to activate the eyedropper. Use Backgnd (background) Color to replace the bottom video track with a background color. Use the eyedropper to select a color from the video in a monitor, or use the following color parameters. For a description of how to use the eyedropper, see “Using the Eyedropper” on page 129.
Border Parameter type: Keyframeable Move the mouse to the Color Preview window to activate the eyedropper. The Plain Fast Menu shows the border styles. Use Border to place a border around the image. Use the Fast Menu button to select the border style. The default border color is black for Plain borders and shades of gray for other border types. n You can blend the foreground video with the background video if you turn on Border, use a zero width, and adjust the Soft parameter.
Table 12-3 Border Parameters Parameter Description Plain Fast menu Plain Metal Bevel 1 Bevel 2 3D Frame Round Video Selects the border style. Width Changes the width of the border. Values range from 0 (no border) to 100, where 50 is the default. Soft (softness) Changes the softness. Values range from 0 (hard edge) to 255 (a very soft edge), where 0 is the default. Border softness blends the border with the background image, giving the border a soft appearance.
Corner Pin Parameter type: Keyframeable Corner pinning is a way of positioning a 3D effect in a foreground video track over an object in a background video track. For example, you might want to have the foreground video appear to be playing on a TV set in the background video. Table 12-4 Corner Pin Parameters Parameter Description Corner Selection Selects which corner the X and Y parameters apply to. X Pins the image along the X axis. Values range from –999 to +999, where 0 is the default.
Crop Parameter type: Keyframeable Crop button At the bottom of the effects parameters hierarchy is Crop. It always crops the same four edges of the object no matter what orientation the object has. Cropping works only in 2D space so that 3D parameters such as Rotation and Position, which are higher in the hierarchy, take effect later in the processing. You don’t need to adjust cropping before the other parameters, but it is difficult to crop edges if they are rotated to the vanishing point.
n You can apply the FG Only, Key Only, FG and Key, or KeyBlur on any Avid system, but if your system does not support the feature, there will be no effect on the image. When you move the project to a system that does support the feature, the system will make the image adjustments you specified.
n When you enable Defocus, the default option is Internal and default values are 10 for Horz (horizontal) and Vert (vertical). This produces a slight softening effect. Table 12-6 Defocus Options Option Parameter Description Internal Blurs the image. Available on all systems. Horz (horizontal) Increases or decreases horizontal blur. Values range from 0 to 15, where 0 represents no change. Defaults to 10. Vert (vertical) Increases or decreases vertical blur.
Erode/Expand Parameter type: Global Use Erode/Expand to control the blending of the edges on 3D Warp effects. Table 12-7 Erode/Expand Parameters Parameter Description Filter Specifies how many pixels on each side of the edge will be smoothed. Values range from 1 (1 pixel on each side) to 7 (7 pixels on each side). Center Controls the amount of erosion or expansion applied to the edges. Erosion shrinks the edges, and expansion enlarges the edges.
Foreground Parameter type: Global The Foregnd (foreground) Fast menu has three options: Full Key, Luma Key, and Chroma Key. Each key has different values you can adjust. When you enable a key, its value options appear. The values are described in the following sections.
Full Key Parameter type: Keyframeable Full Key is the default for all 3D effects. Use Full Key to: n • Create dissolves using the Opac. (opacity) slider. • Switch an effect from one video track or segment to another by using the Swap Sources button. You cannot rotate the key independently of the image. Table 12-8 Foreground: Full Key Parameters Parameter Description Opac. (opacity) Modifies the transparency of the foreground image. Values range from 0 (transparent) to 100 (opaque).
Table 12-8 Foreground: Full Key Parameters (Continued) Parameter Description Reverse Animation Causes the entire effect to be reversed, including the direction of movement as well as the incoming and outgoing sources. Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and the background source. This allows you to examine problem areas of the key while making adjustments.
Table 12-9 Foreground: Luma Key Parameters Parameter Description Opac. (opacity) Adjusts the transparency of the foreground image from 0 (transparent) to 100 (opaque). Thresh (threshold) Identifies either the brightness threshold for the foreground image or the center of the luma range. Soft (luma softness) Allows you to soften the edge of the cutoff line. Pixel values slightly above or below the threshold are included, depending on the softness value.
Chroma Key Parameter type: Global Move the mouse to the Color Preview window to activate the eyedropper. Use Chroma Key to replace one part of the video image with another video image based on color. The key color in the video on the higher track is replaced with the video from the lower track. Chroma keys are often used with a foreground image shot in front of a highly saturated color screen.
Table 12-10 Foreground: Chroma Key Parameters Parameter Description Opac. (opacity) Adjusts the transparency of the foreground image from 0 (transparent) to 100 (opaque). Hue Identifies the color. The hue color is replaced with video from the lower track. Either use the slider to select the hue, or use the eyedropper with the Color Preview window. When you use the eyedropper, the Avid system uses the hue only from the selected color. It ignores the saturation and luma values. H Tol.
Table 12-10 Foreground: Chroma Key Parameters (Continued) Parameter Description The following parameters, available on some systems, are used only for special applications. These parameters actually create a mask rather than a key. They determine a range of values to retain rather than define a range of values to key out. L Tol. (luminance tolerance) Specifies a tolerance level — retain everything below the level. L Soft (luminance softness) Softens the key created by L Tol.
Highlight Parameter type: Keyframeable The Highlight parameters allow you to: • Enable automatic highlighting for shapes and adjust the intensity of automatic highlighting. • Adjust the highlights for manual highlighting and Rev (reverse) manual highlighting. You can use manual highlights even when a shape is not active. The default manual highlight creates a blurred disk in the center of the image.
Table 12-11 Highlight Parameters Parameter Description Soft (softness) Controls the softness of the highlight’s edge. Softness values range from 0 (hard edge) to 100 (a very soft edge), where 50 is the default softness. Inty (intensity) Controls the brightness of the highlight. Values range from 0 to 100, where 50 is the default intensity. Rad (radius) Controls the size of the highlight. Values range from 0 to 100, where 50 is the default radius. Angle Rotates the highlight.
Perspective Parameter type: Keyframeable Use Perspective to move the perspective point (where parallel lines appear to converge) along the screen’s X, Y, and Z axes. This changes the way the image is visually projected onto the video screen. Table 12-12 Perspective Parameters Parameter Description X Moves the projected screen image farther to the left or right. Values range from –999 to +999, where 0 is the default. Y Allows you to view the image from a higher or lower angle.
Position Parameter type: Keyframeable Use Position to move an image in 3D space. For information about the 2D version of this effect, see “2D Effects Parameters” on page 580. Table 12-13 Position Parameters Parameter Description X Moves the image along the screen’s X axis (horizontally). Values range from –3000 to +3000, where 0 is the zero-point of the X axis. Negative values move the image to the left and positive values move the image to the right.
Profile Parameter type: Keyframeable 100% level (foreground opaque) Straight lines indicate no acceleration. 0% level (foreground transparent) Profile is available on all effects that have the Foreground (level) parameter. The Profile window in the Effect Editor is a graphical representation of the foreground level and acceleration applied to effect keyframes. Foreground level affects the opacity of the effect. The greater the opacity, the closer to the top of the Profile graph the keyframe appears.
Rotation Parameter type: Keyframeable Use Rotation to rotate the image around the X, Y, or Z axis. Table 12-14 Rotation Parameters Parameter Description Z Rotates the image around the Z axis (clockwise or counterclockwise). Values range from –720 to +720, where 0 is the default. X Rotates the image around the X axis. Values range from –720 to +720, where 0 is the default. Y Rotates the image around the Y axis. Values range from –720 to +720, where 0 is the default.
Scaling Parameter type: Keyframeable Scale button The Scaling parameters allow you to adjust the size of the image or effect. For information about the 2D version of this effect, see “Scaling” on page 642. Table 12-15 Scaling Parameters Parameter Description X Controls the width of the image when the Fixed Aspect parameter is deselected. Stretches or compresses along the X axis (horizontally). Values range from 0 to 400, where 100 indicates 100 percent scaling (normal size).
Shadow Parameter type: Keyframeable Use Shadow to place a shadow beneath an image, to adjust its offset, and to adjust its transparency. Table 12-16 Shadow Parameters Parameter Description Opac. (opacity) Changes the shadow’s opacity from fully transparent (0) to fully opaque (100), where 50 is the default. X Changes the shadow’s left/right offset. Values range from –100 to +100, where 50 is the default. Y Changes the shadow’s top/bottom offset.
Shape Parameter type: Global Each of the five 3D Shape effects has its own parameter categories. For more information, see “3D Shape Effects” on page 830. Skew Parameter type: Keyframeable Use Skew to move or tilt an image in the X or Y direction. Table 12-17 Skew Parameters Parameter Description X Skews the image along the X axis. The orientation of the top and bottom edges remains fixed, while the left and right edges are tilted along the X axis into a parallelogram.
Spill Suppression Parameter type: Keyframeable Color to replace Replacement color Use real-time Spill Suppression to replace one color with another color. You can use real-time Spill Suppression in conjunction with the Chroma Key to correct spill. You can also use real-time Spill Suppression for spot color correction. Table 12-18 Spill Suppression Parameters Parameter Description H (hue) Specifies the hue or shade of the color.
Table 12-18 Spill Suppression Parameters (Continued) Parameter Description Use Key Color Uses the chroma key color as the color to be replaced. The color indicator box will show gray rather than the key color itself when this option is enabled. Gain Spill Suppression affects contiguous pixels that fall within the specified color range, or tolerance, of the color you pick with the eyedropper or color sliders. You adjust the tolerance with the Gain slider. Values range from 0 to 63.
Spline Parameter type: Global Outline/Path button Spline is the parameter that smooths the position changes between keyframes. It helps to reproduce the natural motion path of an object through 3D space. Without spline, moving objects follow the most direct path between keyframed positions, resulting in a “mechanical” feel. Sometimes you want objects to settle gently into place at each keyframe and other times you may want objects to move in a swooping arc, connecting the keyframes.
Table 12-19 Spline Parameters Parameter Description Tens. (tension) Tension controls how sharply the curve bends at a keyframe. The default or 0 setting is the average of the changes before and after the keyframe. Decreasing it to –100 doubles the amount of bending from the original 0 position and creates more slack in the curve. Increasing it to 100 tightens the curve and makes the change in direction more severe. Cont.
Continuity (Cont.) The following is a graphical representation of the effects of adjusting the Cont. (continuity) slider. Tens. Cont. Bias 0 –100 0 Tens. Cont. Bias 0 0 0 Tens. Cont. Bias 0 100 0 Difference Between Tension and Continuity There appears to be no difference between the motion path of an object with maximum Tension and an object with minimum Continuity. The motion dynamics of the two moves, however, are quite different.
Tens. Cont. Bias 0 –100 0 Continuity Tens. Cont. Bias 100 0 0 Tension Bias The following is a graphical representation of the effects of adjusting the Bias slider. Adding a New Point to a Spline Curve Mathematically speaking, when you add a point to a spline curve, the curve changes shape, even if the new point is on the curve. Sometimes you will want to add a new point on the curve to change the path.
following rule: Once you move one of the points, the Avid system incorporates all the existing keyframes into the curve. You can move any of the points to readjust the curve. If you add a keyframe when using the Spline category, the system displays the new point on the curve. However, it does not recalculate the curve until you use one of the Position parameters to move one of the points.
Three of the most common uses for Stamp are: n • Real-time title builds: You reveal multiple text, graphic, and video elements and stamp them over or under the foreground image when they come to rest. Once the image is stamped, you can add additional layers. • Downstream key: You add an image that stays in place. For example, you could create a logo that you want to just stay on the screen.
Target Parameter type: Keyframeable Use Target to change the X Y positioning and the sizing and to maintain the current perspective. Target is a post-transformation parameter. In other words, it is at the top of the hierarchy and affects objects after all the other parameters have affected it. If an object has been rotated and has perspective added to it, Target moves the object without changing the relationship of the other parameters.
Trail Parameter type: Keyframeable Use Trail to add a trail to an effect as it moves across the screen. Table 12-22 Trail Parameters Parameter Description Decay Changes the rate of the trail’s decay, or dissipation, during the DVE’s motion. Adjustment ranges from a quick decay (close to 0) to a slower decay (close to 100), where 75 is the default. Use Sparkle Instructs the Avid system to paint a trail with sparkles.
3D Shape Effects 3D shape effects allow you to map the foreground video channel to various geometric shapes. You do this by selecting a shape from the Fast menu in the Shape parameter category. The following illustration shows the Shape menu and the five main categories of shapes.
Page Turns Page Curl Top Flap A page turn effect treats the foreground video channel as though it were a sheet of paper being turned over or rolled up to reveal another page beneath. You can see the video on either side when you rotate the image or curl the edges. The portion of the image that folds over or rolls up is referred to as the flap. Page Turn Parameters This section describes parameters that are common to all three page turn effects.
Table 12-23 describes parameters common to all page turn effects. Table 12-23 Page Turn Parameters Parameter Description Curl Controls the distance the page rolls up. It specifies how far the rolling up has progressed. Values range from 0 to 100, where 0 represents no rollup. Radius Controls the tightness of the curl or fold. Values range from 0 to 100, where 15 is the default. Angle Controls the direction of the curl or fold.
Vary the Curl value from 0 to 100 with default radius to take the page from a flat, centered image to one that is completely off the screen. Table 12-24 describes the three Page Turn shapes that are accessible from the Fast menu in the Shape parameter category. Table 12-24 Page Turn Shapes from the Shape Parameter Fast Menu Effect Description Page Turn Creates the illusion of the top image rolling up into a scroll. This effect has one highlight.
Page Fold Angles –45 degrees +45 degrees +135 degrees –135 degrees –90 degrees 0 degrees +180 degrees –180 degrees +90 degrees While you are experimenting with angle and offset values, it is useful to scale down the top video layer. This allows you to see the full effect as the video peels off the screen. For example, scaling 75 percent in both X and Y axes displays the page fold as a Picture-in-Picture effect.
You access the splitting options through the No Split Fast menu in the Shape parameter category. A split gives the illusion of cutting the top image with a pair of scissors and folding or scrolling the resulting pieces. Table 12-25 describes the splitting options. Table 12-25 Page Turn Splitting Options Option Description No Split Folds or scrolls a single corner or edge, depending on the angle. This is the default option. Horizontal Split Cuts the image in half horizontally.
The following illustrations show how the Horizontal Split and Rev Horizontal Split options interpret angles.
Page Fold Rev Horizontal Split (continued) Page Fold Horizontal Split (continued) –90 degrees (same for both) +90 degrees (same for both) –180 degrees +180 degrees 0 degrees 3D Shape Effects
Manipulating the Flap and Bottom of a Page Fold Bottom (flap) Top Tuck Over Fast menu You can access the tuck and flap options through the Tuck Over Fast menu in the Shape parameter category. Table 12-26 describes the tuck and flap options. Table 12-26 Page Turn Tuck and Flap Options Option Description Tuck Over Folds the flap over the top. This is the default option. Tuck Under Folds the flap under the top. Show Top Only Shows the top without the flap.
Show Top Only and Show Bottom Only are also useful when you want to apply an effect such as Defocus on just the flap or the top. Highlight Options Auto Highlight Fast menu You can access the highlight options through the Auto Highlight Fast menu in the Shape parameter category. Table 12-27 describes the highlight options. Table 12-27 Page Turn Highlight Options Option Description Auto Highlight Lets the Avid system control the highlighting.
Splashes Multi Wave splash Splashes create a wave effect as if you dropped a stone into still water. There are two choices on the Shape Fast menu: • Single Wave creates a splash with one wave, as if you dropped a pebble into a very still pool. • Multi Wave creates a splash with many waves or ripples, as if you dropped a stone into a pond. Splash Parameters The following Shape parameters apply to splashes.
Table 12-28 Splash Effect Parameters (Continued) Parameter Description Freq (frequency) For Multi Wave effects, controls the width and number of waves present at any given time. Increase the frequency to make the waves smaller and increase their number. Decrease the frequency to create fewer, wider waves. For Single Wave effects, determines the width of the single wave. Frequency values range from 0 to 100.
Ball Ball effect with highlight and shadow The Ball shape lets you treat the video as a rubbery, rectangular sheet stretched around a sphere. If the radius of the sphere is very large, the corners of the sheet curve along the surface like a rubber patch on a ball. If the radius is small, the corners disappear, wrapping completely around the sphere’s surface. n Use Manual Highlight to apply highlights to a Ball shape. Ball Effect Parameters The following parameters apply to the Ball effect.
Table 12-29 Ball Effect Parameters (Continued) Parameter Description X Pos (X position) Moves the shape to the right or left in relation to the image. The values range from –999 to +999, where 0 is the center of the image. Values increase to the right and decrease to the left. Y Pos (Y position) Moves the shape up or down in relation to the image. Values range from –999 to +999, where 0 is the center of the image. Values increase as you go down and decrease as you go up.
Rotate around Z Axis Rotate around X Axis Rotate around Y Axis Direct manipulation in Z works for Radial shapes. Direct manipulation in X and Y does not work for Radial shapes. Use the Rotation sliders instead. Offset Shapes Offset shapes are separate portions of a live video image moving at the same time, in different directions, and at varying speeds. Offset shapes are shown below. You can access the Offset shapes through the Fast menu in the Shape parameter category.
Table 12-30 Offset Shape Parameters Parameters Description Ampl (amplitude) Controls the distance the shape moves. For transition effects, increase the amplitude to take the effect off the screen. Angle Changes the line along which the video pieces move. Values can range from –180 to +180. Use 0 for horizontal and 90 for vertical. Freq (frequency) Controls how many copies of the offset shape appear on the screen. Offset Repositions the shape on the image.
Slats Slats split the image into alternating bands of video that enter the screen from opposite directions. Change the Ampl (amplitude) slider to make the slats move in opposite directions. Arrow You can think of 3D Arrow as a specialized form of Slats. Each arrow contains seven rectangles that enter the screen at slightly different speeds from the same direction. The difference in speed creates the arrow shape.
One Burst This is a burst in one direction. The Avid system separates the image into many straws, each with a height of one line. All straws move in the same direction but at different (random) speeds. Use Ampl (amplitude) to increase the speed. Center Burst This is similar to One Burst except that the burst begins in the center of the image and the straws move in opposite directions rather than in one direction. Use Ampl (amplitude) to increase the speed.
Sine Wave This effect applies the image to a general sine curve, as seen on a mathematical graph. The video is twisted into a sine wave as it enters or leaves the screen. You can also think of it as a progression of connected waves. Ampl (amplitude) stretches or compacts the waves. Freq (frequency) increases the number of waves. Sawtooth This effect is similar to the Sawtooth Wipes except that you have more control over the shape.
Bumps The video in this effect billows out from fixed horizontal lines, like a sail or a sheet of fabric tacked to the horizontal beams of a fence. • Ampl (amplitude) stretches or compacts the bumps. Think of this as making the wind blow harder against the video fabric. • Freq (frequency) increases the number of bumps (puts more beams on the fence). • Change the Angle to change the line along which the video pieces move.
Scaling Shapes The following illustration shows the Scaling shapes. They are called Scaling shapes because they give the illusion of the video “pouring” from one portion of the shape to the other. The image is scaled as it pours through a narrower or wider portion of the shape. You can access the Scaling shapes through the Fast menu in the Shape parameter category.
Table 12-31 Scaling Shape Parameters (Continued) Parameter Description Skew Moves the shape and the image together to the left or right. Values range from –999 to +999, where 0 is the center of the display area. n The interactive scaling feature is very useful when working with these effects. Scaling shapes scroll down over the image as you increase the Offset value. The following illustrations show examples of Scaling shapes and the values used to obtain the image shown.
Bow Tie The following illustration shows the values used to obtain the image shown. Octagon The following illustration shows the values used to obtain the image shown.
Hexagon The following illustration shows the values used to obtain the image shown. Rain Drop The following illustration shows the values used to obtain the image shown.
Hour Glass 2 The following illustration shows the values used to obtain the image shown. Hex Medium The following illustration shows the values used to obtain the image shown.
Hex Wide The following illustration shows the values used to obtain the image shown. Circle The following illustration shows the values used to obtain the image shown.
Ellipse The following illustration shows the values used to obtain the image shown. Goblet The following illustration shows the values used to obtain the image shown.
Avid Xpress 3D Effects The Effect Palette — on systems equipped with the 3D Effects option — contains an Xpress 3D Effect category. The Xpress 3D effects are completely compatible with Avid Xpress systems that are also equipped with the 3D Effects option. As a result, you can move sequences containing Xpress 3D effects between Avid Media Composer or Film Composer systems, and Avid Xpress systems.
• 3D PIP • 3D Page Curl • 3D Page Fold • 3D Quad Split • 3D Sine Wave • 3D Slats Xpress 3D Effects Parameters Xpress 3D effects use a subset of the parameters that are available for the 3D Warp effect. For more information about a specific parameter that appears in the Effect Editor for an Xpress 3D effect, see “3D Effects Parameters” on page 790.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Numerics 0% To 100% motion effect 718 1:1 video See Uncompressed video 1:1.66 Mask effect 684 1:1.
Adjusting Pan and Scan effect 320 shadow softness 426 Advanced keyframes about 137 Add Keyframe button options 179 Add Keyframe pop-up menu 146 adding or deleting keyframes 144 Align Keyframe 165 and nested effects 328 Automatic Start and End Keyframes 179 Bézier interpolation option 160 described 133, 137 determining parameter values 170 Effect Editor shortcut menu 176 elastic keyframes 156 Extrapolate 170 fixed keyframes 157 Hold 170 Indent Rows 177 interpolation options for 158 Large Text 177 Linear
Aspect ratios and the Reformat effects 305 Assigning multiple tracks in AVX plug-ins 68 AudioSuite plug-ins described 61 Auto Size mode (Title tool) 411 Auto Size Mode command (Object menu) 412 Auto Zoom parameter 641 Automatic Start and End Keyframes advanced keyframes 179 Avid Unity MediaManager 217 Avid Unity workgroup environment 217 Avid Visual Extensions (AVX) defined 60 AVX (Avid Visual Extensions) defined 60 AVX plug-ins assigning multiple tracks in 68 blank icons in Timeline 72 described 61 Il
Both Fields Timewarp effect rendering option 258 Bottom Box Wipe effect 657 Bottom Centered Squeeze effect 768 Bottom Left Corner Peel effect 728 Bottom Left L-Conceal effect 707 Bottom Left Squeeze effect 769 Bottom Left to Top Right Box Wipe effect 658 Bottom Left to Top Right Conceal effect 666 Bottom Left to Top Right Push effect 737 Bottom Right Corner Peel effect 729 Bottom Right L-Conceal effect 708 Bottom Right Squeeze effect 770 Bottom Right to Top Left Box Wipe effect 659 Bottom Right to Top
Play Preview (Effect Preview Monitor toolbar) 106 Position Graph Display (Timewarp effect) 253 Quick Transition 89 Reduce (Effect Editor) 123 Reduce (Effect Preview Monitor toolbar) 107 Remove Effect 84 Render Effect (Effect Editor) 123 Rewind (Effect Preview Monitor toolbar) 106 Rolling Title (Title tool) 385, 413 Scratch Removal 548 Send Backward (Effect Editor) 538, 539 Source Anchor Frame (Timewarp effect) 266 Speed Graph Display (Timewarp effect) 253 Starting at Cut (Quick Transition dialog box
Color Gain parameters (2D) 614 Color Style parameters (2D) 612 Command palette mapping buttons from 108 Commands See Menu commands Comparison of 2D effects 787 Conceal effects Bottom Left to Top Right 666 Bottom Right to Top Left 667 Bottom to Top 668 L-Conceal 706 Left to Right 669 Right to Left 670 Top Left to Bottom Right 671 Top Right to Bottom Left 672 Top to Bottom 673 Console AVX plug-in messages in 72 Disable3D and Enable3D commands 342 Continuity versus Tension in motion path 824 with Spline 8
Cut list position information in 116 with Previsualization Marker tool information 528 D Defocus parameters (3D) 801 Deleting effect media files 217, 222 motion effect media 222 pages from crawling titles 417 Diamond Shape Wipe effect 758 Digidesign AudioSuite plug-ins 61 Dip to Color effect creating with Quick Transition button 90 described 650 Disable3D command (Console) 342 Dissolve effect creating with Quick Transition button 90 Dissolve effects applying 87 Blend 651 creating splash as 360 duratio
Editing Submaster effects 331, 332 titles into sequence 462 with imported matte keys 300 with titles 454 EDL (edit decision list) with Submaster effects 332 Effect categories Blend 649 Box Wipe 656 Conceal 666 Edge Wipe 674 Film 683 Image 691 Key 701 L-Conceal 706 listed 54, 648 Matrix Wipe 711 Motion effects 717 Peel 727 Push 736 Sawtooth Wipes 748 Shape Wipe 753 Spin 763 Squeeze 767 Effect Editor color parameters in 128 for adjusting titles 471 for Intraframe editing 489 Other Options button in 121 p
Effects See also Effects (3D) 2D, promoting to 3D 345 applying Intraframe 488 applying one 78 applying to multiple segments 81 applying to multiple transitions 80, 89 applying to multiple transitions using Quick Transition button 93 changing position in 119 color coding for 57, 58 creating with Quick Transition button 90 creation tools for 46 deleting a single effect 83 deleting multiple effects 85 field processing 546 frame processing 545 motion, creating 227 Pan and Scan 303, 304 playback with uncomp
Enlarge button (Effect Preview Monitor toolbar) 107 Enlarged image moving in Effect Preview monitor 125 Entering Effect mode 104 Erode/Expand parameters (3D) 803 Establish Origin parameter for Pan and Scan 316 ExpertRender considerations when using 206 described 202 examples 207 modifying results of 205 rendering with 203 ExpertRender commands (Clip menu) 203 Export Title command (File menu) 452 Exporting AniMatte effect as a PICT file 540 matte key as PICT file 541 titles as graphics files 452 Extrac
Fixed Aspect parameter in 2D Scaling parameters 642, 817 in 3D Target parameters 828 Fixed keyframes 157 Flaws 547 Flip effect 693 Flip-Flop effect 694 Flop effect 695 Fonts choosing 398 compatibility between systems 386 installing 386 setting point size 399 substituting 387 Foreground keys (3D) Chroma 808 Full 805 Luma 806 Foreground parameters (2D) 617 Foreground parameters (3D) 804 Formatting rolling or crawling titles 418 Formatting title text 397 Four Corners Shape Wipe effect 754 Frame processing
HDTV aspect ratio in the Title tool 392 Head Fade button 99 Height parameter (2D) 817 Hex Medium effect (3D) 854 Hex Wide effect (3D) 855 Hexagon effect (3D) 853 High-contrast images 298 Highlight parameters (3D) 811 Hold advanced keyframes parameter 170 Hollow drag handles for locked objects 432 Horizontal Bands Shape Wipe effect 760 Horizontal Blinds Shape Wipe effect 761 Horizontal Centered Squeeze effect 773 Horizontal Edge Wipe effect 675 Horizontal effects defined 45 Horizontal Open Edge Wipe eff
using pen tool for 495 using Selection tool 501 with Magic Mask 563 Intraframe objects grouping and ungrouping 539 layering 536 locking and unlocking 540 moving 530 reshaping 530 rotating along Z axis 532 scaling 533 Invert Key option 618 Inverting color effects 607 Inverting keys Chroma 809 Full 805 Luma 807 Isolating flaws for removal 548 Italic text in titles 399 J Justification of title text 400 K Kerning of title text 401 Key Color parameter (2D) 624 Key effects 3D matte keys 345 AniMatte 701 Ch
Left Box Wipe effect 660 Left Centered Squeeze effect 774 Left to Right Conceal effect 669 Left to Right Peel effect 731 Left to Right Push effect 740 Left to Right Squeeze effect 775 Letterboxing 303 Lift/Overwrite button 86 Limitations for DSK titles and graphics 455 for non-DSK titles 458 for playing fast rolling titles 469 Linear keyframe interpolation option 160 Lines attribute options 406 in titles 406 Locating AVX_Plug-Ins folder Macintosh 64 Windows 65 Lock command (Object menu) 432, 540 Locked
Memory usage AVX plug-ins 62, 72 Menu commands Add Page (Object menu) 416 Align Objects (Alignment menu) 433 Align to Frame (Alignment menu) 433 Auto Size Mode (Object menu) 412 Bring Forward (Object menu) 430, 537 Bring to Front (Object menu) 430 Bring to Front (Object menu)) 538 Copy (Edit menu) 429 Copy to Page (Object menu) 416 Cut (Edit menu) 429 Dissolve Icons (Timeline Fast menu) 73 Distribute Objects (Alignment menu) 434 Duplicate (Edit menu) 429 Effect Icons (Timeline Fast menu) 73 ExpertRende
in 24p or 25p projects 234 parameters for 628, 717 playback capabilities for 228 Pulldown Insertion 721 Pulldown Removal 722 rendering existing 230 rendering requirements for 228 Reverse Motion 723 slow motion 726 Speed Boost 724 Speed Bump 725 Strobe Motion 726 Timewarp 726 type changes described 232 displaying information about 233 Variable Speed 726 Motion path defining in Pan and Scan effect 319 foreground image movement 180 Motion path editor 354 Moving perspective point (3D) 813 Multi Wave splash
Optical list position information in 116 with Previsualization Marker tool information 528 Orange dot 47 Origin setting in Pan and Scan effect 316 Other Options button (Effect Editor) 123 Outline/Path button (Effect Editor) 123 Output Duration Timewarp effect 254 Output formats for Pan and Scan effect 306 Output position 269 Oval Tool for Intraframe editing 503 Overlapping effects 51 P Page count limits for rolling and crawling titles 411 Page Curls (3D) as transition 357 Page number display in Title
Feathering for Paint and AniMatte effects 596 Foreground 617 Key 621 Key Color 624 listed 580 Luma Adjust 607 Luma Clip 610 Luma Range 608 Magic Mask for Paint and AniMatte effects 598 Matrix 627 Matte Control 625 Mode for Paint and AniMatte effects 585 Motion effect 628 Paint Effect 489, 584 Position 635 Position H 635 Position V 636 Profile 638 Scaling 642 Scratch 643 Scroll Position H 637 Scroll Position V 637 Secondary Key 622 Spill Suppression 623 Transition 88, 646 Parameters (3D) Acceleration
Play button (Effect Editor) 123 Play button (Effect Preview Monitor toolbar) 106 Play button (Motion Effect Editor) described 255 Play Loop button (Effect Editor) 123 Play Loop button (Effect Preview Monitor toolbar) 106 Play Loop button (Motion Effect Editor) 255 Play Preview button (Effect Preview Monitor toolbar) 106 Playback capabilities of real-time effects 48 Playback of effects basic playback 188 in a loop 188 in a wire-frame preview 189 in Effect mode 188 real-time effect renderings 58 Submast
Q Quad Split Page Turn (3D) 359 Quick Transition button 89 Quick Transition dialog box graphical display in 96 QuickTime and real-time moving mattes 297 R Radial shapes Ball 842 Splashes Raindrop effect (3D) 853 Real Time Update advanced keyframes 178 Real-time effects color coding for 47, 57 combined with rendered effects 189 defined 47 limitations for 51 playback capabilities of 48 playback with two streams of video 48 rendering of 189 Real-time moving matte editing with 298 imported as a graphics s
displaying render ranges 200 during Intraframe editing 486 effects 189 effects at position 195 effects between IN and OUT points 197 ExpertRender examples 207 interrupting 200 multiple effects with Submaster 332 Paint Effect 486 saving partially completed renders 198 Submaster restriction 700 Timewarp effect options 248, 254 titles 476 using ExpertRender 203 using Render to Media Station 213 Replacing existing effects 132 title fill tracks 475 titles in a sequence 470 Reset to Origin parameter for Pan
Safe Title Area/Global Grid command (Object menu) 388 Safe Title option (Grid settings) 113 Safe title/action area displaying 109 for aligning objects 433 in Title tool 388 Saturation defined 603 of colors in titles 389 Saving multiformat titles 445 partially completed renders 198 title styles 447 titles 436 titles with a keyboard shortcut 438 titles with Fast Save option 439 titles, overview of 435 Sawtooth effects (3D) 848 Sawtooth Wipes Horizontal 749 Horizontal Open 750 Vertical 752 Vertical Open 7
Paint 697, 698 Pan and Scan 747 Picture-in-Picture 654 Pulldown Insertion 721 Pulldown Removal 722 Resize 699 Reverse Motion 723 RGB Keyer 705 Scratch Removal 700 Speed Boost 724 Speed Bump 725 Submaster 331, 700 Superimpose 655 Timewarp 726 Selecting standard keyframes 135 Selection tool defined 385 for grouping objects 431 for ungrouping objects 431 text options for titles 398 viewing attributes with 397 with Intraframe editing 501 Send Backward button (Effect Editor) 538, 539 Send Backward command (
foreground image 180 source media 100 Skew parameters (3D) 819 Slats effect (3D) 846 Sliders adjusting effect parameter 127 Slip Keyframes advanced keyframes 165 Slow motion effect creating 238 described 726 reversing 239 Smoothing a path (3D) 822 Snap to Grid command (Alignment menu) 391 Soft shadows adding to titles 426 Soften Shadow command (Object menu) 426 Softness parameter for borders 606 Solarization of color effect 612 Source Anchor Frame in Motion Effect Editor 254, 266 using 267 Speckle Matr
Starting at Cut option described 647 using 89 Step Backward One Field button 119 Step Backward One Field button (Effect Preview Monitor toolbar) 106 Step Forward One Field button 119 Step Forward One Field button (Effect Preview Monitor toolbar) 106 Step In button (Timeline) 325 Step Out button (Timeline) 325 Stepping through two-field media 119 Strobe Motion effect creating 242 parameters for 630 Subdividing the Pan and Scan effect 317 Submaster effect applying 332 collapsing layers into 335 described
Speed graph 265 Timewarp Position graph described 247 Timewarp Speed graph described 246 Title effect 786 Title Effect clips described 461 Title effects defined 44 duration of rolls 463 Title styles applying 451 defined 446 managing in Project window 451 recalling 450 saving 447 using function keys with 448 Title templates creating and using 441 Title tool 16:9 display option 392 Auto Size mode 411 background options 389 blending colors in 421 blending transparency in 423 choosing fonts in 398 Color Pi
multiformat 443, 474 on systems with 24p or 25p support 443 overview of creation 380 overview of saving 435 page count limits for rolling or crawling 411 playback capabilities 459 previewing 387 promoting to 3D 480 recalling styles 450 re-creating 476 re-creating multiformat 479 removing from a sequence 469 rendering 476 replacing fill tracks 475 replacing in a sequence 470 resizing rolling or crawling width of 414 revising in a sequence 472 revising in bin 440 rolling or crawling, deleting pages from
defined 44 deleting 83 deleting multiple 85 dissolves 87 Edge Wipes 674 Fades 652 Film Dissolve 688 Film Fade 689 L-Conceal 706 Luma Key 703 Matrix Wipes 711 Peels 727 Pushes 736 Sawtooth Wipes 748 Shape Wipes 753 Spins 763 Squeezes 767 trimming 100 using Axis for 374 with Page Curl (3D) 357 with Pan and Scan effect 321 Transition parameters using to apply dissolve effects 88 Transition parameters (2D) 646 Transparency blending in titles 423 setting for titles 418 Transparency (Foreground parameter) 61
Video mixdown 337 using as fill for titles and graphics 475 Video background updating in Title tool 390 Video Background button (Title tool) 389 Video Underrun error messages 51 Viewing effect media files 217 VTR-Style Timewarp effect rendering option 259 W Wide-screen display in the Title tool 392 Windows Color dialog box 129, 419 Wipe effects Box Wipes 656 Edge Wipes 674 Matrix Wipes 711 Sawtooth Wipes 748 Shape Wipes 753 Wire frame in Pan and Scan effect 318 using with effects 180 Workflow includes
