Avid® Media Composer® | Software Effects and Color Correction Guide
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Effect Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Manipulating Effects Directly in the Effect Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Chapter 4 Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Understanding Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Adaptive Deinterlacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Motion Effect Editor Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Rendering Options for Timewarp Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Timewarp Speed Graph Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using SteadyGlide or Smoothing to Process Tracking Data . . . . . . . . . . . . . . . . . . . . . . . . 263 Selecting, Deleting, and Moving Tracking Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 Moving Tracker Data Points Outside the Frame Boundary . . . . . . . . . . . . . . . . . . . . . . . . . 266 Stretching a Range of Tracker Data Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Formatting Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Creating Graphic Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Creating Rolling and Crawling Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Modifying and Manipulating Title Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Unicode Text in the SubCap Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Working with SubCap Effect Stylesheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Examples of SubCap Effect Parameter Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Chapter 15 Intraframe Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PlasmaWipe Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Push Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Reformat Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Sawtooth Wipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Channels Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636 (Media Composer | Symphony Option) The Levels Group . . . . . . . . . . . . . . . . . . . . . . . . . . 640 The Curves Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 (Media Composer | SymphonyOption) The Secondary Group . . . . . . . . . . . . . . . . . . . . . . . 661 Keyframing Color Corrections. . . .
Using This Guide This guide provides conceptual information and step-by-step instructions for the effects and color correction features of your Avid® editing application. It also provides reference information for every effect and effect parameter available in your application. Unless noted otherwise, the material in this document applies to the Windows® and Mac OS® X operating systems.
If You Need Help If you are having trouble using your Avid product: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the latest information that might have become available after the documentation was published: You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available.
1 Effects Concepts and Settings This chapter describes concepts you should understand before you begin creating effects and common settings adjustments that affect how you work with effects: • Types of Effects • Real-Time Effects and Non-Real-Time Effects • Color Coding on Effect Icons • Understanding the Effect Palette • Displaying and Adjusting the Effect Palette • Working with Effects in HD and in Progressive Frame Projects • Changing Timeline View Settings for Effects • Adjusting Trim Set
Types of Effects You apply a multilayer segment effect to the top layer or a middle layer of segments that contain two or more video tracks that will play simultaneously. A multilayer segment effect requires more than one video stream to create its effect. For example, a Picture-in-Picture effect displays video from an upper video track inside video from a lower track.
Real-Time Effects and Non-Real-Time Effects Motion Tracking and Stabilization Effects Motion tracking lets you track the motion of an area in an image and then use the tracking data to control the motion of another effect. You can also use tracking to stabilize an image to compensate for camera motion. For more information, see “Motion Tracking and Stabilization” on page 239.
Color Coding on Effect Icons When you want to play a sequence that includes effects at full quality, you might have to render some of the effects. You will have to render any effect that is non-real-time, and you might need to render some of the effects that are normally real-time. The exact number of effects that you must render for output depends on the following factors: • Whether or not you have Avid input/output hardware attached to your system.
Understanding the Effect Palette In the Effect Palette (left), green dots indicate real-time effects. (Real-time effects might not be playable in real time depending on system resources and the complexity of your sequence.) Non-real-time effects have no dot in the Effect Palette. Non-real-time effects have a blue dot in the Timeline until they are rendered. All colored dots disappear in the Timeline when you render effects.
Displaying and Adjusting the Effect Palette The Effect Palette displays all of the effect categories available for your Avid editing application, including any third-party AVX plug-in effects you have installed. If you save any effect templates to a bin, and have that bin open, those templates also display in the Effect Palette. For reference information on all Avid effects, see “Effects Reference” on page 431.
Working with Effects in HD and in Progressive Frame Projects Working with Effects in HD and in Progressive Frame Projects Many video effects work the same way regardless of the project type or video format. This topic describes several situations where effect behavior varies depending on whether a project is SD or HD, or is interlaced or progressive. Effects Considerations for HD Projects Effects that use square geometry automatically use the correct pixel aspect ratios.
Changing Timeline View Settings for Effects example, the edge of a 1-second Horizontal Edge Wipe effect appears in 24 or 25 different positions across the screen. For effects of short duration in particular, this difference might be perceptible to the viewer. • n When the 24p or 25p media is output (to the interlaced Client monitor or as a digital cut), it is interlaced again and pulldown is inserted to achieve 60 fields per second (NTSC).
Adjusting Trim Settings for Effects 2. (Option) To save your Timeline settings, click the Timeline View Name button, select Save As, and type a view name. Timeline View Name button and menu below Timeline Adjusting Trim Settings for Effects In Trim mode in some Avid editing applications, 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.
Setting Effect Aperture Options Setting Effect Aperture Options In some Avid editing applications, the Effect Aperture setting lets you control the number of horizontal lines of an image that are used to create an effect. For example, if you are working with DV media and notice black lines above and below Picture-in-Picture effects, you can instruct the system to ignore the lines by changing the effect aperture. n The Effect Aperture feature applies only to NTSC projects.
Setting Effect Aperture Options In a project that uses only DV media, it is useful to switch to the DV 25 aperture setting. In a project using uncompressed or mixed resolution media, use the ITU 601 aperture. To change the effect aperture: 1. In the Settings list in the Project window, double-click General. The General Settings dialog box opens. 2.
Setting Effect Aperture Options 3. Click OK.
2 Basics of Effects Editing This chapter provides basic procedures for creating, adjusting, playing, and rendering effects: • Applying Effects • Deleting Effects in a Sequence • Sizing Effects to Fit the Media • Adjusting Effects • Updating and Reverting Existing Effects in Sequences • Working with Effect Templates • Promoting Existing Effect Templates • Playing Effects • Basics of Effects Rendering Applying Effects You apply most effects to video material after you edit it into a sequence
Applying Effects For more information on selecting segments, see “Selecting and Deselecting Segments” in the Help. If there is not enough incoming or outgoing media to apply a transition effect at its default length, the Insufficient Source dialog box opens. For more information, see “Sizing Effects to Fit the Media” on page 31. To apply an effect to multiple transitions in the Timeline: 1. Enter Effect mode, for example, by clicking the Effect Mode button.
Applying Effects 2. 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. 3. Continue to drag to the right until the selection box includes the rightmost segment that you want to select. 4. Release the mouse button. Your Avid editing application highlights the segments that you select. 5. (Option) Shift+click a segment to deselect it. 6.
Deleting Effects in a Sequence Segment tools in the Timeline palette 2. Click the Fade Effect button. The Fade Effect dialog box opens. 3. Type the number of frames to fade up and fade down, and click OK. You can view the Fade effect by playing the segment or segments. Deleting Effects in a Sequence You can delete transition effects from a sequence in Source/Record mode, Trim mode, or Effect mode. To delete a single effect: 1.
Sizing Effects to Fit the Media n When you delete a rendered effect from a sequence, your do not delete the associated media file (precompute). To delete the effect’s media file, you must manually remove it from the drive. Your Avid editing application operates this way so that you can undo the deletion of an effect or undo the change you made to an effect. For more information, see “Managing Effect Media Files” on page 141.
Adjusting Effects Your Avid editing application sets the duration of the effect to fit the available media. If you have selected an alignment, your Avid editing application attempts to preserve it. To change the alignment or duration of the transition effect, see “Applying a Dissolve Effect Using the Transition Parameters” on page 48. Adjusting Effects After you apply an effect to a transition or segment in your sequence, you can adjust its appearance and operation.
Adjusting Effects Each property of an effect that you can control is known as an effect parameter. For example, a Picture-in-Picture effect has a Position parameter that controls where the picture-in-picture is located on the screen. The Effect Editor displays controls that let you adjust each of an effect’s parameters, as well as other buttons that help you adjust effects. As different effects have different sets of parameters, the Effect Editor display changes depending on the effect you select.
Updating and Reverting Existing Effects in Sequences t Select a color for a parameter that uses color by clicking the Other Options button for the parameter and selecting the color from the Windows Color dialog box or the Macintosh Colors panel. t Select an alignment option for a transition effect by clicking the Transition Effect Alignment button in the Effect Editor and selecting an option from the menu.
Updating and Reverting Existing Effects in Sequences Effect Type Description Color Correction You must update color corrections in sequences created in older versions of Avid editing applications that did not support keyframeable color correction before you can work with them in the current version. Color corrections in recent versions store parameter information differently to support keyframing.
Working with Effect Templates If the sequence contains motion effects or AVX effects that you can choose to update, check boxes appear for those effect types. 3. (Option) Select the optional effect types that you want to update. 4. Click OK to update the effects, or Cancel to take no action. If you click OK, your Avid editing application creates a copy of the sequence and updates the effects and color corrections in the copy that require updating or that you chose to update.
Working with Effect Templates In this example, a 3D Picture-in-Picture effect template is applied repeatedly to a series of segments to achieve the same cropping and positioning of foreground footage To save an effect template: t Drag the effect icon from the Effect Editor to a bin. A new effect template appears in the bin, containing the parameter setting information for the effect. The new effect template is identified in the bin by its effect icon.
Promoting Existing Effect Templates c Do not drag the effect template through the Timeline because this deselects the effect. Your Avid editing application applies the effect template only to the effect parameter group you selected. Promoting Existing Effect Templates In the current version of your Avid editing application, many effects use advanced keyframes only. You can no longer apply or use standard keyframe versions of those effects.
Playing Effects Playing Effects There are several situations where you need to play effects: • While you are adjusting effects in Effect mode, you might want to play an individual effect to check its look. Depending on your needs, you might want to see the effect playing in real time and at high quality, or you might be able to accept playback at lower quality or in less than real time. Alternatively, you might only need to play an outline preview of the effect’s movement.
Playing Effects To play an outline preview of an effect in Effect mode: 1. In the Timeline, select the effect. 2. In the position bar of the Effect Preview monitor, move the position indicator to the location where you want play to begin. 3. Click the Play Preview button. Play continues until the end of the effect, or until you click the Play Preview button again or press the space bar.
Basics of Effects Rendering Using Render On-the-Fly can slow down your editing of a sequence. If you are compositing in a very complex, effects-intensive sequence, you might need to wait a noticeable period of time for a single frame to render when you change the frame you are monitoring. Instead of waiting for rendering to finish, you can interrupt Render On-the-Fly. Interrupting Render On-the-Fly interrupts only the rendering of non-real-time effects.
Basics of Effects Rendering in real time, and you can use the ExpertRender feature to identify and render those effects that cannot play in real time. The ExpertRender feature can operate across a whole sequence, a marked part of a sequence, or a single location in a sequence. You can render a single effect after you create it, or you can render multiple effects at the same time. You can also interrupt a render in progress and choose to save or discard the completed portion.
Basics of Effects Rendering n To prevent the Render Effects dialog box from opening, press and hold the Alt key (Windows) or Option key (Macintosh) when you click the Render Effect button. Your Avid editing application uses the last drive selected and you do not need to follow the remaining steps in this procedure. 3. Click the Drive button, and select a drive for the rendered media. 4. Click OK.
Basics of Effects Rendering 2. Select Run in Background. 3. Click OK. The render operation is performed in the background. You can continue working in the editing application without having to wait for the background operation to complete. When the effects are rendered, the sequence will link to the new pre-computes and the effect icons in the Timeline will reflect the rendered state. 4.
Basics of Effects Rendering n If you clear an unknown effect — that is, one marked by a blank effect icon — you cannot rerender it on your system because the necessary AVX plug-in is not installed. For more information on blank effect icons, see “Troubleshooting AVX Plug-Ins” on page 150. You can store effect precomputes on a drive separate from your media. If this drive is offline, rendered effects in the Timeline appear to be unrendered.
Basics of Effects Rendering 4. Select the appropriate options: Option Description Skip Motion Effects Retains all motion effects at the position indicator. Skip Unknown Effects Retains all effects with blank effect icons at the position indicator. 5. Click OK. Your Avid editing application clears all rendered effects at the position indicator. The effect icons in the Timeline change from rendered to unrendered (the render dot appears in all cleared renders).
Basics of Effects Rendering For more information, see “Rendering Effects” on page 42. n You can also rerender effects using the shortcut menu Render commands. On the Macintosh, Shift+Ctrl-click in the Timeline to display the shortcut menu, and then press and hold the Shift key while you select Render at Position or Render In/Out. On Windows, Shift+right-click in the Timeline, and then select Render at Position or Render In/Out.
3 Applying and Customizing Effects This chapter contains further information on applying and customizing effects that builds on the information presented in “Basics of Effects Editing” on page 27.
Applying Dissolve Effects Transition Effect Alignment button (left, with menu below) and Transition Effect Duration text box (right) in the Effect Editor To create a Dissolve effect by using the Transition parameters: 1. Click a transition in the Timeline while in Trim mode or Effect mode. 2. In the Transition Effect Duration text box in the Effect Editor, type the dissolve’s duration. n The Duration setting above the Record monitor determines the duration format — for example, seconds:frames.
Working with the Quick Transition Dialog Box Tail Fade example — your Avid editing application creates two dissolves of different lengths on the two tracks 3. Select Tools > Command Palette. 4. Click the FX tab, and then click Active Palette. 5. Click the Head Fade button or the Tail Fade button. Head Fade button (left) and Tail Fade button (right) The dissolves appear in the Timeline. If a dissolve begins or ends at the edit point between two clips, the dissolve crosses between the two clips.
Working with the Quick Transition Dialog Box The Quick Transition Dialog Box The graphical display of the transition effect in the Quick Transition dialog box lets you control the length and position of the effect with frame accuracy simply by dragging. You can select specific tracks to apply the effect to, and you can quickly reset the position of the effect by using the three alignment buttons.
Working with the Quick Transition Dialog Box Element Description Position menu Lets you specify where to position the effect: • Ending at Cut • Centered on Cut • Starting at Cut • Custom Duration Lets you set the duration of the transition effect (in frames). The duration depends on the amount of available footage. Start n frames before cut Lets you specify how far before the cut (in frames) the transition effect begins. The number of frames depends on the amount of available footage.
Working with the Quick Transition Dialog Box Element Description Add button Adds the effect to the sequence without rendering it. Add and Render button Adds the effect to the sequence and renders all applied transition effects. Cancel Closes the Quick Transition dialog box without applying any transition effects.
Working with the Quick Transition Dialog Box The dialog box shows a graphical display of the outgoing media (A) and incoming media (B), with the Dissolve Effect icon applied to the transition. Your Avid editing application scales the graphical display to show the relative size of the Dissolve effect and the media available for the effect. For more information on Quick Transition options, see “The Quick Transition Dialog Box” on page 51. 3.
Working with the Quick Transition Dialog Box Your Avid editing application positions the effect, and updates both the graphical display and the value in the Start text box. If you select an alignment for which there is not enough media, your Avid editing application comes as close as possible to the alignment you request. 7. If you click the Dissolve Effect icon and drag it, the Position menu changes to Custom.
Working with the Quick Transition Dialog Box The graphical display in the Quick Transition dialog box always shows the transition closest to the position indicator. When you define an effect to apply to multiple transitions, the positioning details of any one transition might not be useful since you need to create an effect that will fit all the transitions. However, you might want to select one transition as a model. For example, you might use the transition with the least amount of handle as a model.
Adjusting Transitions in the Timeline The graphical display updates to show the new effect position, and the Start text box updates to show the new number of frames before the cut point. n You cannot drag an effect beyond the ends of the handles on the media because you cannot create a transition unless both incoming and outgoing media are available for every frame of the transition. You also cannot drag an effect beyond the cut point.
Modifying Transition Effects in the Timeline To customize transition effect parameters, see the procedures in “Transition Parameters” on page 481. Modifying Transition Effects in the Timeline If you use the Transition Manipulation button in the Smart tool, you can edit transition effects by dragging the transition handles or by moving the transition effect icon.
Preserving Effect Transitions in the Timeline The duration of the transition changes as you drag the transition handle. If you enable link selection, the duration of the transition in the Timeline changes for all linked clips. The monitor display changes to a Transition Corner display, showing you six frames that you can use as reference points when trimming a transition effect. To adjust the position of the effect in the Timeline: 1. Click the Transition Manipulation button in the Smart tool. 2.
Replacing an Effect in Effect Mode If you: The result is: Place the Mark In at the cut Your Avid editing application leaves the transition effect as is. Place a Mark In before the cut Your Avid editing application leaves the transition effect, but shortens the transition. Place a Mark In after the cut Your Avid editing application removes the transition effect. Trim Mode You can trim past the edge of the transition effect up to the cut.
Using the Effect Preview Monitor For information on entering Effect mode and displaying the Effect Preview monitor, see “Entering Effect Mode” on page 32. The Effect Preview monitor. Top, left to right: tracking information, length of effect, and current position in effect. Bottom, left to right: scale bar (for expanding position bar), and position bar with position indicator (blue bar) and keyframe indicators (pink triangle).
Using the Effect Preview Monitor The Effect Editor also contains controls that you use to adjust and preview effects. For more information, see “Effect Editor Controls” on page 69. Button Description Rewind Places the position indicator at the first frame or field of the sequence. Fast Forward Places the position indicator at the last frame or field of the sequence. Add Keyframe Creates a keyframe at the current position of the position indicator in the effect’s position bar.
Using the Effect Preview Monitor Understanding Tracking Information in the Effect Preview Monitor 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.
Using the Effect Preview Monitor Understanding the Effect Grid The Effect Grid helps you to position effects with accuracy and previsualize them in the Effect Preview monitor. The grid coordinates can be expressed in traditional fields or X–Y pixels in any resolution. The following illustration shows a 12-field grid displayed in a video project.
Using the Effect Preview Monitor To switch between the Effect Grid and the Safe Title/Safe Action guidelines: t Press the Alt key (Windows) or Option key (Macintosh), and click the Grid button until the appropriate grid is displayed. To remove the display of either the Effect Grid or the Safe Title/Safe Action guidelines: t Click the Grid button without pressing the Alt key (Windows) or Option key (Macintosh).
Using the Effect Preview Monitor The following illustration shows the presentation of Paint Effect information for a rectangular object in a cut list. Example of Paint Effect information in a cut list. Top to bottom: Grid information, keyframe number and reference numbers, Shape type and color information, Compass and (X,Y) coordinate information for each corner of the rectangle. You can also display the position information for the first keyframe of a Blowup effect in a cut list.
Stepping Through Field-Based Media This lets you view parts of an image in detail or to view parts of effects and effect controls that extend beyond the limits of the standard-size image. For more information, see “Effect Editor Controls” on page 69 and “Toolbar Buttons in the Effect Preview Monitor” on page 61. 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.
Using the Effect Editor In Source/Record and Color Correction modes, your Avid editing application displays only field 1 of each frame by default. If you need to view both field 1 and field 2 of each frame of video while in these modes, you can use the Step Forward One Field and Step Backward One Field buttons. To step through footage one field at a time in Source/Record or Color Correction mode: t Click the Step Forward One Field button or the Step Backward One Field button.
Using the Effect Editor A number of parameters are common to many effects, such as parameters affecting size, position, or foreground level (transparency). You can adjust these parameters once for the entire effect, or you can use the Effect Editor along with keyframes to change the effect parameter over time. Other parameters can be adjusted only once for the entire effect, regardless of keyframe selection. Not all effect parameters apply to all effects.
Using the Effect Editor 1 2 3 4 12 5 6 7 8 9 10 11 1 Triangular opener 5 Parameter name 9 Transition Effect Duration box 2 Effect name and icon 6 Render Effect button 10 3D Promote button 3 Parameter group (parameter 7 category) Outline/Path button 11 Show/Hide Keyframe Graph button 4 Parameter adjustment slider 8 Transition Effect Alignment button 12 Additional buttons (exact set depends on the effect The following table describes the buttons that all effects have in common.
Using the Effect Editor The Effect Preview Monitor toolbar also contains buttons that you use to adjust and preview effects. For more information, see “Using the Effect Preview Monitor” on page 60. Button or Control Triangular opener Location in Effect Editor Description Left side Opens or closes the parameter group. A downward-pointing triangle displays the parameter group; a right-pointing triangle displays the parameter name.
Using the Effect Editor Button or Control Transition Effect Alignment n Location in Effect Editor Description Bottom Opens a menu from which you select the alignment of a transition effect relative to the cut point. The appearance of the button changes depending on which alignment option you have selected from the menu. For a detailed explanation of the Transition Effect Alignment menu and the Transition Effect Duration box, see “Applying a Dissolve Effect Using the Transition Parameters” on page 48.
Using the Effect Editor Some parameters have a thumbwheel, a specialized slider that provides a window on a wide range of values and allows precise control over increments. n When you edit an effect that uses advanced keyframes, you can choose to display parameters with either sliders or thumbwheels. See “Effect Editor Controls for Advanced Keyframes” on page 114. The parameter’s numeric value appears to the right of the slider or thumbwheel.
Using the Effect Editor Using Parameter Enable Buttons in the Effect Editor You control some parameters using parameter Enable buttons. These parameters can either be active or inactive but cannot be adjusted over a range of values. For example, the Fixed Aspect parameter Enable button controls whether the aspect ratio of an image is maintained when you adjust one of its dimensions. To turn a parameter on or off using a parameter Enable button: t Click the Enable button.
Using the Effect Editor To select a color using the eyedropper: 1. Position the pointer over the Color Preview window to activate the eyedropper. Example of Color Preview window with eyedropper active 2. Click the mouse button, then drag the eyedropper to the Effect Preview monitor, and click on the color you want to select from the video image. Your Avid editing application updates the parameter’s numeric values, and the selected color appears in the Color Preview window.
Using the Effect Editor 3 4 1 5 6 2 7 1 Default color choices 4 Current color 2 Custom colors palette 5 Color|Solid box 3 Color matrix 6 Color slider 7 Color Selection text boxes To use the Windows Color dialog box: 1. To select 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 select a color, and then drag the color slider to adjust the amount of white and black in the color.
Using the Effect Editor Select the appropriate icon at the top of the Colors panel to display the method you want to use for selecting the color. Options include RGB sliders, a crayon box, an HSV (hue, saturation, luminance) color wheel, a Web-safe color picker (Name), and CMYK (cyan, magenta, yellow, and black) sliders. For a complete description of how to use the Macintosh Colors panel, see the documentation that ships with your Macintosh.
Manipulating Effects Directly in the Effect Preview Monitor Manipulating Effects Directly in the Effect Preview Monitor You can make some adjustments to effects by manipulating them directly in the Effect Preview monitor. These adjustments use handles and wire-frame outlines that you can display in the monitor. You can create a motion path that defines how the foreground image moves across the background video. You can also resize a foreground image, as in a picture-in-picture effect.
Manipulating Effects Directly in the Effect Preview Monitor Example of a motion path in the Effect Preview monitor. Each dot on the path represents the location of the center of the PIP at a keyframe. The center handle and the resize handles are highlighted.
4 Working with Keyframes This chapter describes how to use keyframes to change the behavior of an effect over time. • Understanding Keyframes • Track Types for Advanced Keyframes • Viewing Advanced Keyframe Graphs • Manipulating Advanced Keyframes • Controls and Settings for Advanced Keyframes • Working with Standard Keyframes Understanding Keyframes A keyframe is a point in an effect at which you can set parameters.
Understanding Keyframes You can modify the keyframes for any single parameter independently from the keyframes for any other parameters. You can also modify the keyframes for various groups or combinations of parameters independently from the keyframes for any other parameters. Alternatively, you can create and modify keyframes that affect all parameters at once, in which case you are using advanced keyframes as if they were standard keyframes.
Track Types for Advanced Keyframes Left to right: starting keyframe, Add Keyframe button, selected keyframe, and ending keyframe For more information, see “Working with Standard Keyframes” on page 119. Track Types for Advanced Keyframes Track Type Description Effect track The keyframes in this track correspond to the keyframes in the Effect Preview monitor.
Viewing Advanced Keyframe Graphs Opening Keyframe Graphs You open a keyframe graph by using the triangular opener to the left of the parameter track. n You do not have to open a keyframe graph to set and manipulate advanced keyframes. You can add and delete keyframes, customize keyframe interpolation options, and use the standard controls for each parameter to set the values for its keyframes while a keyframe graph is closed. To open a keyframe graph: t Click the triangular opener.
Viewing Advanced Keyframe Graphs Resizing Keyframe Graphs You can widen a keyframe graph or create space for expanding a keyframe graph vertically by resizing the Effect Editor window. You can expand or contract a keyframe graph vertically by dragging on the keyframe graph’s bottom border. t Click a corner of the Effect Editor, and drag it to resize the window. If you make the Effect Editor window wider, the keyframe track area and any open keyframe graphs also become wider.
Viewing Advanced Keyframe Graphs • You can zoom (or scale) any individual keyframe graph vertically using the graph’s vertical scale bar, located to the left of the graph. The vertical scale bar expands or contracts the view in a keyframe graph. This lets you either zoom in to focus on a specific area of your keyframe graph or zoom out to display the entire keyframe graph. You can zoom out beyond the limits of the parameter value range.
Viewing Advanced Keyframe Graphs Keyframe graph zoomed in (left) and zoomed out vertically. The zoomed in view shows a reduced range of parameter values, and the zoomed out view shows an extended range of parameter values. Using Zoom to Curve Height with Keyframe Graphs The Zoom to Curve Height feature provides a quick way to focus on part of the keyframe graph. Zoom to Curve Height centers the keyframe graph and scales the graph vertically so that the keyframe curve fills the available viewing area.
Manipulating Advanced Keyframes To zoom on a keyframe graph so the keyframe curve fills the available viewing area, do one of the following: t Click the Zoom to Curve Height button. t Right-click the keyframe graph and select Zoom to Curve Height. Scrolling Keyframe Graphs You can scroll the view in a keyframe graph horizontally by using the scroll thumbwheel at the bottom of the Effect Editor.
Manipulating Advanced Keyframes • Reverse the order in which keyframes are applied over time in an effect • Control how keyframes adjust when you trim effects • Control how effect parameters change at bracketing (start and end) keyframes You can also determine whether your keyframe manipulations apply to a single effect parameter or to multiple parameters.
Manipulating Advanced Keyframes n • Keyframe indicators in the Effect Preview monitor’s position bar behave in the same way as keyframe indicators in the effect track of the Effect Editor. When you select a keyframe indicator in the Effect Preview monitor, the corresponding keyframe indicator in the effect track and all keyframes at that point in time in the effect are also selected. • The Effect Editor displays controls for each parameter group even if you have not added keyframes for each parameter.
Manipulating Advanced Keyframes To add a keyframe by using the shortcut menu for the keyframe track: 1. Move the position indicator to the point in the effect’s duration where you want to add a keyframe. 2. Right-click one of the following: t The keyframe graph or the parameter track for an individual parameter, to add a keyframe to that parameter only. t A parameter group track, to add a keyframe to every keyframeable parameter in that group. The track displays the text “Apply to Group.
Manipulating Advanced Keyframes n If the Add Keyframe Mode menu does not appear, you need to select Show Add Keyframe Mode Menu in the Effect Editor shortcut menu or in the Effect Editor settings. For more information, see “Shortcut Menu and Settings for the Effect Editor” on page 117. 3. Do one of the following: t Click the Add Keyframe button a second time to select the command that has a check mark next to it.
Manipulating Advanced Keyframes To delete advanced keyframes by using the Delete key or the Delete Keyframe command in the shortcut menu for the keyframe track: 1. Click a keyframe indicator to activate it. 2. (Option) Ctrl+click additional keyframes in the same graph or in other graphs. 3. Do one of the following: t Press the Delete key. t Right-click the keyframe graph or keyframe track, and select Delete Keyframe. Your Avid editing application deletes the selected keyframes.
Manipulating Advanced Keyframes The track displays the text “Apply to All.” t A parameter group track. The track displays the text “Apply to Group.” t A parameter track. t A keyframe graph. 2. Select Remove Redundant Keyframes. Your Avid editing application removes redundant keyframes from the range of keyframe graphs you specified in step 1. To remove all redundant keyframes in a sequence: 1.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands Command Description Add to Active Parameter (Add Keyframe Mode menu) Adds a keyframe to or removes selected keyframes from the parameter track or keyframe graph for the active parameter only.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands(Continued) Command Description Add to Open Groups (Add Keyframe Mode menu) Adds keyframes to or removes selected keyframes from the parameter tracks or keyframe graphs of all parameters in groups that are currently open, whether or not the group is enabled.
Manipulating Advanced Keyframes Add Keyframe Mode and Delete Keyframe Mode Menu Commands(Continued) Command Description Add to Open Graphs (Add Keyframe Mode menu) Adds keyframes to or removes selected keyframes from all open keyframe graphs, whether or not the group is enabled. Delete From Open Graphs (Delete Keyframe Mode menu) This command lets you add or delete keyframes from any custom grouping of parameters. Open the keyframe graph for each parameter, and then use the command.
Manipulating Advanced Keyframes To select a keyframe: t Click the keyframe. The keyframe changes to pink. To select more than one keyframe: 1. Click the first keyframe that you want to select. The keyframe changes to pink. 2. Ctrl+click each additional keyframe. Each keyframe changes to pink. n In some earlier versions of Avid editing applications, you could single-click a keyframe in a different parameter group to select it.
Manipulating Advanced Keyframes Moving Advanced Keyframes You can move an advanced keyframe to another location in the keyframe graph. This topic describes methods for moving keyframes by dragging in the Effect Editor or in the Effect Preview monitor. You can also move keyframes to the location of the position indicator by using commands on the shortcut menu for the keyframe track. For more information, see “Understanding the Align Keyframes and Slip Keyframes Commands” on page 100.
Manipulating Advanced Keyframes With two keyframes selected in a parameter, Alt-drag (or Option-drag) the top keyframe. The keyframe you drag moves in both time and value. The second keyframe moves in time only. Considerations When Moving Advanced Keyframes You should be aware of the following when you are moving advanced keyframes: • You can move keyframes by dragging at all levels of the keyframe track hierarchy — open keyframe graphs, parameter tracks, parameter group tracks, and the effect track.
Manipulating Advanced Keyframes • You cannot move a keyframe past another keyframe. Keyframe movement is bounded by neighboring keyframes. • If two or more effects are shown in the Effect Editor, only the top effect is editable. This means that if you have nested effects, you can move the keyframes in only one effect at a time.
Manipulating Advanced Keyframes Both Align Keyframes and Slip Keyframes can move keyframes outside the time boundaries of the keyframe graph. This lets you make the effect behave as if parameter values are changing before the beginning or after the end of the effect. Aligning Advanced Keyframes In the procedure below, the reference keyframe of any keyframe graph is the keyframe you activated most recently in that keyframe graph.
Manipulating Advanced Keyframes Before (left) and after (right) aligning keyframes with all keyframes selected. The reference keyframe moves to the position indicator and all other keyframes move to maintain their positions relative to the reference keyframe. Before (left) and after (right) aligning keyframes with one deselected keyframe.
Manipulating Advanced Keyframes Copying and Pasting Advanced Keyframe Parameters You have several options for copying and pasting advanced keyframe parameters. You can: • Copy and paste selected keyframes in a single parameter. • Copy and paste selected keyframes in more than one parameter. The selected keyframes can be in graphs or on tracks (that is, the graphs that contain the selected keyframes can be open or closed).
Manipulating Advanced Keyframes To copy and paste all parameter values at a position: 1. Do one of the following, either in the position bar below the Effect Preview monitor, or in the keyframe graphs in the Effect Editor: t Move the position indicator to the location from which you want to copy values. t Click a keyframe at the location from which you want to copy values. 2.
Manipulating Advanced Keyframes Before (left) and after (right) copying and pasting multiple keyframes in a single parameter. Their offset from one another is preserved in the new copies. Copying and Pasting Keyframes in Multiple Parameters Before (left) and after (right) copying and pasting keyframes that you select in multiple keyframe graphs.
Manipulating Advanced Keyframes Before (left) and after (right) copying and pasting all parameter values at a position. In this example there are no existing keyframes at the copying location. Your Avid editing application uses the parameter values at the copying location to create new keyframes with those values at the pasting location. Controlling Parameter Changes at Keyframes The keyframe interpolation options control how an effect parameter changes at a keyframe.
Manipulating Advanced Keyframes Advanced Keyframe Interpolation Options Interpolation Option Description Shelf The parameter value does not change between keyframes and then changes abruptly to the new value. Some applications call this Hold. Use Shelf to hold a parameter value for a fixed length of time. For example, you can use Shelf with the Position parameters to create a Picture-in-Picture that appears to “pop” to a new location at each keyframe.
Manipulating Advanced Keyframes Advanced Keyframe Interpolation Options(Continued) Interpolation Option Description Bézier The Bézier interpolation option is similar to the Spline interpolation option because the parameter value changes smoothly at each keyframe. The Bézier interpolation option also provides direction handles at each keyframe. You adjust the rate at which the parameter value changes by manipulating the direction handles.
Manipulating Advanced Keyframes Adjusting Parameter Values with the Bézier Interpolation Option You can adjust Bézier curves in the following ways: • Symmetrically: Dragging a direction handle changes the length and rotation of both direction handles symmetrically. Before (left) and after (right) dragging symmetrically. Dragging the left handle up and to the left causes both sides to rotate and increase in length.
Manipulating Advanced Keyframes Your Avid editing application uses the currently active adjustment option. The direction bar and the curve change to show the new interpolation motion. t Alt+click (Windows) or Option+click (Macintosh) the direction handle, and then drag the mouse to move the direction handle. The use of the modifier key instructs your Avid editing application to use the next adjustment method in the sequence of adjustment options: symmetrical, asymmetrical, or independent.
Manipulating Advanced Keyframes When you use the Elastic option, your Avid editing application scales the keyframes to fit the new duration. For example, if you trim out the start of a keyframed 2-second effect segment so that its length increases to 3 seconds, the gap between each of the keyframes increases by 50% and the original animation takes place over 3 seconds. Elastic is the default behavior for a parameter, and is also the behavior for standard keyframes.
Manipulating Advanced Keyframes Selecting Elastic Keyframes or Fixed Keyframes To select elastic keyframes or fixed keyframes: t Right-click the keyframe graph, parameter track, or parameter group track whose keyframes you want to affect, and select Fixed or Elastic. The keyframes for the parameter or parameter group change to the selected keyframe type and the keyframe indicators for the parameter display the selected keyframe type.
Manipulating Advanced Keyframes Parameter values hold steady before and after the bracketing (start and end) keyframes In the previous illustration, the horizontal lines indicate the parameter value before the first keyframe and after the last keyframe.
Controls and Settings for Advanced Keyframes n As a result of slipping the keyframes in the previous examples, the last keyframe indicator moves out of the keyframe graph view but is still present and is still the bracketing keyframe. The keyframe indicator visible at the right edge of the keyframe graph (the third keyframe indicator) is not a bracketing keyframe.
Controls and Settings for Advanced Keyframes Control Description Add Keyframe Creates a keyframe at the current position. Alt+click (Windows) or Option+click (Macintosh) this button to delete a keyframe. When you add or delete a keyframe, a menu gives you additional selections. For more information, see “Adding Advanced Keyframes” on page 89 and “Deleting Advanced Keyframes” on page 91.
Controls and Settings for Advanced Keyframes To display the Effect Editor settings dialog box: t In the Settings tab of the Project window, double-click Effect Editor. Shortcut Menus for Keyframe Tracks and the Motion Effect Editor Advanced keyframes use two shortcut menus. The shortcut menu for the keyframe track is available from the area of the Effect Editor that displays keyframe tracks and keyframe graphs.
Controls and Settings for Advanced Keyframes Control Description Deselect All Keyframes Deselects all the keyframes in the currently active track, parameter group, or effect. See “Selecting and Deselecting Advanced Keyframes” on page 96. Align Keyframes Moves the selected keyframe to the position indicator. See “Understanding the Align Keyframes and Slip Keyframes Commands” on page 100.
Controls and Settings for Advanced Keyframes Option Description Indent Rows When this option is selected, parameter rows are indented from the parameter category row, and any parameter subgroups are indented again. When this option is deselected, the left edges of parameter rows line up with the parameter category row. Indented (left) and non-indented (right) parameter rows Large Text When this option is selected, text in the Effect Editor appears in 12-point size.
Working with Standard Keyframes Option Description Show Add Keyframe Mode Menu When this option is 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 “Keyframe Mode Menu Commands” on page 93. When this option is deselected, the Add Keyframe button performs the default command from the Add Keyframe button options list below, without displaying the Add Keyframe Mode menu or the Delete Keyframe Mode menu.
Working with Standard Keyframes To create a standard keyframe: 1. Click in the position bar below the Effect Preview monitor at the point in the effect where you want to add the keyframe. The position indicator moves to that frame. 2. Do one of the following to add a keyframe: t In the Effect Preview Monitor toolbar, click the Add Keyframe button. t Manually adjust a parameter in the Effect Preview monitor (segment effects only).
Working with Standard Keyframes To copy and paste standard keyframe parameters: 1. In the position bar below the Effect Preview monitor, click one keyframe indicator whose parameters you want to copy. 2. Select Edit > Copy. 3. Select one or more standard keyframes: t To copy the parameters to one keyframe, click the keyframe indicator. t To copy the parameters to multiple keyframes, Ctrl+click (Windows) or Command+click (Macintosh) multiple keyframe indicators.
5 Playing Effects, Rendering Effects, and Managing Effect Media Files This chapter provides information on playing and rendering effects that extends the basic information provided in “Playing Effects” on page 39 and “Basics of Effects Rendering” on page 41. It also provides information on managing your effect media files.
Real-Time Playback of Video Effects For most real-time effects, Avid editing applications automatically select the most efficient and highest performance processing resources available on your editing system. Depending on the particular effect and the graphics hardware available on your system, processing might be done by your graphics card’s GPU or your computer’s CPU (including all CPU cores for multicore processors). A small number of effects, when certain parameters are enabled, use OpenGL processing.
Real-Time Playback of Video Effects Turning Playback Performance Indicators On or Off To turn playback performance indicators on or off: 1. In the Settings list of the Project window, double-click Timeline. 2. In the Display tab, select or deselect Highlight Suggested Render Areas After Playback. Playback performance indicators appear in the Timeline when you select this option. This option is selected by default.
Real-Time Playback of Video Effects If you need both the highest effect quality and real time performance (for example, for final output), you must render the effects. You can use a setting in the Video Display Settings dialog box to switch between the OpenGL processing provided by your graphics card and software OpenGL processing. This might be useful if you notice either unacceptable image quality or poor playback performance with 3D Warp or Stabilize effects.
Real-Time Playback of Video Effects application. This results in Video Underrun error messages. In this case, render some of the intermediate effects before playing the sequence. For more information, see “ExpertRender” on page 127. Controlling Real-Time Effects Processing To choose 10-bit effects processing, do one of the following: t Click the Video Quality Menu button until it displays a green background and the number 10 (Full Quality 10-bit option).
ExpertRender Your Avid editing application also provides an option that improves image quality during playback of mixed-format sequences where material requires resizing. You might need to deselect this option to avoid missing frames or choppy video during real-time playback. n n If you switch from one video quality level to another during the course of your workflow, you might create precomputed clips that have not rendered with the quality that you need for your final output.
ExpertRender For example, the following sequence includes four effects on four different tracks. You could render all four effects, however if you use the ExpertRender In/Out command on the material, the ExpertRender analysis recommends rendering only one of the effects. A sequence with four effects (top) and the results of an ExpertRender analysis of this sequence. Only one of the effects needs to be rendered for successful output.
ExpertRender n On systems without Avid input/output hardware, you must render all effects before performing a digital cut. • In most circumstances, ExpertRender enables you to render material quickly, easily, and with a high degree of storage efficiency. However, experienced Avid users might achieve an even quicker render of a complex sequence than that offered by ExpertRender — for example, using Submaster editing.
ExpertRender The Effect Source Drive selection refers to the drive where the media for the outgoing shot of the first transition resides. 5. Do one of the following: t Click Cancel. Your Avid editing application 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.
ExpertRender t To render only the effects necessary to achieve successful real-time effects preview, select “Render recommended ranges,” and then click OK. t To render all the effects that ExpertRender identifies for rendering within your marked selection, select “Render entire selection.” The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering across the entire selection.
ExpertRender In most cases, the results of an ExpertRender analysis offers the fastest rendering necessary for successful playback. You should only modify the results of an ExpertRender analysis if you are confident that your modifications are useful. For examples of situations where you might want to modify the results of an ExpertRender analysis, see “Considerations When Using ExpertRender” on page 133.
ExpertRender Your Avid editing application renders the highlighted effects. To cancel ExpertRender during the modification process, do one of the following: t Click in the timecode track to move the position indicator. t Double-click one of the segment tools on the Timeline Palette. Segment tools in the Timeline palette t From the Clip menu, select an ExpertRender command, and then click Cancel in the Expert Render dialog box.
Creating and Using Render Settings 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 motion effects. You can then activate the setting that you need at each stage of your project. To create a new Render setting: 1. In the Project window, click the Settings tab. The Settings list opens. 2.
Render Settings Options Render Settings Options The following table describes the options available in the Render Setting dialog box. Option Suboption Motion Effects Render Using and Timewarp Effects Render Using Description These two menus determine the processing method when you render or rerender existing motion effects and Timewarp effects. Original Preference Causes effects to render using the type they were when originally created. Duplicated Field Displays a single field in the effect.
Using Partial Render Option Suboption Description Blended Interpolated (Timewarp only) Blends (averages) pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%. The second blended image weights the pixels from Image A at 50% and Image B at 50%.
Using 16-Bit Processing Support for Rendered Effects You can also use the Render Ranges command in the Timeline Fast menu to customize the Timeline so that it indicates which parts of an effect your Avid editing application has rendered. The playback behavior of a partially rendered effect depends on the frame at which playback begins. If playback begins at a rendered frame, your Avid editing application attempts to play the entire effect in real time.
Using 16-Bit Processing Support for Rendered Effects Some effects do not support 16-bit processing. The reference information for each individual effect in “Effects Reference” on page 431 indicates which effects do not support 16-bit processing. n n If you switch from one processing bit depth to another during the course of your workflow, you might create precomputed clips that have not rendered with the quality that you need for your final output.
Ensuring the Quality Level of Precomputed Clips Ensuring the Quality Level of Precomputed Clips Before you export or output your sequence, you must ensure that all your precomputed clips have been rendered using the desired quality settings. Your Avid editing application cannot always recognize that it needs to re-render effects when you change a quality setting. You must manually purge and re-render precomputed clips to ensure that all effects render with the desired quality.
Rendering 3D Effects Using the HQ (Highest Quality) Option n You can select multiple projects if you also want to clear pre-computes in other projects. 4. Deselect Master Clips and Media Files. 5. Select Precompute Clips. 6. Click OK. The Media Tool window opens. 7. With the Media Tool window selected, select Edit > Select-All (or press Ctrl+A). 8. Select Edit > Delete (or press the Delete key). 9. In the Delete Media dialog, select all tracks and click OK. 10. Click Delete in the confirmation dialog.
Managing Effect Media Files You can easily change from standard rendering to HQ rendering for your entire sequence, once you are satisfied with your draft version, by using the Render Setting selection. You can also choose to set all effect rendering to standard if you want to reduce rendering time. For more information, see “Creating and Using Render Settings” on page 134.
Managing Effect Media Files In this case, your Avid editing application automatically saves the last-rendered effect and deletes the earlier, unreferenced versions. This autodeletion applies only to effects rendered since the last save or project close. This prevents you from deleting media that might be necessary to play other versions of the sequence. If you want to remove media files from your drive to save space, you must manually delete the files.
Managing Effect Media Files 3. Select File > Reveal File. (Windows) Your Avid editing application searches all available drives, opens the folder in Windows Explorer, and highlights a related media file. (Macintosh) Your Avid editing application searches all available drives, opens the folder, and highlights related media files. 4. (Option — Windows only) If more than one media file is associated with the clip, your Avid editing application displays a message box prompting you to reveal the next file.
6 Working with Plug-In Effects You can use AVX plug-in effects to add new effects or to update existing effects. This chapter describes how to work with these plug-in effects. • Understanding AVX Plug-Ins • Freeing Memory Used by AVX 1.x Plug-ins • Installing AVX Plug-ins • Locating the AVX 1.
Freeing Memory Used by AVX 1.x Plug-ins n n Your Avid editing application also supports AudioSuite™ plug-ins. These plug-ins apply only to audio clips and do not appear in the Effect Palette. For more information, see “Working with Audio” in the Help. If you are transferring a project that includes sequences with AVX plug-in effects from another system, you must install matching AVX plug-ins to see the effects. For more information on AVX, visit the Avid AVX Developer Program page at www.avid.com.
Locating the AVX 1.x Plug-Ins Folder (Windows Only) Macintosh HD:Applications:Avid editing application:SupportingFiles: AVX_Plug-Ins (AVX 1.x plug-ins only) You must place AVX 1.x plug-ins directly in the corresponding AVX_Plug-Ins folder for your Avid editing application to recognize them. They cannot be inside another folder within this folder or elsewhere on your system. (Windows only) If the AVX 1.
Updating and Promoting AVX Plug-ins The value of this entry is the path that contains the AVX_Plug-Ins folder. For example, if the AVX_Plug-Ins folder is in its default location, the Directory entry is “C:\Program Files\Avid.” If you navigate to C:\Program Files\Avid using My Computer or Windows Explorer, you will find the AVX_Plug-Ins folder in that location. The Directory entry for HKEY_LOCAL_MACHINE\SOFTWARE\Avid Technology\AVX Plug-ins in the Registry Editor Updating and Promoting AVX Plug-ins You ca
Assigning Multiple Tracks in Plug-in Effects If the new version of the plug-in has new or redesigned parameter controls, your Avid editing application 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 you previously set. c (AVX 1.x plug-ins only) Once you upgrade a plug-in effect, do not reinstall the older version of the plug-in.
Using AVX Plug-In Controls Using AVX Plug-In Controls AVX plug-ins use a variety of interfaces that give you control over the effects. Plug-in vendors have the following styles for controls: • Standard buttons and parameter controls. For AVX 2.0 plug-ins, this includes advanced keyframe buttons and parameter controls. The Effect Editor for a specific plug-in might include only Avid standard buttons and parameter controls, or it might include additional custom controls that use an Avid-like interface.
Troubleshooting AVX Plug-Ins Troubleshooting AVX Plug-Ins This topic describes problems that you might encounter with AVX plug-ins and suggests possible solutions or sources for more information. 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.
Troubleshooting AVX Plug-Ins To obtain Technical Support, visit the online Knowledge Base at www.avid.com. The Avid System Is Running Out of Free Memory Each time you apply an AVX plug-in to a sequence, your Avid editing application keeps the effect resident in memory. When you close the bin containing the sequence, your Avid editing application also closes the AVX plug-ins and frees the memory. To close the AVX plug-ins manually, see “Freeing Memory Used by AVX 1.x Plug-ins” on page 145.
7 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 (stuttering) effect.
Creating Traditional Motion Effects For example, if you begin with a 3-second clip and create a Variable Speed motion effect from that clip with the speed set to 50%, the result is a new 6-second clip in which movement takes place at half the speed of the original clip. The advantage of traditional motion effects is that they are simple to create. The disadvantage of traditional motion effects is that they limit flexibility when you are editing and they allow only one speed for the duration of the clip.
Creating Traditional Motion Effects Creating a Traditional Freeze Frame Effect A Freeze Frame effect is a still image, based on a selected frame from a clip, that continues to display for the duration that you select. When combined with the original clip, the footage plays and then “freezes” and holds on the frame that you specified. As an alternative to creating a traditional freeze frame, you can use the Timewarp effect to freeze a single frame or create a rolling clip that freezes.
Creating Traditional Motion Effects Motion Effect icon and FF (Freeze Frame) clip name suffix on a Freeze Frame clip in the bin 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.
Creating Traditional Motion Effects 3. Click in the Source monitor to activate it. n If you do not activate the Source monitor, clicking the Motion Effect button does not open the Motion Effect dialog box. If the Record monitor is active, clicking the Motion Effect button opens the Motion Effect Editor for Timewarp effects. 4. Do the following: a. Select Tools > Command Palette. b. Click the FX tab. c. Select Active Palette. d. Click the Motion Effect button. The Motion Effect dialog box opens.
Creating Traditional Motion Effects 8. (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 (in the Settings list), your Avid editing application automatically selects that type in the Motion Effect dialog box, makes all other types unavailable, and displays the Ignore Render Setting check box.
Creating Traditional Motion Effects Creating a Traditional Strobe Motion Effect Strobe motion results in a stuttering effect during playback of a clip. You determine the degree of the stutter or strobe when you create the effect. You can also combine the Strobe Motion effect with the Variable Speed effect. For more information on the Variable Speed effect, see “Creating a Traditional Variable Speed Effect” on page 155.
Playing and Rendering Motion Effects n Option Description VTR-Style Your Avid editing application 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. For more information on these options, see “Motion Effect: Variable Speed and Strobe Motion” on page 454. 7.
Playing and Rendering Motion Effects Effect Type Description Freeze Frame Clips play in real time regardless of their type or duration. No icon appears on a Freeze Frame clip in the Timeline. Variable Speed, forward motion Clips play in real time and appear with a motion effect icon and a green dot in the Timeline. The motion effect icon indicates the type of the effect. Variable Speed, reverse motion Clips cannot play in real time and play as filler (black image) until you render them.
Playing and Rendering Motion Effects Controlling Motion Effect Type When Rendering or Rerendering Motion Effects Each motion effect type has a distinct effect icon in the Timeline: Icon Description Icon Description Duplicated Field Motion Effect Interpolated Field Motion Effect Both Fields Motion Effect VTR-Style Motion Effect Color-coded dots appear on Motion Effect icons to indicate whether they require rendering. For more information, see “Color Coding on Effect Icons” on page 18.
Understanding Timewarp Effects Considerations for Motion Effects in Progressive Projects Motion effects in progressive projects behave somewhat differently from the same effects in interlaced projects. You should be aware of the following issues when you are working with motion effects in progressive projects. • Your Avid editing application always uses complete progressive frames to create motion effects since there are no fields in progressive material.
Understanding Timewarp Effects Difference Description Clip duration With traditional motion effects, if you create an effect at 50-percent speed, the clip becomes twice as long. With the Timewarp effect, the duration of the segment in the sequence does not change. You can enter Trim mode directly from the Motion Effect Editor to make the segment longer or shorter. Speed display Traditional motion effects display the effect speed in parentheses beside the effect in the Timeline icon in the Timeline.
Creating Timewarp Effects Understanding Keyframe Interpolation Options for Timewarp Effects You select a keyframe interpolation option to define the way the Timewarp effect changes speed or position in a clip. This selection 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.
Promoting a Traditional Motion Effect to Timewarp 2. Enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 32. 3. In the Effect Palette, click the Timewarp Effect category. 4. Click the Timewarp Effect icon, and drag it to the clip in the Timeline. The Timewarp Effect icon appears in the Timeline. n If you apply the Timewarp effect as part of a nested effect, it must be the innermost effect.
Using the Motion Effect Editor Promote button, Speed value text box, and Strobe and Duration value text boxes in the Motion Effect Editor 3. In the Motion Effect Editor, click the Promote button. The Timewarp icon appears in the Timeline. The Motion Effect Editor uses the duration and speed information from the traditional motion effect to create a Timewarp effect. n Strobe motion information does not carry over to the Timewarp effect. The name of the clip in the Timeline does not change.
Using the Motion Effect Editor The following illustration shows the fully expanded Motion Effect Editor. To set up the Motion Effect Editor for customizing a Timewarp effect: 1. Do one of the following: t Click the Timewarp Effect icon in the Effect Palette and drag it to the segment in the Timeline where you want to create a Timewarp effect. t Move the position indicator to an existing Timewarp effect in the sequence. 2.
Scaling a Graph Display in the Motion Effect Editor 7. (Option) If you are using two-field media, and a specific motion effect type is set as the Timewarp Effects Render Using option in the active Render setting, your Avid editing application automatically selects that type in the Type menu, makes all other types unavailable, and displays the Ignore Render Setting option. If you want to override the Render setting, select the Ignore Render Setting option, and then select a new rendering option.
Using the Source Anchor Frame n The darker gray area of a graph represents the valid working area (the amount of source material you have available). The lighter gray area represents handles before and after the source material. To move the view in the graph display without scaling: 1. Click within the boundaries of the graph display you want to move. 2. Press and hold Ctrl+Alt (Windows) or Command+Option (Macintosh). The pointer changes to a hand. 3.
Motion Effect Editor Reference Adaptive deinterlacing uses an algorithm for producing progressive frames from interlaced fields that analyzes adjacent frames as well as the currrent frame. Adaptive deinterlacing results in higher image quality for some kinds of clips, particularly where there is fast motion in the clip and when the clip is being slowed down significantly.
Motion Effect Editor Reference Motion Effect Editor Components(Continued) Component Description Position Graph display button Click to open the Position graph. Click again to close the Position graph. See “Using the Motion Effect Editor” on page 166. Graph closed (left) and open (right) n Clicking a graph display button does not activate the graph. Use the Edit Graph menu (described below) to select the Speed graph or Position graph.
Motion Effect Editor Reference Motion Effect Editor Components(Continued) Component Description Output menu Click to select the Output format for a rendered Timewarp effect. If you are creating a regular motion effect, you can use the same value as for the Source format. You also have the option of performing a format conversion on the effect. This lets you create a film look from interlaced video sources. For more information, see “FluidFilm Preset Effects” on page 192.
Rendering Options for Timewarp Effects Active Control Graph Buttons Button Description Fast Menu Displays the Fast menu. The same menu appears as the shortcut menu when you right-click the active control graph. 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 Keyframe Tracks and the Motion Effect Editor” on page 116.
Rendering Options for Timewarp Effects Option Description VTR-Style 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 slight jittering at certain speeds.
Timewarp Speed Graph Reference Option Description FluidMotion Analyzes the motion between outgoing Image A and incoming Image B, and interpolates intermediate frames pixel-by-pixel. The motion generated by FluidMotion is the smoothest of all the rendering options. Timewarp effects that you create using FluidMotion are the slowest to render. n When you step through a sequence with a Timewarp effect, your Avid editing application can take a noticeable amount of time to update the Effect Preview monitor.
Timewarp Position Graph Reference Motion Effect Editor Speed Graph Components(Continued) Component Description 2 Source Anchor Frame Click to anchor the Source Anchor Frame at the current keyframe. For more button information, see “Using the Source Anchor Frame” on page 169. 3 Active keyframes The keyframes to which your Avid editing application applies any changes you specify. Active keyframes are pink.
Timewarp Position Graph Reference 1 2 7 8 9 3 4 5 6 Motion Effect Editor Position Graph Components Components Description 1, 8 Input Position axis Output Position axis The Input Position (vertical) axis represents the timecode for the source clip. The Output Position (horizontal) axis represents the relative timecode for the resulting effect. The exact timecode displays above the Record monitor.
Timewarp Effect Examples Motion Effect Editor Position Graph Components(Continued) 9 n Components Description Active control graph toolbar Appears under the active control graph. See “Motion Effect Editor Reference” on page 170. 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 the Position graph.
Timewarp Effect Examples 5. Move the position indicator to the timecode at which you want action to resume. As you drag the position indicator in the Position graph, the output timecode shows in the upper left corner of the Position graph. 6. In the toolbar below the Speed graph, click the Add Keyframe button. A keyframe indicator appears at the position indicator in the Speed graph. 7.
Timewarp Effect Examples n You move Timewarp keyframes directly in the same way you move keyframes in keyframe graphs. See “Moving Advanced Keyframes” on page 98. 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. At that point, the line becomes flat.
Timewarp Effect Examples 3. Do one of the following: t Alt+Shift+click (Windows) or Option+Shift+click (Macintosh) the first keyframe indicator, and drag it to its new position. t Type a new start timecode in the Output Position text box. The keyframes move together to the new position. The freeze frame now starts and ends at the new keyframe positions.
Timewarp Effect Examples To create a Strobe Motion effect by using the Timewarp effect: 1. Apply a Timewarp effect, and set up the Motion Effect Editor as described in “Using the Motion Effect Editor” on page 166. 2. Type the strobe motion rate in frames in the Strobe text box. For example, a rate of 5 causes every fifth frame to be held for five frames before updating. 3. In the Motion Effect Editor toolbar, click the Render Effect button. 4. View the result.
Timewarp Effect Examples As you drag the keyframe over major position markings, you will notice a resistance. This helps you place keyframes more accurately. t Type the input timecode in the Input Position text box. 5. Add and customize more keyframes to achieve the effect you want. For more detailed information, see “Position Graph Example: Reverse Motion” on page 183. 6. Render and review the effect. 7.
Timewarp Effect Examples 2. Click the first keyframe indicator, and note the starting timecode in the Input Position text box. 3. Click the last keyframe indicator, and note the ending timecode in the Input Position text box. 4. Reverse the starting timecode and ending timecode by doing the following: a.
Understanding FluidMotion Timewarp Effects 5. (Option) Click the Timewarp Effect icon in the Motion Effect Editor, and drag it to a bin to create an effect template with the current parameters. Understanding FluidMotion Timewarp Effects The FluidMotion rendering option for Timewarp effect creates very smooth rendered effects. FluidMotion uses an interpolation algorithm that creates intermediate images by morphing the motion across the bracketing images.
Using FluidMotion Edit 7. Determine whether you need to continue to work on the current frame or move on to the next frame. 8. Each time you fix an artifact, render the effect again. This is often the fastest way to remove all the artifacts. n By fixing the intermediate frame represented by Warp 50% or Color Warp 50%, you are fixing all the intermediate frames in the final result between Image A and Image B.
Using FluidMotion Edit For general information on working with the Effect Editor, see “Using the Effect Editor” on page 68. To view vectors as arrows: t In the Display parameter category, select Show Vectors. Notice the motion vectors around the rope and the child’s hand. The length of a vector arrow represents the speed at which a pixel moves between Image A and Image B, and the arrow’s orientation shows the direction of motion. To view vectors as colors: 1.
Example of Correcting FluidMotion Artifacts The saturation of a vector color corresponds to speed, and hue corresponds to direction. To define a region for FluidMotion Edit: 1. In the Display parameter category, click the Fast Menu button, and then select Warp 50% or Color Warp 50%. Warp 50% shows the image generated by FluidMotion that is halfway between source material Image A and Image B. Color Warp 50% shows the same image, with an overlay of motion vector colors. 2.
Example of Correcting FluidMotion Artifacts The artifacts in this example: without vector display (left), with vector arrow display (center), and with vector color display (right). You can view artifacts by stepping through the effect while keeping the Display Fast menu in the Effect editor set to Warp 50% or Color Warp 50%. This shows the images created at the halfway point between the source images. To view the corresponding source images, change the Display Fast menu to Image A or Image B.
Example of Correcting FluidMotion Artifacts Color Warp 50% shows movement as chroma (color) and direction and hue (color intensity). The image shows that there is no motion information within the oval. Some motion along the top of the net shows as yellow in the image. We can use the eyedropper in the Mode parameter category to copy this motion information into the oval. 4. Do the following: a. Select the oval shape that you created to make it active. b.
Timewarp Preset Effects We need to put some of the motion information back into the image of the ball. One way to do this is to draw an object around the ball that cuts a hole through the oval that we just created and reveals the original motion of the ball. 6. Select the Polygon tool, and draw an object around the blurred image of the ball. The following illustrations show the result displayed with Color Warp 50% and Warp 50%. 7.
FluidFilm Preset Effects Effect Description 100% To 0% Ramps motion in a sequence from 100% (full speed) down to 0% (freeze frame). The last frame of the clip is the last frame of the motion effect. FluidFilm 2:3 Cadence and FluidFilm Progressive Let you create a film look from interlaced video sources or a video look from sources originally shot on film. Pulldown Insertion and Pulldown Removal Inserts or removes pulldown in a sequence. Reverse Motion Creates a reverse motion effect at 100% speed.
Setting Source and Output Options for Format Conversion with Timewarp Effects n The FluidMotion rendering option can take a long time to process an entire sequence.
Setting Source and Output Options for Format Conversion with Timewarp Effects Project Type Source media type Corresponding Source Option Repeated progressive frames Progressive Repeated Possible Output Options Interlaced, Progressive If you select Film with Pulldown as the source format, additional options display that lets you either manually or automatically set the pulldown pattern.
8 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 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.
Key Effects Understanding the SpectraMatte Chroma Key Effect The SpectraMatte effect provides superior quality keying and makes it easy to fine-tune your keys to solve problems such as controlling shadows and removing color spill. The SpectraMatte effect is available in the Key category of the Effect Palette. The SpectraMatte effect includes the following main features: • Analysis displays that provide visual feedback and aid in fine-tuning the key.
Key Effects The center point of the swatch is neutral gray while the outer areas show highly saturated color. This representation of color is similar to that in the ChromaWheel color wheels in the Color Correction tool. Hue changes as you move around the swatch and saturation increases as you move away from the center. The following illustration shows this swatch.
Key Effects this, you can make further parameter adjustments that remove these values more completely from the key. By viewing both the SpectraGraph display and the standard view of the composited images, you get all the information you need to produce a high-quality key. The Alpha Matte Display The alpha matte display shows the alpha matte that the SpectraMatte effect is currently generating. This matte is used to create the final composite of foreground and background images.
Key Effects The basic size and position of the wedge is defined by the following parameters: • The hue set by the Key Color parameters defines the position of the wedge around the swatch. In the following illustration, the key color is green, so the wedge falls in the green part of the swatch. • The saturation value set by the Chroma Control Key Saturation parameter defines the location of the center point of the wedge.
Key Effects The Effect Editor displays parameters for adjusting the SpectraMatte effect. The effect uses advanced keyframes. 7. Click the Color Preview window in the Key Color parameter category to display the Eyedropper icon, and then drag the eyedropper to a representative region of the blue or green background screen in the Record monitor. Your Avid editing application selects the primary key color, and the key takes effect.
Key Effects 8. Fine-tune the key by enabling and adjusting additional parameter categories as necessary. This example uses the following adjustments to improve the edges of the key: - Increase the Spill Angle Offset value - In the Matte Processing parameter category, use the Erode matte Blur type and add a small amount of Matte Blur - In the Chroma Control parameter category, increase the Inner Softness value You can achieve similar results using different parameter combinations.
Key Effects Chroma Key effect example: the original key (left), and the key after promoting to 3D, repositioning, and applying defocus to enhance the effect of perspective between foreground and background RGB Keyer Effect The RGB Keyer effect is a non-real-time plug-in effect that includes additional parameters for finetuning the edges of the key and for applying post-key color correction (correction applied to the foreground image without affecting the key itself).
Key Effects The Effect Editor displays parameters for adjusting the effect. 7. Open the Key parameter category (Chroma Key effect) or the Key Color parameter category (RGB Keyer). Ultimatte blue is selected by default. To match the key color more closely to the color of the background screen used in the footage, proceed with the following step. 8.
Key Effects Promoting a Chroma Key Effect to the SpectraMatte Effect You can promote a Chroma Key effect to the SpectraMatte effect. Because of the differences in the way the two effects work, existing parameter adjustments in the Chroma Key effect might not all move forward to the SpectraMatte effect. The primary key color does always move forward correctly to the SpectraMatte effect.
Key Effects The high-contrast image can be an imported graphic or a clip that you adjust within your Avid editing application. n If the image is not high enough in contrast, you can adjust the contrast by applying the Color Effect, and then adjusting its parameters in Effect mode. For more information, see “Using the Color Effect to Prepare a High-Contrast Image” on page 206. 4. In the Effect Palette, click the Key category. 5.
Working with Imported Graphics and Animation To import a QuickTime file as a moving matte: 1. Click the Image tab of the Import Settings dialog box. 2. In the Alpha parameter category, select either Use Existing or Invert Existing. To import a graphics sequence as a moving matte: 1. Select the first file in the sequence as the file to import. 2. In the Image tab of the Import Settings dialog box, select Autodetect Sequential Files.
Working with Imported Graphics and Animation n Only single-frame files can be used as real-time keyed graphics. PICT sequences, QuickTime files, PICS animation files, and ERIMovie files cannot be used as real-time keyed graphics. These alternatives apply to both single-frame graphic images and animation. You can also edit imported images into sequences by using standard Avid editing application effects. n (Windows only) AVI files cannot be imported with an alpha channel.
Nesting Effects 7. Adjust effect parameters in the Effect Editor, if necessary, using procedures described in “Using the Effect Editor” on page 68. 8. (Option) If the keyed portions of the images are the reverse of the intended effect, open the Foreground parameter category and click the Invert Key button. For more information, see the reference information in “Foreground” on page 476. 9. Use standard effect editing procedures to preview, render, or play the Matte Key clip.
Nesting Effects All nested effects on a segment are fully available when they use advanced keyframes. You can open and manipulate the available parameter and keyframe graphs for any nested effect at any time. n Nested effects do not appear in edit decision lists (EDLs) because they are not supported by linear tape-based edit controllers. Stepping Into and Out of Nested Effects You can step into an existing nested effect for editing.
Nesting Effects 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. To step out of the nested effect t Double-click the effect’s icon in the Timeline. Creating a Simple Nested Effect This example involves nesting a sequence of clips with dissolves inside another segment effect. To create the nest: 1. Create a sequence and add a segment effect.
Nesting Effects 4. Double-click the main track for the nested effect (V2 in this example) to close the nested tracks again. Nested Effects in the Effect Editor Nested effects on a segment are fully available in the Effect Editor if the effects use advanced keyframes. You can open and manipulate the available parameters and keyframe graphs for any nested effect at any time.
Nesting Effects Before (left), during (center), and after changing the order of nested effects. In this example, the SubCap effect is moved above the Color Effect and Flop effects. If you attempt a change in order that is not possible, a message box opens that explains why you cannot make the change. For example, you cannot change the order of nested effects if the result would not provide enough video inputs for the effect.
Nesting Effects To nest a Matte Key effect: 1. Create a sequence with the background video on track V1. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2. Load a high-contrast image into the Source monitor, and edit it onto track V2. For an example of a high-contrast image, see “Key: Matte Key” on page 451. 3. In the Effect Palette, click the Key category. 4. Drag the Matte Key Effect icon from the Effect Palette to the segment on track V2. 5.
Submaster Editing 9. Click one of the segment tools on the Timeline palette, and double-click track V2 to collapse the nested tracks. 10. Click the Record Track Monitor button for track V2 in the Track Selector panel. Tracks V1 and nested track 1.1 become visible through the high-contrast image on track 1.3. For information on Matte Key parameters, see “Key: Matte Key” on page 451.
Collapsing Layers into a Submaster Effect Add edits on track V5 bracket a group of clips on V4 For more information on add edits, see “Working with Add Edits (Match Frames)” in the Help. 3. In the Effect Palette, click the Image category. 4. Drag the Submaster Effect icon to the space between the add edits you created in step 2. Your Avid editing application applies the effect above the layers. Submaster effect on track V5 5.
Collapsing Layers into a Submaster Effect n You can also use the Collapse feature to simplify the deletion of multilayer segment effects. After collapsing the effects, you can select the resulting segment and press the Delete key twice to delete the effect and all the layers. After your Avid editing application collapses tracks into a Submaster effect, it recognizes a Submaster effect as a multilayer effect instead of a single-layer effect.
Performing a Video Mixdown Performing a Video Mixdown Video mixdown lets you combine several tracks into a new master clip. You can use video mixdown after you finish building your sequence and want to make it into one piece (for example, a standard opening to a program). Video mixdown is useful when you want to: n • Create a complex sequence you need to use repeatedly. • Add a motion effect to an entire sequence. • Finalize a complex sequence before consolidating, exporting, or transferring.
Performing a Video Mixdown The Video Mixdown dialog box opens. 4. Select a target bin, target drive, and resolution 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 a new media file is created on the target drive. n If your sequence includes a data track, the data track will not mixdown with the video tracks.
9 Working with Camera Effects This chapter describes effects that control aspect ratio, format, or apparent camera motion in a clip. n • Using the Reformat Effects • Working with the Pan and Scan Effect • Using Avid Pan & Zoom You can also use the Stabilize and Region Stabilize effects to alter the apparent camera motion in a clip in order to eliminate unwanted camera motion. For more information, see “Motion Tracking and Stabilization” on page 239.
Working with the Pan and Scan Effect Effect Description 16:9 Letterbox Scales the image vertically to the 16:9 aspect ratio within a 4:3 frame. Works on 16:9 Anamorphic media. 14:9 Letterbox Reformats media to the 14:9 Letterbox aspect ratio with a black band at the top and bottom. The effect expands the media horizontally by a fixed amount before scaling it down vertically, resulting in a slight horizontal cropping of the image. You control what part of the image is cropped with the Position slider.
Working with the Pan and Scan Effect Outputting Media with the Pan and Scan Effect You can output media with the Pan and Scan effect in two video formats: 4:3 or 16:9 Anamorphic. The Pan and Scan effect does not generate data for inclusion in cut lists. If your target is not video, or if your source requires excessive scaling, you can preview the reformatting operation, but the Pan and Scan effect does not automate a film-to-film or a film-to-tape transfer.
Working with the Pan and Scan Effect 4. Drag the Pan and Scan Effect icon from the Effect Palette to the new track. Selecting the Source and Target Aspect Ratios for the Pan and Scan Effect In Effect mode, the Pan and Scan effect displays a white wire frame in the Effect Preview monitor. This wire frame lets you select the portion of the media that appears in your output. The Pan and Scan aspect ratios determine the size and shape of the wire frame.
Working with the Pan and Scan Effect 3. Move the position indicator to the Pan and Scan effect. 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. Viewing Pan and Scan Media In Effect mode, the Effect Preview monitor displays your original media and the Pan and Scan wire frame. The Client monitor displays the original media.
Working with the Pan and Scan Effect 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. The media is distorted if either the Source or Target aspect ratio is 16:9 Anamorphic. In Effect mode (left) the original media displays in the Effect Preview monitor with the Pan and Scan wire frame.
Working with the Pan and Scan Effect You can open the Grid Settings dialog box by clicking the Other Options button in the Grid parameter category of the Effect Editor. The Grid Settings dialog box controls the size, position, and display of a variety of grids. For more information on Grid settings, see “Understanding the Effect Grid” on page 64.
Working with the Pan and Scan Effect Subdividing minimizes the number of keyframes you need to add and manipulate because, by default, each effect has a keyframe at the start and end of the effect. If you want to reposition Pan and Scan for an entire segment, you can select the segment and drag the Pan and Scan wire frame to a new position. If you need to adjust Pan and Scan within the segment, add keyframes to the effect.
Working with the Pan and Scan Effect 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. To position the wire frame, do one of the following: t Click inside the wire frame, and drag it to a new position. Movement is restricted to the most important axis. For example, if you go from a wide aspect ratio (16:9) to a narrow aspect ratio (4:3), you can drag the wire frame from side to side.
Working with the Pan and Scan Effect 2. Use the Go To Next Edit and Go To Previous Edit buttons to step from one Pan and Scan effect to the next. Go To Next Edit (left) and Go To Previous Edit (right) buttons The Go To Next Edit and Go To Previous Edit buttons appear on the Command palette. You can map the buttons from the Command palette to the keyboard or to another button. For more information, see “The Command Palette” in the Help. 3. Adjust the Pan and Scan effect.
Using Avid Pan & Zoom 7. Adjust each Pan and Scan effect as needed. Using Avid Pan & Zoom The Avid Pan & Zoom effect provides capabilities similar to a motion control camera using highquality digital processing. You can move around a still image, with extensive keyframe control over the location and magnification of the field of view.
Using Avid Pan & Zoom 5. In the Effect Editor, click the Other Options button. A file selection dialog box opens. 6. Navigate to the file containing your image, and click OK. Your Avid editing application associates the image file with the effect, and superimposes the image on the placeholder segment. The image appears in the Effect Preview monitor.
Using Avid Pan & Zoom To set the Display parameter: t Click the Display Fast Menu button, and select Source or Target. Option Description Source Shows you the entire image scaled to fit inside the Effect Preview monitor. Use this mode as you draft the effect. The pan and zoom settings appear as a rectangle superimposed over the image. The closer in you zoom, the smaller the rectangle appears. Target Shows you the results of your pan and zoom settings. Use this mode for previewing your moves.
Using Avid Pan & Zoom To zoom in or out on the Source image: t Use the Zoom Factor slider in the Size parameter category. Zoom Factor ranges from 0.1 to 20. At 0.1, the effect scales the image down to one-tenth the original. At 1, the effect applies no magnification to the image. At 20, the effect scales the image up 20 times the original size. The larger the Zoom Factor, the smaller the field of view rectangle appears when you use Source Display mode.
Using Avid Pan & Zoom The following procedures describe: • The general method for setting the Velocity parameter. • A method for setting a simple ease in and ease out. Ease in is the gradual acceleration at the beginning of movement. Ease out is the gradual deceleration at the end of movement. With the Avid Pan & Zoom effect, you typically want to create a simple ease in only on the first keyframe and an ease out only on the last keyframe.
Using Avid Pan & Zoom When you use Constant for Velocity In and Velocity Out, the position at which you placed a keyframe in the Timeline is not necessarily the time at which the Avid Pan & Zoom effect applies the keyframe’s parameters. The effect applies the parameters at the time calculated by the effect to achieve a constant velocity for the path you created. When you use the Constant option, your Path parameter selection can affect the result of changes you might make to the effect.
Using Avid Pan & Zoom 8 4 7 3 1 5 2 6 Spline interpolation (gradual changes of direction at each keyframe). The line represents the path of the effect over time while the numbers represent keyframes and indicate where the direction of the path changes. The Avid Pan & Zoom effect calculates a Spline path so that it is smooth through all points. If you move a point, the effect recalculates the entire path.
Using Avid Pan & Zoom Option Description Real Time Renders most quickly but results in a draft-quality image. n Your Avid editing application uses Real Time filtering during uncompressed play. Triangle Results in fairly soft images. Quadratic Results in slightly sharper images than Triangle filtering. Cubic Results in sharper images than Quadratic filtering although they are still fairly soft. B-Spline Catmull Lets you shrink an image (zoom out) by a large amount.
Using Avid Pan & Zoom Adjusting for Source Image Pixel Aspect Ratio and Color Levels in an Avid Pan & Zoom Effect The Advanced parameter category provides controls to compensate for differences in pixel aspect ratio and in color levels between the source image and the video output. Digital cameras and scanners, common sources for the Avid Pan & Zoom effect, use square pixels. Computer monitors and HD video formats also use square pixels. SD video formats, however, use non-square pixels.
Using Avid Pan & Zoom Option Description Image Resolution The effect stores a source image at its original resolution. The amount of memory used varies with the size of the image. Multi-Resolution The effect stores several versions of the image: original image resolution, half resolution, quarter resolution, and so on, for eight versions of the image. The result is higher quality real-time preview and faster rendering. Multi-Resolution uses about twice the memory of Image Resolution.
10 Motion Tracking and Stabilization You can track the motion of a selected area in an image over time. You can then use the tracking data to control the motion of an effect such as a Picture-in-Picture or to stabilize an image to compensate for camera motion.
Understanding Motion Tracking Understanding Motion Tracking This topic includes conceptual information that helps you to understand how tracking works and when you might want to use it. Understanding the Tracking Process Motion tracking searches for a distinctive pattern of pixels in each frame of a video segment. As the pattern moves over time, your Avid editing application records the movement as a series of points, one for each frame or field in the segment.
Workflow for Motion Tracking Motion Tracking and Footage Characteristics The motion tracking tools in your Avid editing application let you track movement in many kinds of footage successfully. However, some footage will always be difficult or even impossible to track successfully. There might be no consistent pattern to track across multiple frames, or insufficient distinction between the pattern you want to track and the surrounding material.
Effects and Effect Parameters That Use Tracking Data Your Avid editing application calculates the motion of the effect by incorporating the tracking data and displays the result. For more information, see “Playing Effects That Use Tracking Data” on page 268. 7. If necessary, continue to adjust the tracking information or other effect parameters until you are satisfied with the look of the effect.
Understanding the Tracking Interface Effect Available Parameters Stabilize Position, Scaling, Tracking Matte Key effect (applied from Key category in the Position, Scaling Effect Palette) Imported Matte Key clip (2D) Position, Scaling Titles (2D) Position, Scaling 3D Warp (including promoted Picture-in-Picture effects, keys, 3D Xpress shape effects, and titles) Position, Rotation, Scaling, Tracking Understanding the Tracking Interface Tracking controls appear in three locations: the Effect Editor
Understanding the Tracking Interface For more information, see: • “Setting Up Tracking in the Effect Preview Monitor” on page 252 • “Understanding Tracking Data” on page 259 • “Customizing the Display of Tracking Data” on page 260 • “Selecting, Deleting, and Moving Tracking Data Points” on page 263 The following illustration shows a typical display of tracking boxes and data points.
Opening The Tracking Window Opening The Tracking Window For more information on the features of the Tracking window, see “Tracking Window Components” on page 245. To open the Tracking window, do one of the following in the Effect Editor: t Enable tracking in an effect parameter for a tracker that is not currently mapped. For more information, see “Creating and Mapping Trackers” on page 251. t Click the Tracking Tool button.
Tracking Window Components Tracking Window Components(Continued) Control Description Stretch Points Mode Lets you stretch data points. For more information, see “Stretching a Range of Tracker Data Points” on page 266. Enable Tracker button (Tracker timeline displays) When this button is active for a tracker, tracking boxes and tracking data points display in the Effect Preview monitor, and your Avid editing application generates tracking data for that tracker during a tracking operation.
Setting Up an Effect for Tracking Tracking Window Components(Continued) Control Description Tracker timeline (Tracker timeline displays) Shows information about the tracking data in the tracker. Color coding indicates the status of the data. For more information, see “Setting Up Tracking in the Effect Preview Monitor” on page 252 and “Understanding Tracking Data” on page 259. Tracker Close button (Tracker timeline displays) Closes the tracker and permanently deletes any information within it.
Preparing to Generate Tracking Data In most cases, you can choose whether to make these adjustments before or after you generate the tracking data. As long as the standard adjustments as well as the tracking data are in place when you play the effect, you see the final result of all the adjustment data. For example, if you are replacing a sign on a moving vehicle, you use standard effect parameter adjustments to set the initial size, shape, and position of the sign.
Preparing to Generate Tracking Data Your Avid editing application creates an appropriate number of trackers (one for Position, two for Rotation or Scaling) and maps them to the parameter. To enable tracking for the Position or Scaling parameters in 2D effects that use advanced keyframes: t Open the Position or Scaling category, and then click the enable button for the Tracking subcategory.
Preparing to Generate Tracking Data Your Avid editing application creates and maps a tracker for each tracker enable button you click, and also enables the Tracking category. To enable tracking for the Tracking parameter in 3D Warp effects: t Open the Corner Tracking parameter category, and then click one or more of the individual tracker enable buttons. Your Avid editing application creates and maps a tracker for each tracker enable button you click, and also enables the Corner Tracking category.
Preparing to Generate Tracking Data Number of Trackers Description Two Controls position, scaling, and rotation. Use two trackers if you want your effect to change size or rotate. Three Controls position, scaling, rotation, and skew. Skew refers to a transformation that tilts or squashes an object along one axis while retaining its orientation along the other axis. This has the effect, for example, of transforming a rectangle into a parallelogram.
Preparing to Generate Tracking Data Enabling, Disabling, and Deleting Trackers You can enable and disable trackers as necessary. Enabling and disabling a tracker has a different effect depending on whether you do it in the Tracking window or in the Effect Editor. • When you enable or disable a tracker in the Tracking window, you control whether or not the tracker displays in the Effect Preview monitor and whether or not your Avid editing application generates tracking data for that tracker.
Preparing to Generate Tracking Data n You can change the color of the tracking boxes display for a tracker. This might make it easier to see the display against the background image. For more information, see “Customizing the Display of Tracking Data” on page 260. To display tracking boxes in the Effect Preview monitor: 1. If you have not already done so, enable, create, and map the trackers with which you want to work. 2.
Preparing to Generate Tracking Data Guidelines for Positioning and Resizing Tracking Boxes Positioning When you position tracking boxes, consider the following: • Locate the boxes over material that your Avid editing application can track successfully. • Locate the boxes so that the tracking data you generate accurately represents the movement you want to track. Tracking works most successfully on an area of the image that is easily distinguishable from its surroundings.
Preparing to Generate Tracking Data Setting Up Tracking in the Tracking Window In addition to defining the search criteria for a tracker in the Effect Preview monitor, you can also set up the following aspects of tracking behavior in the Tracking window. • Choose which tracking engine to use. For more information on available tracking engines, see “Understanding Tracking Engines” on page 255. • Choose whether the region to track is in the background or the foreground clip.
Generating Tracking Data Tracking Engine Description FluidTracker If you need to search a large part of your image, FluidTracker might produce good tracking data faster than the Correlation Tracker. In the following two specific situations, FluidTracker usually produces more accurate data than the Correlation Tracker: • When the points you want to track start outside the visible area of the frame. • When you are using four trackers to control the corner-pinning of an image.
Offset Tracking - At the beginning of the segment. - At the beginning of a region. - At the location where you stopped generating tracking data and from where you want to resume tracking. For information about moving to the beginning of a tracking region, see “Using Tracker Regions” on page 258. 3. Click the Tracking button. Your Avid editing application begins to generate tracking data.
Offset Tracking In these situations, you can use offset tracking to generate useful tracking data. Offset tracking lets you track one target area until it becomes unavailable because it leaves the frame or is hidden by another object, then track another target area that shows the same kind of motion as the first. Your Avid editing application calculates the offset from the first set of tracking points to the second, and takes account of this offset when animating the final effect.
Understanding Tracking Data To go to the beginning of the previous or next tracking region: t Click the Go to Previous Region or Go to Next Region button. Go To Previous Region (left) and Go To Next Region (right) buttons Performing Offset Tracking When you start tracking from the beginning of a tracking region, your Avid editing application steps backward one frame from the region boundary before it starts tracking.
Customizing the Display of Tracking Data You can control which sets of data points display and how many of the points display. You can also manipulate the points directly in the monitor in a variety of ways. For more information, see “Selecting, Deleting, and Moving Tracking Data Points” on page 263. Tracking Data in the Tracker Timelines The tracker timeline display shows you the status of tracking data over the length of the effect. Example of the tracker timeline display.
Setting the Reference Frame for a Tracker To turn the tracking display on or off for a tracker: t In the Tracking window, click the Enable Tracker button for the appropriate tracker. The Enable Tracker button is purple when the display is on. n Alt+click (Windows) or Option+click (Macintosh) the Tracking Box Display button for any tracker to turn the display on or off for all trackers at once.
Understanding the SteadyGlide and Smoothing Options for Tracking By default, your Avid editing application considers the first frame of a tracked segment to be the reference frame. In every frame after the first, the effect is modified by the tracking data for that frame. You can choose to set the reference frame to any other frame in the segment.
Using SteadyGlide or Smoothing to Process Tracking Data When you are using Smoothing, the display shows the smoothed curve that results from the processing, which gives a useful visual indication of the amount of smoothing your Avid editing application is applying. The following illustrations show typical results for Smoothing using different smoothing values.
Selecting, Deleting, and Moving Tracking Data Points • You can delete points. • You can move one or more points. You can also move points outside the limits of the frame to extend the movement of an effect smoothly out of the frame, or stretch a range of points. For more information, see “Moving Tracker Data Points Outside the Frame Boundary” on page 266 and “Stretching a Range of Tracker Data Points” on page 266.
Selecting, Deleting, and Moving Tracking Data Points To delete one or more selected data points: t Press the Delete key. Your Avid editing application repositions the selected data points along a straight line between the two unselected points that bound the selected points. The data points remain fully functional. They display in the Effect Preview monitor at their newly calculated locations, and they remain available for you to modify further.
Moving Tracker Data Points Outside the Frame Boundary Moving Tracker Data Points Outside the Frame Boundary If you track a target area that moves out of the frame, the tracking engine can no longer track the target area and generates invalid data points. You have two options to ensure consistent motion if you want your effect to move smoothly out of the frame. • You can use offset tracking to track a second target area that does not leave the frame until the end of the segment.
Limiting the Effect of Position Tracking Data to a Single Axis You can select a range of points that are slightly out of the ideal position in this way and stretch them so that they more exactly represent the path of the object you want to follow. This provides the motion you need for your effect without retracking or moving many data points individually. To stretch a range of data points: 1. Select the range of points as described in “Selecting, Deleting, and Moving Tracking Data Points” on page 263. 2.
Playing Effects That Use Tracking Data n You can limit Position motion to a single axis when you want to stabilize a shot without eliminating camera motion in one direction, such as a pan. However, a more flexible approach to this problem for most shots is to use data from both axes and then use SteadyGlide to process the data. For more information, see “Stabilizing an Image” on page 269 and “Using SteadyGlide or Smoothing to Process Tracking Data” on page 263.
Understanding Stabilizing Understanding Stabilizing If you need to eliminate unwanted motion in a video clip, such as motion from an unstable camera, or even more subtle motion such as gate weave introduced during the telecine process, you can stabilize the clip. Stabilizing lets you track an object in a shot that should not be in motion and then use the tracking data to keep that object stationary and remove the unwanted motion.
Stabilizing an Image The Stabilize effect uses AutoStabilize to track and stabilize an image automatically when you apply it to a single segment in the Timeline. AutoStabilize uses the tracking and effect parameter options that are most likely to result in a stable image. In many cases, you do not need either to interrupt the automatic process or to adjust effect parameters after it finishes. If you need to, you can adjust parameters after the automatic process, or even retrack.
Stabilizing an Image 2. Enable one or more trackers. If you plan to use the FluidStabilizer tracking engine, do one of the following: t For the Stabilize effect, open the Position parameter category and click the Enable button for one tracker. t For the 3D Warp effect, open the Position parameter category, then the Position Tracking subcategory, and then click the Stabilize Tracking button.
Reviewing and Adjusting a Stabilized Image Reviewing and Adjusting a Stabilized Image After you stabilize an image, you typically need to review the results to determine whether the stabilized image looks good.
Guidelines for Using Multiple Trackers When Stabilizing A message box appears, informing you that Auto-Zoom will be turned off. If you want to use the Auto-Zoom option again later, you must click Auto-Zoom. Guidelines for Using Multiple Trackers When Stabilizing The number of trackers that you need when stabilizing depends on the complexity of the motion you want to stabilize.
Using the Region Stabilize Effect 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.
Making Adjustments to the Region Stabilize Region of Interest n Progressive Source has no effect in 24p projects because your Avid editing application assumes that you are using progressive footage. If you click the Progressive Source button and your underlying source is not progressive, you may see motion artifacts between fields in the rendered effect. 9. Render and review the effect.
Reusing Existing Tracking Data to follow the background area (perhaps by selecting all the points and moving them a little). If you shift the effect segment substantially, or even place it over a different background clip, the tracking data remains available but has no practical use. n Sometimes it might be useful to create a multilayer effect with motion tracking as a nested effect.
Copying and Pasting Tracking Data n The Tracking parameter and the Position, Scaling, and Rotation parameter categories form two mutually exclusive groups. You cannot have tracking enabled in both groups at the same time. For more information, see “Effects and Effect Parameters That Use Tracking Data” on page 242. You are less likely to find tracking information useful outside the effect for which you created it since the information refers specifically to the motion in one particular background clip.
Examples of Effects Using Motion Tracking 3. Do one of the following: t Select Edit > Paste. t Press Ctrl+V (Windows) or Command+V (Macintosh). Duplicate copies of the enabled trackers appear in the Tracking window with new tracker numbers. 4. Rename the duplicate copies and change their assigned colors so that you can continue to distinguish between the different versions.
Examples of Effects Using Motion Tracking The location of the four tracking boxes at the four corners of the license plate (left), and the tracking data points generated for the four trackers. As the truck moves into the distance and the plate gets smaller, the points move closer together. Images from the beginning, middle, and end of the original clip (top) and the finished effect. The replacement plate is positioned and sized manually in the first frame of the clip.
Examples of Effects Using Motion Tracking The tracking boxes located over the targets (left), and the generated tracking data points for the entire clip (right). Images from the beginning, middle, and end of the original clip (top) and the finished effect (bottom) with the Paint object.
11 Working with 3D Effects This chapter describes procedures for creating and manipulating 3D effects.
Applying the 3D Warp Effect The effects in the Xpress 3D Effect category use a subset of the full 3D effect parameter set and are completely compatible with Avid Xpress® editing applications that include 3D effects capability. If you are working on sequences that need to maintain compatibility with Avid Xpress, the effects in the Xpress 3D Effect category are the only 3D effects you can use. For more information, see “Using Xpress 3D Effects” on page 282. • Promote an existing 2D effect to 3D.
Promoting 2D Effects to 3D Effects c To maintain compatibility when transferring sequences between Avid editing applications, use only Xpress 3D effects. Do not use the 3D Warp effect to create 3D effects. Xpress 3D effects provide a fast way to apply basic 3D effects to your sequence, without using the 3D Warp effect to make custom adjustments. For example, the 3D Page Curl effect automatically creates a page curl effect when you apply it.
Using Matte Keys with 3D Effects Using Matte Keys with 3D Effects A matte key is an effect made up of three components: • High-contrast image or matte (also called the key) • Background image (the image that shows through the lightest part of the matte) • Foreground image (the image that shows through the darkest part of the matte) For more information on Matte Key clips, see “Creating a Matte Key Effect” on page 204.
Understanding 3D Geometry and Degrees of Rotation However, in the following case, 3D effects cannot play in real time and appear in the Timeline with a blue dot: • If you are working with HD media, the following 3D effects cannot play in real time: - 3D Shape effects (Ball, Page Fold, Slats), whether applied from the Xpress 3D effect category or by selecting from the Shape parameter category in the 3D Warp effect. - Titles promoted to 3D. - Imported moving Matte Key effects promoted to 3D.
Working with 3D Effects Parameters 0 –45 – + +45 +90 –90 –135 +135 –180 +180 A positive number of degrees refers to a clockwise rotation; a negative number of degrees refers to a counterclockwise rotation. A rotation of +45o rotates the image clockwise by one-eighth of a full circle. Arotation of –45o rotates the image counterclockwise by one-eighth of a full circle. The following illustration shows several rotation examples.
Manipulating 3D Effects Directly For specific information on each of the 3D parameters available in the Effect Editor, as well as important information on the hierarchy of 3D effects parameters, see “Effects Parameter Reference” on page 471 and “Understanding 3D Parameter Hierarchy” on page 554. 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.
Applying 3D Effects: Examples To see the path an image takes on the screen: t Click the Outline/Path button. Applying 3D Effects: Examples The topics in this section provides examples of some basic 3D transition and segment effects, including the steps and values used to create them. You can use them to practice creating 3D effects, or to get ideas for building your own effects.
Applying 3D Effects: Examples Creating a Page Fold Transition This example uses the Page Fold effect, which treats the foreground video channel as though it were a sheet of paper being folded over to reveal another page beneath. Page Fold supports one highlight along the top edge the fold and a second lowlight under the fold. Example of a Page Fold effect with highlight and lowlight: outgoing and incoming video sources (top) and stages of the effect (bottom) To create the Page Fold effect: 1.
Applying 3D Effects: Examples Set a value of 0 (no curl) on a keyframe at the start of the effect and a value of 100 on a keyframe at the end of the effect. For more information, see “Working with Keyframes” on page 80. 5. Click the Play button or the Play Loop button to preview the effect. Play (left) and Play Loop (right) buttons 6. (Option) Use the Transition parameters to adjust the length of the effect.
Applying 3D Effects: Examples 5. Adjust the effect parameters as shown in the following table. Parameter Category Parameter Settings Crop T (top): 600, L (left): -999, B (bottom): -600, R (right): 999 Scaling Wid:110, Hgt: 100 Position Enable (leave parameter defaults) Border Select a dark color. For more information on color selection, see “Adjusting a Color Parameter for an Effect” on page 74. Width: 40, Soft: 100, H (hue): 0, S (saturation): 0, L (luminance): 255 6.
Applying 3D Effects: Examples Example of a Corner Pin effect: background and foreground video (top), and stages of the effect (bottom). The foreground video starts pinned to the monitor screen in the background image, and moves off it until it fills the frame, completing the transition. To corner pin an image: 1. Create a segment with two video tracks, placing the foreground video on the top track. For information about editing a sequence, see “Creating and Editing Sequences” in the Help. 2.
Applying 3D Effects: Examples t Use the Quick Pin feature: a. In the Effect Editor, click the Corner Pin button to activate the handles. b. Press and hold the Ctrl and Alt keys (Windows), or the Command and Option keys (Macintosh), then position the pointer where you want the highlighted corner to be corner pinned, and click. The next corner is highlighted. c.
Applying 3D Effects: Examples Example of a Stamp effect: the stamp element zooms into position from full screen (top left), is “stamped” in place at the end of the first segment (top center), and remains in place for the second segment (top right) To create a stamp: 1. Create the image you want to use as a stamp. For example, you can use the Title tool to create a title or you could import a PICT image. 2. Create a segment with at least two video tracks.
Applying 3D Effects: Examples Applying a Chroma Key Effect You can use the options in the Foreground category of 3D Warp to apply a chroma key effect. You also have the option of using the SpectraMatte option for a chroma key that has higher quality and gives you greater control over the final look of the effect. For more information, see “Key: SpectraMatte Effect” on page 452. To apply a Chroma Key effect: 1. Edit the foreground image onto track V2 and the background image onto track V1 in the Timeline.
12 Creating Titles You can create titles in your Avid editing application using either the classic Avid Title tool or the Marquee® Title tool. Titles can incorporate text, graphic objects, imported graphics, and video. This chapter provides information on using the Title tool to create titles. n You cannot create titles with the Avid Title tool and Marquee Title tool if you are working with a higher than HD project. You can use the NewBlue® Titler Pro bundled with the editing application.
Opening the Title Tools • Saving and Recalling Title Styles • Exporting a Title as a Graphics File Throughout this chapter: • “Title” refers to both text and graphics. • “Title tool” refers to the classic Avid Title tool. • “Marquee” refers to the Marquee Title tool. Opening the Title Tools You can open either the Title tool or Marquee, and you can bring the Title tool to the foreground if it is covered by another window, using standard menu commands. To open one of the Title tools: 1.
Using Marquee Using Marquee Marquee is both an alternative tool for creating basic titles and a tool for creating much more sophisticated titles such as 3D and animated titles. Marquee opens from within your Avid editing application but has its own self-contained user interface, including its own Help system. For information on opening Marquee, see “Opening the Title Tools” on page 297.
Understanding the Title Tool n • If you are bringing a project from the Macintosh platform to the Windows platform, or from the Windows platform to the Macintosh platform, you might need to substitute a font from the new platform for an existing font in the project. Windows and Macintosh fonts sometimes differ even when they have the same name. If the Title tool does not recognize a font contained in a title, the Font Replacement dialog box opens to let you substitute an alternative font.
Toolbar Reference for the Title Tool For more information, see “Understanding the Drawing Environment” on page 302 and “Setting Up the Drawing Environment” on page 304. • The toolbar at the bottom of the screen. Topics throughout this chapter describe the use of these tools. For information on the two most widely-used tools, the Selection tool and the Text tool, see “Using the Selection and Text Tools” on page 301.
Using the Selection and Text Tools Component Description 7 Transparency Level boxes Let you change the transparency levels of text and objects. For more information, see “Selecting Colors and Setting Transparency” on page 321. 8 Color and Transparency Blend tools Let you create a blend between two colors or two transparency values. For more information, see “Selecting Colors and Setting Transparency” on page 321.
Understanding the Drawing Environment Selection tool (left) and Text tool (right) in the Title Tool toolbar To select a single object: t Click the Selection tool, and then click an object. Selection handles appear around the object. To select multiple objects, do one of the following: t Shift+click with the Selection tool. t Click outside the objects, and drag to surround the objects with a lasso.
Understanding the Drawing Environment Anti-Aliased Preview Your Avid editing application creates text and objects in titles anti-aliased with an 8-bit alpha channel. Anti-aliasing ensures that text, lines, and object edges appear smooth, regardless of size. You can preview a title to see the title drawn with anti-aliasing, just as it will be saved. Your Avid editing application always saves titles in anti-aliased format.
Setting Up the Drawing Environment If there is a sequence in the Record monitor, the Title tool opens with a video background. The location of the position indicator in the Timeline at the time you open the Title tool determines the initial video frame that displays. If there is no sequence in the Record monitor, the Title tool opens with no video showing (the background appears black). The Video Background button is green when you are creating a title for display over a video background.
Creating Text To create a title that appears over an opaque color background: 1. (Option) Click the Video Background button to switch off the video background if it was previously turned on. 2. Click and hold on the Background Color (Bg) window. The Title Tool Color Picker dialog box opens. 3. Use the Title Tool Color Picker dialog box, eyedropper, Windows Color dialog box, or Macintosh Colors panel to select a color.
Sizing and Positioning Text Objects 5. Select Edit > Paste. The pasted text takes on the attributes currently set in the Title Tool toolbar. Sizing and Positioning Text Objects You can resize and reposition text objects by dragging directly in the Title tool. When you resize a text object, the text remains the same size but rewraps to fill the reshaped area.
Formatting Text Formatting 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. The following illustration shows the text formatting controls in the Title Tool toolbar.
Formatting Text The Title tool displays the name in the Font Selection button and uses this font for text until you change it during the editing session. n When you select a text object, the Font Selection button displays the name of the font in the text object. Changing 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.
Formatting Text Justifying Text Justification controls the alignment of text in an existing text object and also when you type text in a new text object. The text justification buttons appear below the Font Selection button in the Title Tool toolbar. Text justification buttons in the Title Tool toolbar To justify the text, do one of the following: t Click the left text justification button to align text with the left side of the text object. t Click the center button to center the text.
Formatting Text To adjust kerning with predefined sizes: 1. Select the text. 2. (Option) Click the Kerning button, and select Pair Kerning to eliminate excessive space between some character pairs. Pair kerning works only on fonts that support kerning tables (for example, Palatino). 3.
Creating Graphic Objects The Title tool adjusts leading immediately. Creating Graphic Objects You use the drawing tools to create graphic objects such as squares, rectangles, circles, ovals, and lines. After creating graphic objects, you can modify or manipulate them in a variety of ways. For more information, see “Modifying and Manipulating Title Objects” on page 316.
Creating Rolling and Crawling Titles n Rolling and 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. Rolling titles scroll vertically, moving from top to bottom or from bottom to top. The Long Road Home The Long Road Home The Long Road Home The Long Road Home Left to right: example of start, middle, and end of a bottom-to-top roll.
Creating Rolling and Crawling Titles Workflow Options for Creating Crawling Titles Rolling titles scroll in the direction of the roll as you type the text, but crawling titles do not scroll horizontally in the direction of the crawl during typing. When you create crawling text, consider the following workflow options: • Type the text first as a rolling title.
Creating Rolling and Crawling Titles Top to bottom: Crawling Title button, Rolling Title button, and Page Number text box in the Title Tool toolbar The button changes to green, and a Page Number text box appears in the lower right corner of the Title tool. n You cannot create rolling and crawling titles over a color background, although you can preview them with a color background.
Creating Rolling and Crawling Titles t (Rolling titles only) Press the Up Arrow or the Down Arrow key to move the pointer through a rolling title one line at a time. Working with Pages in Rolling or Crawling Titles When you first create a rolling title or a crawling title, a Page Number text box appears in the lower right corner of the Title tool. The Page Number text box reflects your current position in the title.
Modifying and Manipulating Title Objects To delete empty pages from a rolling or crawling title: 1. Select Object > Remove Page. The Remove Page dialog box opens. 2. Type the page number of the page you want to remove, and then click OK. If the page is empty, the page is removed and all pages after the removed page are moved by one page. To remove excess pages at the end of a rolling or crawling title: t Select Object > Auto Size Mode.
Modifying Box Corners, Lines, and Borders on Title Objects For more information, see “Understanding Color and Transparency Controls in the Title Tool” on page 319 and “Selecting Colors and Setting Transparency” on page 321. • You can add and adjust drop or depth shadows for any title object. For more information, see “Adding Shadows to Title Objects” on page 323 and “Adjusting Shadows on Title Objects” on page 324. • You can modify the transparency level of any title object or of its shadow.
Modifying Box Corners, Lines, and Borders on Title Objects Box Corner button and options, with Custom Radius option at bottom To select a line or border width: 1. Select an object (such as a line, shape, or text object). 2. Click the Border Width button, and do one of the following: t Select from the standard widths. t Specify a custom width by doing the following: a. Select the Custom Width option (the last item on the list). The Enter New Line Width dialog box opens. b.
Understanding Color and Transparency Controls in the Title Tool t Select the Edit Arrowhead option (the last item on the list), and specify a custom arrowhead as described in the following procedure. Arrowhead button and options, including Remove Arrowhead option (top) and Edit Arrowhead option (bottom) To change the arrowhead size: 1. Select a line. 2. Click the Arrowhead button. 3. Select the Edit Arrowhead option (the last item on the list). The Arrowhead Size dialog box opens.
Understanding Color and Transparency Controls in the Title Tool The following illustration shows the boxes associated with color and transparency. Left to right: Color Selection boxes, Transparency Level boxes, and Color and Transparency Blend tools in the Title Tool toolbar • The Color Selection boxes control fill (Fill), shadow (Shad), and border (Bord) color, respectively.
Selecting Colors and Setting Transparency Example of a transparency blend (left) created with the Transparency Blend tools (right) Selecting Colors and Setting Transparency To select a color for a title object: 1. Select a text or graphic object. If you do not select an object, the color is applied to the next object you create. 2. Press and hold the mouse button with the pointer over one of the Color Selection boxes in the toolbar: Box Description Fill Applies the color to the selected object.
Selecting Colors and Setting Transparency t To select from the Title Tool Color Picker, drag the pointer along the color selection bar to the color you want, and then move the pointer down into the shade selection palette to select a shade. Your Avid editing application applies the color when you release the mouse button. t To use the eyedropper, drag the pointer to the Eyedropper icon and release the mouse button. The pointer changes to the eyedropper.
Adding Shadows to Title Objects To control transparency level: 1. Click the appropriate Transparency Level box, depending on whether the transparency will apply to an object or will adjust a shadow or border around the selected object. The Transparency Level box displays the text “Hi” with a background that changes from black to white. A completely white background represents a fully transparent object or portion of an object. A transparency control with a slider opens.
Adjusting Shadows on Title Objects 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. Adjust the depth or direction of the shadow by doing one or more of the following: t Click the Shadow Depth and Direction button, and drag the shadow sample to any position. t Shift-click the shadow in the Shadow Depth and Direction button, and drag to restrict shadow placement to 45-degree angles around the title.
Manipulating Title Objects Shadow softness values must be integer values between 4 and 40. The higher the value, the more blurred the shadows are. If you set the value to zero, shadows on title objects have no softening (hard edges). 3. Click OK to close the Soft Shadow dialog box. To adjust shadow softness on-the-fly, using the Soft Shadow text box: 1. Select one or more objects in the Title tool. 2. Select Object > Soften Shadow. 3.
Manipulating Title Objects The last object created occupies the top layer, but you can move objects forward or backward within the screen area. • You can group and ungroup title objects. Combining objects into a group means that actions, such as moving or applying color, affect all objects in the group. • You can lock and unlock title objects. You lock objects to make sure that changes to default settings, such as the font setting or object position, do not affect the locked objects.
Manipulating Title Objects To ungroup objects: 1. Click the Selection tool, and click a grouped object. 2. Select Object > UnGroup. Everything in the group becomes an individual object that you can move or change independently. To lock objects: 1. Click the Selection tool, and click an object. 2. Select Object > Lock. The Title tool locks the object. You cannot change the object until you unlock it. A locked object displays hollow selection handles, as shown in the following illustration.
Saving Titles n For information on aligning objects to a grid, see “Understanding the Drawing Environment” on page 302. To distribute objects: 1. Click the Selection tool, and Shift+click at least three objects. 2. Do one of the following: t Select Alignment > Distribute Left to Right. The Title tool distributes the objects evenly from left to right. t Select Alignment > Distribute Top to Bottom. The Title tool distributes the objects evenly from top to bottom.
Saving Titles To save the title and exit the Title tool: 1. Select File > Close. If the contents of the title have changed since the last time it was saved, a dialog box opens, asking if you want to save the existing title. 2. Click Save. The Save Title dialog box opens. 3. Type a name to identify the title in the bin, and then select a bin, drive, and resolution from the menus. If you are saving a new title, the resolution you select becomes the default for future new title saves.
Revising a Title in a Bin 3. Enter a name for the title. 4. Select the Place in Timeline (In -> Out) option. 5. Select the track where you want to place the title. The tracks listed are based on the tracks available for the current sequence. 6. Click Save. The title is placed in the Timeline between the In and Out marks. To save a version of a title using the keyboard shortcut: 1. Press Shift+Ctrl+S (Windows) or Shift+Command+S (Macintosh). The Save Title dialog box opens. 2. Type a name for the title. 3.
Creating and Using Title Templates b. Rename the title, or select other options from the Bin, Drive, and Resolution menus. If you keep the same name for the title, your Avid editing application retains the original Title Effect clip in the bin and creates a new clip with the same name plus a two-digit extension that adds incremental numbering for each revision. c. Select or deselect Fast Save, depending on your needs. For more information, see “Saving Titles” on page 328. d.
Saving and Recalling Title Styles 5. (Option) If you want to change the position of a template, click the Templates menu, and select Moveable Templates. Then click the Arrow buttons to move the template within the Title Tool. 6. Close the Title tool, and click Save in the dialog box. The Save Title dialog box opens. 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.
Saving and Recalling Title Styles Top to bottom: Sample window, Function Key text box, and Style Name text box in the Title Style Sheet dialog box 4. Select the parameters that you want to include in the style using the information in “Title Style Sheet Options” on page 333. The Title tool 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.
Saving and Recalling Title Styles Component Description Revert button Returns the settings to those used when the style was last saved. Done button Closes the dialog box and saves your changes. Convert to Marquee button Converts your title style to Marquee format. For more information, see the Avid Marquee Title Tool User’s Guide or the Avid Marquee Title Tool Help. Close button Acts as a Cancel button. A message box opens, asking whether you want to cancel or save your changes.
Exporting a Title as a Graphics File 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 select a title style. t If the style is assigned to a function key, press the appropriate function key. Managing Title Styles Your Avid editing application lists the available title styles in the Settings tab of the Project window.
13 Editing with Titles This chapter provides information on editing titles created in the Title tool or in Marquee into sequences.
Editing a Title into a Sequence For more information, see “Managing Effect Media Files” on page 141. When you have a bin in Frame view, you can display a frame from the title itself rather than display the Title Effect Clip 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.
Editing a Title into a Sequence Example of patching from a Source Track button (left) to a Record Track button (right) n You can use any three-point editing method to edit a title into a sequence. The following steps are just one editing method. For other methods, see “Creating and Editing Sequences” in the Help. 5. Mark an IN point in the title clip. Mark the IN point toward the middle of a static title clip so you can trim the title, if necessary.
Editing a Title into a Sequence 2. (Option) Select Timeline > New > Video Track. Your Avid editing application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, your Avid editing application adds V2. 3. Double-click the Title Effect Clip icon in the bin to load the title clip into the monitor window. 4. Mark an IN point and an OUT point in the title clip to establish the duration that you want for the title.
Removing a Title 2. (Option) Select Timeline > New > Video Track. Your Avid editing application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, your Avid editing application adds V2. 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.
Replacing a Title Replacing a Title To replace a title in a sequence: 1. Click the Segment Overwrite tool in the Timeline palette. 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.
Adjusting Title Effect Parameters Unlike trimming other segments, trimming a rolling or crawling title does not remove any part of the title contents. As a result, the duration of the title determines how fast it plays. For example, the shorter you trim the title, the faster it rolls. n c Rolling titles might jitter at certain speeds. You can trim the duration slightly to fix the problem.
Revising a Title in a Sequence 3. Do one or more of the following to work with the Title effect parameters: t n Adjust Title effect parameters by using basic techniques described in “Using the Effect Editor” on page 68. For information on specific Title effect parameters, see “Title Effects” on page 468. t Use multiple keyframes to gradually change keyframeable parameters over time. For more information, see “Working with Keyframes” on page 80.
Revising a Title in a Sequence A dialog box opens, asking if you want to promote the title to Marquee. n You cannot use the Title Tool to edit titles that you promoted to or created in Marquee. For information on Marquee titles and the Marquee Title tool, see the Avid Marquee Title Tool User’s Guide or the Avid Marquee Title Tool Help. 4. Click No. The Title tool opens. 5. Revise the title by using techniques described elsewhere in this chapter. 6. Save the title by using one of the following procedures.
Replacing Fill Tracks in a Title n You cannot select Fast Save when revising a title in a sequence. 4. Click Save 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 with its new name also appears in the Source monitor and in the bin. The previous Title Effect clip is preserved in the bin. Replacing Fill Tracks in a Title You can replace the fill track of Title effects with video or graphics.
Troubleshooting Titles Re-creating Title Media from the Timeline To re-create title media from the Timeline: 1. Load the sequence containing the titles into the Record monitor. 2. Mark IN and OUT points in the sequence surrounding all the titles that you want to re-create. 3. In the Track Selector panel, select the Record Track button for each track that contains titles you want to re-create. 4. Select Clip > Re-create Title Media. The Re-create Title Media dialog box opens. 5.
Troubleshooting Titles Guidelines for Handling Playback Issues with Rolling Titles The following limitations apply to rolling titles: • 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.
Troubleshooting Titles To correct a title’s resolution to match the resolution used in the video clips in the sequence, use the procedure described in “Re-creating Title Media” on page 345. Using Filtering for HD Titles Titles created with the Title Tool or Marquee in an HD project might display undershoots and overshoots in the SD signal after you downconvert and output a sequence. This problem might also occur with imported animated graphics that contain an alpha channel (except for QuickTime imports).
14 Working with the SubCap Effect This chapter provides information on the SubCap™ captioning and subtitling effect.
How the SubCap Effect Handles Caption Files n The SubCap effect does not provide closed captioning capabilities. Closed captioning encodes text information into the video signal instead of compositing it into the video frames themselves. A viewer can choose whether or not their television or other decoding equipment decodes this text information and displays it on screen.
Applying the SubCap Effect 0 1 2 3 02:00 03:00 4 5 6 04:18 7 8 06:13 Before (above) and after (below) importing a caption file. Before the import, the SubCap effect occupies the full length of its own caption track (white), above all the video tracks (gray). After the import, the caption track is automatically subdivided, creating separate effects for each caption. For the first effect, the text reads “Bob, are you there?” For the second effect, the text begins “Yes, Sam.
Applying the SubCap Effect You apply the SubCap effect to a video track above all the other video material in your sequence. In some circumstances (for example, for translations into more than one language) you might apply different instances of the effect to different tracks, and then turn the tracks on or off as necessary to create different language outputs.
Entering Caption Text Directly in the Effect Editor 5. Do one of the following: a. Drag the SubCap effect to the video track to which you want to apply the effect. b. Drag the SubCap effect to the segment in the Timeline that you created in step 3. Entering Caption Text Directly in the Effect Editor You can enter caption text directly in the Effect Editor.
Adding Information to a SubCap Effect 5. Navigate to the location of the caption file you want to import. 6. From the Files of type menu (Windows) or the Enable menu (Macintosh), select the file type of the caption file you want to import: - EBU N19 - Avid DS 7. In the list of files, select the caption file you want to import.
Editing Text in the Master Caption List You can use settings in the Synchronize tab of the Global Properties dialog box to propagate the information changes you make in one instance of the SubCap effect in a sequence, either to all instances of the SubCap effect on the current track, or to all instances anywhere in the sequence. For more information, see “Synchronizing SubCap Effect Parameters and Information” on page 356. If you export the caption data from your sequence to the EBU N19 (.
Adjusting SubCap Effect Parameters Adjusting SubCap Effect Parameters The SubCap effect has a full range of parameter controls for adjusting the appearance of the caption text and its background box. You can also change the position of the caption text and its background box on the screen by manipulating an anchor point directly in the Effect Preview monitor.
Exporting SubCap Effect Data to Caption Files 5. For each effect parameter or information type in the list, select one of the following: Option Description Clip Changes to this item remain unique to the current effect clip and are not copied to any other SubCap effect clips in the sequence. Track Changes to this item are copied to any other SubCap effect clips on the track containing the current clip, but not to those on any other tracks in the sequence.
Working with Unicode Text in the SubCap Effect To export caption data to a caption file: 1. Move the position indicator to any instance of the SubCap effect in the sequence, and ensure that the track containing the effect is selected. 2. If it is not already open, open the Effect Editor, for example, by clicking the Effect Mode button. 3. In the Caption Files parameter category, click Export Caption Data. The “Export caption data to the specified file” dialog box opens. 4.
Working with SubCap Effect Stylesheets Working with SubCap Effect Stylesheets You can save the current parameter values and information items for any SubCap effect clip as a stylesheet. You can then apply the values from a stylesheet to any SubCap effect clip.
Examples of SubCap Effect Parameter Adjustments To delete a SubCap effect stylesheet: 1. Move the position indicator to any SubCap effect clip in a sequence, and ensure that the track containing the effect is selected. 2. If it is not already open, open the Effect Editor, for example, by clicking the Effect Mode button. 3. Click Edit Global Properties. 4. Click the Stylesheets tab. 5. Select the stylesheet you want to delete in the stylesheet list. 6. Click Delete. The stylesheet is removed from the list.
Examples of SubCap Effect Parameter Adjustments For more information on SubCap effect parameters, see “Adjusting SubCap Effect Parameters” on page 356 and “Generator Effect Parameters” on page 482. Example 1 This example uses a single box as background for the entire text, a custom shadow, and keeps the Avid default settings for padding and row spacing.
Examples of SubCap Effect Parameter Adjustments Example 2 This example uses a separate box for each row of the text, does not use a shadow, and uses custom values for padding and row spacing that allow the boxes to frame the text more elegantly than Example 1.
15 Intraframe Editing This chapter provides information on the intraframe editing features of your Avid editing application.
Rendering Intraframe Effects Paint Effect The Paint Effect includes the following features: • Creation of vector-based objects that you can animate and edit. • Customizable paint brushes with preset templates and parameters for adjustable softness and rotation. • A variety of paint modes including Blur, Clone, Colorize, Darken, Emboss, Erase, Lighten, Mosaic, Scratch Removal, and Unsharp Mask. • Object selection with rescale, lock/unlock, and group/ungroup capabilities.
Applying the Paint or AniMatte Effect to a Sequence In Effect mode, you can see the object as you step through each frame in the segment if Render Onthe-Fly is selected in the Composer menu. You can also use the Play Preview function to preview a Paint Effect while you are working in Effect mode. For more information, see “Effect Editor Controls” on page 69. Your Avid editing application renders painted objects to the screen starting with the bottom layer (closest to the video background).
Effect Editor Reference for the Paint and AniMatte Effects Effect Editor Reference for the Paint and AniMatte Effects The following illustration identifies the different components of the Effect Editor that appear when you apply a Paint Effect to a segment in a video project and enter Effect mode. 6 7 8 1 9 2 10 11 12 13 3 4 5 The following table briefly describes the components of the Effect Editor for the Paint Effect.
Using the Intraframe Drawing Tools Component Description 2 Brush Shape buttons Change the shape of the brush. 3 Render Effect button Renders effects on selected tracks at the location of the position indicator in the effect’s Timeline. 4 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 Intraframe Drawing Tools Top to bottom: Rectangle, Oval, Polygon, Curve, and Brush tools in the Effect Editor n The parameter sliders do not appear until you select the corresponding drawing tool. Your Avid editing application supports the use of a pen tool and graphics tablet with Intraframe drawing tools. For installation and configuration instructions, see the documentation that ships with your pen tool and tablet.
Using the Intraframe Drawing Tools Example of a painted line over a gray background. Selecting a Color for the Brush Tool You can select the color that the Brush Tool uses by using the eyedropper, the parameter sliders, the Windows Color dialog box, or the Macintosh Colors panel. You can select the color before you begin painting or after you have painted an object. For more information, see “Adjusting a Color Parameter for an Effect” on page 74.
Using the Intraframe Drawing Tools 7. Release the mouse button when you have finished painting the object. Creating a Custom Brush Head You can change the brush head to a custom shape by modifying the brush head in the Brush Preview window. To create a custom brush head: 1. Click the Brush tool in the Effect Editor. 2. Click a Brush Shape button to use as the basis for your custom brush head. Brush Shape tools in the Effect Editor The shape appears as the brush head in the Brush Preview window. 3.
Using the Intraframe Drawing Tools Brush Shape tools in the Effect Editor The shape appears in the Brush Preview window. 3. Do one of the following: t Drag the Spin slider to the right (clockwise rotation) or to the left (counterclockwise rotation) to rotate the brush head to the position you want. t Click the Spin slider, and use the numeric keypad to type a value from –360 to 360.
Using the Intraframe Drawing Tools 7. Render the Paint Effect to play it back in real time. For more information, see “Basics of Effects Rendering” on page 41. Creating Rectangular and Oval Shapes To paint with the Rectangle or Oval tool: 1. In the Effect Editor, click the Rectangle or Oval tool. Rectangle tool (left) and Oval tool (right) 2. In the Effect Editor, select a paint mode or key mode and parameters. 3. Position the pointer where you want to begin painting in the frame. 4.
Using the Intraframe Drawing Tools Try to create the object with as few control points as possible. Fewer control points simplify your work if you need to modify the object later. 4. Double-click to create the final control point, or click the initial control point to create the closed polygon. To create a polygon with straight-line segments: 1. In the Effect Editor, click the Polygon tool. 2. Select a paint mode or key mode and parameters in the Effect Editor. 3.
Using the Intraframe Drawing Tools 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. Move the pointer to the next location where you want to create a curved segment. 9. Repeat steps 3 to 8 to create additional curves if needed. 10.
Using the Intraframe Drawing Tools 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 closed. 8. (Option) Adjust the parameters of the object. Creating Freehand Curved Objects With the Curve tool, you can trace curved objects with freehand capability. To paint with the Curve tool: 1. In the Effect Editor, click the Curve tool. 2.
Using the Intraframe Drawing Tools The Fast Forward and Rewind buttons are in 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, see “The Command Palette” in the Help. To delete an object: 1. Click the Selection tool. 2. Click the object you want to delete. 3. Do one of the following: t Press the Delete key. t Select Edit > Delete. To undelete an object: t Select Edit > Undo.
Working with Vector-Based Objects To add feathering to an object’s edges: 1. Click the triangular opener for the Feathering parameter category. 2. Adjust the Bias, Hor (horizontal), and Vert (vertical) sliders. Working with Vector-Based Objects Intraframe effects are vector-based objects. Vector-based objects have several advantages over bitmapped objects. For example, you can create and edit vector-based objects with much greater precision than you can bitmapped objects.
Working with Vector-Based Objects Direction bar with direction handles Dragging a direction handle changes the way the segments pass through the control point to define the curve. When you drag a direction handle, you change the height and angle of the curve. The curve responds as if you are gently tugging it like a piece of string. The segments remain anchored to the control points on either side of the active join. Straight-edge joins do not display direction bars and handles when you click them.
Working with Vector-Based Objects 5. Press and hold the mouse button, and drag in the Effect Preview monitor to paint a rectangular object. Do not worry about picking a color or other parameters for this exercise. 6. Click the Selection tool, and click the object you just painted. 7. Click the Reshape tool, or double-click the object. Each corner of the rectangle displays a control point. 8. Alt+click (Windows) or Option+click (Macintosh) the control point at the top left corner of the rectangle.
Working with Vector-Based Objects Example of dragging a direction handle. 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 then 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.
Working with Vector-Based Objects Creating a Corner Join on an Intraframe Object The painting tools do not create corner joins by default, but you can change an existing smooth join into a corner join. The procedure in this topic assumes you are starting with an object like the one created by following the procedure in “Experimenting with Bézier Curves and Direction Handles” on page 378.
Working with Vector-Based Objects Methods of Modifying Intraframe Lines and Curves Illustration Description Action Smooth join: Drag one direction handle so that the direction bar on the opposite side of the control point moves and changes length in unison. You do not have to press any of the modifier keys. Click one of the direction handles, and drag it. Smooth join: Drag one direction Shift+click a direction handle.
Working with Vector-Based Objects Unnecessary number of control points (left) and minimum number of control points (right) for describing the curve To add a control point: 1. Click the Selection tool, and click the object. 2. Do one of the following: t Click the Reshape tool. t Double-click the object. 3. Click the selected object where you want to add a new control point. A new control point appears and is calculated so that the object does not change dramatically in shape.
Using the Previsualization Marker Tool for Film Projects To move a single control point manually: t Drag the control point to its new location. The control point’s direction bars do not change orientation. To move multiple control points manually: t Click one control point, Shift+click or lasso additional control points that you want to move, and then drag one of the selected control points. All other selected control points move in unison. To deselect the group, click any unselected control point.
Manipulating Intraframe Objects For example, the optical editor’s assignment is to create an airplane that flies through the scene. The optical editor can use keyframe information from the optical list to plot the exact path of the effect as it moves through the scene. The marker’s position at each keyframe is described with coordinates derived from the Effect Grid. Position is described in terms of compass coordinates and X, Y coordinates.
Manipulating Intraframe Objects 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. In the Effect Editor, click the Selection tool. 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.
Manipulating Intraframe Objects n 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” on page 383. t Edit the object by manipulating the direction bars at one or more control points.
Manipulating Intraframe Objects To rescale an object or matte: 1. In the Effect Editor, click the Selection tool. 2. Click the object you want to rescale. The object outline becomes highlighted, and four selection points appear around the object. 3. Rescale the object using one of the following methods: t Click any selection point and drag. Drag toward the center of the object to decrease the overall size. Drag away from the center to increase the overall size.
Layering, Grouping, and Locking Intraframe Objects For more information on using keyframes with parameters, see “Working with Keyframes” on page 80. Layering, Grouping, and Locking Intraframe Objects Intraframe effects include tools for navigating and adjusting layers of intraframe objects, for grouping objects for performing operations on several objects at once, and for locking objects to prevent further changes.
Exporting a Matte Key Created With the AniMatte Effect t To move the object to the back of the layers (appearing farthest from you in threedimensional space), Alt+click (Windows) or Option+click (Macintosh) the Send Backward button in the Effect Editor or select Object > Send to Back. To group painted objects or mattes: 1. Click the Selection tool, and click an object.
Exporting a Matte Key Created With the AniMatte Effect When you import the PICT file back into your Avid editing application, your Avid editing application 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.
Scratch Removal 8. Click the Source/Record Mode button below the Timeline. 9. Load the Matte Key effect clip into the Source monitor. The clip appears in the Source monitor as a black-and-white, high-contrast image. 10. Edit the matte key into the sequence as described in “Working with Imported Graphics and Animation” on page 206. Scratch Removal Your Avid editing application includes tools for fixing flaws such as dropout in video frames or defects in film-originated footage.
Scratch Removal A 1 B 2 1 2 Example of frame-based processing. Frame A is the clean frame and frame B is the flawed frame. The arrows indicate how your Avid editing application copies material — from Field 1 of the clean frame to Field 1 of the flawed frame and from Field 2 of the clean frame to Field 2 of the flawed frame. A 1 B 2 1 2 Example of field-based processing.
Scratch Removal Replacing flaws with material from a nearby frame or field lets you correct flaws in more complex footage. For example, a flaw on an image such as a face might be very difficult to cover using material from the same frame or field — there might be no other area of the face in that image that shows similar tones, textures, and highlights. In this situation, it is better to replace the flaw by copying the same part of the face from an earlier or later frame that does not contain the flaw.
Scratch Removal The Effect Editor opens. 3. Open the Mode parameter category of the Paint Effect or the Scratch parameter category of the Scratch Removal effect, and click the Frame Processing button. Frame/Field parameter slider and Frame Processing button in the Effect Editor If the Frame Processing button is selected (pink), your Avid editing application uses frame processing. The Frame/Field parameter slider is labeled Frame and is calibrated in one-frame increments from –5 to +5.
Scratch Removal t (Option) Press and hold the Alt key (Windows) or Option key (Macintosh) while clicking the Step Forward or the Step Backward button to step through one field at a time. 2. Move the position indicator to the frame containing the flaw. 3. Ensure 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.
Scratch Removal To remove a flaw by drawing a shape over it and filling the shape with replacement material: 1. Isolate the flaw, and apply the Paint Effect or the Scratch Removal effect by using the procedures described in “Isolating a Flaw” on page 395. 2. If you are not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 32. The Effect Editor opens. 3. Select the segment if it is not already selected. 4.
Scratch Removal 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. For more information, see “Intraframe Example: Animating a Matte Key Effect” on page 409, “Image: Paint Effect” on page 447, and “Key: AniMatte” on page 450. 13. Render the effect to play it back in real time. For more information, see “Rendering Intraframe Effects” on page 364.
Scratch Removal Left to right: original flaw and selection, selection dragged over flaw, and the final effect 11. (Option) Animate the shape that contains the replacement material 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.
Scratch Removal 5. (Option) Select frame or field processing. For more information, see “Selecting Frame or Field Processing When Using Scratch Removal” on page 394. 6. In the Effect Editor, select a shape tool or a brush. 7. Click the image, and drag to create a shape that covers the scratch. Your Avid editing application replaces the material in the shape with material from the clean frame or field. The same clean material covers the scratch on every scratched frame or field within the effect.
Scratch Removal These settings correctly reference the clean frame or field whenever you use the Scratch Removal button to apply the Scratch Removal effect. 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.
Scratch Removal 250px 250px In this example, the effect replaces the area of the rectangle covering the scratch (bottom left) with material from the area of the clean rectangle in the same frame or field (top right). Each frame or field in the segment uses replacement material from the same relative position in its own frame or field.
Intraframe Editing Examples Parameter Setting Offset From Start 1 2 3 4 In this example, the area of the rectangle covering a scratch in several frames is replaced by the area of the clean rectangle in the first frame of the segment. If the same parameter settings are used throughout the segment, then every frame in the segment references the first frame of the segment.
Intraframe Editing Examples To colorize the example image: 1. If you are not in Effect mode, enter Effect mode, for example, by clicking the Effect Mode button. For more information, see “Entering Effect Mode” on page 32. The Effect Editor opens. 2. In the Effect Palette, click the Image category. 3. Drag the Paint Effect icon to the segment of footage in the sequence. 4. Select the segment if it is not already selected. The Paint Effect parameters appear in the Effect Editor. 5.
Intraframe Editing Examples Effect applied before selecting Magic Mask key color. The color effect does not appear. 10. In the Magic Mask parameter category, click in the Color Preview window, drag the pointer to the colored area of the window in the image, and then release the mouse button. Your Avid editing application sets the Magic Mask key color to the color you selected, and applies the effect. 11. Click the Outline/Path button to switch between viewing the image with or without the effect.
Intraframe Editing Examples New shape restricts the Magic Mask effect to the window area Intraframe Example: 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 using keyframes with the Blur mode to gradually blur a region of the clip. The effect gives the impression that the background is losing focus while the rest of the image is unaffected.
Intraframe Editing Examples 4. Press the Home key to go to the beginning of the clip. Make sure both the first and last keyframes are selected. 5. In the Effect Editor, click the Reduce button 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. 6. Click the Curve tool. 7. Click the image, and drag to draw a matte with freehand capability. Trace an outline around the woman and surrounding the background. 8.
Intraframe Editing Examples 11. 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, your Avid editing application automatically creates new keyframes. 12. (Option) To soften the edges of the blurred outline around the woman, adjust the Feathering parameters. For more information, see “Feathering” on page 475. 13. Render the effect to play it back in real time.
Intraframe Editing Examples In this example, a series of shapes are drawn to key out all areas of the foreground image 11. In the Foreground parameter category, click the Swap Src (swap sources) button to check the traced outline. The foreground and background footage are reversed in the key. This lets you 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.
Intraframe Editing Examples Foreground and background layers (left) and the composite image (right). In this example, the matte shape is animated to follow the movement of the men in the foreground footage. To animate a Matte Key effect: 1. Under the monitor, 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.
Intraframe Editing Examples As you adjust control points, your Avid editing application automatically creates new keyframes. 4. Repeat the procedure as needed to create a matte that keys the images cleanly over the course of the segment. 5. (Option) To soften the edges of the matte key, adjust the Feathering parameters. For more information, see “Feathering” on page 475. 6. Render the effect to play it back in real time. For more information, see “Rendering Intraframe Effects” on page 364.
Intraframe Editing Examples 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. 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. Click the last keyframe indicator in the Effect Preview monitor’s position bar.
Working with the Blur Effect and Mosaic Effect Working with the Blur Effect and Mosaic Effect The Blur effect and Mosaic effect, found in the Image category, let you obscure part of an image by distorting the pixels within a defined area. The Blur effect and Mosaic effect act as intraframe effects. The Blur parameter category for the Blur effect is the same as the one that appears for the Blur mode of the Paint Effect.
Working with the Blur Effect and Mosaic Effect Creating and Modifying Blur and Mosaic Effects To create a Blur or a Mosaic effect: 1. Click the Effect Mode button. 2. In the Effect Palette, click the Image category. 3. Drag the Blur Effect icon or the Mosaic Effect icon to a segment in the sequence. Blur Effect icon (left) and Mosaic Effect icon (right) 4. Click either the Rectangle tool or the Oval tool. Rectangle tool (left) and Oval tool (right) 5.
Working with the Blur Effect and Mosaic Effect 3. Use the sliders in the Blur or Mosaic parameter category to adjust the appearance of the blur or mosaic distortion: Parameter Description Opac (opacity) Controls how prominently the blur or mosaic appears against the background image. A value of 0 makes the blur or mosaic transparent, while a value of 100 makes it fully opaque. Hor (horizontal) and Change the size of each tile within the effect along the X or Y axis, Vert (vertical) respectively.
16 PlasmaWipe Effects • Understanding PlasmaWipe Effects • Folder Structure for PlasmaWipe Effects • Using PlasmaWipe Effects • Creating Gradient Images for PlasmaWipe Effects • Understanding PlasmaWipe Frame and Border Effects • Applying and Adjusting PlasmaWipe Frame and Border Effects • Creating Custom PlasmaWipe Border and Frame Effects Understanding PlasmaWipe Effects PlasmaWipe effects are two-stream, real-time effects that use gradient image bitmaps to create wipes and segment effects.
Understanding PlasmaWipe Effects Top, left to right: outgoing image, gradient bitmap image, and incoming image. Center: stages of the gradient image as the Level parameter value changes from near black to near white. Bottom: sample frames of the transition effect that result from the gradient image stages above them. You can use PlasmaWipe effects on transitions to create custom wipes. You can use PlasmaWipe effects on segments as static wipes.
Folder Structure for PlasmaWipe Effects Folder Structure for PlasmaWipe Effects The installer for your Avid editing application automatically installs the PlasmaWipe effects. Several PlasmaWipe effect categories appear in the Effect Palette, and a PlasmaWipes folder is created in the SupportingFiles folder of your Avid editing application. The following shows the default locations for the folder: c • (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\PlasmaWipes • (Macintosh
Creating Gradient Images for PlasmaWipe Effects Creating Gradient Images for PlasmaWipe Effects You can use three different approaches to create an image for a PlasmaWipe effect: • Create a black and white gradient image in a graphics tool such as Adobe Photoshop. For more information, see “Creating a Custom Image for a PlasmaWipe Effect” on page 419. • Modify an existing image to create a black and white gradient image.
Creating Gradient Images for PlasmaWipe Effects - Resolution: 72 pixels/inch (you can use any resolution) - Mode: Grayscale 2. Create a black and white graphic. For example, use the Gradient tool to create a basic pattern with the following settings: - Foreground: black - Background: white - Opacity: 100% 3. (Option) Use distortion filters such as Spherize, Twirl, or Ripple to modify the image. The following illustration shows a gradient image modified by two separate distortion operations.
Creating Gradient Images for PlasmaWipe Effects 3. Change the image size to 720 pixels x 576 pixels. 4. Deselect Constrain Proportions. 5. Click OK. 6. Select Image > Mode > Grayscale. 7. Open the Histogram palette and use the histogram to ensure that the image uses the full range of gradient values. For more information on using histograms, see “Using the Histogram to Analyze PlasmaWipe Images” on page 422. 8. Click OK. 9.
Creating Gradient Images for PlasmaWipe Effects Draw the line as if you are painting the wipe backwards from white to black. When the wipe plays, the darkest parts of the image are replaced by incoming video first. For example, to create an effect similar to Paint Strokes 4, start drawing in the upper left corner and draw concentric rectangles until you reach the center. This wipe starts in the center and spreads out in concentric rectangles. Paint Strokes 2 creates a wipe effect with a crisscross pattern.
Creating Gradient Images for PlasmaWipe Effects Histogram examples: image that will not animate at a constant speed (left) and image that will animate at a constant speed (right) Depending on the effect you want to create, the image associated with either type of histogram might create an acceptable animation as long as it uses the full range of gradients. n If you want to change the speed of the wipe, you can use keyframes to control the Level parameter.
Creating Gradient Images for PlasmaWipe Effects 3. To view the animation with some softness applied, move the Contrast slider to the left to select a lower Contrast number. 4. Move the Brightness slider from left (-100) to right (+100) to view the animation. The following images show three stages of the animation.
Creating Gradient Images for PlasmaWipe Effects 5. Save an NTSC version of the image by doing the following: a. Select Image > Image Size. b. In the Height text box, change the image height to 486 pixels. Keep the image width at 720 pixels. c. Deselect Constrain Proportions. d. Select Resample Image, and then select Resample Image > Bicubic, or, if the image has hard edges, select Resample Image > Nearest Neighbor. e. Click OK. f. Select File > Save As. The Save As dialog box opens. g.
Understanding PlasmaWipe Frame and Border Effects 3. Copy your images to the new folders. 4. Restart your Avid editing application. Your new effects appear in the Effect Palette. n If you move sequences that use your new wipes to another system, you must copy the wipes to that other system. You must maintain the same folder structure on each system that uses your effects.
Understanding PlasmaWipe Frame and Border Effects Top left: Stone Frame Medium effect. Top right: Stone Frame Large effect applied to a resized and repositioned Picturein-Picture effect. Bottom, left to right: Soft Sky effect, Soft Window effect used as a picture-in-picture, Soft Window effect used to darken edges. Frame and border effects are in the PlasmaWipe Avid Borders category of the Effect Palette.
Applying and Adjusting PlasmaWipe Frame and Border Effects In order to determine which default values to use, the PlasmaWipes software looks for the words border and frame in the pathname to the effect source graphic. If both words appear in the path, the software applies the frame effect defaults (and only allows the effect to be used as a segment effect). Otherwise the software applies the defaults used for all other PlasmaWipes.
Creating Custom PlasmaWipe Border and Frame Effects n You usually do not want to keyframe the Foreground Level parameter on a frame effect. The source graphics for PlasmaWipe frame effects have a sharp transition between black and white values and you might find that the change from foreground to background video happens too quickly.
Creating Custom PlasmaWipe Border and Frame Effects 4. Modify the grayscale image and apply filter effects as necessary. 5. Color the inside of the frame black. 6. If you want background video to appear around the frame, color that area white. 7. Flatten the image to remove extra layers. 8. Make a copy of the image. 9. Save one copy as 720x576 (PAL) and another as 720x486 (NTSC) as described in “Saving a PlasmaWipe Image for PAL and NTSC” on page 424.
17 Effects Reference This chapter provides reference information for all standard effects available for your Avid editing application. For information on effects editing, begin with “Basics of Effects Editing” on page 27. For reference information on parameters for effect adjustment, see “Effects Parameter Reference” on page 471. For information on Audio Track effects, see “Using Audio Plug-Ins” in the Help.
Blend Effects Most effects support both 8-bit and 16-bit processing. For more information, see “Using 16-Bit Processing Support for Rendered Effects” on page 137. • Information on the RGB processing capabilities of the effect Most effects support processing in the RGB color space, but a small number of effects do not.
Blend Effects Illustrations Left to right: outgoing image, middle of Dissolve effect, incoming image Blend: Picture-in-Picture Creates a picture within a picture. Video on the top layer, where you apply the effect, appears inside the video on the bottom layer. On a transition, the incoming video appears inside the outgoing video.
Box Wipes Box Wipes Box Wipes use an expanding box shape to create transitions to the incoming video. n For examples of similar effects, see “Comparison of Similar Effects” on page 470. Incoming video begins as a box and wipes out the outgoing video as the box expands to fill the screen.
Edge Wipes Incoming video slides on top of the outgoing video. Eight Conceal effects, named for the direction in which the wipe moves, are available: • Bottom Left to Top Right • Bottom Right to Top Left • Bottom to Top • Left to Right • Right to Left • Top Left to Bottom Right • Top Right to Bottom Left • Top to Bottom The effect icons for the category indicate the starting position of the box.
Film Effects Incoming video begins at the edge or center of the screen and moves out to wipe away the outgoing video. Eight Edge Wipe effects, named for the direction in which the wipe moves, are available: • Horizontal • Horizontal Open • Lower Left Diagonal • Lower Right Diagonal • Upper Left Diagonal • Upper Right Diagonal • Vertical Open • Vertical The effect icons for the category indicate the starting position of the box.
Film Effects Film: Mask Effects — 1.66 Mask, 1.85 Mask, 16:9 Mask, Anamorphic Mask, Mask Masks out with a black background any area of the image that is not inside a specified rectangle. Five Film Mask effects are available: • 1.66 Mask — the rectangle is 1.66 times wider than it is tall. • 1.85 Mask — the rectangle is 1.85 times wider than it is tall. • 16:9 Mask — the rectangle is 16 units wide by 9 units high. • Anamorphic Mask — the rectangle is 2.35 times wider than it is tall.
Generator Effects Film: Film Dissolve and Film Fade The Film Dissolve effect blends the outgoing frame to the incoming frame over time. It has preset parameters that emulate film’s response to light when dissolving to another (nonblack) picture. The Film Fade effect blends to the incoming frame over time. It has preset parameters that emulate film’s response to black material. Use this effect for fade-ins and fade-outs. For both effects, the Level parameter is preset to Kodak™ specifications.
Illusion FX Effects Generator: Timecode Burn-In Lets you add timecode displays that update in real time, or text annotations, to the video in your sequences. You cannot keyframe Timecode Burn-In parameters and you cannot promote the Timecode Burn-In effect. Apply to Single-layer segments. A typical use is to apply the effect to an empty video track above all other video content.
Illusion FX Effects Illusion FX: Segment Effects — Color Mix, Crystal, Film Grain, Flare, Kaleidoscope, Lightning, Motion Blur, Pattern Generator, Pinch, Radial Blur, Ripple, Sparkler, Sphere, Swirl, Twist, Wave Eighteen Illusion FX effects are segment effects. FluidBlur and FluidColorMap are described separately in the final table in this topic. The following are the remaining segment effects: • Color Mix lets you blend a solid color with the image. • Crystal uses polygons to create a mosaic effect.
Illusion FX Effects Parameter categories For all effects: Input Parameters; Grid (not available for all project types) For Crystal, Kaleidoscope, Pinch, Radial Blur, Ripple, Sphere, Swirl, Twist, and Wave effects: Border For Kaleidoscope effect: Center; Offset For Lightning effect: Generation; Core; Glow For Pattern Generator effect: Background; Number; Circle For Ripple effect: Motion; Generation; Illumination For Sparkler effect: Generation; Movement; Glow; Core 441
Illusion FX Effects Illustrations Top, left to right: examples of Color Mix, Crystal, and Film Grain. Center, left to right: examples of Flare, Kaleidoscope, and Lightning. Bottom, left to right: examples of Motion Blur, Pattern Generator, and Pinch Top, left to right: examples of Radial Blur, Ripple, and Sparkler. Center, left to right: examples of Sphere, Swirl, and Twist.
Illusion FX Effects Illusion FX: Transition Effects — Iris, Melt, Pagecurl, Particle Blast, Particle Orbit, Particle Wind, Random Blend, Rollup, Shear Ten Illusion FX effects are transition effects. FluidMorph is described separately in the final table in this topic. The following are the remaining transition effects: • Iris wipes the foreground clip away to reveal the background clip, using a circle that radiates out from the center. You can control the softness of the edge of the circle.
Illusion FX Effects Illustrations Top, left to right: examples of Iris, Melt, and Pagecurl Center, left to right: examples of Particle Blast, Particle Orbit, and Particle Wind Bottom, left to right: examples of Random Blend, Rollup, and Shear Illusion FX: FluidBlur, FluidColorMap, and FluidMorph FluidBlur creates a motion blur. The amount of blur is based on the amount of motion in the clip. Only objects that are moving from one frame to the next are blurred.
Image Effects 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: Avid Pan & Zoom Lets you import a high-resolution still image, and then pan and zoom over it. You can preview the movement in real time with no filtering and render the effect with a wide range of filtering options that provide exceptional image quality.
Image Effects Image: Color Correction The Color Correction effect lets you access the tools available in Color Correction mode from the Effect Palette. Depending on your Avid editing application, you might use the Color Correction effect when you need to create a color correction that can be nested within other effects, when you want to apply automatic color corrections in a single step, or when you want to apply a color correction saved as an effect template.
Image Effects Illustrations Top: original image. Bottom, left to right: Flip effect, Flip-Flop effect, and Flop effect Image: Mask Masks out any area of the image that is not inside a rectangle defined by the Scaling and Position parameters of the effect. The area surrounding the rectangle is masked by the effect’s background color.
Image Effects Image: Resize Modifies the size and position of the video. The background color displays where no video is present. Use the H Pos, V Pos, and Size sliders to specify the size and position of the video. Use the Crop parameters to remove the edges of the picture.
Key Effects Image: Spot Color Correction (Media Composer | Symphony Option Only) Lets you apply color adjustments to selected parts of images as well as to whole images. For more information, see “(Media Composer | Symphony Option) Spot Color Correction” on page 728. The Spot Color Correction effect includes all of the color adjustment parameter categories available in the Color Effect, as well as the Color Match control.
Key Effects Key: AniMatte Enables you to generate custom matte effects that you can apply to a segment or transition in a sequence. You can use a variety of brushes and painting tools to create matte effects that you can animate. For examples of the AniMatte Effect, see “Intraframe Editing” on page 363.
Key Effects Illustration Left to right: key image, background image, and Luma Key effect Key: Matte Key A three-layer track effect. The bottom layer is the background image, the middle layer is the foreground image, and the top layer contains the grayscale matte or alpha channel.
L-Conceal Effects Key: SpectraMatte Effect Replaces one part of the video image with another video image based on color. Provides advanced controls and analytical tools for adjusting the key. The key color in the video on the higher track is replaced with the video from the lower track number. Each parameter is individually keyframeable, except Luma Curve, which uses the advanced keyframe display as a luminance adjustment curve. For more information, see “Luma Control Parameters” on page 540.
Matrix Wipes Illustration Left to right: outgoing image, example of middle of effect for the Bottom Right LConceal, and incoming image 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. All Matrix Wipe effects share custom grid parameters, accessible from the More Options button. For more information, see “Custom Grid” on page 475.
Motion Effects Illustrations Top: outgoing image (left) and incoming image (right). Center, left to right: middle of effect for Grid, One-Way Row, and Speckle. Bottom: middle of effect for Spiral (left) and Zig-Zag (right) Motion Effects Freeze Frame, Variable Speed, and Strobe Motion effects are traditional (source-side) motion effects that you create as new clips. For more information, see “Creating Traditional Motion Effects” on page 153. For other motion effects, see “Timewarp Effects” on page 463.
Peel Effects Peel Effects Peel effects treat outgoing video like a sheet of paper being peeled from incoming video. Outgoing video is peeled from incoming video starting from one corner or side of the screen.
PlasmaWipe Effects PlasmaWipe Effects PlasmaWipe effects use gradient image bitmaps to create wipes and segment effects. There are 64 preset effects, and you can create your own by creating new gradient images. For more information on using PlasmaWipe effects, see “PlasmaWipe Effects” on page 416. The preset PlasmaWipe effects are grouped into the following categories: • Borders lets you apply a variety of edge treatments to effects.
Reformat Effects Incoming video pushes out outgoing video starting from a corner or side of the screen. The border is on the incoming video. Eight Push effects, named for the direction in which the effect moves, are available: • Bottom Left to Top Right • Bottom Right to Top Left • Bottom to Top • Left to Right • Right to Left • Top Left to Bottom Right • Top Right to Bottom Left • Top to Bottom The effect icons for the category indicate the starting position of the effect.
Sawtooth Wipes Reformat: 14:9 Letterbox, 16:9 Letterbox, 4:3 Sidebar Reformats media to a different aspect ratio (14:9 letterbox, 16:9 letterbox, or 4:3 sidebar) by distorting the media. For more information, see “Using the Reformat Effects” on page 219.
Shape Wipes Incoming video appears with a sawtooth edge and expands to fill the screen. . Four Sawtooth Wipe effects, named for the direction in which the effect moves, are available: • Horizontal Sawtooth (moves left to right) • Horizontal Open Sawtooth • Vertical Open Sawtooth • Vertical Sawtooth (moves top to bottom) The effect icons for the category indicate the starting position of the effect.
Shape Wipes Incoming video uses a geometric shape to fill the screen and wipe out the outgoing video. Nine Shape Wipe effects, named for the shape they use, are available: • 4 Corners • Center Box • Circle • Clock • Diamond • Ellipse • Horizontal Bands • Horizontal Blinds • Vertical Blinds The effect icons for the category indicate the shape of the effect.
Spin Effects Illustrations Outgoing image (left) and incoming image (right) Top, left to right: middle of effect for 4 Corners, Center Box, and Circle. Center, left to right: middle of effect for Clock, Diamond, and Ellipse. Bottom: middle of effect for Horizontal Bands, Horizontal Blinds, and Vertical Blinds Spin Effects Spin effects rotate one or more video channels. Spin: X Spin and Y Spin Outgoing video is squeezed until it appears as a line (vertical for X Spin, horizontal for Y Spin).
Squeeze Effects Spin: Z Spin Incoming video begins as a dot in the center of the screen and then enlarges to full screen while rotating counterclockwise one full revolution, covering the outgoing video Apply to Transitions or multilayer segments Promotes to 3D Bit depth processing 8-bit only RGB processing Available Parameter categories Border; Foreground; Grid (not available for all project types) Illustration Left to right: outgoing image, stages of the Z Spin effect, incoming image Squeeze E
Timewarp Effects Parameter categories Border; Foreground; Grid (not available for all project types) Illustrations Top: outgoing image (left) and incoming image (right) Bottom, left to right: middle of effect for Bottom Centered, Centered Zoom, and Right to Left Timewarp Effects Timewarp effects are motion effects that you apply directly to segments in a sequence and customize using the Motion Effect Editor. The Timewarp effect itself is described fully in “Understanding Timewarp Effects” on page 162.
Timewarp Effects Illustrations Speed Graph and Position Graph default settings for 0% To 100% Speed Graph and Position Graph default settings for 100% To 0% Timewarp: FluidFilm 2:3 Cadence and FluidFilm Progressive FluidFilm 2:3 Cadence is a template for the Timewarp effect that lets you create a film look from interlaced video sources. Use this effect in NTSC projects. FluidFilm Progressive is a template for the Timewarp effect that lets you create a film look from interlaced video sources.
Timewarp Effects Timewarp: Pulldown Insertion and Pulldown Removal Pulldown Insertion is a template for the Timewarp effect that inserts 2:3 pulldown into a sequence. Pulldown Removal is a template for the Timewarp effect that removes 2:3 pulldown from a sequence. These two effects are the inverse of one another. 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.
Timewarp Effects Timewarp: Reverse Motion Reverse motion is 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 “Understanding FluidMotion Timewarp Effects” on page 185.
Timewarp Effects Illustrations Speed Graph and Position Graph default settings for Speed Boost Speed Graph and Position Graph default settings for Speed Bump Timewarp: Timewarp Apply the effect to a sequence in the Record monitor, and customize it using the Motion Effect Editor. For more information, see “Understanding FluidMotion Timewarp Effects” on page 185.
Title Effects Timewarp: Trim to Fill Trim to Fill is a preset effect using the Timewarp effect that changes the playback speed to a constant rate. You can change the rate by trimming the clip. Apply the effect to a clip in the Timeline. Your Avid editing application displays the current speed in the Timeline along with the clip name. The default speed is 100%. To change the speed, enter Trim mode and trim the effect shorter (faster) or longer (slower).
Xpress 3D Effects Title Effects: Title For information on creating titles, see “Creating Titles” on page 296.
Comparison of Similar Effects Comparison of Similar Effects Four effect categories have similar results: Box Wipe, Conceal, Push, and Squeeze. Examples of these effects are shown here to assist you in using these effects.
18 Effects Parameter Reference This chapter provides reference information for all effect parameters in your Avid editing application. • Effect parameter controls that you use to define colors are described in “Color Parameter Controls” on page 471. Color controls appear in a number of 2D and 3D effect parameter categories. • Effect parameter categories that are common to multiple 2D effects across at least two effect categories are listed in “Common 2D Effect Parameters” on page 472.
Common 2D Effect Parameters Examples of color parameter controls: with hue, saturation, and luminance sliders (left) and with red, green, and blue sliders (right). The Other Options button and the Color Preview window are highlighted in each example. Parameter Description Other Options button Opens the Windows Color dialog box or the Macintosh Colors panel for precise color selection. For more information, see “Adjusting a Color Parameter for an Effect” on page 74.
Common 2D Effect Parameters The slider controls ease in and ease out motion. Values range from 0 (no ease in and ease out motion, so the effect maintains a constant speed throughout its path) to 100 (maximum ease in and ease out motion). Background Color Background Color sets the color for the background in effects that display a background, for example, a Fade to Color effect. For more information on the parameter controls, see “Color Parameter Controls” on page 471.
Common 2D Effect Parameters Parameter Description Width Specifies the width of the border. Values range from 0 (no border) to 100 (widest border). Soft (softness) Blends the border with the background image, giving the border a soft appearance. Values range from 0 (no softness) to 255 (maximum softness). Fixed Border Turns off the Blending option. For PlasmaWipe effects, Fixed Border lets you specify whether the border can change shape during the effect.
Common 2D Effect Parameters For information on the 3D equivalent of this parameter category, see “Crop (3D)” on page 557. Parameter Description T (top) Removes video from the top of the inner or incoming video. Values range from 0 (top of the screen) to 999 (bottom of the screen). B (bottom) Removes video from the bottom of the inner or incoming video. Values range from –999 (top of the screen) to 0 (bottom of the screen). L (left) Removes video from the left side of the inner or incoming video.
Common 2D Effect Parameters Feathering is available in the following effects: Image: Blur Effect and Mosaic Effect, Image: Paint Effect, Image: Scratch Removal, Image: Spot Color Correction (Media Composer | Symphony Option Only), Key: AniMatte, and FluidMotion Edit for Timewarp Effects Parameter Description Bias Increases control over the dissipation of pixels around the edges of a painted object or matte.
Common 2D Effect Parameters Parameter Description Reverse Animation Reverses the entire effect, including the direction of movement as well as the incoming and outgoing sources. This maintains the shot continuity while reversing the movement. This option effectively creates a mirror image of the sequence of keyframes for the effect as they appear in the Effect Preview monitor’s position bar. The Reverse Animation parameter is only available for certain effects that do not use advanced keyframes.
Common 2D Effect Parameters Parameter Description Type menu Selects one of the following grid types: • Square • Standard Film • Academy The Academy grid includes a safety margin on the left that is used for adding the optical sound track. • Super 35 • Anamorphic Fields Determines the number of tick marks along the grid axes as well as the number of visible grid points. Values range from 8 to 32. Sub (subfields) Determines the snap-to-grid feature between visible grid points.
Common 2D Effect Parameters Parameter Description Gain When you use the Paint Effect, Gain increases or decreases the range of pixels surrounding the color you pick that Magic Mask enables you to modify in conjunction with your selected paint mode. Gain includes or excludes pixels surrounding the color you pick that falls within a specified color range, or tolerance.
Common 2D Effect Parameters Parameter Description Tracking Lets you use tracking data to control the position of the effect. For more information, see “Effects and Effect Parameters That Use Tracking Data” on page 242. By default, when Tracking is enabled, your Avid editing application maps a tracker named Point A to the T1 tracker selector. The Axis menu lets you to use the data for both X and Y axes or for a single axis only.
Film Effects Blowup Parameter Transition Parameters Transition parameters let you define the length and position of a transition effect. They appear at the bottom of the Effect Editor and are active for all transition effects. Transition parameters are not keyframeable.
Generator Effect Parameters Parameter Description Y Pos (Y position) Lets you to position the image vertically on the screen. Values range from -18 to 18, where 0 is unchanged. Generator Effect Parameters This section contains reference summaries for the effect parameters that are unique to the Generator effect category. SubCap Effect Parameters SubCap parameters control the text and appearance of subtitles or captions.
Generator Effect Parameters Category Control Description Outline Weight Controls the thickness of the outline outside the text characters. The higher the value, the thicker the outline becomes and the further it extends beyond the edges of the text characters. Values range from 0 to 999. Outline menu Select Basic Outline to add an outline to text characters. Use the Line Weight and Outline Weight thumbwheels above the Outline menu to control the thickness of the outline.
Generator Effect Parameters Category Control Description Anchor Box to Controls the position of the box with respect to the text. The options are: • Anchor to Bottom of Text — the bottom of the box is anchored to the bottom of the text. As more text is typed into a multi-row caption, the text and the box expand up the screen from the anchor position. • Anchor to Top of Text — the top of the box is anchored to the top of the text.
Generator Effect Parameters Category Control Description Number of Rows of Text Controls how many rows of text are allowed for the caption. The options are: • As Many Rows as Needed — allows as many rows as are needed to accommodate the caption text and observe other settings such as box width. • Exactly N Rows — sets an exact number of rows. If there is more text for the caption than can fit in the number of rows, the overflow text is not visible.
Generator Effect Parameters Tab n Option Description Language Select a language from the list. (Your Avid editing application converts the language name to a standard language code in a .stl file.) Original Program Title Original Episode Title Translated Program Title Translated Episode Title Enter up to 32 characters of text in each of these text boxes to record information about the titles of the program and episode.
Generator Effect Parameters Category Description Reader menu Selects the basic type of timecode or other information for the display. The following options are available: • Timecode • Source Timecode The timecode of the source clip at the current location. If there are multiple clips on different tracks in the timeline, you can use the Source Track menu to select the clip whose timecode you want to display, as described in the Timecode Display row of this table.
Generator Effect Parameters Category Description Type menu Selects an option to control how your Avid editing application calculates the timecode to display. These are equivalent to options available in the Tracking Information menus above the monitors (for more information, see “Tracking Format Options” in the Help). Depending on your selection in the Reader menu, options in the Type menu might not be relevant or might result in an unchanged display.
Generator Effect Parameters Category Description Timecode Display Provides additional controls for selecting the format or source of the information that appears in the timecode displays.
Illusion FX Effect Parameters Category Description Text Lets you enter a text annotation in the text box, for example, a comment that you want to display in a review version of a sequence. This category also contains an Appearance subcategory for controlling the look of the notes track, as described in the previous row of this table. The anchor point for the notes track is always visible in the monitor. The display itself appears as soon as you type text in the text box.
Illusion FX Effect Parameters Parameter Description Size Sets the radius of the polygons in pixels. Jitter Sets the randomness of the shape of the polygons. A value of 0 creates regular hexagons — the higher the value, the more random the shapes. Random Seed Sets the base number your Avid editing application uses to calculate all random values. Each value results in a different random effect. This parameter is not keyframeable. Anti-alias Sets whether or not transformed areas are smoothed.
Illusion FX Effect Parameters Parameter Description Brightness Sets the brightness of the flare. Values range from 0 (no flare) to 100 (maximum brightness). Size Sets the diameter of the flare ring. Width Sets the distance between the inner and outer edges of the flare ring. Amount Sets the amount of distortion to the flare ring (0 is no distortion). Random Seed Sets the base number your Avid editing application uses to calculate all random values. Each value results in a different random effect.
Illusion FX Effect Parameters FluidColorMap Effect Input Parameters Parameter Description Min Motion Threshold, Max Motion Threshold Objects moving less than the Min Motion Threshold number of pixels between frames (or fields) have the minimum saturation and luminance. Objects moving more than the Max Motion Threshold number of pixels between frames (or fields) have the maximum saturation and luminance. The amount of saturation depends on the Constant Saturation value.
Illusion FX Effect Parameters Option Description Still->Stream Your application creates the output by morphing the last frame of the outgoing video with each frame of the incoming video. Input Parameters Parameter Description Feature Match When Feature Match is selected, your Avid editing application attempts to match features between the two clips when it creates the morph for each frame.
Illusion FX Effect Parameters Kaleidoscope Effect Input, Center, and Offset Parameters Input Parameters Parameter Description Symmetry Sets the number of mirrors. Angle Sets the angle of the mirrors. Scale Sets the scale of the image. Center Parameters Parameter Description X Sets the horizontal location of the center of the mirrors. Y Sets the vertical location of the center of the mirrors.
Illusion FX Effect Parameters Lightning Effect Generation, Core, and Glow Parameters Generation Parameters Parameter Description Amount Sets the proportion of the lightning to be displayed. Values range from 0 (no lightning) to 100 (complete lightning bolt). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe. Branch Probability Sets the likelihood that the lightning has few or many branches. A value of 0 displays no branches.
Illusion FX Effect Parameters Parameter Description Width Sets the radius of the glow in pixels. Color controls Selects the color for the glow surrounding the lightning. For more information on the parameter controls, see “Color Parameter Controls” on page 471. Melt Effect Input Parameters Parameter Description Bleed Changes the melt image to a more dramatic effect. Melt Up Reverses the direction of the melt. Amount Sets the progression of the effect.
Illusion FX Effect Parameters Pagecurl Effect Input Parameters Parameter Description Turn Left Controls the direction of the page curl. For examples, see the following table. This parameter is not keyframeable. Reverse When Reverse is selected, incoming video peels on. When Reverse is deselected, outgoing video peels off. For examples, see the following table. This parameter is not keyframeable. Swap Sources Specifies whether to apply the effect to incoming or outgoing video.
Illusion FX Effect Parameters Particle Blast Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable.
Illusion FX Effect Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable. Bumpiness Adds a shadow to the edge of the particles. Speed Sets the speed at which particles orbit.
Illusion FX Effect Parameters Particle Wind Effect Input Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the Amount value between keyframes, the faster the effect happens. Size Sets the radius of the particles. Spacing Sets the space between the center of the original position of the particles. This parameter is not keyframeable.
Illusion FX Effect Parameters Pattern Generator Effect Background, Number, and Circle Parameters Background Parameters Parameter Description Pattern Type menu Sets the pattern to be used: • Solid color • EBU bars (75%) • Color bars (75%) • Color bars (100%) • EIA bars • SMPTE bars • Color ramps • Cross ramp • Grid If you select the Grid option, the background color is black if Base Color has 50% or greater luminance, or white if Base Color has less than 50% luminance.
Illusion FX Effect Parameters Parameter Description Number Offset Sets the offset of the number from the current frame number. Opacity Sets the opacity of the number. Text Size Sets the size of the number. Stroke Width Sets the width of the number stroke. Color controls Sets the color of the number. For more information on the parameter controls, see “Color Parameter Controls” on page 471. Position Sets the horizontal (X) and vertical (Y) position of the center of the number.
Illusion FX Effect Parameters Parameter Description Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Radial Blur Effect Input Parameters Parameter Description Zoom Sets the scaling of the blur. Smaller values zoom in and larger values zoom out. Angle Sets the rotation of the blur. n This effect can take a long time to render. The greater the angle, the longer the rendering takes.
Illusion FX Effect Parameters Ripple Effect Motion, Generation, and Illumination Parameters Motion Parameters Parameter Description Amount Sets the progression of the effect. The larger the difference in the time value between keyframes, the faster the effect happens. Wave Speed Sets how fast the waves move. Ripple Spread Sets the width of the ripple from the inner ring to the outer ring. Reflections When Reflections is selected, waves reflect off the edges of the image, as though hitting a wall.
Illusion FX Effect Parameters Parameter Description Color controls Sets the color of the light. For more information on the parameter controls, see “Color Parameter Controls” on page 471. Angle Sets the source direction of the light. A value of 0 degrees is 3 o’clock. Positive values move counterclockwise. Rollup Effect Input Parameters Parameter Description Amount Sets the proportion of each clip that displays.
Illusion FX Effect Parameters Parameter Description Amount Sets the proportion of each clip that displays. Values range from 0 (displays all of the foreground clip) to 100 (displays all of the background clip). Typical keyframing has a value of 0 at the first keyframe and 100 at the last keyframe. Min Width, Max Width Sets the minimum and maximum possible width of the slats. Width Randomness Controls the variety of sizes of slats.
Illusion FX Effect Parameters Movement Parameters Parameter Description Speed Sets the value around which the speed of the sparks is randomized. Gravity Sets the attraction of the sparks downward or upward. The greater the value, the more the sparks are attracted downward. Air Resistance Sets the air resistance. The higher the value, the less the sparks radiate outward. Wind X, Wind Sets a virtual directional wind, which affects the trajectory of the sparks.
Illusion FX Effect Parameters Parameter Description Amount Sets the scale of the distortion. Negative values distort the image inward. Positive values distort it outward. Size Sets the diameter of the circle as a normalized proportion of the vertical size of the image. X, Y Sets the center of the effect. Anti-alias Sets whether or not transformed areas are smoothed. This parameter is not keyframeable. Swirl Effect Input Parameters Parameter Description Amount Sets the scale of swirl.
Image Effect Parameters Wave Effect Input Parameters Parameter Description Amount Sets the scale of swirl. Negative values swirl the image counterclockwise. Positive values swirl it clockwise. Minimum Size, Maximum Size Sets the minimum wavelength and the maximum wavelength. Horizontal Factor, Vertical Factor The amount of horizontal distortion and vertical distortion. Values range from 0 (no distortion) to 100 (maximum distortion). Number of Waves Sets the number of waves.
Image Effect Parameters Display Menu The Display menu lets you choose how you view the image as you work on it. For more information, see “Controlling Your View of an Avid Pan & Zoom Image” on page 230. This parameter is not keyframeable. Option Description Source Shows you the entire image scaled to fit inside the Effect Preview monitor. Use Source as you draft the effect. Target Shows you the results of your pan and zoom settings. Use Target for previewing your moves.
Image Effect Parameters Velocity The Avid Pan & Zoom effect uses Velocity In and Velocity Out at each keyframe to modify apparent camera speed as it pans across the image between keyframes. It modifies changes in the Zoom Factor setting in the same way. For more information, see “Modifying Apparent Camera Speed for an Avid Pan & Zoom Effect” on page 232.
Image Effect Parameters Option Description Linear Creates straight-line changes from one keyframe to the next. Spline Smooths out changes at keyframes to create a more natural movement. A Spline path is smooth through all points. If you move a point the effect recalculates the entire path. n If you combine a Spline path with Constant velocity, when you move a keyframe, the path recalculation might result in a change to the velocity of the effect. For more information, see “Velocity” on page 512.
Image Effect Parameters Parameter Description Background Menu Click to select what the effect uses outside the field of view if your image does not fill the entire screen. Color — Lets you select a color using the color controls. Video — Uses the video from the segment upon which you placed the Avid Pan & Zoom effect. Color controls Selects a background color. For more information on the parameter controls, see “Color Parameter Controls” on page 471.
Image Effect Parameters Option or Action Description Free Current Cache Frees all memory used for image storage and then reverts to Image Resolution. Select this option to free up memory after you render the clip. Free All Caches Frees the caches for all instances of the plug-in in that sequence. Render Mode If you are working in a progressive project, click the Progressive check box in the Render Mode parameter category.
Image Effect Parameters Parameter Description Bright (brightness) Changes the brightness of the image. Values range from –100 to +100, where 0 indicates no change, –100 darkens the image, and +100 brightens the image. Left to right: original image (Brightness=0), adjustment to Brightness -50, adjustment to Brightness +50 Cont (contrast) Controls the contrast of light and dark areas in the image.
Image Effect Parameters Parameter Description B Point Lets you set the black point in the image. All pixels with that value become black, and all pixels (black point) with lower values are clipped to black. For example, you could use the eyedropper to select a shadow on the floor and change it from gray to black, clipping everything below that shade to black. The default is 16 (the broadcast value for black). n Gamma Black point control does not change the Black setup level.
Image Effect Parameters Parameter Description Hue Causes all hues in the image to rotate around the color spectrum. Values are measured as degrees on a color wheel from –180 to +180, where 0 does not change the hue. For example, a value of –20 makes skin tones look more green, while a values of +20 makes skin tones look more red. You can use a console command to reverse the range and match the behavior of a previous version of your Avid editing application that uses the opposite range.
Image Effect Parameters Parameter Description Solar (solarization) Solarization lets you make the lightest pixels in the image dark to achieve a partial inversion of the luminance. The value defines a threshold, and your Avid editing application inverts values above the threshold. Values range from 0 to 255, where 0 is normal luminance and 255 inverts all luminance values in the image. Values of 0 to 127 display the lightest pixels in the image as dark.
Image Effect Parameters Paint Effect Mode Parameters Mode parameters and options affect the overall nature of the Intraframe editing you perform using the Paint Effect. This parameter is not keyframeable. A Mode parameter is also available in FluidMotion Edit and is described in “FluidMotion Edit Parameters for Timewarp Effects” on page 550. Parameter Description Fast menu Provides different mode options for Intraframe editing.
Image Effect Parameters Mode Description Solid Applies paint as a solid color superimposed on the video background. Solid mode with Opacity set to 75% Erase Removes paint from a frame. (Inverts the key in an AniMatte effect.) 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.
Image Effect Parameters Mode Description Hue Changes the hue in a selected area using the value of the Hue slider in the Color parameter category without affecting the saturation and luminance levels. Saturation Changes the saturation in a selected area using the value of the Sat slider in the Color parameter category without affecting the luminance levels and the hue.
Image Effect Parameters Mode Description Lighten Only Increases the luminance levels in a selected area only if the result would be lighter than the background color. The reverse of the example for Darken Only. Dark areas in the selected oval are lightened while light areas, mainly the dirt roads, remain unaltered. Darken Reduces the luminance levels in a selected area using the value of the Amount slider. Luminance in the selected oval is reduced by 50.
Image Effect Parameters Mode Description Subtract Removes color from the colors in a selected area using the value of the Color parameter category. 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, which distorts or disguises the area. Blur Blurs a selected area with horizontal and vertical controls, which distorts or disguises the area.
Image Effect Parameters Mode Description Median Takes the nine values surrounding each pixel, ranks them, and replaces the pixel with the value in the middle, creating 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. Gradient Dissipates the paint in a gradient. Use the Angle slider to set the direction of dissipation.
Image Effect Parameters Mode Description Color Adjust Adjusts the brightness, contrast, hue, and saturation of the selected area. Inverts the chroma and luma values of the selected area. For more information, see “Color Effect Parameters” on page 515 and “Chroma Adjust Parameters” on page 517. Luma Range Adjusts the range of brightness from black to white and the position of the midtone point with respect to the white and black points. For more information, see “Luma Range Parameters” on page 516.
Image Effect Parameters In many situations, you can leave 422 Safe turned off. If you know that every pixel throughout your material must be guaranteed safe, turn 422 Safe on. Alternatively, you can leave 422 Safe turned off while you edit and adjust effects, then turn it on before you render or output your finished sequence to guarantee that every pixel in your output is color safe.
Image Effect Parameters RGB Levels Parameters RGB Levels controls how limits for RGB color gamut are measured and set. For more information, see “Understanding the Safe Color Limiter Effect” on page 725. Control Description Enable button When the Enable button is turned on, the effect limits the video so that it is within the limits for RGB color levels set with the RGB Gamut L and RGB Gamut H sliders. When the Enable button is turned off, the effect does not take account of the RGB color level limits.
Image Effect Parameters Parameter Description Vert (vertical) Defines the position of the replacement material relative to the shape you have drawn on the vertical axis of the frame. Negative values indicate the number of pixels the replacement material is above the shape, positive values the number of pixels below. The default value is 0. Frame/Field parameter slider Defines which nearby frame or field is the source of the replacement material.
Key Effect Parameters Parameter Description Color Match Input and Output color swatches Define the color values that control the Color Match correction. Use the Input (left) swatch to define the color that you want to replace, and the Output (right) swatch to define the good color that you want to use as a replacement. (Symphony Option) For more information on using the Color Match control, see “Using the Color Match Control” on page 614.
Key Effect Parameters Parameter Description Fast menu Provides the following two modes for the AniMatte effect: • Key In — For two-track video effects, 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 single-track matte wipes, displays the incoming segment within the matte selection.
Key Effect Parameters For a description of each parameter, see “Key Effects Key Parameters” on page 530. Spill Suppression Parameters Spill Suppression neutralizes the selected color without affecting the luminance. The spill color changes to a grayscale, allowing it to blend more easily with the foreground image. This parameter is not keyframeable Use the Spill Suppression key color to fix the following problems: • Remove background color spill from the foreground image.
Key Effect Parameters Parameter Description Gain Adjusts the threshold of the key. Values range from 0 to 100. Soft (softness) Softens the edge of the key. Values range from 0 to 100. Show Alpha Displays the grayscale alpha channel used to apply the key effect to the foreground and background sources. Viewing the alpha channel directly lets you examine problem areas of the key while making adjustments.
Key Effect Parameters Parameter Description Bright (brightness) Specifies the brightness level. Values range from –100 to +100. Cont (contrast) Controls the contrast of light and dark areas in the picture. Values range from –100 to +100, where a value of 0 indicates the image is unchanged. A negative value reduces contrast. A positive value increases contrast. SpectraMatte Parameters Bypass Parameter Bypass toggles the SpectraMatte effect on and off.
Key Effect Parameters Parameter Description Show Alpha Shows the alpha matte currently being generated by the effect in the Effect Preview monitor. This lets you check the effect of your parameter adjustments, such as the Matte Processing parameters that change the edges of the matte. For more information on the alpha matte display, see “Understanding SpectraMatte Analysis Displays” on page 196. This parameter is off by default.
Key Effect Parameters Parameter Description SpectraGraph Source Monitor menu Controls how effect information displays in the Source monitor. SpectraGraph Brightness • Source Monitoring - Off — the Source monitor does not display an analysis view. • SpectraGraph in Source Monitor — shows the SpectraGraph display in the Source monitor. This is the default menu selection. • Alpha in Source Monitor — Shows the alpha matte display in the Source monitor.
Key Effect Parameters Parameter Description Tolerance Controls the range of hues in the key color. In the SpectraGraph display, the Tolerance value is visible as the width or spread of the key color wedge. Values range from 0 to 180 and represent the angle between the two sides of the wedge. The default value is 90. Tolerance = 45 (left) and 135 (right) Key Sat (saturation) Controls the saturation level at which keying begins.
Key Effect Parameters Parameter Description Key Saturation Controls the saturation level at which keying begins. In the SpectraGraph display, the Key Saturation value is the point of the key color wedge. Higher Key Saturation values move the wedge out from the center of the CbCr swatch. Unlike the Key Sat Line parameter, Key Saturation does not change the basic shape of the key wedge.
Key Effect Parameters Parameter Description Inner Softness Controls the extent of the blend gradient by adjusting where the gradient begins to increase from 0 (full transparency of foreground values). In the SpectraGraph display, this is visible because this changes where the solid black area of the key color wedge ends and the blended area begins. Values range from 0 to 100.
Key Effect Parameters Parameter Description Opacity Controls the overall opacity level of the foreground image. Values range from 0 (transparent) to 100 (opaque). Opacity = 100 (left) and 65 (right) Luma Control Parameters Luma Control adjusts the key based on the luminance characteristics of pixels in the foreground image. Parameter Description Enable Luma Curve Turns the Luma Curve parameter on or off.
Key Effect Parameters Parameter Description Luma Curve Modifies the alpha value of blended pixels by adding an offset based on their luminance. Your Avid editing application uses a graph that you create in the advanced keyframe graph area for the Luma Curve parameter to calculate the offset. For example, you can use this parameter to increase the transparency level of very bright pixels so that they are more completely keyed out while leaving darker pixels unaffected.
Key Effect Parameters Parameter Description Suppress Shadow Lets you remove shadows cast by foreground subjects onto areas of key color such as blue or green screens by increasing the saturation value of pixels for the purposes of calculating the key. The darker the pixel, the more the saturation value is increased. The change in saturation value is used only while calculating the key and does not affect the appearance of the image. Values range from 0 to 100.
Key Effect Parameters Parameter Description Soften Alpha Saturation Softens alpha values where edges of the key color wedge meet. In the SpectraGraph display, this is visible as a slight rounding off of the point where two edges meet in the key color wedge. The default value is On. Turning Soften Alpha Saturation off changes the alpha value of a small range of color values and might improve the look of the edges of some keys.
Key Effect Parameters NoSpill correction (both Spill parameter values are 0). Greenish colors are visible near the edges of the key color wedge. (The wedge is adjusted so that it has no blend gradient to simplify the image andclarify these examples.) Spill correction with Spill Saturation = 100 and Spill Angle Offset = 0. The correction is most evident in the blues, where greenish-blue values near the edges of the key color wedge have been replaced with bluer values.
Motion Effect Parameters Parameter Description Spill Saturation Controls the saturation level at which spill correction begins. In the SpectraGraph display, this parameter defines the point of the spill correction zone that surrounds the key color wedge, as shown in the following illustration. Values range from 0 to 100, where 0 is the current Key Saturation parameter value and 100 is 0 saturation (the center point of the CbCr swatch).
Motion Effect Parameters Parameter Description Duration Specifies the length of the Freeze Frame clip. To enter a custom duration: 1. Select Composer > Freeze Frame > Other. 2. In the dialog box, type a custom duration, and then click OK. Two Field Freeze Frames Determine how your Avid editing application creates the Freeze Frame media when you are working in two-field resolutions (for example, 20:1, 3:1, 2:1, or uncompressed). • Using Duplicated Field — Uses a single field.
Motion Effect Parameters Parameter Description Variable Speed • Duration n Frames — The duration of the effect in frames. Doubling the number of frames causes the frame rate to be half the current rate. • Rate n FPS — The rate of speed in frames per second (fps) at which the video is played. Normal speed is 30 fps for NTSC video, 25 fps for PAL video. • % Speed — The percent of speed at which the video is played. Normal speed is 100%.
Reformat Effect Parameters Parameter Description Render 2-Field Motion These options are available for two-field media in interlaced projects only. Effect Using • Duplicated Field — Uses a single field. 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).
Reformat Effect Parameters 14:9 Letterbox Position H Parameter Shifts the image horizontally. Drag the slider to the left to shift the image to the left. Drag the slider to the right to shift the image to the right. Pan and Scan Aspect Ratios and Actions Parameters Aspect Ratios Parameters The Aspect Ratios parameter sets the Source and Target aspect ratios. For more information, see “Selecting the Source and Target Aspect Ratios for the Pan and Scan Effect” on page 222.
FluidMotion Edit Parameters for Timewarp Effects Parameter Description Subdivide Effect Divides a Pan and Scan effect into a series of segments based on the segment boundaries on the video tracks below the Pan and Scan track. For more information, see “Subdividing the Pan and Scan Effect” on page 225. Reset to Origin Resets the Scaling and Position values to the current customized Origin values.
FluidMotion Edit Parameters for Timewarp Effects Parameter Description Fast menu Selects which image appears in the Effect Preview monitor and the way in which your Avid editing application displays motion vectors. Show Vectors • Color Warp 50% — Displays the image (frame or field) that your Avid editing application creates halfway between outgoing Image A and incoming Image B as a grayscale image with a color overlay.
Rolling Title and Crawling Title Effect Parameters Parameter Description Fast menu Determines how FluidMotion applies Vector X and Vector Y values to motion vectors in the area you are editing. Opac. (opacity) • Set Vector — Replaces motion vectors in the area you are editing with Vector X and Vector Y. • Add Vector — Uses Vector X and Vector Y as an offset to the values calculated by FluidMotion, and applies the result in the selected region.
3D Effect Parameters 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 right edge of the title aligns with the left of the screen, so the title is completely off screen to the left.
3D Effect Parameters Understanding 3D Parameter Hierarchy Your Avid editing application processes 3D effects parameters in a specific order. Knowing the order can help you understand why something looks a particular way or why an object behaves the way it does on a motion path.
3D Effect Parameters Parameter Description X Moves the center of rotation along the X axis (right or left). Values range from –3000.0 to 3000.0, where 0 is the center of the X axis. Y Moves the center of rotation along the Y axis (up or down). Values range from –3000.0 to 3000.0, where 0 is the center of the Y axis. Z Moves the center of rotation along the Z axis (towards or away from the viewer). Values range from –3000.0 (farthest away) to 3000.
3D Effect Parameters Parameter Description Color controls Define the color. For more information on the parameter controls, see “Color Parameter Controls” on page 471. Type menu Selects a border style. • Plain • Metal • Bevel 1 • Bevel 2 • 3D Frame • Round • Video Wid (width) Changes the width of the border. Values range from 0 (no border) to 100, where 50 is the default. Sft (softness) Changes the softness of the border edge.
3D Effect Parameters Corner Tracking Lets you use tracking data to control the effect. When you enable a selector, your Avid editing application maps a tracker to that selector. Trackers are named Point A, Point B, and so on. For more information, see “Motion Tracking and Stabilization” on page 239. Corner Tracking appears in tracking-enabled 3D Warp effects and Intraframe effects only. For Intraframe effects, you can enable trackers only when an Intraframe object is selected.
3D Effect Parameters Defocus supports RGB processing for all defocus types except Key Blur. If you select Key Blur from the Type menu, RGB processing is no longer available. Command Description Type menu Click to select the type of defocus that your Avid editing application applies. Key Only, FG and Key, and KeyBlur are available only on three track effects such as Matte keys and Titles promoted to 3D. The following options are available: • Internal — blurs the entire image.
3D Effect Parameters Parameter Description Filter Specifies how many pixels on each side of the edge are smoothed. Values range from 1 to 7 (1 pixel on each side to 7 pixels on each side). Center Controls the amount of erosion or expansion your Avid editing application applies to the edges. Erosion shrinks the edges, and expansion enlarges the edges. Values range from 0 (maximum erosion) to 255 (maximum expansion). Soft (softness) Controls the slope of the edges.
3D Effect Parameters Parameters Common to All Key Types Parameter Description Type menu Lets you select one of the following key types: • Full Key — Use to create dissolves (using the Opac parameter) or to switch an effect from one video track or segment to another (using the Swap Sources button). This is the default option. You cannot rotate the key independently of the image. • Luma Key — Use to replace portions of the foreground video with the background video based on brightness or luminance.
3D Effect Parameters Parameter Description Lum Range (luminance range) Turns the Range slider on or off. Range When Lum Range is not active, the Thresh value is a cutoff point. All brightness values above the Thresh value display (you see the foreground). Values below the Thresh value do not display (you see the background). When Lum Range is active, Thresh becomes the median point of a range that you adjust using the Range parameter. This lets you leave in a specific range of brightness values.
3D Effect Parameters Highlight Highlight lets you to enable automatic highlighting for shapes and adjust the intensity of automatic highlighting, or 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. RGB processing is not available for Highlight.
3D Effect Parameters RGB processing is not available for Lowlight Color. Perspective Perspective moves 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. 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 Lets you view the image from a higher or lower angle.
3D Effect Parameters Parameter Description Z Moves the image closer to or farther from the viewer along the Z axis. Values range from – 3000.0 to 3000.0, where zero is the zero-point of the Z axis. Negative values move the image away from the viewer and positive values move the image toward the viewer. n For an illustration of the XYZ coordinate system, see “Understanding 3D Geometry and Degrees of Rotation” on page 285.
3D Effect Parameters Scaling (3D) Scaling resizes the image or effect. For information about the 2D version of this effect, see “Scaling” on page 480. Scaling parameter category (left) and Scale button (right) Parameter Description X Controls the width of the image by stretching or compressing it along the X axis (horizontally). Values range from 0 to 400, where 100 indicates 100 percent scaling (normal size).
3D Effect Parameters Parameter Description X Changes the shadow’s horizontal offset. Values range from –100 to 100, where 50 is the default. Y Changes the shadow’s vertical offset. Values range from –100 to 0, where –50 is the default. Shape 3D shape effects let you map the foreground video channel to various geometric shapes. You can create either a Page Fold, a Ball, or a Slats shape effect. Each shape effect displays a set of parameters specific to that shape in the Shape category.
3D Effect Parameters Common Parameters for Shapes Parameter Description Type menu Select one of the following shapes: • Page Fold — Treats the foreground video channel like a page in a book being turned 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 is referred to as the flap. • Ball — Lets you treat the video as a rubbery, rectangular sheet stretched around a sphere.
3D Effect Parameters Parameter Description Tuck and Flap menu Controls aspects of the appearance of the flap (the portion of the image that folds over). Select one of the following: • 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 Bottom Only — Shows the flap (bottom) without the top.
3D Effect Parameters Parameter Description Sk Amp (skew amplitude) Weaves the image through the slats. Think of this as weaving a “video cloth” through a loom. Sk Angl (skew angle) Rotates the image through the slats. Considerations for 3D Shape Effects Shape Effects and the Location of the Position Indicator When you apply a shape effect, what you see in the Effect Preview monitor depends on the location of the position indicator in the clip.
3D Effect Parameters For example, if you want an opaque top and a partially transparent flap, set a transparency value for the video channel containing Show Bottom Only. Use the Opac. slider in the Foreground parameter category to adjust transparency. 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.
3D Effect Parameters Parameter Description Target Color and Set the target and replacement colors. For more information on the parameter controls, see Replace Color “Color Parameter Controls” on page 471. subcategories Use Key Color Uses the chroma key color as the color to replace. Gain Spill Suppression affects contiguous pixels that fall within the specified color range, or tolerance, of the color you select. You adjust the tolerance with the Gain slider. Values range from 0 to 63.
3D Effect Parameters Parameter Description Opac. (opacity) Changes the stamp’s opacity. Values range from 0 (transparent) to 100 (opaque), where 100 is the default. Foregnd. On Top (foreground on top) Switches the image in the Stamp buffer to the background. If Foregnd. On Top is not enabled, the Stamp buffer is always in the foreground. Target Target changes the X,Y positioning and sizing and lets you maintain the current perspective. Target is a post-transformation parameter.
3D Effect Parameters Parameter Description Use Sparkle Instructs your Avid editing application to paint a trail with sparkles. When Use Sparkle is deselected, your Avid editing application paints a trail by using the image itself.
19 Understanding Color Correction Mode This chapter provides an overview of the color correction capabilities of your Avid editing application, and information on how to control and customize the Color Correction user interface.
Overview of Color Correction (Media Composer | Symphony Option) Color Correction Relationships You can color correct a single segment in a sequence, and you can also color correct multiple segments in a sequence at once by choosing a relationship for the correction. For example, you might need to lighten all the material from one camera, so you would correct every segment in the sequence that came from the source tape for that camera.
Reasons for Making Color Corrections Playback and Rendering of Color Corrections You can play color corrections in real time in the desktop monitors or on a Client monitor, subject to the same real-time playback constraints that affect the playback of other effects on your system. For more information, see “Real-Time Playback of Video Effects” on page 122.
Entering and Exiting Color Correction Mode Entering and Exiting Color Correction Mode You need to enter Color Correction mode to access the color correction controls that you use for most color correction work. To enter Color Correction mode, do the following: t Click the Color Correction Mode button, for example, in the Timeline palette. To exit Color Correction mode, do the following: t Click a mode button other than Color Correction, for example, the Effect Mode button.
The Color Correction Monitors Example of default update behavior in the monitor window. Left: the position indicator is on segment B in the Timeline, and the three monitors display segments A, B, and C. Right: the position indicator has moved to segment C, and the three monitors have updated so that they now display segments B, C, and D. In most respects, the monitors in Color Correction mode work like other monitors in your Avid editing application.
The Color Correction Monitors Command Description Reference Locks the current frame (the frame the position indicator is on) in the monitor. When the other monitors update as you navigate in the Timeline, this frame continues to display as a reference. This is useful if you want to use a specific place in your sequence as a reference against which to compare all other shots, for example, a segment that contains optimal skin tones.
The Color Correction Monitors Uncorrected image (left, with triangular adjustment handles) and corrected image in a monitor with Dual Split active in Color Correction mode To resize the box that contains the split-screen image: t Drag one of the box’s triangular handles in the monitor. Using Monitor Buttons in Color Correction Mode Some of the buttons beneath the monitors in Color Correction mode have the same functions as they do in other modes.
The Color Correction Monitors Although the default first-frame behavior is acceptable in many circumstances, the availability of the Stop at Markers option makes it possible to mark a reference frame for each segment in your sequence before you begin color correction. As you move around in your sequence, you always see the reference frame in the monitors. n You can add markers while in Color Correction mode if you map the Add Marker button to the keyboard or use the Command palette in Active mode.
The Color Correction Monitors The reference frame displays in the right monitor and the right monitor’s Source menu changes to Reference. 3. Press the Escape key. The right monitor becomes active and the reference frame displays in the Client monitor. 4. Press the Escape key again. The center monitor becomes active and the current frame displays in the Client monitor. Using the Play Loop Button in Color Correction Mode The Play Loop button has a specialized function in Color Correction mode.
The Color Correction Tool The Color Correction Tool In Color Correction mode, you adjust color using the Color Correction tool. The Color Correction tool is also where you control how much and what kind of material you are correcting at any one time. Controls in the Color Correction tool are organized in tabs. The default display shows the controls in the Hue Offsets tab within the HSL (Hue, Saturation, Luminance) tab.
The Color Correction Tool Components of the Color Correction tool in its default configuration. Top, left to right: Correction Type button, group tabs, and Color Correction Tool buttons. Bottom left: subdividing tabs. Bottom center: slider controls and Enable buttons. Bottom right: Color Match control, Color Correction buckets, and Automatic Color Correction buttons.
The Color Correction Tool The Color Correction tool uses color coding on both the Correction Type button and the active Color Correction tabs to indicate the type of correction you are applying or the type of correction that currently exists for a segment: • Green indicates Source corrections. • Blue indicates Program corrections. • Gray indicates a Color Correction effect correction.
The Color Correction Tool Relationship Description Prog (Program) Track Corrects the current segment and all other material on that segment’s track. Prog (Program) Segment Corrects only the current segment. (Media Composer | Symphony Option) Using the Source Clip Name Relationship The Source Tape, Master Clip, and Sub Clip relationships are usually sufficient to let you make any Source color corrections to groups of related clips.
The Color Correction Tool 4. Click the Correction Type button and select the new correction type you want. 5. Drag the color correction effect template that you saved in step 2 from the bin to the monitor displaying the current segment. For more information on working with color correction effect templates, see “Working with Color Correction Effect Templates” on page 599.
The Color Correction Tool Subdividing tabs on the left side of the Color Correction tool, shown in relation to the higher level HSL group tab. The active tabs are green. Names on the inactive tabs appear dimmed. For more information on the organization of each group and the controls within each tab, see “Performing Color Corrections” on page 607. Displaying Group and Subdividing Tabs To display a color correction group tab: t n Click the tab in the area containing the group name.
The Color Correction Tool After clicking the Curves tab to display it. The Curves tab appears blue, and the curves controls are now visible in the tab. To switch between group tabs using the keyboard: t Press the Page Up key or the Page Down key. To display an HSL subdividing tab: 1. Click the HSL group tab in the area containing the group name. 2. Click the subdividing tab in the area that contains the subdivision name.
The Color Correction Tool (Media Composer | Symphony Option) Associating Group and Subdividing Tabs with Tab Buttons The Command palette contains twelve Tab buttons that you can use to provide one-click access to specific tab displays. For example, if you adjust the Luma Ranges graphs frequently as part of your color correction work, you can configure three Tab buttons to display the three Luma Ranges tabs (Highlights, Midtones, and Shadows). To associate a Color Correction tab with a Tab button: 1.
The Color Correction Tool Example of control over Color Correction groups. The Green and Blue ChromaCurve graphs are adjusted, but the Curves tab is turned off (the Enable button is off in the tab at the top), so the graph adjustments do not currently apply to the segment. Because the HSL tab is turned on, any adjustments in the HSL tab do currently apply to the segment, even though the HSL controls are not currently visible.
The Color Correction Tool n Adjustments to the Gain, Gamma, and Setup controls in the Hue Offsets subtab of the HSL tab enable both the Hue Offsets and the Controls subtabs. This behavior is not consistent with the normal interaction between Enable buttons but is necessary to ensure that color corrections conform correctly if you move your project to a Symphony Option system.
The Color Correction Tool When you Alt+click (Windows) or Option+click (Macintosh) an Enable button to reset controls, you automatically reset all controls at a lower level in the hierarchy. For example, if you Alt+click (Windows) or Option+click (Macintosh) the Enable button for the Red ChromaCurve™ graph in the Curves tab, only that one control resets to its default value.
The Color Correction Tool • Customize the operation of color correction. For more information, see “Customizing Color Correction Mode Settings” on page 594. • Set Safe Color limit values. For more information, see “Safe Colors” on page 717. • Add comments to color-corrected segments. For more information, see “Adding Comments to Color Correction Effects” on page 597.
The Color Correction Tool Tab n n Option Description (Symphony Option) The RGB value for a color in the Color Correction tool is not identical to the RGB value for the same color in a graphics application such as Adobe Photoshop®. For example, the 10-bit RGB values for reference black and reference white are 288 and 726 respectively. The 8-bit RGB values for reference black and reference white are 16 and 235 respectively.
The Color Correction Tool Tab Option Description Features Secondary Vectors (Symphony Option) Controls which color vectors appear on the input vector color wheel in the Secondary group. Select one of the following values: • Show All • Show Standard • Show Custom • Show Enabled For more information and illustrations of these options, see “Customizing the Display of Secondary Color Correction Vectors” on page 665.
The Color Correction Tool Tab Option Description Show ChromaWheel (Symphony Option) When this option is selected, your Avid editing and ChromaCurve application displays color backgrounds for the ChromaWheels in the Hue Graphs Offsets tab of the HSL group and for the ChromaCurve graphs in the Curves tab. These backgrounds can make it easier to understand the effect that an adjustment has on an image.
The Color Correction Tool To add a comment to a segment: 1. In Color Correction mode, move the position indicator to the segment to which you want to add a comment. For information on entering Color Correction mode, see “Entering and Exiting Color Correction Mode” on page 577. 2. In the Color Correction tool, click the Comments button. The Comments dialog box opens. 3. Type your comment in the text window, and click OK. To remove a comment: 1.
Working with Color Correction Effect Templates Working with Color Correction Effect Templates Your Avid editing application offers the following versions of Color Correction effect templates: • A number of Color Correction Presets • (Symphony Option) The Automatic Effect Templates feature saves recent corrections automatically and lists them in the Effect Palette.
Working with Color Correction Effect Templates How Color Correction Effect Templates Save Settings When you create a Color Correction effect template, your Avid editing application saves all the Color Correction settings for the segment. For Symphony Option, this is true whether your Avid editing application creates the template automatically or you save it manually to a bin or a bucket. Your Avid editing application remembers both the values set for each control and the status of each Enable button.
Working with Color Correction Effect Templates n n You can specify which settings you apply in a template by dragging the template to the active tab in the Color Correction tool. This changes only those settings contained within that tab. Using this method, you can, for example, apply settings one tab at a time without applying any other settings that are also in the template.
Working with Color Correction Effect Templates The list is limited to the 16 most recent corrections. If the list already contains 16 templates, your Avid editing application removes the oldest template from the list when you make a new correction. Saving a Color Correction Effect Template to a Bin You can save a Color Correction effect template to a bin using either the Color Correction Effect Template button in the Color Correction tool or the Save Correction button in the CC tab of the Command palette.
Working with Color Correction Effect Templates n The Color Correction buckets are also available as buttons in the CC tab of the Command Palette. You can map these buttons to any mappable key on your keyboard or to any mappable button location in the user interface. For more information, see “The Command Palette” in the Help. Examples of Color Correction buckets. Left: all buckets empty. Right: buckets C1 and C2 filled. To save a Color Correction effect template in a bucket: 1.
Working with Color Correction Effect Templates t Click the appropriate Color Correction bucket. t If you have mapped the Color Correction bucket to the keyboard, press the appropriate key. Your Avid editing application applies all the Color Correction adjustments in the template to the segment that is the current location of the position indicator. To apply adjustment values from a Color Correction effect template selectively to a single tab of color correction controls: 1.
(Media Composer | Symphony Option) Displaying Color Correction Information in the Timeline Correction Type menu. You should choose one of the following methods for applying a color correction effect template based on whether you need the relationship type of the template or the relationship type currently selected in the Correction Type menu. • When you apply the effect template by dragging it to a segment in the Timeline, the new color correction uses the relationship type of the template.
(Media Composer | Symphony Option) Understanding Color Correction Indicator Lines in the Timeline Color Correction indicator lines are available in the Timeline in all modes, but they might be most useful while you are working in Color Correction mode as a guide to which segments have already received either Source or Program adjustment. As effects that normally play in real time, all relationship color corrections appear with green dots in the Timeline unless they are rendered.
20 Performing Color Corrections This chapter describes procedures for making color corrections, and includes complete descriptions of all controls in the Color Correction tool.
Using Automatic Color Corrections 4. Preview the material in the sequence to develop a sense of the kinds of corrections that you need and your approach to making them. For example, you might look for a shot to use as a reference for your adjustments and lock that shot in one of the monitors. In Symphony Option, you might also make decisions about the Source or Program relationships that you want to use as you work. n You might prefer to preview extensively and plan your corrections in advance.
Using Automatic Color Corrections The Color Match control also corrects automatically by adjusting an image so that a poor color value matches a better one. You select the colors on which you want Color Match to operate using an eyedropper. For more information, see “Using the Color Match Control” on page 614. Understanding Automatic Color Correction Automatic color correction simplifies the work of correcting common color problems in video images.
Using Automatic Color Corrections • There is usually no gain in performing an automatic correction more than once on the same image, even if you make the second correction in a different group from the first. For example, after you perform an Auto Balance in the Curves tab, you do not usually see any improvement in the color balance of the image if you perform a second Auto Balance either in the Curves tab or in the Hue Offsets subdividing tab of the HSL tab.
Using Automatic Color Corrections 5. In the Hue Offsets tab of the Color Correction tool, click one of the Automatic Color Correction buttons. For more information, see “Automatic Color Correction Buttons in the Hue Offsets Tab” on page 611. To make an automatic contrast or balance adjustment in the Curves tab: 1. Enter Color Correction mode, for example, by clicking the Color Correction Mode button. 2.
Using Automatic Color Corrections Understanding the Remove Color Cast Buttons You can remove a color cast automatically by clicking a Remove Color Cast button and using an eyedropper to identify an area in your image that you want to be color neutral (white, black, or a shade of gray). Your Avid editing application analyzes the current color characteristics of the area you select and then adjusts color correction controls to make that area color neutral.
Using Automatic Color Corrections Using the Remove Color Cast Buttons To use a Remove Color Cast button: 1. Enter Color Correction mode, for example, byclicking the Color Correction Mode button. 2. In the Timeline, make sure that the Record Track button for the video track on which you want to make corrections is the topmost selected track. 3. In the Timeline or in the monitor window, navigate to the segment you want to correct. 4.
Using the Color Match Control Top to bottom: First Correction menu, Second Correction menu, and Third Correction menu in the Correction Mode Settings dialog box (Symphony Option) sample illustration) 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast 4. Click the Second Correction menu and select HSL Auto Balance 5. Ensure that the Third Correction menu is set to Nothing. To correct a single segment with the Color Correction effect: 1.
Using the Color Match Control When you use the Color Match control, your Avid editing application replaces the input color value with the output color value and adjusts all the other color values in the image proportionally. Your Avid editing application also automatically adjusts the other controls in the group to reflect the change. You can set the combination of color channels or components your Avid editing application uses to determine the match by making menu selections.
Using the Color Match Control 3. (Option) If necessary, select either of the following options in the Correction Mode Settings dialog box: Option Description Eyedropper 3 x 3 When this option is selected, your Avid editing application calculates the Averaging color value to pick by averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s position.
Using the Color Match Control Color dialog box or the Macintosh Colors panel. These alternatives are useful for selecting a saved “ideal” replacement color such as a completely neutral gray or an optimal skin tone. For more information on using the Windows Color dialog box or the Macintosh Colors panel, see “Adjusting a Color Parameter for an Effect” on page 74. c. Release the mouse button to complete the selection. The output color appears in the output color swatch. 6.
Using the Color Match Control (Media Composer | Symphony Option) HSL Group (Controls Tab) Match Type Options The following table describes the Match Type options for the HSL group in the Controls tab. Option Description H+S+L Your Avid editing application matches based on the hue, saturation, and luminance of the color in the output color swatch. Hue Your Avid editing application matches based on only the hue of the color in the output color swatch.
Using the Color Match Control Option Description Red Your Avid editing application matches based on only the value of the Red color channel of the color in the output color swatch. Green Your Avid editing application matches based on only the value of the Green color channel of the color in the output color swatch. Blue Your Avid editing application matches based on only the value of the Blue color channel of the color in the output color swatch.
Using the Color Match Control Option Description R+B Your Avid editing application matches based on the values of the Red and Blue color channels of the color in the output color swatch. G+B Your Avid editing application matches based on the values of the Green and Blue color channels of the color in the output color swatch. NaturalMatch Select NaturalMatch to select or deselect the NaturalMatch feature.
Using the Color Match Control Top left: uncorrected image. This image is very gray and shows poor skin tones. The RGB values at the center of the man’s forehead are R: 61, G: 62, B: 66 — an almost completely neutral gray. Top right: reference image. This image shows much better color, including good skin tones (RGB values of R: 110, G: 70, B: 56) and a better color for the canvas of the tent. You can use the Color Match control to make the color characteristics of the two shots match better.
The HSL (Hue, Saturation, Luminance) Group 2. (Option) If you want to rename the custom color, click the existing name in the bin and type a new name. To load a custom color into the Color Match control, do one of the following: t Drag the color icon from the bin to the appropriate color swatch in the Color Match control.
The HSL (Hue, Saturation, Luminance) Group The following sample Symphony Option illustration shows the Controls tab. To make a correction using the Controls tab: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. (Symphony Option) Click the Correction Type button and select a correction type. For more information, see “(Symphony Option) Selecting Correction Types” on page 584. c. Click the HSL tab. d.
The HSL (Hue, Saturation, Luminance) Group For more information, see “Adjusting Contrast and Balance Automatically” on page 610. Using the Sliders in the Controls Tab of the HSL Group The following illustration shows the components of the HSL controls. Components of a control in the Controls tab.
The HSL (Hue, Saturation, Luminance) Group Control Description Saturation Specifies the amount or intensity of color. Values range from 0 to 200, where 100 represents no change to the image, 0 represents complete desaturation (monochrome image), and 200 represents maximum saturation. This control is also available in the Curves tab as Master Saturation. In Symphony Option, when you adjust the Master Saturation slider in the Curves tab, you enable the HSL > Controls > Master tab hierarchy.
The HSL (Hue, Saturation, Luminance) Group Control Description Clip Low Clip High Sets the Low clip and the High clip for the image. All pixels with the Low clip value or less are clipped to black. All pixels with the High clip value or more are clipped to white. The default settings for these controls are 16 and 235 on an 8-bit scale (the normal broadcast values for black and white). Invert Chroma Replaces the color value of every pixel in the image with the opposite color value on the color wheel.
The HSL (Hue, Saturation, Luminance) Group (Symphony Option) ChromaWheel color wheels (left), Color Match control (right), and automatic color correction buttons (across the bottom) in the HSL > Hue Offsets tab. Understanding ChromaWheel Color Wheels The ChromaWheel color wheels let you make adjustments across the same luminance ranges as the Controls tab. The wheels appear in the following order from left to right: Shadows, Midtones, and Highlights.
The HSL (Hue, Saturation, Luminance) Group How ChromaWheels Work A ChromaWheel color wheel is a circular graph that represents hue and saturation values. Hue values are mapped around the circumference of the wheel, with colors in the same positions that they occupy on a vectorscope. Red is at the 0° point on the wheel, and cyan is at the 180° point. As you move around the wheel counterclockwise from red to cyan, you move through positive degree values. For example, green is at +120°.
The HSL (Hue, Saturation, Luminance) Group 2. (Symphony Option) Click the Hue Offsets subdividing tab in the first vertical group on the left side of the Color Correction tool. 3. Make your adjustments by doing one or more of the following: t Click one or more of the automatic color correction buttons. For more information, see “Adjusting Contrast and Balance Automatically” on page 610. t Use one or more of Remove Color Cast buttons below the ChromaWheels.
The HSL (Hue, Saturation, Luminance) Group Hue Offsets Tab Reference The following table describes the individual controls available in the Hue Offsets tab of the HSL tab. Control Description Gain Adjusts the gain or white point for the image. Values range from 0 to 200, where 100 represents the unchanged image.
The HSL (Hue, Saturation, Luminance) Group This original image has a yellow cast. The swatch to the left shows the sample RGB values for an area of the ladder. There is relatively less blue than red or green in the grays of the image. You might want to restore the metal objects in the image to a more neutral gray or even change the look and mood of the image by creating a different cast. The Hue Offsets ChromaWheel color wheels provide a way to do this easily.
The HSL (Hue, Saturation, Luminance) Group This adjustment adds a large amount of blue to the original image. The metal objects now look very blue, and the grain elevators are so saturated in blue that they have lost a lot of detail. You might not want to make such an extreme adjustment except when you need a deliberately unrealistic look, but it demonstrates how much you can change an image with a single adjustment of a ChromaWheel color wheel.
The HSL (Hue, Saturation, Luminance) Group (Media Composer | Symphony Option) Understanding the Luma Ranges Graph The Luma Ranges graph shows curves for each of the three luminance ranges: highlights, midtones, and shadows. You can always see all three curves, but you can only adjust the curve that is active as defined by your subdividing tab. The graph plots brightness values from 0 to 255 on the horizontal axis and percentage values on the vertical axis.
The HSL (Hue, Saturation, Luminance) Group For example, in the default Luma Ranges settings, brightness level 175 is defined as 50% highlight, 50% midtone, and 0% shadow. Brightness level 215 is defined as 95% highlight, 5% midtone, and 0% shadow. If you make adjustments to the highlights luminance range elsewhere in the HSL tab, those adjustments are dominant in controlling pixels of brightness 215 but share control of pixels of brightness 175 equally with the midtones adjustments.
The HSL (Hue, Saturation, Luminance) Group (Media Composer | Symphony Option) Manipulating Luminance Range Curves To add a control point to a curve: t Click the curve at the point where you want to add the point. A new control point appears with a circle around it to indicate that it is the active point. To select a control point: t Click the control point. A circle appears around the control point.
The Channels Group Top, left to right: an original monochrome gradient image, the image in three-tone preview using default luma range settings, and the image in three-tone preview with an expanded luma range. Center, left to right: a video image, the image in three-tone preview using default luma range settings, and the image in three-tone preview with an expanded luma range. Bottom: the Luma Ranges graph used to create the expanded midtones range.
The Channels Group As in other groups, you can use the Color Match control to set the blending controls automatically, based on selected input and output colors. For information on the Color Match control, see “Using the Color Match Control” on page 614. The following illustration shows the Channels tab in its default configuration. Making Corrections Using the Channels Tab To make corrections using the Channels tab: 1. If you have not already done so: a.
The Channels Group Output Type Description Blue Output Displays the blue channel in monochrome with the Channel Blending pane adjustments applied. Master Output Displays the complete image in color with the Channel Blending pane adjustments applied. 5. Repeat steps 2 through 4 as necessary until you are satisfied with the result.
The Channels Group Component Type Options in the Channels Tab The following table describes the component type options available in the Channels tab of the Color Correction tool. Option Description Red The input red channel. Green The input green channel. Blue The input blue channel. Luma The luminance channel in the component video signal. Cr The red chroma channel in the component video signal. Cb The blue chroma channel in the component video signal.
(Media Composer | Symphony Option) The Levels Group The following detailed example shows how an individual channel is altered by blending. The Blue Input monochrome preview shows that the blue channel lacks contrast. Blending 25% of the green channel information into the blue channel (as shown in the illustration of the controls) introduces somewhat more contrast into the blue channel.
(Media Composer | Symphony Option) The Levels Group You can work with the master channel (red, green, and blue combined) or with each of the color channels. You can also control the white and black points only for the luminance range and for the composite signal to ensure your sequence is within legal limits. If you make adjustments in the master channel and in one or more of the other channels, the final output is the cumulative result of all the adjustments.
(Media Composer | Symphony Option) The Levels Group Examples of Black Point Input and Output Adjustments A typical default setup for the Levels tab shows the following values on both the input and the output side: Black Point Gray Point White Point 16 128 235 The black point and white point values represent normal, safe limits for video broadcast. An adjustment on the input side changes the range of input values being mapped to the same range of output values.
(Media Composer | Symphony Option) The Levels Group An adjustment on the output side changes the total range of output steps available. For example, if you leave the input points unchanged and change the output black point to 60, you deliberately reduce the range of values in the image (220 input steps are mapped to only 176 output values).
(Media Composer | Symphony Option) The Levels Group Example of a Levels adjustment that changes the Input Gray Point value to 100 (all other values are defaults): unadjusted images (top) and adjusted images (bottom) If you change the output gray point to 100, you perform the opposite correction. Your Avid editing application maps input values from 16 to 128 to output values from 16 to 100, and input values from 128 to 235 to output values from 100 to 235. This darkens the image somewhat.
(Media Composer | Symphony Option) The Levels Group Example of a Levels adjustment that changes the Output Gray Point value to 100 (all other values are defaults): unadjusted images (top) and adjusted images (bottom) Making Corrections Using the Levels Tab To make corrections using the Levels tab: 1. If you have not already done so: a. Move the position indicator to the segment you want to correct. b. Click the Correction Type button and select a correction type.
(Media Composer | Symphony Option) The Levels Group For more information, see “Understanding the Levels Tab Controls” on page 646. Understanding the Levels Tab Controls The Levels controls are dynamically linked to one another. When you adjust one of the controls, the adjustment is reflected in all other appropriate controls. For example, if you change the input black point value in the text box, the histogram slider and the control point for black on the ChromaCurve graph change.
(Media Composer | Symphony Option) The Levels Group Histogram example 3: In the image, there are very large highlight areas in the background and on the chicks. Most of the rest of the image is relatively, but not extremely, dark. The histogram shows sharp spikes at the high end, relative concentration in the low to middle range, and few values in the middle to high range.
(Media Composer | Symphony Option) The Levels Group When you make less extreme adjustments, your Avid editing application calculates a true curve based on the values of the control points and their positions with respect to one another. For example, if you move the control point for gray, the white point and black point remain in the same positions.
(Media Composer | Symphony Option) The Levels Group To set black, white, and gray points with the histogram text boxes, do one of the following: t Type a numerical value in the appropriate text box, and then press Enter (Windows) or Return (Macintosh).
(Media Composer | Symphony Option) The Levels Group Composite histogram and ChromaCurve graph: only Black Point and White Point controls appear You can use the Composite and Luma tabs together with the Safe Color feature to ensure that your images remain within limits. If you set the Safe Colors feature to warn you when material exceeds composite and luminance limits, parts of the image that exceed the limit appear orange in the histograms and you can use these warnings to guide your adjustments.
The Curves Group Unadjusted image (top left), adjusted image (top right), and adjustment display in the Levels tab. This examples uses a gray point adjustment to substantially increase the proportion of the tonal range that lies between gray and white. This reveals a lot more detail in the image, such as the lettering on the wall at the extreme right.
The Curves Group The Curves tab also contains automatic color correction buttons that adjust one or more of the ChromaCurve graphs automatically, and the Color Match control, which lets you automatically add or modify a control point based on selected input and output colors. For more information, see “Using Automatic Color Corrections” on page 608 and “Using the Color Match Control” on page 614.
The Curves Group When you make less extreme adjustments, your Avid editing application calculate a true curve in the graph based on the values of the control points and their positions with respect to one another. In each of the Red, Green, and Blue ChromaCurve graphs, the background color indicates what color in the image changes when a curve passes through that part of the graph.
The Curves Group For more information, see “Adjusting ChromaCurve Graphs” on page 654. t Adjust the Master Saturation, Master Gain, Master Gamma, or Master Setup slider controls. For more information, see “Controls Tab Reference” on page 624 and “Hue Offsets Tab Reference” on page 630. Adjusting ChromaCurve Graphs You can have sixteen control points in a Curves tab ChromaCurve graph. Graphs must always have at least two control points.
The Curves Group Selected control point at 100 on the input (horizontal) axis and at 69 on the output (vertical) axis t Click in one of the text boxes, and then press the Up Arrow key to increase the value or the Down Arrow key to decrease the value by small increments. t Click in one of the text boxes, then use the mouse scroll wheel to change the value by small increments.
The Curves Group ChromaCurve Graphs and the Color Match Control When you use the Color Match control in the Curves tab, a gray crosshair marker appears in each appropriate ChromaCurve graph to mark the intersection of the input value defined by the input color swatch in the Color Match control and the output value defined by the output color swatch. When you click the Match Color button, your Avid editing application adds a new control point and updates the ChromaCurve graphs to reflect the color match.
The Curves Group In each example, the background color behind the control point represents the color change to the image. In the first example, the curve passes through the darker cyan area, which reduces reds in the darker parts of the image. In the second example, the curve passes through the lighter cyan area, which reduces reds in the lighter areas of the image.
The Curves Group Image from adjustment 1 (left) and result of adjustment 2 (right) Adjustment 2 reduces red primarily in the highlights range (the upper part of the curve). The differences between this adjustment and adjustment 1 are most apparent in the lower signpost, which retains more redness and detail, and in the background, where the crop in the lower right retains more red tones, but the clouds in the top right have lost their red highlights.
The Curves Group Adjustment 3 reduces red more evenly across the entire luminance range but with the largest change in the midtones. The differences between this adjustment and adjustment 2 are subtle. The strong midtone reduction in red is most noticeable in the skin tones, which appear more gray than in either adjustment 1 or adjustment 2. However, adjustment 3 retains both some detail in the lower signpost and some of the red highlights on the clouds.
The Curves Group Image from adjustment 4 (left) and result of adjustment 5 (right) Adjustment 5 boosts red primarily in the highlights range. The most noticeable difference is in the crop in the background. In adjustment 4, which boosts red more in the lower ranges, the crop looks more orange. In adjustment 5, which boosts red very little in the shadows range, the crop looks more yellow-green.
(Media Composer | SymphonyOption) The Secondary Group Adjustment 6 boosts red primarily in the shadows range. In comparison with adjustment 5, there is much more red and orange in the darker parts of the image (for example the crop in the lower right and the lower part of the shirt). The clouds, however, have much less of a red highlight. (Media Composer | SymphonyOption) The Secondary Group Secondary color correction lets you adjust parts of an image defined by hue and saturation values in real time.
(Media Composer | SymphonyOption) The Secondary Group For example, you might have a shot of a person wearing a bright yellow scarf. After earlier stages of color correction, you like the look of the image, but the scarf remains too bright. You can use secondary color correction to select the bright yellow of the scarf and then make an adjustment to change the yellow color. Your Avid editing application only adjusts the bright yellow pixels in the image.
(Media Composer | SymphonyOption) The Secondary Group 6. Adjust the input values of the vector until it corresponds to the color range you want to correct. For more information, see “Adjusting Input Vector Values” on page 668. 7. (Option) As an alternative to steps 5 and 6, use the Color Selection buttons to select, enable, and adjust an input color vector based on colors that you sample from the image. For more information, see “Using the Color Selection Buttons” on page 671. 8.
(Media Composer | SymphonyOption) The Secondary Group The hue range of a vector is represented by the arc of the wheel that it covers, and the saturation range of a vector is represented by the part of the wheel’s radius that it covers. The exact range of values in a vector is also related to its shape. Standard vectors always appear as wedges — they have no upper saturation limit, and their hue ranges are constant regardless of the saturation level.
(Media Composer | SymphonyOption) The Secondary Group Examples of saturation ranges. Top: detail of a custom vector (number 3 in the Selected Vectors panel), which has a default saturation value of 35 and saturation width of 40. Its range excludes extremely low saturation levels and a wide range of high saturation levels. A smaller saturation width would reduce the range of color intensity included in the vector. A larger saturation width would expand the range of color intensity.
(Media Composer | SymphonyOption) The Secondary Group Secondary Vectors menu in the Features tab of the Correction Mode Settings dialog box For more information, see “Options for Secondary Color Correction Vector Display” on page 666. 4. Click OK. Options for Secondary Color Correction Vector Display The following table describes available options in the Secondary Vectors menu in the Features tab of the Correction Mode Settings dialog box.
(Media Composer | SymphonyOption) The Secondary Group Option Description Display in Color Wheels Show Custom Shows the six custom (elliptical) vectors in the color wheels of the Secondary tab. This setting also shows standard vectors that are enabled. Show Enabled Shows only those vectors that are currently enabled in the Selected Vectors panel. The illustration shows the Red standard vector and one custom vector.
(Media Composer | SymphonyOption) The Secondary Group Default Red vector color swatch (left) and Red vector color swatch after hue is adjusted to +20 degrees (toward magenta) Selecting Vectors You must select a vector to make an adjustment. Any adjustments that you make using controls in the Secondary tab apply to the currently selected vector. To select a vector, do one of the following: t Click the center point of the vector in the color wheel.
(Media Composer | SymphonyOption) The Secondary Group To adjust an input vector: 1. Select the vector you want to adjust. For more information, see “Selecting Vectors” on page 668. 2. Adjust the vector by doing one or more of the following: t Manipulate the vector directly in the Input color wheel by dragging its center point.
(Media Composer | SymphonyOption) The Secondary Group Control Description Softness Sets a softness value for the vector. Values range from –255 to 255. Positive values blend the corrected color into areas of the image beyond the limits of the defined input vector. The higher the value, the further into adjacent color values the blend extends. Negative values blend the uncorrected color into parts of the area defined by the input vector.
(Media Composer | SymphonyOption) The Secondary Group Examples of Softness Adjustments Softness is an important control for fine-tuning the effect of a secondary correction on an image. You can control the appearance of the transitional areas between a corrected part of the image and the rest of the image. You can also quickly compensate for inaccuracies in the input vector definition by expanding or contracting the color range over which the correction has an effect.
(Media Composer | SymphonyOption) The Secondary Group You can use the Color Selection buttons together with the Color Match control to quickly perform a complete secondary color correction. For more information, see “Using the Color Match Control for Secondary Corrections” on page 675. You can also use the Color Selection buttons to refine the definition of an existing vector by sampling colors within or adjacent to that vector. The following illustration shows the Color Selection buttons.
(Media Composer | SymphonyOption) The Secondary Group Refining a Vector Definition with the Add to Selection and Subtract from Selection Buttons You can refine the definition of a vector by adding or subtracting colors that you sample using the Add to Selection and Subtract from Selection buttons. You can use these buttons to refine any vector, regardless of how you originally defined it.
(Media Composer | SymphonyOption) The Secondary Group To isolate the selected vector: 1. Ensure that the position indicator is in the segment that you want to isolate. 2. Select Isolate in the Selected Vectors panel of the Secondary tab. The active monitor changes to isolate the selected vector. 3. Make input and output adjustments to the vector until you are satisfied with the look of the correction. 4.
(Media Composer | SymphonyOption) The Secondary Group As you drag the center point around in the color wheel, the Hue and Saturation sliders update to show the current hue and saturation values. t Adjust the output sliders. The Output Vector Hue and Saturation sliders are identical to their Input Vector equivalents. For more information, see “Input Vector Sliders” on page 669. The Output Vector Luminance slider changes the luminance value for the final color.
(Media Composer | SymphonyOption) The Secondary Group 4. Click the Match Color button. Your Avid editing application adjusts the output values for that vector, deselects Isolate, and displays the corrected image in the monitor that contains the current segment. 5. (Option) Refine the vectors using the Input Vector and Output Vector sliders until you are satisfied with the correction. To make a secondary color correction with the Color Match control only: 1.
Keyframing Color Corrections Examples of Inverted and Isolated Images The following illustrations show the effects of Isolate and Invert Last Vector on a typical image. If you use these two features alone or in combination, you can achieve a wide range of special Color Correction effects in which one area of the image stands out from the rest. Top: original image.
Keyframing Color Corrections • Automatically add keyframes by moving the position indicator below the Current monitor and then adjusting any keyframeable color correction parameter. • Check how your animated color corrections are working by scrubbing through clips in Color Correction mode. Color correction parameter controls and graphs update as you scrub to show the parameter values at each point in the clip.
Keyframing Color Corrections 4. Select Windows > Workspaces > New Window. The New Workspace Setting dialog box opens. 5. Type a name for the new workspace in the Workspace Name text box. 6. Click OK. The new workspace appears in the Workspaces menu. 7. (Option) Map the Color Correction workspace menu command to your keyboard. For more information, see “Mapping Menu Commands” in the Help.
Keyframing Color Corrections Parameter Types Description (Symphony Option) Parameters These parameters are not keyframeable and do not appear in the Effect Editor. in the Secondary tab that simply turn on or off (Invert Last Vector, Isolate) All parameters in the HSL > Luma Ranges and Channels tabs Working with Keyframes in the Color Correction Monitor Keyframe markers display in the position bar below the Current monitor in Color Correction mode.
Working with the Waveform Monitors and Vectorscope Monitor 6. Repeat steps 3 through 5 to create additional keyframes as necessary. Depending on where you added keyframes in step 1, you might also need to return to the Effect Editor to add a first keyframe for any parameter you want to adjust that does not yet have any keyframes. 7.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton Quad Display Displays the following waveform and vectorscope information in a single monitor (clockwise from the top left corner): • YC Waveform • Vectorscope • RGB Histogram • RGB Parade For information on each display, see its individual entry in this table. RGB Histogram Displays a graph that shows which RGB values in the image appear most frequently.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton RGB Parade Displays waveforms of the RGB components side by side. Because video cameras capture in RGB, this display helps to show camera problems. You can also use it for general reference to the three primary colors. RGB signals combine to create all other colors. A white area in the image appears as peaks in all three waveforms at the same relative location.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton Y Waveform Displays a Waveform monitor with luma information. Luma is the brightness of an image without regard to color. The scale on the left is a digital level scale using a 256-step (eight-bit) range; 16 is the level for black, and 235 is the level for white. The scale on the right shows the amount of white in the image as a percentage; 0% represents black, and 100% represents white.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton YC Waveform Displays composite video information. Composite video has the C (chroma) waveform, which is derived from Cb and Cr components, riding on the Y (luma) waveform. The Y trace is green and the C waveform is a cyan (blue-green) envelope around the green trace.
Working with the Waveform Monitors and Vectorscope Monitor Command Descripton YCbCr Histogram Displays a graph showing which YCbCr values in the image appear most frequently. The height of a peak indicates the number of pixels of that value. The width of a peak indicates how many pixels in the image have similar values. The upper bar of the histogram represents Y values. The darkest values are on the left and the brightest values on the right.
Applying Color Corrections to an Entire Sequence Using the Waveform and Vectorscope Information The following are examples of the ways you can use the waveform and vectorscope information: • Aligning levels of sources using test patterns. If you capture some color bars from your source footage, you can measure them and set the color correction you need to restore the video levels to the way the program was created.
Using the Color Correction Effect Once you make a color adjustment, your Avid editing application fills the entire length of the empty track with filler material and applies a Color Correction effect. The filler in this case is not opaque material but simply a container for the Color Correction effect. The result is that you see the color adjustment applied to whatever combination of images and effects exists in the lower video tracks.
Using the Color Correction Effect You can apply the Color Correction effect in two different ways: • You can apply it from the Color Correction tool by selecting CC Effect as the correction type. For more information, see “(Media Composer | Symphony Option) Applying a Color Correction Effect from the Color Correction Tool” on page 692. • You can apply it from the Effect Palette, in the same way as any other effect.
Using the Color Correction Effect Example of relationship corrections and a Color Correction effect combined with another effect on multiple layers. Top left, original setup before color corrections. Top right, relationship correction on bottom track (only bottom track has chroma inverted). Bottom left, relationship correction on top track (only top track has chroma inverted). Bottom right, Color Correction effect nested on top of Picture-in-Picture (entire composite has chroma inverted).
Using the Color Correction Effect To set AutoCorrect options: 1. Do one of the following: t In the Settings tab of the Project window, double-click Correction. t In the Color Correction window, click the Correction Mode Settings button. The Correction Mode Settings dialog box appears. Sample Symphony Option illustration. Top to bottom: First Correction menu, Second Correction menu, and Third Correction menu in the Correction Mode Settings dialog box 2. Click the AutoCorrect tab. 3.
Using the Color Correction Effect Option Description HSL Auto White Adjusts the Gain slider in the Hue Offsets subdividing tab of the HSL tab to make the brightest areas of the image as bright as possible. This is the equivalent of clicking the Auto White button in the Hue Offsets subdividing tab of the HSL tab. Curves Auto Balance Makes adjustments to the Red, Green, and Blue curves to balance the colors in the image. This is the equivalent of clicking the Auto Balance button in the Curves tab.
Using the Color Correction Effect To use the Color Info Tool: 1. Select Tools > Color Info Tool. The Color Info Tool opens. 2. Move your pointer. The values in the Color Info tool display the color info for the pixels located under the pointer. 3. Right-click (Windows) or Control-click (Mac) the Color Info Tool window. The follow options appear: 4.
Using the Color Correction Effect Option Description IRE Measures in IRE units. mVolts Measures in millivolts. You can also access the Color Info tool by clicking the Color Info button in the Color Correction Tool.
21 (Media Composer | Symphony Option) Managing Color-Corrected Sequences This chapter provides information on how to manage sequences once you have applied color correction to them.
Merging Color-Corrected Sequences To update a color-corrected sequence: 1. In Source/Record mode, edit new material into a previously color-corrected sequence. 2. Click the Color Correction Mode button, for example, in the Timeline palette. 3. Right-click in the Color Correction tool, and select Update Correction. The Update Color Correction dialog box opens. 4. Select the Source and Program relationships you want your Avid editing application to use when deciding which segments to update.
Merging Color-Corrected Sequences For example, if the editor adds new segments from source tape 1, and a color correction exists for that tape, your Avid editing application applies the correction to the new segments when the merge takes place. This is true whether the color correction was made before the editor began work or whether the color correction is made to the sequence while the editor is working with a copy of it.
Merging Color-Corrected Sequences 9. Select the Source and Program relationships you want your Avid editing application to use when deciding which segments to update in the merging process. You can merge Color Correction that was created using the Source Segment or Program Segment relationship. Color corrections using Source or Program segment relationships will be merged using the Segment’s source and timecode.
Color Correction Merging Example If you deselect this option, your Avid editing application merges the two copies into the sequence that is currently in the Timeline. This is the sequence that you loaded into the Record monitor before entering Color Correction mode. 12. Click OK. Your Avid editing application merges the two existing sequences, based on the options you have selected. The merged sequence appears in the Timeline.
Flattening Color-Corrected Sequences The editor’s copy of the sequence is now out-of-date with respect to the colorist’s corrections. It contains segments from source tapes 1, 2, and 4 that need to use the Source Tape corrections for those tapes. When the two sequences merge, the editor’s sequence is correctly updated.
Removing Color Corrections 3. Select the Source and Program relationships you want your Avid editing application to use when deciding which segments to flatten. By default, all available relationships are selected. 4. Select Create New Sequence if you want your Avid editing application to create a new copy of the sequence and flatten segments on that copy. n If you deselect Create New Sequence, your Avid editing application flattens the existing version of the sequence.
Removing Color Corrections 4. Select Create New Sequence if you want your Avid editing application to create a new copy of the sequence and remove segments only from that copy. n If you deselect Create New Sequence, your Avid editing application updates the existing version of the sequence. Avid recommends that you create a new sequence when removing groups of corrections. You then retain the previous version as a backup.
22 Color Correction Techniques This chapter provides an introduction to color correction techniques. It suggests some general principles to keep in mind when you are assessing footage and making color corrections, and then presents examples of corrections to shots with typical color problems.
Guiding Principles for Color Correction When you work on an uncorrected shot, you should make intelligent decisions about what the scene originally looked like and then adjust the shot accordingly. Although you probably were not present when the scene was shot, you can accomplish this with sufficient accuracy using the following two basic guidelines. • The human visual system generally maximizes the tonal range available in a scene.
Guiding Principles for Color Correction Correcting Tonal Range Correcting the tonal range usually requires two steps. First, you reset the white and black points to make the range of values between the lightest part of the image and the darkest part of the image as large as possible. Second, you adjust the gray point to control how much of the total tonal range falls above and how much below the middle value.
Guiding Principles for Color Correction Neutralizing Color Neutralizing color returns the colors in an image to the colors that a viewer would have perceived when standing beside the camera. Most film or video images depart from that ideal to some degree. One way to think about neutralizing color is to imagine working on a project where every shot includes a large card that we know is a perfectly neutral midgray color when viewed in ideal lighting conditions.
Guiding Principles for Color Correction Achieving Shot-to-Shot Consistency The most common reason for departing from the look of the original shot is to achieve simple shotto-shot consistency in the finished program. If a scene in a drama that is supposed to take place at one time is shot over two days, and lighting conditions have changed from one day to the next, you probably want to adjust all the shots so they appear to be taking place at the same time.
Examples of Color Correction Problems 5. Click OK. Achieving a Final Look Some projects might require final adjustments to create a finished look. For example, you might slightly increase saturation across the whole sequence to create richer-looking colors or slightly darken all the shots to enhance a mood of tension or suspense. In certain circumstances, you might make substantial changes to the color values of the whole sequence or remove color entirely from some parts of it.
Examples of Color Correction Problems These examples are intended as aids to learning, not as inflexible instructions for making corrections or models of what a perfect correction looks like. Each example shows only one possible way of making a correction and one possibility for a corrected image. As you develop your own color correcting skill and judgment, you might prefer to use different combinations of controls and to aim for a slightly different final look.
Examples of Color Correction Problems Split screen: uncorrected image and image after Contrast correction Step 2: ChromaWheel Correction The second step of this correction removes the color cast by making a single adjustment on the Midtones ChromaWheel control on the Hue Offsets tab of the HSL group. In Symphony, the second step of this correction removes the color cast by making a single adjustment on the Master Hue Offsets ChromaWheel control in the HSL group.
Examples of Color Correction Problems Split screen: uncorrected image and image after both corrections Alternative Techniques There are several alternate ways to make the tonal range adjustments to this image. You could use the Gain, Gamma, and Setup sliders as an alternative to the basic adjustment on the Contrast slider. You could also use the Master ChromaCurve graph in the Curves tab. (Symphony option) This example uses simple corrections that apply across the full luminance range.
Examples of Color Correction Problems Step 1: Master Controls Tab Corrections The first step of this correction adjusts the Gain and Saturation sliders in the Master Controls tab. Gain is increased to 103.70, Saturation to 106.17. This brightens the whole image slightly and intensifies color throughout to correct the dull look of the original.
Examples of Color Correction Problems Step 4: ChromaWheel Correction The fourth step neutralizes the color cast in the highlights range with a large adjustment in the Highlights ChromaWheel. The adjustment values are Hue:–167.76, Amount:41.32. This removes the pink look in the shirts (most apparent by comparing the shirt in the background between Step 3 and Step 4). Because the adjustment affects the highlights range only, it does not result in an extreme loss of the red component of the skin tones.
Examples of Color Correction Problems Example 3 Analysis of Original Image Uncorrected image and reference image In this example, two different cameras have been used to shoot the rock climbers. The second camera is correctly balanced and shows good color characteristics, but the images from the first camera show a strong blue cast and are too dark. Corrections can neutralize color and raise the brightness level in the first image so that it more nearly matches the second.
Examples of Color Correction Problems Split screen: uncorrected image and image after Blue ChromaCurve correction Step 2: Master ChromaCurve Correction The second step of this correction increases the brightness of the image by making an adjustment on the Master ChromaCurve graph in the Curves tab. The control point is placed three-quarters of the way up the curve and moved up and to the left. The input and output values for this adjustment are 178 and 213 respectively.
Examples of Color Correction Problems Reference image and corrected image A sample of one of the climber’s white helmets before and after the correction and in the reference image shows the following RGB values: • Before — R:113, G:139, B:211 • After — R:142, G:152, B:174 • Reference — R:146, G:174, B:185 Though these samples might not be from precisely the same part of the helmet in all three cases, they clearly confirm the nature of the correction.
23 Safe Colors This chapter provides information about the Safe Colors feature of your Avid editing application.
Safe Color Settings Options Safe Color Settings Options You set safe color limits and control how your Avid editing application applies those limits by selecting options in the Safe Color Settings dialog box. For information on how to open the Safe Color Settings dialog box and set limits and options, see “Managing Safe Color Warnings” on page 721. The Safe Color Settings button in the Color Correction tool provides a visual indication of the status of the Safe Colors feature.
Understanding the Graphical View of Safe Color Settings Understanding the Graphical View of Safe Color Settings The Safe Color Settings dialog box provides a graphical display of the current limit values in relation to the default values. This lets you quickly check that your limits are consistent with one another and within an acceptable range without having to read all the numerical limit values and remember the default values.
Understanding Safe Color Warnings Adjusted Safe Color Settings values (top) and their representation in the Safe Color Settings graph (bottom). Colored bars that extend past the gray lines toward the center of the graph indicate a setting that is more restrictive than the default. Colored bars that retreat from the gray lines toward the edges of the graph (as the top two bars on the right do) indicate a setting that is less restrictive than the default.
Managing Safe Color Warnings Safe Color warning indicators for monitors. In this example, the Composite (yellow), Red, and Green levels exceed the current limits at the high end, while the Red and Green levels also exceed the current limits at the low end. The Luminance (white) and Blue levels are within limits.
Making Adjustments to Achieve Safe Color Values Units buttons (left) and Actions buttons (right) in the Safe Color Settings dialog box To open the Safe Color Settings dialog box, do one of the following: t In the Settings list of the Project window, double-click Safe Colors. t In the Color Correction tool, click the Safe Color Settings button.
Safe Color Limits with Waveform and Vectorscope Information To bring RGB values within safe limits: 1. In the Master ChromaCurve graph of the Curves tab, click the lower left control point to select it. A circle appears around the point. 2. Under the Master ChromaCurve graph, type 16 in both the input text box and the output text box. The control point moves to 16, 16. Your Avid editing application adjusts RGB values under 16 up to 16. 3.
Safe Color Limits with Waveform and Vectorscope Information Use Y Waveform to see the black and white levels of your image. Sometimes, particularly with white levels, keeping the white peaks within the 100% limit does not produce a pleasing level for the rest of the image. This is particularly common with backlit subjects, where the sky or a window is in the background and the lighting on the foreground is insufficient.
Working with the Safe Color Limiter Effect Working with the Safe Color Limiter Effect In addition to the safe color warning system, you can also limit colors to safe ranges by applying the Safe Color Limiter effect. The Safe Color Limiter effect modifies color and luminance values in video material to bring the material within the safe color limits you define.
Working with the Safe Color Limiter Effect To apply the Safe Color Limiter effect: 1. Set the default safe color limits you want the Safe Color Limiter effect to use. For more information, see “Managing Safe Color Warnings” on page 721. 2. (Option) If you want to apply the effect across the entire duration of the sequence, add a new video track in the Timeline, for example, by selecting Timeline > New > Video Track. 3.
Working with the Safe Color Limiter Effect The effect analysis display has two layers. The background layer is a copy of the image with luminance reduced to allow the foreground information to stand out clearly. The foreground layer highlights those pixels in the image whose color values fall outside the limits currently being used by the effect — that is, pixels that are being modified by the effect.
24 (Media Composer | Symphony Option) Spot Color Correction This chapter provides information on using the Spot Color Correction effect and using color adjustment modes in the Paint Effect.
Making Corrections Using the Spot Color Correction Effect You can also make color adjustments to Intraframe objects using various modes in the Paint Effect. For more information, see “Using Paint Effect Modes for Color Adjustment” on page 730. However, you can apply only one kind of adjustment to a selected area using the Paint Effect. Using the Spot Color Correction effect, you can enable several kinds of color adjustments at the same time.
Using Paint Effect Modes for Color Adjustment 8. (Option) If necessary, repeat steps 3 through 6 to define and adjust additional areas for correction. 9. (Option) If necessary, use keyframes to adjust the corrected areas over time so that they follow movements in the footage. For more information on keyframing Intraframe objects, see “Intraframe Example: Animating a Matte Key Effect” on page 409. 10. Render the effect to play it back in real time.
Using Paint Effect Modes for Color Adjustment 10. (Option) If necessary, use keyframes to adjust the corrected areas over time so that they follow movements in the footage. For more information on keyframing Intraframe objects, see “Intraframe Example: Animating a Matte Key Effect” on page 409. 11. Render the effect to play it back in real time.
25 Using Avid Artist Color This section includes topics that provide information on configuring and using Avid Artist Color with your Avid editing application. Avid Artist Color employs the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCONcompatible devices. You can use the device with your Avid editing application to adjust the color characteristics of video material that you have edited into a sequence.
Installing EuControl Software and Configuring the Avid Artist Color If you want to connect your Artist Series controller to an Avid editing system that is part of an Avid ISIS shared storage environment, the following requirements apply: • (Macintosh only) Avid recommends that you connect your Artist Series controller to the built-in Ethernet 1 port on your Macintosh system.
Installing EuControl Software and Configuring the Avid Artist Color b. Click the Surfaces tab, and then click Update Firmware. If there is updated firmware for your Artist Series controller, EuControl automatically downloads it. c. Follow the on-screen instructions to install the new firmware. 4. Shut down your system. 5. Connect your Artist Series controller. For information on setting up your Artist Series controller, see the documentation that came with your equipment.
Installing EuControl Software and Configuring the Avid Artist Color Configuring Ethernet Connections (Macintosh) You can connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system. By default, the EuControl application is configured to use Ethernet 1.
Installing EuControl Software and Configuring the Avid Artist Color 9. If the Ethernet connection you want to use for your corporate network or shared storage connection is not at the top of the network connections list, select that Ethernet connection and drag it to the top of the list. For more information on setting the service order, see the Apple Help for your Macintosh system. 10. Click Apply, and then close the Network dialog box.
Installing EuControl Software and Configuring the Avid Artist Color 3. Touch the first box of the IP Address field to select it, and then adjust its value by turning any of the eight knobs or the Jog wheel. 4. Repeat the previous step to adjust all values of the IP Address and the Subnet Mask fields. 5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the new IP address. You can touch Cancel at any time to discard changes made to the IP address.
Installing EuControl Software and Configuring the Avid Artist Color 2. Turn the knob underneath the display clockwise to change the Use DHCP value from yes (default) to no. You can use the SEL and ON keys instead of the knob to decrease or increase the value, respectively. 3. Press the Page Right key or the Top key to move the cursor to the next screen. 4. Use the knob to set the value of the IP Address field. 5. Repeat step 3 and step 4 to adjust all values of the IP Address and the Subnet Mask fields.
Installing EuControl Software and Configuring the Avid Artist Color t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. EuControl Settings application opens. The All Surfaces list displays all available Artist Series controllers. 4. Click the Automatically add: menu, and select one of the following: t To add all controllers listed in the All Surfaces list — which lists all devices available on your subnet — select All Surfaces.
Using Artist Color 7. (Option) If you want more than one workstation to access your Artist Series controllers, do the following: a. Select the workstation in the All Workstations list and click Add. b. Select the workstation in the My Workstations list and click Attach. A check mark appears in the Attached column in the My Workstations list. The workstation can now access the Artist Series controllers connected to EuControl. 8. Close the EuControl Settings application.
Using Artist Color To enter and exit Color Correction mode with your Artist Color, do the following: t Press the F1 (Enter/Exit Color Correction mode) button. Press the F1 button again to exit Color Correction mode. The Artist Color either enters Color Correction mode or Source/Record mode. Adjusting Avid Artist Color Controls Some of the adjustments you make as you correct the color in your sequence might require fine control over the trackwheels, trackballs, and other controls on your Artist Color.
Using Artist Color To make HSL adjustments with the Artist Color: 1. Move the position indicator to the segment in the Timeline you want to correct. You can use the navigation controls on the Artist Color to move the position indicator in the Timeline. 2. If your Artist Color does not display the HSL group functions, press the Nav button, and then press the left Soft Knob to activate the HSL group in the Color Correction tool.
Using Artist Color To make HSL adjustments with the Artist Color: 1. Move the position indicator to the segment in the Timeline you want to correct. You can use the navigation controls on the Artist Color to move the position indicator in the Timeline. 2. If your Artist Color does not display the Curves group functions, press the Nav button, and then press the second Soft Knob to activate the Curves group in the Color Correction tool.
Using Artist Color The functions on the Channels and Levels Groups in the Color Correction tool currently are not mapped to the Artist Color controls. You can customize your default assignments for commonly-used controls (see “Customizing Avid Artist Color Controls” on page 749). You can also use Mouse mode to navigate the controls in the Color Correction tool from the Artist Color (see “Using Mouse Mode” on page 745).
Using Artist Color bucket are not saved when you close the Avid editing application. For more information on using Color Correction effect templates, see “Working with Color Correction Effect Templates” in the Help. To save a Color Correction effect template as a bucket: 1. Make sure that the position indicator is in the segment that contains the settings you want to save. 2. Press one of the Copy buttons (CG1, CG2, CG3, or CG4).
Using Artist Color Moving Through Footage with Artist Color You can use your Artist Color to control how you move through footage, using the following methods: • • • The Transport controls allow you to play, pause, rewind, and fast forward in your sequence. - You can use the Play Reverse, Pause, and Play Forward buttons on your Artist Color to move through your footage as you do with J-K-L play in your Avid editing application.
Editing Without Entering Color Correction Mode Control Shift Control Second Row: Play Reverse Play reverse Stop Stop Play Play Editing Without Entering Color Correction Mode You can use your Artist Color to perform some standard editing functions when you are not in Color Correction mode. When you exit Color Correction mode, you can set In and Out points, make Insert or Overwrite edits, enter or exit Trim mode, and make different kinds of trim edits.
Avid Artist Color Soft Keys You can continue to press the F7 or F8 button to trim additional frames from the transition point. Avid Artist Color Soft Keys When EuControl opens for the first time, it includes a set of default Avid color correction editing functions mapped to the Artist Color buttons (the default mappings are called the “application set”). For a full list of the default color correction application sets used with Avid editing applications, see “Controller Application Sets” on page 753.
Customizing Avid Artist Color Controls EuControl Settings: active application, option menus, Soft Key labels The default EuControl button mappings include assignments for the color soft keys (Color SKs), which control the functions assigned to the nine buttons located below the display on Artist Color. Selecting Shift allows you to view a second set of Soft Key assignments. The section organizes the buttons in pages for HSL and Curves group functions.
Customizing Avid Artist Color Controls 3. Do one of the following: t Select a button whose function you want to customize, and click Command. t Double-click a button whose function you want to customize. The Soft Key Command Editor opens. 4. Specify the action you want to associate with the control button. The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor.
Customizing Avid Artist Color Controls 3. If the display does not include any blank keys, click the Page menu and select a new page. You can also click the Add button to add a new page. 4. Do one of the following: t Select a blank key and click Command. t Double-click a blank key. The Soft Key Command Editor dialog opens. 5.
Avid Artist Color Controls Avid Artist Color Controls The following illustration lists the location of device controls on the Avid Artist Color. The specific functions controlled by the Artist Color change depending on which group or subdividing tab of the Color Correction tool you activate, and if you press or lock the Shift or Nav button on the Artist Color.
Controller Application Sets Control Function Bank (left and right) Moves the assigned functions for the trackballs, trackwheels, and Soft Knobs between tabs in the Color Correction tool. Show Opens the EuControl application and displays the Soft Keys tab. Power Turns the controller on or off. Soft Keys Provide editing and navigation functions specified in the Soft Key pages in the display.
Controller Application Sets HSL Base Controls The following tables describe the default HSL controls on the Artist Color when working with your Avid editing application. Pressing and holding the Shift button, located at the lower corners of your Artist Color, allows you to access a second set of HSL controls. You can lock the controls in Shift mode by pressing and releasing either Shift button.
Controller Application Sets Button Label Control Shift Control F9 Auto White Invert Luma HSL Reset Buttons Button Label Control Shift Control Reset button assignments (left to right): R1 R2 R3 R4 R5 R6 Enable/Reset Setup: • Press to toggle Setup/Enable • Press and hold to reset N/A Enable/Reset Shadow Hue: • Press to toggle Setup/Enable • Press and hold to reset N/A Enable/Reset Gamma: • Press to toggle Setup/Enable • Press and hold to reset N/A Enable/Reset Midtone Hue: • Pr
Controller Application Sets Control Shift Control Trackwheel assignments (left to right): Setup Jog left monitor Gamma Jog center monitor Gain Jog center monitor Trackball assignments (left to right): Hue Offset Shadows Shuttle left monitor Hue Offset Midtones Shuttle center monitor Bank 1: Hue Offset Highlights Shuttle right monitor Bank 2: Master Hue Offset Curves Base Controls The following tables describe the default curves controls on the Artist Color when working with your Avid editing
Controller Application Sets Curves Soft Keys Button Label Control Shift Control Soft Key assignments (left to right): F1 Toggle Color Correction and Source/Record mode Toggle Curves tab enable F2 Toggle Curve enable (hold to delete point) F3 Toggle Color Correction Effect (On/Off) Dual split F4 Mouse mode Mouse mode F5 Remove Effect Remove Effect F6 Undo Redo F7 Auto Color Auto balance F8 Auto Contrast Auto Contrast F9 Match Match Curves Reset Buttons Button Label Control Sh
Controller Application Sets Curves Trackwheels and Trackballs Trackwheels (outer ring) and trackballs (inner ring) Control Shift Control Trackwheel assignments (left to right): Red point curve position Jog left monitor Green point curve position Jog center monitor Blue point curve position Jog center monitor Trackball assignments (left to right): Red point deviation Shuttle left monitor Green point deviation Shuttle center monitor Blue point deviation Shuttle right monitor Curves Bank 2 Con
Controller Application Sets Control Shift Control N/A Jog center monitor Master luminance curve position Jog center monitor Trackball assignments (left to right): N/A Shuttle left monitor N/A Shuttle center monitor Master luminance point deviation Shuttle right monitor Secondary Controls (Media Composer | Symphony Option) The following tables describe the default Secondary controls on the Artist Color when working with your Avid editing application.
Controller Application Sets Button Label Control Shift Control F2 Lock Vectors N/A F3 Toggle Color Correction Effect (On/Off) Dual split F4 Mouse mode Mouse mode F5 Remove Effect Remove Effect F6 Undo Redo F7 Insert Last Vector N/A F8 Isolate N/A F9 Match Color Match Secondary Reset Buttons Button Label Control Shift Control Reset button assignments (left to right): R1 N/A Toggle red enable R2 N/A N/A R3 N/A Toggle green enable R4 N/A N/A R5 N/A Toggle blue enabl
Controller Application Sets Control Shift Control N/A Jog left monitor N/A Jog center monitor N/A Jog center monitor Trackball assignments (left to right): Input Vector Hue and Saturation Shuttle left monitor N/A Shuttle center monitor Output Vector Hue and Saturation Shuttle right monitor Secondary Page 2 Controls (Media Composer | Symphony Option) The following tables describe the default Secondary Soft Knob controls available on the Artist Color when you select Page 2 by pressing the Page
Controller Application Sets Editing Soft Keys Button Label Control Shift Control Soft Key assignments (left to right): F1 Toggle Color Correction and Source/Record mode Toggle Color Correction and Source/Record mode F2 Mark In point Go to Previous Edit F3 Mark Out point Go to Next Edit F4 Insert edit Select A-side Trim F5 Overwrite edit Enter Trim mode/Select AB sides for dual-roller trim F6 Undo Select B-side Trim F7 Clear Mark In/Out points Trim one frame right F8 Zoom In Trim
Controller Application Sets Control Shift Control Output Vector Hue and Saturation Shuttle right monitor 763
Index Index Numerics 0% to 100% Timewarp effect 463 1:66 Mask Film effect 437 1:85 Mask Film effect 437 10 bit units for color correction 594 100% to 0% Timewarp effect 463 10-bit effects processing 124, 126 14:9 Letterbox Reformat effect 458 16:9 display Color Correction monitors 577 in the Title tool 299, 299 16:9 Letterbox Reformat effect 458 16:9 Mask Film effect 437 16-bit effects rendering 137 24p or 25p editing projects finding flaws from telecine transfer 392 3D effect parameters overview of refere
Index deleting 91 described 80 Effect Editor shortcut menu 117 Effect Editor toolbar controls 114 Effect Preview monitor 88 extrapolating parameter values 112 hiding graph display 82 holding parameter values 112 interpolation options 106, 106 moving 98 nested effects 211 opening graphs and tracks 83 removing redundant 92 reversing 110 showing graph display 82 slipping 100 trimming effects with 110 Align Keyframe command (shortcut menu for keyframe track) 101 Align to Frame commands (Alignment menu) 325 Ali
Index Ethernet connections 735 EuControl 732 EuControl settings 738 IP addresses 736 Avid DS caption file format 349 Avid Pan & Zoom effect 229, 229, 230, 231, 232, 234, 235, 235, 236, 237, 237 importing to 510 zooming 511 Avid Pan & Zoom effect parameters 510 Avid Pan & Zoom Image effect 445 Avid Pan and Zoom effect See Avid Pan & Zoom effect Avid Unity 124, 141 Avid Visual Extensions See AVX AVX (Avid Visual Extensions) plug-in effects 144 defined 15, 144 installing 145 locating folders (Macintosh) 145 l
Index Right Box 434 Top Box 434 Top Left to Bottom Right 434 Top Right to Bottom Left 434 Brightness (luminance) defined 471 Bring Forward button (Effect Editor) 389 Bring Forward command (Object menu) 325, 389 Bring to Front command (Object menu) 325, 389 Brush effect parameters 474 Brush effect parameters (FluidMotion Edit) 550 Brush tool creating a custom shape for 370 painting with 368 saving a template 371 Buckets (Color Correction tool) clearing templates from 603 saving templates to 602 Buttons Brin
Index Color coding for effects 18 Color coding of playback information in Timeline 123 Color correction See also listings by specific controls and concepts, for example, Automatic color correction or Custom colors applying to entire sequence 687 automatic, applying from Effect Palette 613 automatic, from Effect Palette 613 automatic, with Color Correction effect 613 Client monitor, using for 582 examples of typical problems 708 keyframeable parameters 679 marking reference frames with markers 580 overview
Index turning controls on or off 591 Color Effect Image effect 446, 446 Color effect parameters (Paint Effect) 526 Color Gain effect parameters 519 Color Match control 3 x 3 averaging of pixels, using 615 correcting with 615 Curves tab, using in 656 described 614 displaying RGB values 622 example of use 620 in Spot Color Correction effect 529 Match Type options for 617 Paint Effect, for spot color correction 730 safe color warnings in 720 secondary color correction, using for 675 secondary color correction
Index for title elements (Edit menu) 325 Copying advanced keyframes 103, 104 keyframes 119 tracking data 277 Core effect parameters (Illusion FX Lightning effect) 496 Core effect parameters (Illusion FX Sparkler effect) 508 Corner Pin effect parameters 556 Corner pinning an image 291 Correcting color See Color correction Correction Mode settings AutoCorrect options 690 Correction Mode Settings button (Color Correction tool) 594 Correction Mode Settings dialog box 613 Correction Type button (Color Correctio
Index Display effect parameter (Avid Pan & Zoom effect) 511 Display effect parameters (FluidMotion Edit) 550 Display rate when processing effects 122 Displaying color correction comments in the Timeline 597 color correction groups 587, 588 color correction information in Timeline 605 subdividing tabs in Color Correction tool 588 tabs in Color Correction tool 588 waveform and vectorscope monitors (color correction) 681 Dissolve Blend effect 432 Dissolve effects 53 Dissolve Icons command (Timeline Fast menu)
Index deleting 692 described 688 saving as a template 692 Effect parameters 3D, overview of reference information 553 422 Safe (Safe Color Limiter effect) 526 Acceleration 472 Actions (Pan and Scan effect) 549 Advanced (Avid Pan & Zoom effect) 514 Aspect Ratios (Pan and Scan effect) 549 Avid Pan & Zoom effect 510 Axis 554 Background 473 Background (Avid Pan & Zoom effect) 513 Background (Illusion FX Pattern Generator effect) 502 Background Color 555 Blur 515 Border 473 Border (3D) 555 Border (Illusion FX)
Index Movement (Illusion FX Sparkler effect) 508 Number (Illusion FX Pattern Generator effect) 503 Offset (Illusion FX Kaleidoscope effect) 495 Other Options (Avid Pan & Zoom effect) 510 overview of reference information 471 Path (Avid Pan & Zoom effect) 512 Perspective 563 Position 479 Position (3D) 563 Position (Avid Pan & Zoom effect) 511 Position (Rolling Title and Crawling Title effects) 552 Position H (14:9 Letterbox Reformat effect) 549 Profile 531 Reformat 548 Render Mode (Avid Pan & Zoom effect) 5
Index replacing existing 60 rerendering 46 resize handles 78 revealing media files 142 Safe Color Limiter (Image category) 725 Safe Color Limiter, adjusting 725 Safe Color Limiter, analysis display 726 Safe Color Limiter, applying 725 sizing to fit media 31 SpectraMatte 196, 196, 198, 199 Spot Color Correction (Image category) 728 Stabilization 247 SubCap 349 Submaster 214, 215 Timeline View settings 22 Timewarp 162 Trim settings 23 wire frames 78 Effects (2D) PlasmaWipe 416 promoting to 3D 283 Effects (3D
Index Feathering for Blur and Mosaic effects 413 for Intraframe effects 376 using 414 Feathering effect parameters 475 Feathering effect parameters (FluidMotion Edit) 550 Field parameter for Blowup effects 481 Field processing 392 Film Dissolve Film effect 438 Film effects 1:66 Mask 437 1:85 Mask 437 16:9 Mask 437 Anamorphic Mask 437 Blowup 437 Film Dissolve 438 Film Fade 438 Mask 437 overview of reference information 436 Film Fade Film effect 438 Film Grain Illusion FX effect 440 Film projects position in
Index guidelines for 705 Greek language Title tool 348 Green dot 18 in Timeline 41 Green tab (Levels group in Color Correction tool) 645 Grid for title alignment 302, 304 snapping to in Title tool 304 Grid button (Effect Editor) 63, 64 Grid display for effects 64 Grid effect parameters 477 Grid Matrix Wipe effect 453 Group command (Object menu) 325, 389 Grouping and ungrouping Intraframe objects 389 objects in titles 325 Groups See Color correction groups HQ (Highest Quality) button (Effect Editor) 140 HQ
Index Input effect parameter for Wave effect 510 Motion effect parameter for Ripple effect 505 Movement effect parameter for Sparkler effect 508 Number effect parameter for Pattern Generator effect 503 Offset effect parameter for Kaleidoscope effect 495 Source effect parameter for FluidMorph effect 493 Illusion FX effect parameters overview of reference information 490 Illusion FX effects Color Mix 440 Crystal 440 Film Grain 440 Flare 440 FluidBlur 444 FluidColorMap 444 FluidMorph 444 Iris 443 Kaleidoscope
Index customizing Brush shape 370 described 363 drawing tools 367 examples of 403, 406, 408, 409, 411 graphics tablet 367 modes described 368 Oval tool 372 pen tool 367 Polygon tool 372 Previsualization Marker tool 384 Rectangle tool 372 rendering during 364 saving a brush template 371 summary of line and curve modification 381 using control points 382 using keyframes 388 using Selection tool 375 with Magic Mask 403 Intraframe objects grouping and ungrouping 389 layering 389 locking and unlocking 389 movin
Index Leading title text 310 Left Box Box Wipe effect 434 Left Centered Squeeze effect 462 Left to Right Conceal effect 434 Left to Right Peel effect 455 Left to Right Push effect 456 Left to Right Squeeze effect 462, 462 Letterboxing 219 Levels effect parameter Avid Pan & Zoom effect 514 Levels group (Color Correction tool) described 640 function compared to Channels group 640 Levels tab (Color Correction tool) ChromaCurve graphs described 646 examples of adjustments in 650 examples of black point adjustm
Index Matte Control effect parameters (RGB Keyer effect) 533 Matte key exporting as PICT file 390 Matte Key effect (2D) applying 408 promoting to 3D 284 Matte Key effect (3D) using 284 Matte Key Key effect 451 Matte Processing effect parameters (SpectraMatte effect) 542 Mattes preparing for key effects 206 Media Creation tool 137 Media drives speed limitations with real-time effects preview 123 Media files 141, 142, 143 Melt Illusion FX effect 443 Memory usage Avid Pan & Zoom effect 237 Memory usage for AV
Index trackers 250, 251, 252 tracking data 259, 260 tracking engines 255 Tracking window 245, 245 workflow 241 Movement effect parameters (Illusion FX Sparkler effect) 508 Moving advanced keyframes 98 keyframes 119 perspective point of 3D effects 563 tracking boxes 252 tracking data points 263 Multiformat titles 220 Multilayer effects (3D) 3D Matte Key 284 Multiple tracks in AVX plug-in effects 148 mVolt (millivolt) units for color correction 594 N NaturalMatch described 620 example of use 620 Nested effe
Index Target 572 Parameters for effects 68, 68, 72, 72, 74, 74, 74 See Effect parameters Partial render 136 Particle Blast Illusion FX effect 443 Particle Orbit Illusion FX effect 443 Particle Wind Illusion FX effect 443 Paste command for title elements (Edit menu) 325 Pasting advanced keyframes 103, 104 keyframes 119 Path in effect motion 287 Path effect parameter (Avid Pan & Zoom effect) 512 Path effect parameter for Intraframe editing 474 Pattern Generator Illusion FX effect 440 Peel effects Bottom Left
Index 2D effects to 3D effects 283 AVX plug-in effects 147 effects 34 traditional motion effect to Timewarp 165 Pulldown Insertion Timewarp effect 465 Pulldown Removal Timewarp effect 465 Push effects Bottom Left to Top Right 456 Bottom Right to Top Left 456 Bottom to Top 456 Left to Right 456 overview of reference information 456 Right to Left 456 Top Left to Bottom Right 456 Top Right to Bottom Left 456 Top to Bottom 456 Q Quad Display command (Color Correction monitor Source menu) 578 Quick Transition
Index using ExpertRender 129 Rendering on-the-fly while trimming 23 Replacing existing effects 60 title fill tracks 345 titles in a sequence 341 Repositioning title text 306 Rerendering effects 46 Reset Graph View command (shortcut menu for keyframe track) 87 Resetting Color Correction tool controls 591 keyframe graph view 87 Reshape tool for Intraframe effects 386 Resize handles for effects 78 Resize Image effect 448 Resizing Effect Palette 20 keyframe graphs 84 rolling or crawling titles 314 title text 3
Index defined 471 of colors in titles 302, 304 Save Title As command (File menu) 328, 330 Save Title command (File menu) 328 Save Title dialog box 328 Saving color correction effect templates to buckets 602 effect templates 36 multiple titles 328 partially completed renders 136 title styles 332 titles, basic procedure 328 titles, overview 328 titles, with a keyboard shortcut 328 titles, with Fast Save option 328 Sawtooth Wipe effects Horizontal Open Sawtooth 458 Horizontal Sawtooth 458 overview of referenc
Index viewing current setting 324 Shadows title 323 Shadows tab (HSL group in Color Correction tool) 634 Shape effect parameters 566 Shape effects Ball 566 effect visibility 569 location of position indicator 569 Page Fold 566 Slats 566 Shape Wipe effects 4 Corners 459 Center Box 459 Circle 459 Clock 459 Diamond 459 Ellipse 459 Horizontal Bands 459 Horizontal Blinds 459 overview of reference information 459 Vertical Blinds 459 Sharpness of focus for 3D effects 557 Shear Illusion FX effect 443 Shelf keyfram
Index Top Left 462 Top Right 462 Top to Bottom 462 Stabalized image adjusting 272 Stabilization 273 overview 269 Stabilize Image effect 449 Stabilized image reviewing 272 Stabilizing images 269 Stages of typical color correction 704 Stamp (3D) clearing 293 creating 293 Stamp effect parameters 571 Standard color vectors 663 Standard keyframes See Keyframes Starting at Cut button (Quick Transition dialog box) 57 Starting at Cut effect parameter 481 SteadyGlide 262, 263 Step Backward One Field button (Effect
Index title, leading 310 title, repositioning 306 title, resizing 306 Text formatting setting for rolling and crawling titles 313 Text Justification buttons (Title tool) 309 Text tool (Title tool) defined 301 Thai language Title tool 348 Third-party plug-in effects 144 Three-tone previews examples of 635 Luma Ranges tab 635 Threshold point PlasmaWipe effects 416, 416 Thumbwheel controls (Effect Editor) 72 Thumbwheels command (Effect Editor shortcut menu) 117 Timecode Burn-In Generator effect 438 Timeline a
Index adjusting using keyframes 342 aligning 325 applying styles 335 bold text in 308 color of background 303 copying or moving objects to 315 crawling, defined 311 creating a glow or halo effect 324 creating color background for 303 creating media for unrendered 346 creating rolling or crawling 311 distributing 325 dragging into Timeline 338, 339 editing into a sequence 337 effect clips, described 336 exporting as a graphics file 335 fading 341 fast saving 328 fast-saved, and EDLs 328 formatting rolling o
Index Ending at Cut alignment 481 Starting at Cut alignment 481 Transition effects Pan and Scan effect 228 Transition effects (3D) with Page Curl (3D) 289 Transition parameters using to apply dissolve effects 48 Transitions creating with the Quick Transition dialog box 53 Transparency adjusting in titles 319, 321 blending in titles 319 setting for titles 319, 321 Transparency of effects controlling with Foreground effect parameter 476 Triangular opener keyframe graphs and tracks 83 Triangular opener (Effec
Index using to achieve safe color limits 723 Waveform monitors (Color correction) described 681 displaying 681 guidelines for use 687 White point adjustments guidelines for 705 Wide-screen display in the Title tool 299, 299 Windows Color dialog box 74, 321 using with Color Match control 614 Wire frame Pan and Scan effect 226 Wire frames for effects 78 Workflows color correction 607 motion tracking 241 options for crawling titles 311 secondary color correction 662 Effect Preview monitor 78 keyframe graphs
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